In short: A director of photography, or DoP, decides how a shoot looks. They plan camera positions, lenses and lighting with the director, then lead the crews on the day. Most move up from camera or lighting work over years. A drama or multi-camera job needs one.
A director of photography, or DoP, is responsible for the look of the picture: where the camera goes, what the lenses do and how the light falls on the actors and the set.
What a DoP does on a shoot day
A DoP's day starts with the plan. They have walked the set, agreed the shots with the director and set the lighting approach with the gaffer, so the first take goes quickly.
- Set the shots. Choose the camera positions, lens choices and movements, and agree them with the director before the actors arrive.
- Light the scene. Work with the gaffer and the lighting team to build the look, and check it on the monitor, not by eye alone.
- Supervise the camera team. The camera operator, focus puller and camera assistants work to the DoP's framing and rhythm.
- Test and hire equipment. Before the shoot the DoP chooses and tests the camera and lighting package, so the day does not begin with a fault.
- Review the footage. At the end of the day, the DoP looks at what was shot and passes notes to the director and the editor.
On some jobs the DoP also operates the camera. The National Careers Service profile describes work that is often freelance, paid by day rate plus overtime, and with long hours.
Who they work with
The DoP works with the director to agree how each scene will be shot. They supervise the camera crew, and they work with the lighting team, led by the gaffer, to achieve the look. They also work with producers, who review footage, and with post-production and the editors, who need the material to cut.
Kit and skills
The DoP's kit is the camera package, the lenses, the monitoring and the lighting plan. The skills go beyond operating a camera.
- Sound judgement and decision-making, often made quickly and with other people watching.
- Creative problem-solving when the location, the time or the weather changes the plan.
- Clear speech with the director, the crew and the producer.
- Teamwork and the flexibility to adjust a look when the director changes their mind.
On our side, the lighting in the rooms is a mix of tungsten and LED, and why we run both explains what that means for a DoP who wants a particular colour and fall of light.
How to become a DoP
The National Careers Service profile sets out three broad routes:
- University or college. A foundation degree, HND, degree or postgraduate course in photography, art and design, drama, or filmmaking and film studies is one route. Colleges also offer film and television production courses, and the T Level in Media, Broadcast and Production is another.
- Work up from a junior role. Start as a production runner, a second assistant camera or a lighting trainee, learn on the job, and progress through first assistant camera and often camera operator, or from lighting, to DoP. Most people do this over years.
- Training schemes. Broadcaster trainee schemes, such as those run by the BBC, Channel 4 and ITV, and BFI learning programmes are listed by the profile, along with short camera courses from ScreenSkills-listed providers.
Volunteering on community, student or independent films also builds the showreel that employers ask for. ScreenSkills publishes a film and TV drama career map that shows how the camera and lighting departments connect, and Bectu, the union for people working in the creative industries, offers freelancers advice and career support as members.
Do you need one on a small shoot?
- A talking head or a podcast with one camera: usually no. The director, producer or an operator can frame and light a single set.
- A product or fashion stills day on the cove: no. The photographer leads the look. A DoP becomes useful when the job moves into moving image with several set-ups.
- A drama, a music video or a multi-camera shoot: yes. The look of the whole piece depends on one person holding it together.
If you want a DoP on a booking, we list a director of photography from £575 plus VAT as an indicative day rate, and the film crew hire page explains how that is booked with a room. The camera crew hire page covers the operator roles.
Related roles
- What does a camera operator do?
- What does a focus puller do?
- What does a gaffer do?
- What does a digital imaging technician do?
- What does a production designer do?
Sources
- National Careers Service, Director of photography job profile, read 5 November 2026
- ScreenSkills, Film and TV drama career map, read 5 November 2026
- Bectu, home page, read 5 November 2026
Related guides
Questions we get asked
What does a director of photography do?
The DoP is responsible for the look of the picture. They plan shots and lighting with the director, supervise the camera and lighting teams, and review daily footage, so the shots match the look the director wants.
Is a DoP the same as a camera operator?
Not always. The DoP decides the look and often operates the camera on smaller jobs. On larger productions a camera operator works the camera while the DoP is focused on the framing, the light and the team.
How much does a director of photography cost per day in the UK?
Granary lists a director of photography from £575 plus VAT as an indicative day rate. Union and production rates vary, so check the terms for each job.
granary.digital · 01243 884993 · studio@granary.digital · The Old Grainstore, Adsdean, Chichester, West Sussex, PO18 9DN · Prices exclude VAT unless marked inc VAT