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Masters of Photography

Lesson 52 of 54

A perfect print


Masters of Photography

Lesson 52 of 54

A perfect print


Lesson Info

A perfect print

(light piano music) After doing two years of general art at art college, I then began to specialize in graphic design, and with the graphic design course, you had to take a craft subject and then I chose photography, which I was very fascinated with, and as a big part of that course, I ended up in the dark room day after day after day, night after night, and I had a very good teacher who was a really fanatical dark room guy and I just absolutely fell in love with printing. So printing became a big part of my photography and I was someone who always enjoyed printing my own pictures. In fact, I'd be happy printing anybody's pictures. I once had a job while I was at college in a funny little place that printed all of the family snapshots from the royal family and I sat at kind of the stone countertop printing day after day, pictures of the queen on holiday, sort of thing. But basically I've been printing now for 45 years, 50 years, and I absolutely, even to this day, still love it and I...

'm a fanatical supporter of the photographer doing his own printing. I've always printed by own work. I've never sent it out to have somebody else print it. I've always printed by own work. So, printing is a really important part, so of course, for 45 years, I was in the dark room and still occasionally print in the dark room, but it was actually rather easy for me to move on to the computer and apply a lot of the same things that I'd learned in the dark room to the computer and that, I actually loved the computer. It's a different animal to the dark room, but I actually love it. I think there's many possibilities with it and there's a lot of creative possibilities with it, so we switched over, not entirely, but we switched over about 12, 14 years ago, onto a lot of digital printing, which I do like. But as I said, I still go into the dark room, so everything is based on a deep passion for printing and the fact that I really do think it's important for the photographer to print and see his work all the way through and not, I'm not a fan of people who're saying, oh, I have a very good printer in Los Angeles who does all my work. He does a beautiful job. I think a beautiful job should be handled by you. You should do it yourself. It should be your responsibility. There are too many variables once you release a print, a negative to somebody else or even a file to somebody else to do. There's too many variables. So you should really be controlling it yourself. When it comes to choosing a paper, this is very subjective, and what I would recommend is that you take one of your favorite images and select five or six papers. Sometimes not such an expensive one. You can also try an expensive paper, but take the same image and print it onto several different surfaces and then put those on a wall, just imagine it's your first exhibition and this is your gallery in front of you. So you look at that, however, I would say, see how that paper is affecting the image. How the contrast level is, how bright a white it is, is the paper changing the color from where you want it. So you've got to really analyze it. It's not just a simple thing. Now, a lot of times, photographers prepare, prefer, photographers prefer a matte paper. But in the end, remember, in the majority of situations, photography is gonna be under glass, so you might not like the surface of a chromogenic, and you prefer a matte, but put them both, both under glass and you might, you're gonna lose some of that matte-ness, obviously, because of the glass. So all of these things have to be thought about, analyzed, trial and error, and in the end, think about the image and how the surface of the paper is affecting the image. So, I chose this image here to have a look at. This is an image I did about four or five years ago, and I shot it on four by five film, and the film is then scanned and loaded in the computer and then a print is made from that. The way I did this was I built in a studio, a water studio, a studio that accommodates water, fairly large pool, because I wanted to get some colored light into the water. So the idea for this was to have a clean light above, which is this area here, and to have colored lights in the water. So I had two colored lights in the water, a cyan and a blue. So you see the blue light here, and the cyan is kind of this green, it's combining with the yellow in the skin that you're seeing under the water. So, I painted the bottom of this black. I didn't want any tiling or anything like that. So the bottom of this pool that we made is just simply black. And what was important here were the water droplets. I used women here that were very zoftig, or what you say in terms of fashion models, the plus size models, but they were wonderful to photograph. They had wonderfully full bodies that just had a great beauty. So that was the idea and the concept going in, so therefore as you go through the various stages of lighting and filtering and so on, you're keeping in mind the idea of the colored water combined with just pure light on the top part of the body here, the bust line. So that's how the shot was done. So you wanna hold onto that, wherever possible, once you go through the process, you're keeping in mind your original idea, the concept, and you stay true to that as you go through the various color patterns and the colors, basically the color statement that you're making here. So, you're doing, you know, any necessary retouching. There's not much retouching in this. Sometimes there's a lot, but in this case, there wasn't, and I love here, where you see just the water droplets on the white skin. She had very white skin and in fact, if you look closely here, which you may see on camera, the skin, you see the blue veins under the white. So that was a very important thing. So the idea was color, but with the pure white, peach-colored skin. So, you have to remain true to that as you go through the printing process and you just have to clearly work on that, do a test print, a test print, a test print, until you get it exactly the right mix of color and density and feeling and contrast value and emotion in the print. So it's not a tedious process because that implies that it's painful, but it's a process you have to stick with and not lose sight of your original idea. I had the original Polaroid from this and I even used that as a guide sometimes when I was doing the color but there's a little it of Polaroid color in this. So I held true to that as well. (light piano music)

