NUD

TAN
PTO
Good photography requires a variety of
skills, some more important in one field
than another. But nude and glamour
photography can involve every aspect of
photography and demands all the skills
required across the spectrum: an
awareness of atmosphere, a good sense of
composition, ability to respond quickly to
situations and nuances of expression plus
a strong sense of colour and design.

The appeal of a beautiful woman and the

qualities of sensuality and sexual
attraction are by no means purely visual.
A successful photograph must find a way
of translating these often intangible
elements into visual terms.

Michael Busselle’s Nude and Glamour

Photography is a comprehensive guide to
success in all aspects of the art. There are
150 colour and 250 black-and-white
photographs with 100 explanatory
diagrams to illustrate the techniques
described in the book. It gives methods
and professional tips for setting up a
session in the studio or on location. There
is a chapter on the equipment and
accessories needed and advice on which
techniques to employ to get the best
results.

With a section on the masters of the art

and special projects to help you evoke
specific themes and effects, this book is an
invaluable reference work for aspiring
photographers.

£14.95
£5=50
310973

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 The complete book of

Nude&Glamour |
Photography
\ude&Glamour
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Michael Busselle

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This edition published in 1987 by Black Cat, an imprint of
Macdonald & Co (Publishers) Ltd, Greater London House,
Hampstead Road, London NW1
Copyright © 1981 Adkinson Parrish Limited
Allrights reserved. No part of this publication may be reproduced,
stored ina retrieval system, or transmitted in any form or by any
means, electronic, mechanical, photocopying, recording or
otherwise, without the prior written permission of the copyright
owner.
ISBN 0-7481-0019-9
Printed in Great Britain
Managing Editor Clare Howell
Design Manager Christopher White © *
ehTreg Hilary Dickinson
Designers Mike Rose Robert Lamb
Rose & Lamb Design Partnership
Illustrators Richard Blakeley Phil Holmes
 oo N=N Se
THE BACKGROUND 124 Usingtheforeground
8 The early nude 126 Composing the image |
10 Emergence of the pin-up 128 Beach and seaside
12 Hollywood glamour 130 Landscape
14 Girlie magazines 132 Water
16 Calendar nudes 134 Using buildings
20 Posters 136 Choosing a viewpoint
22 Sex and advertising 138 Shooting in sunlight
24 Fashion and glamour 140 Using soft daylight
26 Photography and art 142 Shooting against the light
28 The male nude 144 Flash and daylight
146 Daylight and colour
THE HOME STUDIO 148 Reflectors
32 Working with one light
34 Working with two and three lights MASTERS OFNUDE & GLAMOUR
36 Lighting and mood PHOTOGRAPHY
38 High-key lighting 154 Edward Weston
40 Low-key lighting 156 Lucien Clergue
42 Lighting the body 158 David Hamilton
46 Lighting the face 162 Jan Cobb
CT Maer witd elalermoeteny 164 Larry Dale Gordon
50 Using daylight indoors come ticeacatiics
54 Indoor locations 168 John Swannell
170 Bob Carlos Clarke
CREATING THE PICTURE
58 Simple backgrounds SPECIAL PROJECTS
60 Creating background effects 174 The first nude session
62 Make-up 176 Hollywood classic
64 Choosing clothes and accessories 178 A Victorian nude
66 Building simple sets 180 Composition for impact
68 The model’s role 182 Shooting a sequence
70 Posing the model 184 Illustrating a theme
74 Shooting abstract nudes
76 Erotic images DARKROOM TECHNIQUES
78 Emphasizing texture 188 Bleach outs and texture screens
80 Using props for effect 190 Tone separation and bas relief
192 Montage printing
USING COLOUR 194 Making a slide sandwich
84 Skin quality 196 Black and white in colour
86 Bold colours 198 Hand-colouring
90 Soft colours 200 Photo-montage
94 Filters for colour
PRACTICAL INFORMATION
CREATIVE CAMERA TECHNIQUES 202 Presentation
100 Exposure 204 Selling your work
102 Photographing movement 206 Lighting equipment
104 Films 210 Studio accessories
106 Wide-angle lenses 212 Cameras and accessories
108 Lens attachments 216 Camera supports
110 Long-focus lenses
112 Soft focus techniques 218 Glossary
116 Multiple exposures 220 Bibliography
118 Projectors 221 Index
224 Acknowledgements
ON LOCATION
122 Controlling the background
Se
 INTRODUCTION
Of all the subjects with which photographers are by no means purely visual and a successful
like to work, a beautiful woman must be by far photograph must find some way of translating
the most popular and the most widely these often intangible elements into visual
published. A wide range of industries and terms and using both creative and technical
businesses are heavily dependent on the images skills to record them on to film.
created by the qualities which are associated ‘Since the beginnings of photography there
with women: gracefulness, beauty, sensuality, has been a natural affinity between attractive
and of course pure sexual attraction. It is hardly women and cameras. In spite of the modern
surprising that women should be such a popular attitudes of feminists and accusations of sex-
subject with both those who take photographs ploitation it has always been true that many
for pleasure and those who just like to look at women like to be admired for their physical
pictures, since a good photograph of an qualities as well as their personalities and it is
attractive woman can combine the aesthetic and certainly true that most men enjoy admiring
the erotic aspects of an image. them. The section which follows traces the path
Good photography requires a variety of of this mutual admiration as seen through the
skills, some more important in one field than lens of a camera and through the eyes of many
another. In landscape photography, for different photographers with a variety of
instance, an awareness of atmosphere and a attitudes and approaches in a _ constantly
good sense of composition may be the main changing social climate.
requirements, while a reportage photographer This first part of the book is not intended
must be able to respond quickly to situations simply as an academic or nostalgic assessment
and nuances of expressions and gestures. Astill- since both the pictures and the skills of the
life photographer might value most the ability photographers are equally valid today; indeed,
to visualize, combined with a strong sense of it is often only in retrospect that the true quality
design and colour, and a portrait photographer of such images can be _ identified and
the ability to create a good rapport with his appreciated. In addition photography, like
subject and a skill at controlling lighting. many other expressive mediums which are
Nude and glamour photography demands all affected by fashion and social attitudes, tends to
of these abilities from a photographer in equal repeat itself in the course of time and an
measure and it is interesting that many of the understanding and appreciation of earlier styles
best photographers in this field are also and approaches will often help those who are
respected for their work in other areas of the just beginning to explore their own potential, to
medium. The appeal of a beautiful woman and learn from past masters, and to see their own
the qualities of sensuality and sexual attraction work in a wider context.
THE BACKGROUND

The early nude

These three pictures show
the essentially painterly style
of early photography. Yet
while the technique is
similar, each picture is
slightly different: in this
studied composition (left;
Auguste Belloc, French,
1856), the model’s pose, the
setting, and the camera
viewpoint are reminiscent of
paintings of the period. The
nude in the second picture
(below left; Oscar Gustav
Rejlander, British, c. 1855)
serves merely as a traditional
element in the allegorical
composition, well known in
paintings and therefore not
liable to censure. The third
picture (below right;
French, 1870s) is
supposedly ‘natural’ but the
theatrical setting and props
form a marked contrast to
the nude models and give the
Photograph a contrived air.
 THE BACKGROUND

The human body has long been a source of inspiration

for visual artists; as early as the fifth century BC Greek
sculptors used the nude as a means of self-expression.
It is not surprising then that soon after the invention
of the photographic process by Daguerre in the late
1830s the first attempts at nude photography were
made.
Many of these early photographs were in fact
meant simply to provide good reference material for
painters, and this explains much of the painterly style
of the first nude photographers. Added to this there-
was a general failure to appreciate that photography
was a completely new medium and not simply a more
convenient means of continuing the artist’s tradition.
Another reason lay in the technical process itself
which in its beginning required extremely long
exposures so that a model would have to stay
completely still in a pose for anything up to ten
minutes while the shutter remained open. Studied
and contrived positions and theatrical settings helped
to make this type of endurance more possible.
One of the major influences on early photographic
style in the mid-nineteenth century was the widely
held belief that reality was essentially ugly. It
followed that, as photography was considered to be
far more ‘real’ than painting, photography came to be
identified with ugliness — ‘as ugly as a daguerreotype’
was a common description. Consequently, the more a
photograph could be made to look like a painting the
less likely it was to receive unfavourable criticism.
Society's view of the model’s role was also
influential. While a painting or sculpture was so far
removed from reality that it was possible to regard it
for what it was, a work of art, and not a
representation of an individual, the camera created
By the turn of the century
images which appeared so real that a photograph of a photography had developed
nude was far more likely to be seen simply as a person an identity and styleofits
with no clothes on, and the models who posed for own. These two nude studies
such photographs viewed as immoral, exploited, or at illustrate stages in this
best misguided. It is an attitude that can still be found progression: (left; Robert
In some quarters of our so-called liberal and Demachy, French, c. 1900)
permissive society a century later. the pose is still contrived and
the garment carefully draped
but the mood of the picture is
more spontaneous. The
picture ofa sleeping nude
(above; Clarence H. White,
American, 1909) goes even
further towards creating a
natural and relaxed effect
although again the angle of
the head and limbs has been
arranged to form a pleasing
composition.
THE BACKGROUND

Emergence of the pin-up

The impersonal and _ painterly approach to
photographing the female form could not hold out for
long against the realization that photography was not
just a new but a different medium and that its ability
to create a sense of reality in an image could be used
positively to enhance a picture.
The emergence of the pin-up was one
manifestation of this realization since it was now
possible not only to depict the physical aspects of a
model but also to project her presence as a woman;
photography became a way of producing a sexual
response from the viewer as well as, or in some cases
instead of, a purely aesthetic appreciation.
The erotic postcards that began to appear at the
turn of the century and enjoyed considerable
popularity for two decades were a first indication ofa
new approach to photographing women. They were
not actually intended to be posted and were only
called postcards because they were printed on
photographic paper of postcard size. Many examples
were in fact much more than erotic and would
doubtless be open to prosecution if sent through the
mail today. Indeed, the photographic process has
been welcomed with open arms by dealers in
pornography and is largely responsible for turning it
into a billion-dollar industry, which unfortunately has
meant that the more serious and _ aesthetic
photographic work is still regarded with suspicion.
Most pin-up postcards, however, were honest
attempts to create pleasing images intended to
entertain as well as to stimulate, and in spite of the
limitations imposed by prevailing moral attitudes
they represented the first steps towards moving
photography away from being merely an imitation of
traditional art. In spite of the contrived and often coy
poses of the models, many of these postcards have a
charm which is not just attributable to historical
nostalgia. A combination of primitive lenses, slow
film, and daylight studios has helped create pictures
with a smooth luminous quality which many nude and
glamour photographers emulate today.

