Photography is often seen as something out of reach for most people — a craft that demands professional cameras, expensive gear, and years of technical knowledge. That is exactly the mindset this story aims to challenge. And this is where the 1 Billion Followers Summit, Apple, and Saudi photographer Rashed Al Subaie come in. But let’s not rush and take it step by step.

This Sunday marked the final day of the 1 Billion Followers Summit, one of the region’s largest gatherings for content creators. Influencers with millions of followers came together alongside some of the world’s most recognisable platforms — Meta, Snapchat, YouTube and Apple, who joined the summit for the first time. Rather than grand statements, Apple’s takeaway was simple: creating thoughtful, high-quality content today doesn’t require much more than the phone in your hand — an idea that resonates most clearly through people.

Few embody it better than Rashed Al Subaie, a Saudi photographer who works almost entirely on his iPhone. That same device has taken his work far beyond the region, quietly reinforcing a simple truth: creativity matters far more than the tools behind it. We spoke with Rashed during an Apple workshop where he was a speaker, and again afterwards, discussing his most recognisable works, his sources of inspiration, and a few practical tips on taking genuinely great photographs.

— How did your journey into photography begin?

— I have been working in design since 2004 and started taking photographs in 2005, mostly out of curiosity. At first, it was simply about exploring the medium, but over time it became something more — a way to slow down, observe, and truly notice the small, everyday details around me.

As I began to understand the technical side of photography, I was reminded of my first encounter with a camera obscura as a child. From that point on, the camera stopped being just a tool and gradually became a language — a way for me to tell stories.

— What were you photographing at the very beginning, and how different does that feel from what you are doing now?

— In the early days, I photographed whatever was in front of me — streets, friends, ordinary daily moments — without much thought or intention. My focus was simply the life around me. Looking back, that period feels like pure exploration.

Today, my subjects remain simple, but my approach is far more considered. I pay much closer attention to timing, composition and colour, as well as the meaning that sits just beneath the surface of each image.

— How would you describe your approach to photography today?

— I would say my work is built around observation and patience. I don’t try to force moments — I wait for them. Visually, I am drawn to simplicity and calm. I like images that feel honest and lived-in, shaped by natural light rather than heavy construction or staging.

And honestly, a big part of my approach comes from where I live — Saudi Arabia. I don’t think my work would look the same anywhere else. The country is incredibly rich in culture, heritage and natural diversity, from deserts and mountains to seas and valleys. That diversity doesn’t just shape what I photograph; it shapes how I see a scene before I even raise the camera.

— A lot of your work is shot on a phone. What does it give you that a professional camera doesn’t?

— Freedom, more than anything. The iPhone is always with me and never interrupts the moment. People tend to relax around it, which allows them to behave naturally. That sense of invisibility is incredibly important to my work, especially when I am documenting everyday life — it helps keep everything honest and authentic.

And I am genuinely grateful for that. I have learned that when you give something to the moment, you often receive something back in return. That is a mindset I try to pass on to others.

— What practical advice would you give beginners shooting on an iPhone — from settings and composition to learning how to really see a scene?

— The biggest piece of advice I can give is to slow down and really observe the light — where it is coming from, how it moves across a scene, and the direction it takes. Where light falls matters, and so do the shadows it creates. When used well, shadows naturally sit opposite the light source and help shape the image rather than distract from it.

Keep your frame simple, avoid unnecessary distractions, and don’t be afraid to step closer. Most importantly, trust your eye more than the settings. A strong photograph starts with seeing, not with technology.

If you are looking to build a more consistent visual style, Photographic Styles can be a useful tool. They allow you to choose a mood — such as Warm, Cool, Vibrant or Rich Contrast — before you even take the shot. Unlike basic filters, these adjustments feel subtle and natural, and can be fine-tuned to suit your taste. Setting one as your default can help create a recognisable visual identity over time.

— A big part of your work focuses on everyday Saudi life. Who are the people you photograph?

— Most of the people I photograph are very close to me — my family, my nieces and nephews, and my neighbours. At the same time, some images feature people I simply come across in public spaces. I don’t actively search for subjects; I notice moments. Everyday life in Saudi Arabia carries a quiet depth, and I’m drawn to those in-between moments that often pass unnoticed.

— Before photographing people, do you prepare in any way — talking to them, asking permission, building trust — or do things unfold naturally?

— It really depends on the moment. Most of the time, I am simply capturing something that is already unfolding in front of me. I try not to impose myself — it is important that people feel comfortable and almost forget I am there. Occasionally, if I have a certain composition in mind, that might involve a bit of planning or gentle direction, but I always aim to keep the moment feeling natural.

— Many of your photo series feel less like individual images and more like stories. What is happening in this series, for example?

— This series was photographed during Eid Al-Adha in 2024. I wanted to capture everyday moments using a film camera, partly to explore film’s tonal qualities and the sense of warmth it brings to an image. Each photograph feels quiet and understated on its own, but when viewed together, they form a rhythm — a narrative shaped by place, time, routine, and those fleeting moments that are so easy to miss.

— One of your most recognised works is Snam Al-Sahra — the triptych connecting the camel and the Saudi desert. How did that idea come about?

— The idea for Snam Al-Sahra emerged during my artist residency in southern France. After spending nearly a month and a half away from the desert and from camels, I became more aware of how deeply identity is shaped by the environment around us. That distance led me to connect the form of the camel’s hump with the desert landscape — as a visual reflection of memory, identity, and place.

— If you had to choose one photograph from your entire career that holds special meaning for you, which would it be — and why?

— It would probably be an image capturing a very ordinary, personal moment. Those are the photographs that stay with me the longest, because they reflect the original reason I picked up a camera in the first place.

That said, in terms of composition, I am particularly fond of the red carpet image — it is carefully structured, follows the principles of photography, and the combination of colour and grading really brings everything together.

— In February 2025, you worked on a film. What was that experience like, and what was your role?

— I took part in the Saudi film Hobal, directed by Abdulaziz Alshlahei and written by Mufarrej Almajfel. My role focused on documenting the behind-the-scenes process through a realistic, artistic lens, reflecting everyday life in the 1980s — the period in which the film is set. It was an experience that pushed my visual practice further and encouraged me to think more deeply about time, cinematic rhythm and storytelling.

— Finally, what does a good day of shooting look like for you?

— A good day is capturing just one honest image. No pressure, no expectations — simply being present, observing, and allowing moments to unfold naturally. One meaningful frame is more than enough.