Class Description


  • Albert’s tips and tricks on landscape, fashion, portraiture and still life photography.
  • Simple lighting techniques using natural light and studio light
  • Simple tips on preparing for portrait shoots
  • How to create incredible portraits using just two $10 bulbs
  • Albert’s tips and tricks on landscape, fashion, portraiture and still life photography.
  • Simple lighting techniques using natural light and studio light
  • Simple tips on preparing for portrait shoots
  • How to create incredible portraits using just two $10 bulbs


Learn how Albert creates his amazing photographs on location and in the studio using simple explanations.

Albert reveals his shoot secrets on how he photographs Presidents, Hollywood stars, music’s greatest artists, landscapes, nudes, chimpanzees and still life. We follow him on location in Morocco, Paris and in his studio in New York. You will find out where he suggests you look to get inspiration, how to approach a portrait session, see how to light like Albert.

We show you exactly how Albert works on these images after the shoot, it’s all about Albert giving you his ideas and advice and helping you see and create better images for yourself.

It’s not about what camera to use, it’s about how to see and develop ideas, concepts and narrative to make stunning photographs.

As Albert says..."You have to stay switched on"


  1. Meet your Master

    Albert welcomes you to his course.

  2. Learn from the journey

    You will learn how to use your passion and dedication to get to where you want in photography. Albert explains to us how his own journey developed from early days in Scotland to creating the biggest photography studio in LA, and then establishing his studio in New York.

  3. Using inspirations

    Albert teaches you how to use inspiration from your past and present to form you work. Learn his tips on the relationship between technique and creativity, and how to create work that shows your own personality.

  4. Photography is stopping time

    Learn from Albert how he discovered his passion for photography and how to apply his "stopping time" ethos to your own work.

  5. Albert's library of ideas

    Join Albert in his own library where he shows you which books and artists he suggests you look at and study for inspiration and motivation. He also reveals his tip for buying inexpensive photography references.

  6. Tips on preparing for a portrait shoot

    Albert teaches you how to work with your subjects to get a great portrait shot. Learn his tips for putting people at ease when they are in front of your camera.

  7. Setting up the studio

    Learn to control the shooting environment. Learn how Albert begins to set up a studio session. Albert shows you how he begins to approach a portrait session in the studio.

  8. Understanding studio collaboration

    Albert teaches you about his different types of work ranging from test shoots to editorial shoots and advertising shoots. He explains his thoughts and techniques to help you understand how to make each a success.

  9. The importance of casting and hair & make-up

    Albert teaches you the importance of communication between yourself and a team. Albert also explains his tips on working with hair and make up to create a look.

  10. Foreground studio set up

    You will learn how Albert moves out from behind the camera while setting up for a shoot. He shows you how to look at your light from a variety of perspectives.

  11. Studio session with a model - set up 1

    Learn how to work with your subject. A unique insight, Watch and learn Albert working in the studio, explaining his thoughts and showing us exactly how he shoots.

  12. Studio session with a model - set up 2

    Learn how Albert creates his iconic beauty shots. See and listen to Albert as he explains his thought processes when creating this type of shot.

  13. Studio session with a model - set up 3

    Albert teaches you another of his lighting techniques. Watch and learn as Albert explains exactly how he creates a beautiful portrait.

  14. Picking the best shot

    Albert discusses and shows you his techniques for selecting the best shot from a shoot.

  15. Working with photoshop

    In this lesson you will learn how Albert uses post production to further refine his images.