The pin-up nude, designed

to titillate and amuse, which
is a very familiar subject for
photography today, made its
appearance atan early stage,
as this 1850s daguerreotype
shows (above right). It took
on a popular guise through
the medium of the erotic
postcards that proliferated in
the first two decades of this
century (right and opposite;
French, 1920s).
10
 THE BACKGROUND

Ld Fi a Ps si oO
THE BACKGROUND—

Hollywood glamour
The Hollywood star syndrome, that unique distil-
lation of the dreams, fantasies, and ambitions of
millions of ordinary people, was at its peak in the
1930s.It existed only through the lens of the camera,
and to many people the word ‘glamour’ is defined by
the images which characterized this period.
Although the movie camera initially created the
illusions that made a star it was the unenviable task of
the stills photographer to perpetuate the legends.
With the exception of a few freelance portrait photo-
graphers like Edward Steichen the vast majority of
photographers were part of in-house photographic
units and were treated simply as members of a team
and were not given special facilities or status. They
often had to produce two or three hundred stills each
day while a film was being shot, mostly on set or at
best in a small room near by to which the stars were
grudgingly allowed to retreat during breaks in the
filming.
Yet in spite of this, the pictures they produced had
a remarkable quality both in technical terms and in
their ability to uphold the illusions created on film.
Most of the pictures were taken on huge 8 X 10 plate
cameras with long-focus, small-aperture lenses using
slow film which meant exposures of up to several
seconds. Present-day photographers, with their fast
films, lightweight motor-driven cameras, and high-
speed flash, would find the conditions under which
their predecessors worked quite intolerable.
Off-set lighting was usually provided by up to five
tungsten spotlights; unlike the techniques used in
contemporary studios, the Hollywood photographer
seldom used diffused lighting, but would, for exam-
ple, use a 1000-watt spot as a key light to create
modelling on the model’s face and body, a 500-watt
spot to act as a fill-in and relieve the shadows, a
2000-watt spot to illuminate the background, and a
500-watt compact spot to create highlights in the hair.
Sometimes a piece of gauze was stretched over the
camera lens to create a small degree of soft focus.
This golden era of glamour came to an end in 1939
and the style of photography that went with it was
reapplied to the advertising and fashion business.
One of the reasons for the demise of the ‘Hollywood
type’ glamour picture was the preference of the new
picture magazines like Life and Look for a more
candid approach to photography, which showed the
stars more as fallible beings and less as gilded idols.
 : THE BACKGROUND

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This series of pictures of

well-known Stars of the
classic Hollywood era shows
the superlative technical skill
and virtuosity of the
photographers whose job it
was to perpetuate the legend
of these immaculate movie
idols.
Jean Harlow (opposite above)
Joan Crawford (opposite below)
Greta Garbo (above left)
Dorothy Lamour (above right)
Marlene Dietrich (left)

wv
THE BACKGROUND

Girlie magazines
[he magazines which in concept, design, and editorial
policy are centred around photographs of girls are the
modern equivalent of the erotic postcards of the early
1900s in that their main function is to provide sexual
stimulation. The way in which they achieve this is just
as much a reflection of society’s attitude and the
current moral climate as was the case with the early
pin-up photographs. Although we live in supposedly
liberal and permissive times the dividing line between
what is considered to be acceptable or tasteful and
what is pornographic is very fine but very definite,
and the development of such magazines in photo-
graphic terms 1s largely dependent on where this line
is drawn.
We may find the discreetly draped fabrics and
classically inspired poses of the Victorian pin-up
rather coy and amusing but as recently as the 1940s
newspapers which printed pin-up photographs would
ensure that a model’s navel would be just as discreetly
covered, and even twenty years ago photographic
models who specialized in nude work considered it de
rigueur to shave their pubic hair.
The latest trends in ‘girlie’ magazine pictures would
suggest that there is little left to reveal as far as a
woman’s body is concerned, and in some respects this
might prove an advantage to photographers since
short of actually publishing pictures of copulation the
only means to progress is to explore the ways in which
the erotic aspects of pictures and their sexual appeal
can be enhanced in terms of aesthetic quality rather
than sheer visual information.
Good taste is difficult to define, especially when
applied to such a subjective aspect of the visual arts,
but a picture taken with the main purpose of express-
ing a genuine personal response to a subject is far
more likely to have a deep, lasting appeal than one
produced solely to satisfy the dubious appetites of
popular demand.
The female pin-up has
enjoyed increasing
popularity, and the pictures
taken for ‘girlie’ magazines
aim to cater for current tastes
for the sexually stimulating
and erotic. Setting, lighting,
and pose are chosen for
deliberate effect in the two
pictures shown here (above
and left). In the cover
photograph of Men Only,
the picture of the
anonymous girl makes a
more openly provocative
impact (right).
 France 12 francs
Italy 2400 lire
Canada $1.95
Australia &
New Zealand $1.50
THE BACKGROUND

Calendar nudes
The illustrated calendar first made its appearance in with photographs by Robert Freeman, was published (right) Marilyn Monroe,
the Victorian era to serve the needs of business men in 1964 and represented a whole new approach to posing for the “Golden
who wished to give their clients a token of esteem and calendar photography. By today’s standards it was Dreams’ calendar published
appreciation. Its value was twofold, both as an quite innocent, but it had a considerable impact not in 1949, which marked an
important stage in the
acceptable and seasonal gift and as a year-long only within the motor industry but also on photo-
establishment of
reminder of the donor. graphers, art directors, and most other people who photography in calendar art.
The first calendars were illustrated with reproduc- published and bought calendars.
tions of paintings, and it was not until the 1940s that It rapidly became an institution, and each new
photography began to appear in calendar art, when the edition was awaited eagerly by an expectant public.
¢
considerable improvements in both colour film and Publication of the calendar was stopped in 1974
reproduction techniques made it possible to print a because it was felt that the time had come for Pirelli to
photograph with the same quality and delicacy of find a new way of promoting their image. During its
colour that had previously been confined to artwork. ten-year life span almost half a million copies were
The first major breakthrough which helped to printed and many thousands of photographs taken, in
establish photography as the medium for nude and the process creating what is probably the most
glamour calendars came in 1949 when aseries of prestigious vehicle for nude and glamour photo-
colour photographs taken by an American photo- graphy. Many other international companies now
grapher of a Hollywood starlet called Norma Jean commonly use this medium as a promotional tool.
Baker were sold to a calendar publisher. It was a In photographic terms, the time, effort, and money
success for both sides: the calendar, entitled ‘Golden that are invested in a major glamour calendar are
Dreams’, sold several million copies, and the starlet equivalent to a Cecil B. De Mille or a Star Wars
went on to find fame as Marilyn Monroe. production in the cinema industry. A typical shoot
Although subjects such as animals and children may involve casting up to a hundred models, with test
were readily acceptable alternatives to paintings, sessions of those who are short-listed, a location
photographs of girls were not as popular. This was reconnaissance trip to find suitable settings and
due largely to the rather stilted, heavily retouched, backgrounds, and two or three weeks’ photography
theatrically lit pictures of buxom ladies which were with three or four models. The people involved on an
the style of the day, as these were less appealing than important location trip could include the models, a
the more idealistic images of the illustrators. stylist, a make-up artist, a representative from the
The turning point was the decision of the tyre sponsoring company, and an art director, photo-
manufacturers Pirelli to use a glamour calendar to grapher, and assistant. Several hundred rolls of film
promote their image to the garages and workshops could well be used — all for the sake of just twelve
who used their products. The first Pirelli calendar, great pictures.
Matinée de septembre, by
the French painter Paul
Chabas (1912), was
celebrated in Paris and also
in America, where it was
used on the first glamour
calendar (right).

16
THE BACKGROUND
THE BACKGROUND/CALENDAR NUDES

December [980

22.| 29
23 | 30
THE BACKGROUND/CALENDAR NUDES

These pictures show the

variety of theme, style, and
approach in nude and
glamour calendars: from the
abstract to the openly erotic,
all tastes are catered for.
Posters
The main difference between a poster and a magazine The qualities required for a good poster are in The British Safety Council
advertisement in terms of design and photography is many respects the same as for a good photograph, was the first safety
that while an advertisement is aimed primarily to and this is why designing and photographing a poster organization to use anude to
persuade the viewer to read the message and, of is a frequent project for students on photographic sell safety (below left).
course, ultimately buy the product, the poster is courses. The main requirement is for the composition
The impact of this poster
intended to be a short sharp announcement or re- to be simple and direct without any irrelevant details; advertising UFO Jeans relies
minder, and in fact constitutes the message itself. tight framing is often used to achieve this. on the bold choice of colour
People rarely stop to look at posters, they catch a Subtlety is a quality which is not usually desirable in and design (below right).
glimpse of them when driving or walking past, and for poster photographs, and striking contrasts and
this reason posters not only need to be large but also textures are chosen to give the picture the greatest
very simple and direct. For a photographic poster the impact. The model is usually clearly defined against a
photograph is planned and shot with this in mind. plain, uncluttered background and her position
Most photographers enjoy shooting for a poster arranged to create bold shapes, and her eyes are
more than for an advertisement simply because it is invariably directed at the camera as this has a
less restrictive in terms of layout and design and the compelling effect on the viewer.
headlines and copy intrude far less on the photograph Colour is also a vital factor in poster photography
than in the more complex make-up of an advertise- and in most cases a single, bold colour is chosen to
ment. This does mean, however, that the photo- contrast against a neutral or complementary back-
graphic image itself must have the maximum effect ground. Fully saturated colours have the greatest
and the design must be created within it rather than impact in a picture particularly when used in a care-
around it. fully planned and ordered composition.

BRITISH
SAFETY
COUNCIL
Chancellors Road
Hammersmith
London W6 9RS

20
 THE BACKGROUND

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THE BACKGROUND

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 THE BACKGROUND

It is hardly surprising that the advertising industry has product, for instance, the justification for using a
taken the erotic photographic image so warmly to its picture of a naked woman goes beyond the aim of
heart since throughout the natural world the very simply attracting attention to the advertisement, it is
survival of many species depends on the visual attrac- also an oblique invitation to enjoy the advantages
tion of one gender for another. Sex is in fact the most that the product offers, which in this case is for the
basic form of advertising. purchaser herself to become more sexually attractive.
The most common use of a nude or glamour picture For this reason a far greater degree of control and
in an advertisement is simply to attract and hold the judgement has to be applied to the design of this type
ee Ue
viewer's attention, and in many cases there is little or of advertisement since, in addition to drawing atten-
SOT g
pty no connection between the photographic image and tion to the product and the message of the advertise-
the product. This approach is used widely, often for ment, the photograph and indeed the model herself
products and in media which are directed primarily at will contribute to the identity of the product and the
a male market, for example the trade magazines brand image it creates. A badly chosen model and a
which are usually particularly well decorated with tasteless picture could alienate more potential users
nude and glamour photographs selling almost every- of the product than they attract.
thing from motor oil to fertilizer. Since there is little As the amount of money at risk in an advertising
need for any link between the picture and the campaign can be vast, very serious thought is given to
Prt tLe ure) A Op C8
message to which it draws attention these photo- the selection of both the model and the photographer
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graphs tend to be of the more basic, ‘raunchy’ variety, for an advertising photograph. A casting session is
AHIO,
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and suggestive pose. of likely applicants. The photographer will be chosen
A more subtle and, usually, more tasteful approach from a relatively small list of photographers specia-
is required when the image is connected more directly lizing in this type of work who have a proven ‘track
with the product. In an advertisement for a slimming record’ of successful campaigns.
er * This advertisement for
bathroom beauty products
Cah ole)
Sea is more subtle in its use
of a silhouetted nude
photographed evocatively
Bed tei
Do ud
Ree
ree
against a dramatic
background (left).

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Exeter Tel: 0392 32446 Glasgow Tel: 041-552 7766 PODOR

eld Tel: 0924 255232 Wimbledon Tel: 01-946 6482

The model in this

advertisement for safety
clothing has no connection
with the product at all and
serves purely as an eye-

PODOR
catching, provocative
central image (above).
OLIEBAD

DE COLOGNE:
VERFIJND SCHUIMBAD
THE BACKGROUND

-ashion and glamour

Fashion photography is not just about selling clothes A few years ago the ring-flash was discovered by In each of these two pictures
but about selling the idea of what the clothes can fashion photographers; originally designed for macro (below and right), the style
achieve, a life-style, an ambition, or a mood. A good and close-up medical photography, it produces a soft, of the clothes has dictated the
fashion photograph has to do more than simply show shadowless light and at the same time creates a rim of composition and mood.
Background, lighting, and
the physical appearance of a garment such as the cut, shadow around the model. The availability of motor
pose and expression of the
the texture of the fabric, and the stitching, it must also drive gave rise to a series of ‘candid’ fashion pictures model have been carefully
create an ambience or a style. It is no coincidence that of models walking, running, and even jumping while chosen to create the desired
many of the photographers who produce the most the shots were taken, a far cry from the serene, formal effect.
alluring and erotic nude and glamour pictures are also arrangements of a decade or so ago. ¢

top fashion photographers, because the two styles are The high standard of photography in fashion
similar in approach and technique. magazines hasa lot to do with their desire to put the
A great deal can be learned about these skills from creation of an evocative image before the actual hard
the pictures in the best fashion magazines. This type selling of the product. This may seem exactly opposite
of photography is of necessity one of the most innova- to the aim of many of the ‘girlie’ magazines, but it in
tive, and fashion photographers are continually no way detracts from the sensuous nature of a good
experimenting with new techniques. One recent fashion picture. Furthermore, the fashion magazines
innovation is the rediscovery of the 1930s lighting offer one of the few remaining showcases for really
techniques which used spotlights to create a theatrical good-quality black and white photography, which is
quality, and many photographers are quitting elec- increasingly being seen only on the walls of photo-
tronic strobe equipment for tungsten lighting. graphic galleries.

Mysterious, alluring,
dramatic: the picture by
Hans Feurer (above) is more
than just a fashion shot, it is
an evocative image in its own
right.
rm nn
THE BACKGROUND

Photography and art

Nude and glamour photography has, quite under- than a century that it runs the risk of becoming banal These pictures show some of
standably, lent itself well to a wide range of com- and familiar unless it is treated in new ways. One the many ways in which the
mercial applications from advertising to illustrating approach has been the increasing degree of daring naked female form has been
and permissiveness. Only a few years ago pubic hair represented in photographic
books and magazines, but in addition to the purely
art, from the abstract to the
functional aspects of the medium, woman asa subject could not be shown in a photograph and many of to-
realistic to the erotic: Ruth
has also been an important source of inspiration to day’s respected pictures would have been considered Bernhard, 1962 (below);
photographers who are concerned with the image for pornographic or at the very least in bad taste. Jean Loup Sieff, 1972
its own sake and not simply as a means to an end. In addition to what is actually shown, the implied (right); Ralph Gibson, 1979
There are many reasons why this is so and much has elements in a picture can create interest, and many (opposite below left);
been said about the inherent grace and beauty of the photographers have to this end exploited the sensual Paul Outerbridge, Jr,
female body and the endless variety of shapes and and erotic aspects of the nude. Fetishes such as c. 1933 (far right);
tones which can be created by it, but a more likely lesbianism, bondage, and sado-masochism have been Imogen Cunningham, 1939
explanation is that, as a subject, a nude or indeed implied if not actually depicted in recent pictures by (opposite below right).
simply a woman will probably evoke a powerful established photographers whose work is respected
emotional response from both the photographer and and admired, and this would suggest that almost any
the audience. subject can be acceptable in a photograph if
It is the ability to create an immediate impact witha approached honestly and executed tastefully.
picture which makes the nude a popular choice of The resurgence of interest in the actual photograph
subject for many photographers, in the same way that as a ‘print’ or an art object, rather than simply a stage
a frail, poverty-lined face is likely to Have a more in the reproduction process, has also meant that
dramatic effect than a portrait of a well-fed, middle- quality of technique and image is regarded as a
class citizen, and a war picture, even a mediocre one, desirable quality in itself, and the contemporary
will attract more immediate attention than a picture worker in this field is quite likely to spend many hours
of a less emotive situation. in the darkroom to achieve the ultimate controlled
In the early days of photography the mere existence effect of his image. This is a far cry from the ‘photo-
of a realistic image was enough to create interest, but realism’ school of photography where as little as
today we are exposed to a continuous display of possible is done to alter the truthful record of a
photographic imagery — education, business, adver- moment observed. Many old techniques such as
tising, and entertainment, every facet of our lives uses photo-montage, hand-colouring, and chemical
photography, and to some extent we have become toning have been revived, and photographic prints
immunized, so that a photographer who wants to are now made which have both archival permanence
make his work stand out needs to be concerned with and collector’s value. With art galleries and museums
pictures and subjects which have an inherently con- featuring photographic prints as an important part of
spicuous quality. This is certainly true of the naked their exhibitions, the remark that photography is ‘the
body but nudity alone is not enough. The subject has folk art of the twentieth century’ is probably more
been so fully explored by photographers for more true today than ever before.

2 Sates en r al sey ch ora ancrop pen nnn ph etatoenren ALES at oss PaAeangte emmeot ence e n ep e eae RSG IR
F

ig
THE BACKGROUND
THE BACKGROUND

The male nude

Although a widely used subject in painting and tator some vestige of erotic feeling, even although it
sculpture, the male nude has failed to inspire photo- be only faintest shadow — and if it does not do so, it is
graphers to anything like the same extent as the bad art and false morals’. This would explain the
female nude. On the face of it this is surprising since shyness of the male-orientated photographic world
many of the qualities which can be accentuated to with respect to the male nude but not why many of the
produce a strong photographic image are just as women photographers in this field also seem to prefer
readily found in a man’s body as in a woman’s, and photographing women to men.
where the intention is to create a purely aesthetic Among some of the most widely seen photographs
picture the softer contours and textures of a woman’s of the male nude are those taken by Edward May-
body should be no greater advantage to a photo- bridge and Thomas Eakins in their exploration of the
grapher. In the same way a rolling downland land- methods of recording motion and it is evident that
scape is not necessarily a better subject for a picture Eakins at least was interested in the aesthetic qualities
than a rugged mountain terrain. of the subject and in the pictures as an end in them-
The reason why the male nude is a less popular selves. Most photographers, both male and female,
subject is more likely to be a sexual one and can be tend to be concerned with a desire to flatter when
explained simply by the fact that, as the majority of photographing a woman’s body and as this can be more
photographers are men, to show an excessive interest demanding and a greater challenge to the technical and
in another man’s body, albeit purely aesthetic, would creative ability of the photographer it might also help
In this early photograph
be open to innuendo and misinterpretation. If this is to explain the greater popularity of the female nude.
(below, c. 1870), the sex of
so it would seem to be a conclusive answer to the Popular opinion of what is acceptable and desirable the model is irrelevant as the
argument as to whether the nude in art should or in a photographic subject is also important. While a interest focuses on the
should not have a sexual content. In his book The picture of a naked female figure now usually causes strong, almost sculptural
Nude, Sir Kenneth Clark has said that ‘No nude, little or no comment, a photograph of a male nude is image created by the
however abstract, should fail to arouse in the spec- still seen as something slightly shocking and indecent. contorted pose.

FQ
 THE BACKGROUND

In this picture ofamale nude This abstract picture by

doing acrobatics (above), David Vance (left) makes a
Art Kane seems to have strong erotic impact, but
concentrated more on the unlike many pictures of
aesthetic qualities of line and nude women which are often
shape than on the erotic blatantly erotic the effect
potential of the naked body. here relies on under-
statement and implication.

29
 THE HOME STUDIO >
a

The main requirement of a photographic studio provided in many ways, very inexpensively by
is that it should provide adequate space to set up using photoflood lights and simple reflectors, to
a camera, model, and background and should expensive electronic flash equipment with a
have some facility for controlling the angle and wide range of accessories which gives an almost
direction of the lighting. It could be anything limitless degree of control over the angle,
from a domestic room which can be cleared of direction, and quality of the light.
furniture with a window of reasonable size, toa It is extremely important in nude and glamour
large open space fitted with a variety of lighting photography that the studio should also provide
units, stands, and reflectors. Although daylight" a warm, private, and relaxed atmosphere for a
indoors can be an ideal means of illuminating session, with facilities for the model to change
nude and glamour subjects, most photo- and make up. Such considerations are in many
graphers will want at least some artificial ways more important than a large studio and a
lighting to enable them to work at times when vast array of expensive equipment, and indeed
the daylight is not bright enough and also to many professional nude and glamour photo-
have more control over the quality and effects graphers work with quite basic lighting
of their pictures. Suitable lighting can be equipment in quite modest spaces.

All photographs in this book, other than those acknowledged on page PPL MEN SY Michael Busselle.
HEL
 THE HOME STUDIO

Working with one light

The essence of good studio lighting technique is never
to use more light sources than you need and to start
with just one light, adjusting this to create the basic
effect you want before you consider adding more.
Explore the possibilities offered by using only one
light—after all, the sun produces an infinite variety of
lighting effects and it is far less controllable than a
studio light.
As a Starting point, position your model quite A single, undiffused light
squarely on to the camera and move the light from gives hard-edged, sharply
side to side and higher and lower, watching the effect defined shadows (right).
The skin texture is strongly
on both the angle and distribution of the shadows. emphasized as any
When taking a portrait the shadow cast by the nose is irregularities are heightened.
a good indication of the effect the light is having on
your model. With the light coming from one side at
right angles to the body and at about shoulder height
only half of the face will be illuminated, and when the
light is moved to the camera position there will be
virtually no shadows.
When working with a single undiffused light the
smallest change in its position or the angle of the
model's body will be very noticeable. If the light
is moved even further behind the model it will
illuminate only the edges of her face and body, but
this can create quite dramatic images if the model's
position is adjusted carefully. If you have a light-
toned wall or background paper a silhouetted image
can be created by directing the light at this area and
shielding it from the model.
However you angle your light it will inevitably pro-
duce a greater brightness range than the film will be
able to handle and while this can in itself produce
interesting effects, it will normally be necessary to
reduce the lighting contrast. This can be done either
by diffusing or reflecting your light source, for
example with a tracing-paper screen or an umbrella
reflector, or by using a white reflector quite close to
the model on the shadow side to bounce some light OXY
back into this area. A combination of these two tech-
niques can produce a very soft quality.