  16. Creating a portrait of Alfred Hitchcock

    Discover the idea and thought process behind Albert's iconic image of Alfred Hitchcock and what it was like to photograph one of the world’s greatest filmmakers.

  17. The gigantic question... Colour or black and white?

    Which should you use? Albert explains his own ideas to you on how and why you might use one or the other.

  18. One day with Kate Moss

    Albert explains his ideas and how he created his iconic images during a day photographing Kate Moss.

  19. Learn to have your ideas ready

    Albert encourages you to have faith in your own creative instincts and how to always think creativity to persuade a client toward agreeing to your photographic ideas.

  20. Using Polariods

    Discover ways to go back and create projects and new images from your older work. Albert shows us the technique he used to create his iconic Running Man image.

  21. Creating beautiful photographs of hands

    Learn to appreciate the expressive nature of photographing hands. Albert explains some his most defining hand shots.

  22. Controlling natural light

    Discover Albert's tips on how to make the most of natural light and how Albert controls it in his images.

  23. Shooting a monkey with a gun

    Albert teaches you to always be on the look-out for new projects, and to recognise the power of conceptual thinking. Learn how monkey and a gun came to be created.

  24. Choosing your format

    In this lesson you will learn about formats. Albert describes different examples from various formats he has used as guidance, discover tips on how to use each type of format and his camera of choice.

  25. Composition and lens

    Get tips and suggestions on which lens to use and when. Albert gives you his thoughts on using the compositional elements available to you in order to produce a better photograph.

  26. Shooting landscapes. The Isle of Skye

    Albert teaches us how for him, its essential to raise landscape photography above the "picture postcard" shot and give the images more meaning. Albert explains the approach to his Scottish landscape series of images, one of his most unique, personal projects.

  27. Planning and ideas for a landscape shoot

    Albert details for you how he carefully prepared for his Isle of Skye project: taking care to be as organised as possible, whilst also remaining open to taking advantage of the unexpected.

  28. Creating still life images

    From shooting bed pans in L.A., to photographing Tutankhamen’s possessions, Elvis Presley’s iconic gold ensemble, and Neil Armstrong's space suit. Albert teaches you to persevere in the face of difficulty, and to always inject your still lifes with meaning.

  29. Photographing the Lost Diary

    Albert shows you how one simple idea can blossom into the creation of true art. An entire advertising campaign was based on his magical concept: that of an intergalactic anthropologist’s photographic diary, depicting tribes on earth 30,000 years ago. Discover how he brought this unique vision to life.

  30. Shooting album covers

    This lesson we go behind the scenes of a shoot with musician Sade. Albert reveals how he produced her beautiful Love Deluxe album cover, and how important it is to make your subject feel comfortable on set.

  31. The Strip Search Project

    Albert tells you how he prepared and created this immense project. He suggests ways for you to create projects and images that document your own corner of the world in images.

  32. Shooting Las Vegas landscapes

    Albert tells you how he prepared for the Las Vegas project, how he approached and shot his landscapes there. He passes on to you how the difficulties he faced helped him, and will help you, to develop as a photographer.

  33. Photographing Breaunna

    Albert tells you how to always be alert to chance encounters. He tells you how he met and was inspired by Breaunna. He explains how some of his most recognisable Strip Search photographs of her were created .

  34. Balancing daylight, God bless America

    Find out why Albert stopped to shoot a bill board. His serendipitous discovery reaffirms his main piece of advice: always remain “switched on”.

  35. Creating the Maroc Project

    Learn how Albert put together his exquisite Maroc book. You will be inspired to create your own projects and to look for potential in every aspect of a project, giving added meaning to your photographs.

  36. Creating the Maroc shoot

    Albert describes his own, personal methods and ethos in creating the Maroc project. Find out what equipment he used, how he documented his journey, and what he shot to create this iconic book.

  37. Photographing sand dunes

    How did Albert capture the breathtaking, rippling sand dunes of Laayoune, Morocco? Find out as Albert encourages you to be innovative; to always strive to add something new and different to scenes photographed by others before you.