The effect of a diffused light

is to create more modelling
and subtle shadow areas
(right). Texture is less
strongly emphasized.

tos)bo
 Tria HOME STtUD®

OW

In this picture (left) a

reflector has been used to fill
in the shadows produced by
the diffused light source.
This gives a soft, even light
which does not emphasize
texture.

OXY

With a dark background

(right), a spotlight placed at
the left of the model, and
slightly behind, creates a
strong highlight effect on
those surfaces facing the
light. A reflector on the
opposite side ensures that
not all detail is lost on that
side of the subject.

OX

Harsh directional light

emphasizes any blemishes
and can cast unflattering
shadows. Here, light from
the single source is bounced
from a white umbrella to
create a soft, kind effect on
the girl’s face (left).

Oy

A light is aimed at the white

background, making sure
that no direct light spills on
28 3 ¢ 6
rest to the model. A large
AA doi 08
OCOCEX)
EAA AG reflector, placed in front of
the model at the camera
position, bounces back
some of the light from the
background to bring out
detail on the model (right).
33
 THE HOME STUDIO

Working with two and three lights

The addition of a second light greatly increases the to illuminate the background or to light the model’s
range of possible lighting effects. The first, or key, hair or rim light her body, both of which help to
light is the one which creates the basic effect of your separate the model from the background. The back-
image and establishes the form of your model; make ground will influence the use you make of a second
sure you are happy with its position before you adda light. Say you have a mid-toned background and your
second light. model is wearing mid-toned clothes, then you would
One use for a second light is to reduce the bright- get a stronger contrast by using the second light to
ness range created by the first, and this can be done by create a white background; with a dark-toned back-
placing the second light quite close to the camera and ground the second light may be used more effectively
at a greater distance from the model. You must be to highlight the model’s face, body, or hair.
careful to place it so that it casts no visible shadows of It is easiest to think of the first light for creating
its own, which can look unpleasant, and that it is far shadows and the second for creating highlights. You
enough away (or switched to a lower power) to re- can best achieve this by having a more restricted beam
duce the density of the shadows cast by the key light of light which can be more accurately controlled. A
but not eliminate them, as too much fill-in light can snoot or honeycomb attachment is ideal but you can
result in the picture having a rather artificial quality get a similar effect by forming a cone from black card
and appearing ‘over lit’. and taping the wider end to the edge of the reflector.
In most circumstances a white reflector is a quite This method can also be used to create a pool of light
adequate fill-in and the second light can be used to on the background in preference to lighting the whole
create other effects. The two most common uses are area evenly.

oo)

Tn this picture (right), one The key light is positioned to

lightis used as a key light left the left of the camera, and a
of the camera, and a second second light to the right and
light used to fill in the behind the model as a rim
shadows. light (right).

NS,
Both lights are used from Here, the second light
behind the model, one on illuminates the background
each side, to create a rim from behind the model; the
light, emphasizing the key light is left of the camera
outline of her body (right). (right).

All these pictures were taken

with Nikon F3 with 105 mm
lens; f11 with studio flash;
FP4.

34
 THE HOME STUDIO

The main use of a third light source is for creating

highlights on both the model and the background or
for producing a rim of light around the model’s body
or head. One of the problems of using a number of
light sources at different angles is that light can be
scattered, resulting in a reduction of contrast, or
flare, if light falls on the camera lens. In addition to
snoots and honeycombs, barn doors or rectangular
pieces of black card taped to the rim of the reflector
can be used to prevent light from straying where it is
not required. You should also ensure that light from
these supplementary sources does not fall on the ex-
posure meter as this would give a false reading; it is
safer to switch them off.
Positioning the lights most effectively can be a
problem. A conventional floor stand is often incon-
venient when lighting the hair, for example, but if the
light is mounted on a boom stand it can be positioned
directly above the model’s head outside the picture
area. A low-level stand is useful if you want to hide a
background light behind the model.
A mirror can sometimes be used instead of a third
light, particularly with fairly close-up shots where
even a small mirror, positioned just outside the pic-
ture area, can deflect light from the main source on to
the model to create highlights. A large mirror on a
stand can be used effectively even when shooting a
full-length figure.

Sete]

This picture (above) is taken

with three lights: the diffused
key light just above the
camera position; the second
directed at the background
to create a pool of light; the
third behind the model’s
head to create a halo of light.
Rollei SLX with 150 mm
lens; f11 with studio flash;
FP4.

(left) The diffused key light

is left of the camera; a
second light from behind the
model on the right, fitted
with a snoot, creates a rim
light on her body; a third,
also with a snoot, froma
floor stand, is aimed at the
background.
Rollei SLX with 150 mm
lens; f11 with studio flash;
FP4.
35
 THE HOME STUDIO
Lighting and mood
Perhaps the greatest advantage of studio photo-
graphy with even a quite modest lighting set-up is the
almost limitless degree of control that it allows over
lighting effects. A studio is a rather sterile environment
for picture making, however, and the all-important
element of atmosphere or mood is something which
has to be generated wholly by the photographer and
his model. Although such things as clothes, back-
grounds, and props can contribute to the creation ofa
mood it is the effect of the lighting in combination
with all these which will in the final analysis establish
the success of a picture.
Good lighting technique is not simply a question of
knowing where to position the lights to achieve a
particular effect but also of knowing how and when a
specific lighting effect should be used to enhance the
quality and mood. You could quite easily destroy the
atmosphere of a picture of a dark-eyed, dark-skinned
woman by using delicate high-key lighting, for in-
stance, whereas low-key lighting with rich dark tones
and sensuous highlights might produce a really
powerful image. In the same way a photograph of a
young girl would probably create a more evocative
image if a natural soft light were used rather than a
more theatrical approach with strong shadows and
rim lighting.
Even the model’s expression should influence the
choice of lighting; a bright, happy expression calls for
lots of highlights and sparkle whereas a picture of a
girl with a wistful or pensive look is best served by a
more limited and subdued range of tones.
A single, soft, diffused light
from slightly behind the
model and a dark
background have created an
image with predominantly
soft but dark tones, adding
to the rather wistful air of the
model (above right).
Rollei SLX with 150 mm
lens and soft focus
attachment; f11 with studio
flash; FP4.

Very soft, diffused lighting

fromslightly to the left of the
camera has produced an
image with quite delicate
tones, underlining the
model’s naive pose and
expression (right).
Rollei SLX with 80 mm lens;
f8 with studio flash; FP4.
36
THE HOME STUDIO
A soft frontal light was all
that was needed to create a
sparkling effect from the
reflective fabric of the
model’s clothes, which has
enhanced the extrovert
mood of the picture (far
left).
Nikon F2 with 105 mm lens;
fll with studio flash; FP4.

Quite harsh frontal lighting,

combined with back
lighting, has given this
picture (left) an almost
theatrical quality.

A diffused overhead light

has produced strong
shadows which emphasiz
the shape and somewhat
mysterious quality of this
abstract (below).
Pentax 6X7 with 150 mm
lens; f11 with studio flash;
FP4.
THE HOME STUDIO

High-key lighting
A ‘normal’ photograph has fairly evenly distributed A diffused light from
tones ranging from white to black. In a high-key pic- immediately above the
ture the majority of the tones are at the lighter end of camera has produced an
image with very slight
the scale. To produce this effect it is vital to start with shadows. These have been
a light-toned subject, for example a fair-haired model further reduced by reflectors
with light skin or clothes against a white background. placed close to the model on
Any dark tones in the subject should be kept to very either side, below her face
small areas and should be in an important part of the (left).
picture as the high-key lighting will emphasize their Nikon F3 with 150 mm lens;
effect; dark eye lashes and lipstick, for example, will fll with studio flash; FP4.
create a quite stark effect —almost as if they have been
painted on to the photograph.
The lighting should be arranged so that it creates
virtually no shadows at all, which can be more diffi-
cult than it may seem, particularly with a full-length
figure. This type of lighting was popular in the 1950s
for fashion photography. One of the leading expo-
nents constructed an enormous tent in his studio
made of white translucent fabric in which both
models and background were enclosed, while all the
lighting was directed from outside and through the
tent.
Although this method would be possible for a port-
rait a simpler method is usually found for most pic-
tures. One way is to place two large reflectors at each
side of the model angled towards the camera position
and to reflect a light from each of them, with the light
from a third light bounced from the ceiling. If there is
enough space between the model and the background
you can achieve a similar effect by placing two lights
at each side of the background area behind the
model, using a very soft source such as an umbrella
close to the camera to light the model so that it
With the model lying ona
produces no shadows. white background paper on
When shooting pictures of this type the effect can the floor the almost
be further enhanced by a degree of over-exposure shadowless illumination was
and slightly reduced development. With colour film, created by bouncing the light
however, the exposure is critical as under-exposure from two lights from the
will produce a muddy, degraded image and over- ceiling (left).
exposure will lose highlight details. If strong colours Nikon F2 with 24 mm lens;
are present and there are no bright highlights in the f22 with studio flash;
subject a small degree of over-exposure can be Kodak Recording Film 2475.
effective.

In this shot (right), the

model, seated on a white
background paper which
was illuminated by two lights
positioned behind her, was
lit by two white reflectors
placed at each side of the
camera to bounce back the
background light.
Rollei SLX with 80 mm lens;
f8 with studio flash; FP4.
THE HOME STUDIO
 THE HOME STUDIO

Low-key lighting
Low-key lighting produces an image consisting pri- not a large mass of black. To achieve this, it is better
marily of tones from the darker end of the scale. to have adequate light in the shadows and if necessary
Whereas a high-key picture needs a light-toned sub- under-expose slightly, rather than to have insufficient
ject it is not vital to have an inherently dark-toned light where detail will not be revealed even by greater
subject with a low-key picture as the lighting and the exposure. With black and white pictures and colour
exposure can be used to create this effect. Extremes negatives it is often better to have more shadow detail
of contrast such as a black and white striped dress than you need in the negative and to adjust the final
should be avoided; an evenly light-toned subject can quality by making the print darker. With colour trans-
be lit to produce a low-key effect, but this is not parencies, however, it is vital to get both the balance of
possible with a bold mixture of tones or colours. It is tones and the exposure exactly right before you shoot.
important to light the model in such a way that most A good way to judge the tonal balance is to view the
of the image consists of dark tones and shadow areas subject through half-closed eyes. When calculating
and any change of tone is quite gradual. exposure it is best to take a reading as for a normal-
Small areas of highlight such as a rim light on the toned subject and then give slightly less exposure
face or outline of the body are desirable but you than indicated, say half to one stop. As exposure is
should bear in mind that they will produce consider- critical with colour transparency film it is safer either
able emphasis in the composition. The highlights to bracket the exposures or to make a clip test from
should not be too bright or detail will be lost. one frame at the end of the roll and process this first,
There must also be adequate detail in the shadow so that any necessary adjustments can be made before
areas as a true low-key picture is one of dark tones, the rest of the roll is processed.

OY

Soft frontal lighting has In this picture (right), two

produced an image with a lights are positioned slightly
full range of tones from behind and to the side of the
white to black, resulting in a model, creating large areas
picture where the light skin of darker tones. The
of the model is recorded ina exposure is calculated for the
conventional way (above). highlight areas, which
Rolleiflex SLX with 150 mm produces a predominantly
lens; f16 with studio flash; dark-toned image.
FP4. Rolleiflex SLX with 150 mm
lens; {16 with studio flash;
40 FRA:
THE HOME STUDIO

This shot (left) is litin amore

conventional way, with the
lighting at an angle of
approximately 45° to the
camera position. The low-
key effect is due largely to the
inherently dark tones of the
picture itself —the dark skin
of the model and the dark-
toned background paper.
Nikon F3 with 105 mm lens;
fll with studio flash; FP4.
THE HOME STUDIO

Lighting the body

One of the most important functions of lighting is to With a single diffused light in
reveal both the shape and the form of the subject. position I (see diagram) and
This is particularly so in nude photography where the no fill-in light or reflector,
visual quality of the image is largely dependent on the the outline of the front of the
model's body is clearly
way in which the model is lit. The shape of a body will
revealed. Strong modelling
be clearly revealed if the lighting creates a sharp tonal is created on her torso while
contrast between the model’s body and the back- the shadow side of her body
ground, as ina silhouette. This can be done by direct- is left without detail (left).
ing the lighting at a white background and ensuring Alk these pictures are shot
that no light falls on the model; alternatively, the with Nikon F3 with 105 mm
model can be strongly lit from the front and sil- lens; f16 with studio flash;
houetted against a dark-toned background. FP4.
Although this technique will create a bold image of
the outline of the body it will reveal nothing of the
details or contours. In order to create the illusion ofa
solid form the lighting must be directed in such a way
that it not only illuminates the details within the out-
line but also reveals the form and texture of the body.
For this reason both the angle at which the light falls
on the body and its quality are vital since the creation
of this feeling of depth depends largely on the subtle
play of shadows. A flat frontal light will create vir-
tually no shadows while a hard light directed at an
acute angle will create bright highlights and dense
shadows with little or no transition.

In position 4 (left), the

lighting begins to create
more pronounced contours
and shadows, but ofa quite
different nature from those
created in position 3.
 THE HOME STUDIO

In the second position (left),

the light shows more details
on the body but the
modelling on the torso ts less
pronounced.

The light is positioned at the

conventional 45° angle
(right). The whole of the
model's body is clearly
revealed. In this position the
lighting on the face is quite
flattering.

With the light in the fifth

position almost half the
model’s body is in deep
shadow (left).

Here (position 6, right), the

lighting simply illuminates
the back of the model's
body, leaving the front in
deep shadow. The effect is
different from that produced
by the first position.
THE‘HOME STUDIO/LIGHTING THE BODY

As a general rule a soft diffused light source is the tend to create shadows with inadequate detail and For this shot ofa reclining
most effective way of revealing the form ofa body. A tonal range and you will usually have to fill in these figure (above), the lighting
useful starting point is to set up a single light such as a shadows to some extent. You can either use a second, was froma single diffused
window light, an ordinary lamp with a tracing-paper lower power or more distant lamp, or a white re- source positioned almost
screen, Or an umbrella, and with your model posi- flector positioned close to the model on the shadow immediately above the
model, and directly above
tioned comfortably against a neutral background to side. This will not only prevent complete loss of detail
the camera, effectively
move your light round from an angle of 90° to the in the shadows but will also introduce a further range revealing the contours of the
camera position to a similar position on the opposite of tones. body. In the case of an
side. Watch carefully the effect this has on the Another effective method of emphasizing the upright figure similar
shadows it casts and the tones which are created. impression of form and solidity is to use a second dif- lighting would produce an
Then with the light source static at, say, a 45° angle to fused light source from the opposite side to the key unflattering and deeply
the camera, ask your model to turn her body right light and from an even more acute angle, even from shadowed image.
round; the effect will be different. slightly behind the model. This will create a highlight Nikon F3 with 85 mm lens;
When the model is standing or seated, it is usual to [11 with studio flash; FP4.
area on what was the shadowed side of the outline
have the light source at about shoulder height, but with a corresponding graduation of tones.
you should also explore the effects of raising or It is important to remember that the less diffused
lowering the light. When the model is in a reclining and more directional the lighting, the greater the
position, lighting which ts directed from immediately effect of changes in the model’s position. When very
above can be the most effective way of revealing sott light is used, combined with a fill-in light or a
form. reflector, greater freedom of movement is possible
In most cases even a diffused single light source will without dramatic changes in the lighting effect.
44
THE HOME STUDIO/LIGHTING THE BOD‘

In this sequence of pictures

(left), a single diffused light
is used from a position
approximately 45° to the
camera and slightly above
the model's shoulder level
They show the changing
effect of the lighting and the
shadows it creates as the
model turns through an
angle of 270
Nikon F3 with 85 mm lens;
fll with studio flash; FP4
THE HOME STUDIO

Lighting the face

Lighting a model’s face often causes different pro- close-up portrait the aim is usually to create the most
blems than lighting a body. Although of equal com- effective and flattering lighting for the face at a
plexity in terms of shape and contour, the face is a particular angle. For example, it is unlikely that the
relatively small area and shadows which might appear same lighting will be suitable for both a profile and a
quite acceptable when lighting the body could easily full-face portrait.
look unattractive and confusing in a portrait. In the majority of glamour and beauty portraits it is
These considerations are more important when usually far less important to emphasize the form of
taking close-up shots where the face itself is the main the face, and often lighting is used which minimizes
point of interest. In longer shots such as a full-length the amount of shadow within the face. It is almost
figure it is often necessary to reach some compromise invariably arranged to virtually*eliminate the textural
between the best lighting for body and face, and the quality of the skin. The simplest way to achieve this is
head can often be angled to help achieve this. With a to use a very soft diffused light from a position at

In the first picture (right),

the lighting has been
arranged to produce good
modelling on the face,
without creating excessive
areas of shadow. The second
picture (far right) shows
how the nature of the
lighting has been completely
changed by a slight
movement of the head.
Nikon F3 with 150 mm lens;
fll with studio flash; FP4.

of)
()

The almost shadowless

quality of this picture (right)
Here (right), the shadows has been produced by very
have been reduced, but not soft diffused light from close
eliminated, by using a single to the camera position, with
reflector placed quite close reflectors placed very close
to the model on the shadow to the model on each side
side. and below her face.
Nikon F3 with 150 mm lens; Nikon F3 with 150 mm lens;
f1I with studio flash; FP4. fL with studio flash; FP4.

Although a much more

directional light has been
used in this more
dramatically lit portrait, the
In this softly lit portrait an effect on the face is not
additional light, fitted with a unflattering since care has
snoot attachment and been taken to avoid the
suspended from a boom creation of large shadows
above the model’s head, around the eyes and nose
creates highlights on her hair (right).
(right). Rollei SLX with 150 mm
Nikon F2 with 150 mm lens; lens; f11 with studio flash;
f16 with studio flash; FP4. FP4.
46
 THE HOME STUDIO

which the model’s nose is pointing. In a full-face light from above and behind the model directed at her
picture, for example, this would be as close to the hair to create highlights. To avoid spill this should be
camera lens as possible. If this light is directed from fitted.with a snoot or barn doors, ideally mounted on
slightly above the model’s eye level it will still reveal a boom arm.
the contours of cheek bones and jaw. The small If stronger, more directional lighting is needed to
amount of shadow which is created under the chin create a mood or emphasize a model’s character the
and the brow can be reduced by using a small white soft frontal technique should not be considered obli-
reflector as close under the face as the framing gatory; providing adequate precautions are taken to
permits. . avoid deep eye shadows, ugly nose shadows, and
A very soft high-key effect can be produced by two excessive skin texture there is no reason why strong
additional reflectors placed quite close to each side of lighting should not also create a pleasing and
the model’s head. A nice final touch is to use a second flattering effect in a picture.
In a three-quarter-length or
full-length picture it is often
necessary, as in this picture
(left), to position the model’s
head to create the best effect
with the lighting which is
required to illuminate her
body.
Rollei SLX with 80 mm lens;
fll with studio flash; FP4.

47
THE HOME STUDIO

Special lighting effects

In most photographs the lighting serves simply as a
means of illuminating the subject in an effective but
unassuming way, yet there are occasions when it can
play a more dominant part in the creation of an
image, either by emphasizing a particular aspect or by
creating an unusual or dramatic effect.
One way is to use your lighting to increase the range
of contrast. Normal lighting is designed to produce an
image with a full range of tones with adequate detail
in both highlight and shadow areas, and when the
subject is lit so that the brightness range is beyond the
tolerance of the film it produces an image of a
markedly different quality, and the result is invariably
more dramatic. With this type of lighting it is possible
to expose for the highlight tones and allow the
shadows to go black, or to calculate the exposure to
give detail in the shadow areas and leave the highlight
tones bleached out.
This high contrast effect can sometimes be difficult
to achieve in a small light-toned room and in these
circumstances a ‘black’ reflector, of card or matt
black painted hardboard, plywood, or foam poly-
styrene, placed close to the model on the shadow side
will help prevent stray light being reflected from the
walls and reducing the strength of the shadows.
Acutely angled lighting can be used to emphasize
the texture of skin, and rim lighting from behind the
subject will highlight the outline of body or profile.
The height of the lighting angle also affects the image.
Most pictures are taken with the key light at about the
same height as, or slightly above, eye level and direc-
ting it from a substantially higher or lower position
gives a dramatic effect.
When shooting in colour, coloured acetates placed
Over one or more of the light sources can add more
impact to the picture, but this should be done with
discretion as the effect can be overdone.
With the model positioned In this picture (above), two
close to the background, two lights, positioned one at each
undiffused lights were used side behind the model and
from a low angle to create fitted with snoots to prevent
the shadow patterns from the the spill of stray light, were
model on to the background used to create a rim-lit effect,
(right). emphasizing the outline of
Rollei SLX with 80 mm lens; the model's body.
fll with studio flash; FP4. Nikon F3 with 105 mm lens;
f16 with studio flash; Tri-X.
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48
 THE HOME STUDIO

This picture (left) was lit A light was positioned

using coloured acetates over directly behind the model’s
the two lights. A pink gel head and aimed towards the
over a light placed slightly camera to create dramatic
behind the model and a blue highlights on the droplets of
gel over alight close to the water (above). The model
camera illuminated the was lit by a lower-powered
water-spattered glass. light bounced from a
Pentax 6X7 with 105 mm reflector close to the camera.
lens; f11 with studio flash; Rollei SLX with 150 mm
Ektachrome 64. lens; £8 with studio flash;
Ektachrome 64.
THE HOME STUDIO

Using daylight indoors

Although the term ‘studio’ implies the use of artificial and skin texture. A range of effects in between can be A large window on the right
lighting, daylight can in fact provide an ideal source achieved by simply moving the camera and model to of the model, together with a
of illumination particularly for nude and glamour vary the angle of the line between them and the silver reflector close to her
photography. Obviously the main requirement is a window. on the left, has produced a
quite soft, even illumination
room with a reasonably large window or skylight, and The contrast of such lighting will invariably be
(right).
a room with windows in more than one wall can be quite high particularly on a bright day with a south- Rollei SLX with 80 mm lens;
especially useful. Even on adull day it is still possible facing window. This can be controlled by diffusing the 1/60 at f4; Ektachrome 200.
to shoot quite close to a window providing a fairly fast light from the window, either by using net curtaining
film is used. or by taping a large sheet of tracing paper over it. The
Since the main light source, the window, is in a contrast will also be reduced by moving the model
fixed position the angle and direction of the lighting further from the window.
must be controlled by varying the position of both the As well as being able to move the model and
model and the camera in relation to it. With the camera position freely you must also be able to move
model facing the window the lighting will be quite the background. A useful accessory is a portable
frontal, creating few shadows and little modelling, support for holding a roll of seamless paper mounted
but if the window is at right angles to a line drawn on two tripod-based stands or adjustable spring-
between the camera and the model the result will be loaded poles held between floor and ceiling. For
strongly directional side lighting, creating quite dense more close-up shots it is possible to improvise by
shadows on the unlit side with pronounced modelling using a large sheet of painted hardboard or plywood
By using a portable
background unit supporting
a roll of plain-coloured
paper it has been possible to
position the model close to a
north-facing window, which
creates a soft main light
source (left). A white
reflector, placed close to her
on the left, reduces the
density of the shadows.
Pentax 6 X 7 with 105 mm
lens; 1/60 at f5.6;
Ektachrome 200.