  38. Photographing Moroccan children

    Preparation is not the death of spontaneity. Albert explains some his most breathtaking, impromptu shots of children in Morocco, Albert shows you how he suggests you intertwine careful planning and impulsivity to ensure you never miss your shot.

  39. Advice on making portraits

    Learn from Albert that the way you communicate with those you’re photographing is always visible in a shot. In this lesson Albert suggests tips to capture your perception of a subject into a single picture.

  40. How to be alert to finding photographs

    Learn to take advantage of chance situations and moments. Listen to Albert reveal how some of his most famous photographs were created by remaining flexible and alert to what you are seeing around you.

  41. Making a portrait of Mike Tyson

    Albert delves into the inspiration behind his famous Mike Tyson photograph, reaffirming that preparation before a shoot is often key to transforming your vision into a reality.

  42. Creating intense colour in a photograph

    Albert creates intense colour in an image. Listen to Albert as he takes you through his preparation process, and the techniques he used to construct one of his most well known images, Red Devil.

  43. Portraits of rap stars and a Golden Boy

    Discover the relationship between a subject and the camera itself. Legendary Rap stars and Albert’s Golden Boy photograph feature in this lesson. Albert discusses facial geography.

  44. Photographing Jack Nicholson

    A Jack Nicholson photoshoot for Rolling Stone. Albert explains how the legendary snowy shot came to be, and gives you an insight into how he photographed the iconic actor and filmmaker.

  45. Creating a portrait of David Cronenberg

    Be inspired to get creative. Ingenuity and inventiveness take centerstage in this lesson as Albert describes how he produced his unique photograph of David Cronenberg for Rolling Stone — the old-fashioned way.

  46. How to light only using two $10 bulbs

    This is a incredible lesson where Albert demonstrates to you that expensive lighting equipment is by no means a necessity! Discover how to use two $10 bulbs to create a dramatic, high contrast shot. Simply genius.

  47. Studio fashion set up 4

    See the fashion photography master in action as we watch each step of this shoot. Watch and hear how Albert manages the body language of the model and the simple set up and lighting to create a fashion shot.

  48. Studio session with a model. The geography of a face

    See how Albert creates art with the profile of a face. Learn how to work the geography of a face with Albert's simple lighting techniques.

  49. Look inside the picture

    Albert gives suggestions on how to progress and review your photography. Find out his tips on how to look "inside" the picture.

  50. Creating memorability in an image

    Learn Alberts tips on the skill of quick thinking and analysing your surroundings. Albert uses an example where he used his surroundings to create a unique and surreal shot for Italian Vogue.

  51. Combining nudes and landscapes

    In this lesson we reveal one of Albert's very latest projects. Learn as Albert teaches you how he created a stunning series of images by combining nudes with different landscape textures.

  52. A perfect print

    Albert explains where the passion began for printing his own work and how it has developed. Listen to his overview on how critical it is to print an image on the right type of paper in order to create the perfect print.

  53. The business side of things

    Learn how Albert runs each aspect of his business. We travel with Albert to one of his exhibitions in Italy where he explains the why and how of the prints on show.

  54. Conclusion and farewell

    Albert summarises some fundamental learning points he has acquired over his 40 year career. He leaves you with some poignant tips and bids his farewell, "onwards and upwards".


Richard A. Heckler

"Unless you're Mozart"...this course is an invaluable asset. I'm a pro, humanitarian/documentary photographer, & wilderness...and I've learned much from the 40+ sessions here. This is truly a Master best thing to being with Albert. And although I could watch studio sessions forever, this course offered a very balanced curriculum of technical information, artistic encouragement and guidance, and a open, generous window into the thinking of a gifted artist and photographer, sifted from decades of first class experience. Kudos to all involved. Excellent!

a Creativelive Student

I purchased my first CreativeLive class in 2011 and have continued to purchase many classes over the years. I have learned so much from the many great instructors. This one is not a technical class that will tell you to set your camera at f4, 1/60, ISO 400 and you can get this shot. If you are looking for that, there are many other options. If you have a solid working knowledge of photography, this class is so much more. The way it was filmed is like you are there with him in conversation or in the room with him watching him shoot. To see and understand the how and why he does what he does. Not to take anything away from other classes that have helped to give me a strong understanding of photography, this is my favorite CreativeLive class so far.