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 THE HOME STUDI

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 THE HOME STUDIO/USING DAYLIGHT INDOORS
which can simply be propped against a chair.
The most important accessory for this type of
photography is one or several large white reflectors;
these can be bought in professional photographic
stores and are usually made of white or silvered fabric
supported on a collapsible metal frame. If portability
is not a consideration it is equally effective and much
less expensive to use large sheets of white painted
hardboard, plywood, or foam polystyrene; poly-
styrene is extremely light and quite rigid and is easily
supported against a light stand or a tripod.
By placing a reflector on the shadow side of the
model and varying the distance between them you
can exercise a wide degree of control over both the
contrast and the quality of the lighting. You can also
use a largish mirror to create highlights on the shadow
side of the model by angling it carefully to deflect the
light from the window on to the required area.
Another way of controlling contrast is to use a small
flash-gun to ‘fill in’ the shadow areas; as its light
matches the colour quality of daylight there is no
danger of creating a colour cast by mixing these light
sources when shooting colour film.
The colour quality of the light source is a crucial
factor since skin tones are very sensitive to colour
casts. Daylight indoors tends to have a rather bluish
or cool quality and this can produce a rather unpleas-
ing effect. It is fairly difficult to judge this visually
and although you can use a colour temperature meter
to measure the colour quality this is quite an expen-
sive accessory. It is usually enough to estimate the
effect, but if in doubt, use a ‘warm’ filter such as a
Wratten 81A or 81B to make any adjustment.
In this picture the window is
at right angles to the model —
camera line, producing quite
directional lighting. A
reflector on the right has
relieved the shadows to give
a soft, flattering effect
(above).
Pentax 6 X 7 with 150mm
lens; 1/60 at f5.6;
Ektachrome 200.

The more dramatic effect of

this shot (left) has been
achieved by positioning the
model close to a window ina
room with a dark interior
and taking the picture
without the use of a reflector.
Pentax 6 X 7 with 105 mm
lens; 1/60 at f5.6;
Ektachrome 200.

If the model is positioned in

front of a window, this tends
to result in a silhouette effect.
Here, this has been avoided
by positioning the model
very close up to the window
(right). Use of a soft focus
attachment has further
reduced the contrast.
Pentax 6 X 7 with 105 mm
lens; 1/60 at f8;
Ektachrome 200.

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THE HOME STUDIO/USING DAYLIGHT INDOORS
 THE HOME STUDIO

Indoor locations
As well as using a room as a convenient space in which
to create your own backgrounds and atmosphere, you
can also make it an integral part of the picture in the
same way as a landscape is in an outdoor picture. In
many cases an indoor setting can be more appropriate
particularly in nude photography where a more re-
laxed atmosphere is required.
In some pictures the room may create little more
than a background suggestion of shapes, colours, or
textures but in other cases the room and its furnish-
ings and decor may be a dominant element in the
composition. When framing such pictures in your
camera you have to be aware of possibly confusing or
distracting details in the background: a bright high-
light or a piece of furniture or an unwanted splash of
colour can easily go unnoticed at the time of shooting
but will be glaringly obvious when the film is pro-
cessed. It is also important to ensure that there is
good separation between your model and the back-
ground tones, taking care to juxtapose light-coloured
clothes or skin against a relatively darker tone in the
background and vice versa; careful lighting can help
here.
Pictures of this type can be lit in a variety of ways —
by indoor daylight, portable studio lighting, or a com-
bination of both — and it can also sometimes be effec-
tive to make use of the room lighting itself, say a table
lamp or a candle. Make sure you use the correct film
when shooting in colour to avoid a colour cast; if, for
example, daylight film is used when some tungsten
light is present, such as a table lamp, the areas that it
illuminates will have a pronounced orange cast. This
can work well provided you are aware of it and pre-
vent it from creating unwanted effects.
The window in this picture
by Caroline Arber (far
right) has created both the
setting and the lighting
effect. A large mirror
provides an effective
additional element for the
composition.

In this picture (right), the

room and its contents have
played amore dominant
role. Although placed in an
apparently casual way, the
furniture has been carefully
arranged so that it does not
confuse the composition. A
mixture of daylight and
artificial lighting has been
used to create the mood.

A small corner of a garden

room has provided an
unobtrusive, but effective,
background to this portrait.
Natural light from a window
was the only source of
illumination (above right).
Pentax 6X7 with 105 mm
lens; 1/125 at f4;
Ektachrome 200.

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CREATING THE PICTURE
Unlike landscape or reportage photography, terms of these elements and to see how each
nude and glamour work enables a photographer element affects the image and how the photo-
to control every aspect of his subject from the grapher has exploited them to greatest effect.
selection of his model to the choice of clothes, Quite often a successful picture is mostly
backgrounds, and -lighting. It is this control dependent on just one of these factors, an
which is responsible for the individual styles of unusual make-up, a well-chosen prop, or a
photographers working in this field, and the striking background effect for example, and
ability to combine these elements in the most many photographers build their pictures around
effective way is as vital to the success of a picture a single idea for one of these elements. Visuali-
as the actual understanding of photographic zation and planning are vital to the success of a
techniques. session and although very often a good picture
One way of acquiring this ability is to develop results from a spontaneous moment, without a
the habit of analysing the pictures you like and sound idea as a starting point such moments are
the work of the photographers you admire in far less likely to arise.
CREATING THE PICTURE

Simple backgrounds
A badly chosen or inappropriate background can project a small pool of light behind the model’s head,
destroy the effect of an otherwise well-lit and well- for example, which will create a darker tone at the
composed picture. Even if a background is simply a edges and corners of the image and help to focus
plain even tone such as white or black it should be attention on a particular part of the picture.
deliberately chosen for its effectiveness and not be When using this type of background care must be
left to chance. taken that there is adequate space between the model
In its simplest and least dominant role the back- and the background so that the shadows cast by the
ground should create a pleasing contrast to the lighting on the model will not fall on to the background.
model, it should be of a tone or colour which enables A plain white wall,
her clothes or the lighting on her body to be both illuminated by two lights
enhanced and clearly defined, and it should also con- positioned behind the
tribute to the mood of the picture. model, has provided a clean
[The most common and convenient form of back- background which
ground is the special seamless paper which can be emphasizes the shape of the
bought in professional photographic stores. This girl's body (right).
Pentax 6X7 with 150 mm
usually comes in rolls 9 or 12 ft (3 or 4 m) wide and
lens; f11 with studio flash;
36 ft (12 m) long wound on to a cardboard core and 1S Ektachrome 64.
available in a wide range of colours including black
and white.
The main advantage of this method as opposed to
using a painted wall or panel is that when shooting a
full-length figure the paper can be hung from a sup-
port and allowed to drape on to the floor in a smooth
curve, thus avoiding the creation ofa sharp line which A plain-coloured paper
would show if two flat surfaces were joined. With background, illuminated by
care these paper rolls can be used many times. a single light, positioned
behind the model to create a
For closer shots, waist-up, or head and shoulders, a pool of light, has provided
painted wall or hardboard panel is quite satisfactory both tonal and colour
and fabrics can also be used to good effect provided contrast for the model (left).
you ensure that they are free of creases. Even a plain Pentax 6X7 with 150 mm
toned background can be given additional interest if it lens; f8 with studio flash;
is lit—a light with a snoot attachment can be used to Ektachrome 64.

A black fabric background

has enhanced the strong
textural quality of this back-
lit nude torso (right).
Pentax 6X7 with 150 mm
lens; f11 with studio flash;
Ektachrome 64.
 CREATING THE PICTURE

Creating background effects

Ifa plain background needs to be made more interest- For this shot (left), a piece of
ing, quite varied effects can be achieved simply by printed translucent fabric is
using a background light to create a tonal variation, stretched over a wooden
and when shooting in colour, coloured acetates over frame and a light positioned
behind it. Soft frontal
the light will give an added variation. Another lighting is used to illuminate
method which can be effective with a plain toned the model.
background is to use a spotlight or projector to create Pentax 6X7 with 150mm
a pattern of light — horizontal slits cut in a piece of lens; f8 with studio flash;
black card, for example, will create the impression of Ektachrome 64.
a venetian blind.
More elaborate effects can be created by using tex- Exciting effects can be
tured or patterned surfaces, for example hessian created by using reflective
stretched tight over a frame and lit with a strong cross surfaces. Here, the model is
light to emphasize its texture. You can produce an ex- positioned close up against a
citing effect by painting a textured surface, such as a piece of metallic Lurex
stippled wall lining paper, with a high-gloss coloured fabric. The highlights on the
paint and lighting it in such a way that strong high- background are produced
by a single undiffused flash
lights are created. Other high-gloss or reflective sur- close to the camera position
faces that can be used effectively are silvered paper or (right). :
plastic sheets. With this type of background it can be Pentax 6X7 with 105 mm
interesting to experiment with the effect created by a lens; {8 with studio flash;
soft focus or star-burst filter. Ektachrome 64.
Patterned fabrics can produce a pleasing effect but
care should be taken that both colours and pattern
complement the subject and do not become intrusive;
it helps if the background details are allowed to
remain out of focus by ensuring adequate distance
between the model and the background and by using
a fairly wide aperture to limit the depth of field.
Front projection is a technique which enables a
colour transparency to be used as the background ofa
studio picture, so that a beach scene or a landscape,
for example, can be used to create the impression of a
location shot. This requires the use of a rather expen-
sive piece of equipment which projects the back-
ground transparency from the camera position on toa
special highly reflective screen which is positioned
behind the model.
By a similar principle an image can be projected
from behind a translucent screen such as tracing
paper, but the light directed on the model must not be
allowed to spill on to the screen or the image will be
‘ obscured. :
An interesting effect has
been achieved by using a
spotlight to cast shadows
froma venetian blind on toa
plain paper background
(right).
Hasselblad 500C with
80 mm lens; f11 with studio
flash; Ektachrome 64.

60
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CREATING THE PICTU
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CREATING THE PICTURE

Make-up
Make-up for nude and glamour photography fulfils finder and under the lighting conditions which will be
two functions: to mask any skin blemishes and mini- used for the photograph. Unless you are aiming for a
mize the texture or shine of the skin, and to create an theatrical or unusual effect the make-up should not
effect, either by emphasizing aspects of the face such draw attention to itself and for most pictures it is
as eyes, mouth, and bone structure or by producing a better to err on the side of subtlety.
bizarre or unusual appearance. In nude and glamour photography make-up is not
Photography tends to emphasize blemishes and confined to the face as, quite apart from marks and
most faces need the help of make-up. First a layer of blemishes, exaggerated skin texture and shine can
foundation is applied to make the skin look smooth create an unpleasing effect on the body. With nude
and blemish free. Then the face is carefully powdered shots in particular it is vital that the model should
to remove any shine and create a matt surface. Most loosen any tight clothing such as a waistband long A careful choice and use
of make-up can add
emphasis should be given to the mouth and eyes but before the session begins and even then it may be
significantly to the over-all
this will vary depending on the type of model, the necessary to mask remaining marks with foundation effect of a picture. Here, the
nature of the lighting, the mood of the picture, the and powder. In some pictures the skin may need to ‘dewy’ look of the model’s
model’s clothes, and the setting. look shiny, and in wet shots, for example, the effect of make-up goes well with her
It is important that the final effect of the make-up water will be enhanced by a light application of baby glamorous hair-style and
should be judged carefully through the camera view- oil on the skin. feather boa (below).

5
This sequence of six pictures are disguised by the use of
(above) shows the different tinted foundation (2), matt
stages in the application of a powder to remove any shine
full make-up, starting with (3), blusher on the cheeks
the model’s completely (4), mascara and eye
unmade-up face (1). shadow (5), and lip gloss (6).
Blemishes and irregularities
62
 CREATING THE PICTURE

Make-up can be used to Heavy make-up on the head

minimize any defects in the and shoulders and hair of
model's features or to the model andthe judicious
exaggerate certain aspects of choice of position and type
the face to produce a of lighting combine to
particular effect. Bold represent the season of
make-up on the model's winter (left).
cheek-bones and around her
eyes, and gold colour on her
lower lip, set within the
frame of her hair, have been
used in this photograph
(above) to portray the
zodiac sign of Leo.
CREATING THE PICTURE

Choosing clothes and accessories

In many fields of photography, landscape for exam-
ple, the photographer has a very limited degree of
control over the elements of his image, but in nude
and glamour work the success ofa picture is often due
to careful choice and control over each part of the
subject. Nothing should be included in the photo-
graph which does not make a positive contribution.
Projecting a glamorous or sexy image in a photograph
is very often dependent on the right choice of clothes,
and even a nude shot may require some small item of
clothing to break the line of the body or to add a
contrasting element.
It is a good idea to discuss the question of clothes
with your model a few days before the session and if
possible to look through her wardrobe as a particular
garment may produce an idea for a picture. Even if
you are just shooting head and shoulders the neckline
can be of great importance, and you may need a top
that shows bare shoulders for the type of image you
have visualized. You should choose clothes which can
be revealing in an unselfconscious way, and are also
appropriate to the mood and setting of the picture.
When shooting black and white pictures it is best to
choose fabrics with a pleasing texture such as silk,
lace, or even leather as plain coloured fabrics such ds
cotton which can look effective in colour pictures can
record as rather grey and uninteresting in black and
white. If the model does not have the right type: of
clothes a local boutique may help out in exchange for
a few pictures. More extreme and dramatic clothes
can be hired from a theatrical costumier.
A piece of jewellery, a hat, or some other fashion
accessory can all enhance the visual quality of an
image and help establish a mood. Most professional
models carry a large bag containing a vast assortment
of such items and they are usually extremely adept at
creating a touch of flair with the addition of a piece of
ribbon or a cleverly tied scarf.

The model’s Oriental

features are matched
perfectly by the ornate and
heavy jewellery (right).
The line of the headdress
emphasizes the smooth oval
of her face.

64
 CREATING THE PICTURE

The openly provocative,

even aggressive, mood of
this shot (left) is achieved by
a deliberate choice of pose,
make-up, and clothes: black
leather, with no softening
details, creates an
impression of hardness.

Even the simplest item of Clothes-hire agencies will

clothing can be used to good provide more elaborate
effect (left). Here, a scarf costumes. In this studied
tied round the model’s body picture (above) the colours
draws attention to her bare have been chosen with care:
shoulders. The necklace acts the richness of the dark
as another focus for the eye. gown contrasts with the
model’s blonde hair and fair
skin.

Clothes should be
appropriate to the mood and
setting. The unsophisticated
straw hat with its bright
flowers, and the vivid
orange of the bikini, give a
happy, carefree flavour to
the picture (right).
ONOn
CREATING THE PICTURE

Building simple sets

In most studio photography the background isaflat
plane but the impact of a picture can be greatly
enhanced by the construction ofa simple set. This can
vary from a room setting to an arrangement of shapes
and angles. It is quite easy to construct a number of
wooden panels or wall flats from hardboard, ply-
wood, or masonite supported on a rigid timber frame
which can then be clamped together. These can be
decorated with paper or paint as required.
If you have suitable storage space it is a good idea
to accumulate a variety of oddments such as old
doors, window frames, or wooden panelling; you can
often pick these up quite cheaply at a demolition site
or in a junk shop. Do not worry if the set is not parti-
cularly well constructed as much of it will be obscured
by shadows and will often not be in sharp focus. Wall-
paper can be hung by means of double-sided tape or
even staples.
It is a good idea to arrange your camera so that as
you construct the set you can view its progress and
appearance through the viewfinder, as you will often
find that it is not always advisable to have a corner at
complete right angles, for example, and the best posi-
tion for a window or afixture from the camera’s view-
point may well not be the most logical place.
Foam polystyrene can be used if the surface does
not have to bear any weight. It can be bought in large
sheets, tiles, or blocks, is very light, and is easily cut
with a knife. Felt, which is quite cheap and is available
in a wide range of colours, can be used as a floor
covering; stretched tight and taped or stapled into
position it photographs very much like a good-quality
carpet.
Useful tools and accessories include G (C) clamps
for holding wall flats together; a staple gun for hanging
curtains and wallpaper, and laying felt carpets, etc.;
double-sided, heavy-duty adhesive tape; adhesive
tabs for holding small items in place on a wall; and
cans of aerosol paint for spraying small areas.
In this picture (above), a
wall flat and a window-
frame have been used to
create the impression of an
indoor setting, although
very little is actually visible.
The shot is taken in a studio,
but the lighting is made to
look like daylight.

An apparently haphazard,
but nevertheless carefully —
placed, series of wall flats
and props has given an
impression of a quite
complex setting (right).
66
CREATING THE PICTURE
CREATING THE PICTURE

The model’s role

The essence of successful nude and glamour photo- model’s face may be of little importance; on the other The model’s body can
graphy is more than the portrayal of visual qualities, it hand, your pictures may be on a much more personal almost be depersonalized if
is its ability to convey the indefinable and often level where the model is projecting her sexuality at you are aiming for an
elusive nature of female beauty and sex appeal. The the viewer, and in this case the choice of model will be abstract effect. In this picture
much more important. (right), which tells us
personality of the model is in many ways more impor-
nothing about the model, the
tant than her physical appearance, and you are far The model’s attitude to different types of picture graceful, flowing outline of
more likely to take good pictures of someone whom must also be considered — a particular model may be the body makes a strong
you find attractive and sympathetic than of a stun- quite happy and relaxed when posing for an abstract visual impact.
ningly beautiful model with whom you feel less at nude but would not feel at ease with a provocative or
ease. This is why most professional photographers titillating shot, and a girl who is quite extrovert when
have a few favourite models with whom they work shooting a topless picture could be quite inhibited
regularly. when completely nude. It is vital that both you and
The nature ofa nude or glamour picture can vary to your model have a clear idea of the aims of a parti-
such an extent in mood, style, and approach that this cular session and that you are able to generate her
too must be considered when choosing a model. You enthusiasm for the pictures you have visualized, as
may, for example, wish to take pictures of a purely only in this way will it be possible to establish the
abstract nature where your model’s body acts almost confidence and easy rapport which are crucial to the
as a still-life subject and the personality or even the production of good pictures.

Personality can be just as

important as appearance in
projecting a particular
image. This model’s
extrovert nature is indicated
by her provocative pose and
facial expression (left).

Not all models are at ease

when posing for nude shots.
Discuss the session with the
model beforehand so that
she can feel relaxed (left).

Beauty and sex appeal are

difficult to define. A relaxed,
natural picture (above) can
be very evocative.
CREATING THE PICTURE _ i oe

Posing the model

The position of a model’s body and the way in which
she angles her head and limbs will have an important
effect on both the mood and composition of a photo-
graph and although an experienced model will have
developed a ‘repertoire’ of photographic poses the
photographer must be able to direct her so that these
angles and movements can be manoeuvred into
shapes which will complement his picture.
Even a quite close-up head shot needs to be ar-
ranged with care if the model is to appear natural and
relaxed within a balanced composition. For seated
shots the support should not only be comfortable but
allow the model free and flexible movement; unless
the seat is to be a part of the composition ensure that
it does not intrude on the picture area.
As a general rule the least attractive position for a
model, particularly for a portrait, is with both the
shoulders and the head square on to the camera as
this tends to produce a rather static symmetrical
quality and most pictures benefit from an arrange-
ment which creates a feeling of movement within the
frame. With head shots it can help to angle the model
so that both her head and shoulders are at a three-
quarter angle to the camera. It is also easier if the
model can lean forward and support herself on her
arms or elbows, say sitting the wrong way round ona
low-backed chair. The positioning of arms and hands
can also enhance the impression of relaxation.
It is always best to avoid giving your model specific
instructions which result in her changing body angles
and moving limbs alittle at a time. If you control her
movements indirectly so that she is encouraged to
move in a continuous flow, this will enable you to
shoot at the most effective moment, and you will not
run the risk of stilted and ‘posed’ shots. Your aim
should be to create a situation to which the model can
relate as this will help her to relax and to become
involved in the mood you are trying to evoke. En-
couragement and reassuring words can make a great
difference to the success of a picture; if the model is at
her ease she will contribute more to the session.
The human body seldom looks its best in a passive
state. This applies particularly when shooting full-
length pictures and so it is vital that the model be able
to adopt a position which creates a feeling of move-
ment in the limbs even in a static pose. This is rela- These four pictures show
tively simple in indoor and outdoor locations since a some of the ways in which
familiar environment invariably suggests natural and the model can use her limbs
relaxed movements which the model can make, but and angle her body in
order to create a feeling
the studio can have a rather inhibiting effect, particu-
of movement when
larly on an inexperienced model. If you are taking photographed in a standing
pictures with just a background and no props or position without the aid of
setting you should encourage your model to use her props (above).
arms, limbs, and body angles to help create pleasing Nikon F3 with 85 mm lens;
shapes which will aid the composition. In studio shots fll with studio flash; FP4.
the poses do not have to be ‘natural’, or even look
natural, as long as they are relaxed. Even artificial
positions can be successful if not too contrived and if
the picture is technically and aesthetically pleasing.
A reclining position can offer the model a much
wider range of relaxed body angles and shapes and
allows the photographer a quite different approach to
the composition of the image. In the studio a low
bench or rostrum covered with cushions or fabrics is
far more convenient and comfortable than shooting
with the model on the studio floor.
70)
 CREATING THE PICTURE
In these five pictures (right)
a variety of shapes and
compositions has been
achieved by relatively small
changes in the model's pose.
Kneeling or squatting in this
way produces a more
compact image than a
standing figure and the body ay <
can create many different
shapes.
Nikon F3 with 85 mm lens;
f16 with studio flash; FP4.

eG y

Even a head and shoulders

portrait can be made more
interesting by the angle and
position of the face and
shoulders and by using the
hands and arms, as these
three pictures show (right).
Nikon F3 with 135 mm lens;
fll with studio flash; FP4.

71
CREATING THE PICTURE/POSING THE MODEL
An exaggerated and angular
pose, combined with
dramatic lighting and a
strong-coloured
background, has created an
image with considerable
impact (left).
Rollei SLX with 150 mm
lens; {8 with studio flash;
Ektachrome 64.

A quite natural but carefully

chosen pose, coupled with
dramatic lighting, has
helped to produce an image
with a strong visual impact
(right).
Pentax 6 X 7 with 105 mm
lens; 1/125 at f5.6;
Ektachrome 64; late-
afternoon sunlight.

This relaxed and informal

pose has nevertheless
contrived to focus attention
on the model’s legs (right).
The low camera viewpoint
gives added emphasis.
Pentax 6 X 7 with 105 mm
lens; 1/125 at f8;
Ektachrome 200.

The informal mood of this

picture has been achieved by
allowing the model to adopt
a natural, relaxed pose. The
angular arrangement of the
limbs has resulted in a
compact and ordered
composition (far right).
Pentax 6 X 7 with 105 mm
lens; 1/30 at f4; Ektachrome
200.

Ny
aS
CREATING THE PICTURE/POSING THE MODEL
CREATING THE PICTURE

Shooting abstract nudes

Many photographers have exploited the fact that the created. A long-focus lens, say 105 mm or 135 mm on
human body can be used as a vehicle for their own 35 mm, is best for this type of picture as it will enable
interpretations, so that the picture no longer repre- you to work further from your subject while still
sents a person but becomes an abstraction, the con- creating a close-up effect, but avoiding the sometimes
tours of the model’s body simply creating an image unpleasant effects of exaggerated perspective.
for the camera which in some cases may not even be Camera and body angles which present the limbs
recognized for what it is. This approach to nude and contours in an unfamiliar way can also produce
photography is an excellent way to learn the basic an abstract effect. Lighting is one of the most effec-
principles of lighting and composition as well as a tive techniques as an endless variety of tones and
means of producing pictures with greater individua- shapes can be achieved by altering the angle of the
lity and perhaps greater aesthetic appeal than more lighting in relation to the subject. In many ways the
conventional photographs. abstract nude is like a landscape in which the photo- A degree of abstraction can
be created, as in this picture
Framing is a basic technique. Even simply excluding grapher is able to manipulate both the contours of the (below), by simply
the model’s head or face will depersonalize the photo- landscape and the sun itself. Studio lighting offers the excluding the model’s head.
graph and create a degree of abstraction, but the most control and the widest range of effects but this Pentax 6X7 with 150 mm
image can be framed so that quite small areas of the type of picture can also be taken quite effectively lens; f11 with studio flash;
body can be isolated and an unfamiliar emphasis using both outdoor and indoor daylight. FP4.

These two pictures (right

and below) show how an
abstract effect can be created
by isolating a small detail of
the subject; the tight framing
has emphasized the strong
graphic shape of the image.
Nikon F3 (right) with 35 mm
lens; f16 with studio flash;
FP4; (below) with 135 mm
lens; f11 with studio flash;
FP4.
CREATING THE PICTURE

Tight framing and a careful

choice of viewpoint have
resulted in the abstract
quality of this image
(above).
Nikon F3 with 135 mm lens;
fll with studio flash; FP4.

In this picture (left) the

abstraction has been created
by the lighting — a spotlight
bounced from high up on a
white background
positioned behind the model
— resulting in an image with a
more dramatic tonal quality.
The unusual composition
has emphasized this effect.
Rolleiflex SLX with 150 mm
lens; f11 with studio flash;
FP4.
75
CREATING THE PICTURE

Erotic images
The erotic quality in a photograph can depend on
many factors: the expression in the model’s eyes, the
veiled outline of a breast through a thin silk shirt, the
angle and position of the body. One thing is certain,
that each individual’s idea of what creates an erotic
image will be different, and when a photographer sets
out to produce a picture which is both visually and
sexually stimulating he will invariably do so in a way
which reflects his own tastes.
There are a number of ways in which such a quality
can be revealed, perhaps the most basic being the
appearance and personality of the model herself.
Some people may find the cool sophisticated aura ofa
slim blonde erotic, while others may prefer a dark-
haired, full-bodied lady with an extrovert personality.
The model’s reaction to the camera also affects the
mood: the provocative pose directed at the viewer is
stimulating to some people, while the less obvious
image where the model is apparently unaware of the
camera and there is an almost voyeuristic quality of an
intimate moment briefly revealed appeals more to
others.
One common factor in the best erotic pictures is an
element of suggestion where much is left to the
viewer’s own imagination. For this reason the choice
of clothing is very important, not only by allowing
parts of the body to remain hidden but also by using
textures like silk and leather to heighten the tactile
quality of a picture and so increase its erotic appeal.

Although the face of the

model is not shown, the
angle and position of her
body are quite blatantly
provocative. The effect is
emphasized by the lighting
and choice of clothes
(above).
Rollei SLX with 150 mm
lens; f11 with studio flash;
Ektachrome 64.

This abstract nude (above) In this shot, the erotic quality

still conveys a sexual depends on the impression
meaning because of the of an intimate moment,
implications of the model’s briefly captured, and the
position and the way the model’s apparent
image has been framed. unawareness of the camera’s
Pentax 6X7 with 150 mm presence. A soft focus
lens; f11 with studio flash; attachment and soft lighting
Ektachrome 64. enhance the effect (right).
Nikon F3 with 105 mm lens;
fll with studio flash;
Ektachrome 64.

76
CREATING THE PICTURE

The suggestiveness of this

picture (left) relies as much
on the fact that the model is
looking directly into the
camera as on the
voluptuousness of her body
and stance.
CREATING THE PICTURE

Emphasizing texture
A photograph can create a strong impression of real- As crisp detail is vital, the picture must be accu-
ism, especially through its ability to convey texture. rately focused and perfectly sharp. With fairly close-
This is particularly useful in nude and glamour photo- up pictures a small aperture will be needed to ensure
graphy as sensuality appeals to both the tactile and adequate depth of field and a fast shutter speed to
the visual senses. The vital factor in creating images eliminate the risk of subject movement or camera
with strong textural quality is the lighting of the shake; electronic flash is ideal for this purpose.
subject, and by carefully controlling the quality, Exposure is critical as over-exposure will bleach
angle, and direction of the light a subtle range of out highlight details and under-exposure will produce
tones and fine detail can be produced. Different tex- a muddy image with no detailin the darker tones. As
The same shot can look very tures require different light: a fine delicate texture a general rule, however, a small degree of under-
different, and create a requires a more acutely angled and harder light, exposure will tend to emphasize texture whereas a
different textural effect, ifthe
whereas a surface with a more pronounced texture small degree of over-exposure will minimize it.
lighting is altered (below).
In the second shot, a requires a softer and less strongly directional source. Strong directional lighting can create an excessive
diffused light positioned at Lighting for texture may not be suitable for other contrast resulting in a loss of tone and detail and it will
the left of, and slightly aspects of the subject and it is often desirable to use a often be necessary to use a degree of fill-in light or
behind, the model has small extra source such as a light with a snoot which a reflector to reduce the brightness range of the
emphasized the texture of the can be directed at a specific part of the subject with- subject.
wet skin which has been out affecting other areas. Unless you are aiming Tactile quality can also be accentuated by con-
lightly oiled, to produce a specifically for a textural effect, then you should try to trasting and juxtaposing one texture against another:
sensuous effect. A white balance this element with the other aspects of the the smooth quality of skin, for example, could be
reflector on the right-hand
subject. The effect of this directional lighting will be emphasized by surrounding it by a rough fabric.
side has added some detail to
the shadows. greatly influenced by even the slightest movement of Contrasting two surfaces can heighten the effect of
Rollei SLX with 150 mm the model’s body and it is important to keep watch on both; a good example is skin covered with drops of
lens; £16 with studio flash; this aspect of your image as your model changes angle water, especially if the skin has been oiled to produce
FP4. and position. a slight sheen.
Contrasting two different
textures is an effective way of
heightening tactile quality.
The elaborately patterned
lace (left) accentuates the
white smoothness of the
model’s skin. Notice how the
line of the lace follows the
outline of her body.
Nikon F3 with 135 mm lens;
fll with studio flash; FP4.

The use of a stark white

background (right) is ideal
to show up the geometric
pattern of the model’s
fish-net tights.
Nikon F3 with 105 mm lens;
fll with studio flash; FP4.
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CREATING THE PICTURE

sing props for effect

Professional studios usually have an interesting lace curtaining could help to create a romantic atmo- The vase of simple,
collection of useful props which can be anything from sphere in a fairly close-up shot when combined with delicately coloured flowers,
a large piece of furniture in a room setting to a quite high-key lighting and possibly the use of a soft focus lit by soft daylight through
small objet d’art. The amateur photographer is un- attachment. Quite small everyday things can be very the curtained window, adds
to the over-all gentle effect of
likely to want to build up a permanent collection of effective: an attractive silver hair brush and a hand
this picture (right).
props but friends are often willing to lend a particular mirror, for example, would not only be a decorative
item, and the owner of a local antique shop or furni- addition to the picture but also give the model a
ture store may also oblige for a small fee. variety of relaxed and natural body and head angles.
In addition to its purely decorative value a prop can A well-chosen piece of furniture can provide a
often help to set the mood of a picture, establish a natural support for the model. There is a limit to the
theme, or simply help the model to feel comfortable number of positions possible when standing or sitting
and relaxed. Even something as ordinary as a flower on a stool, and a chair or a sofa could allow greater
arrangement in a pretty vase against a small piece of freedom and flexibility of movement.

The water-hose plays an Here, an ornate fan of

important role in the feathers is the perfect prop
creation of a sensual image for the model’s provocative
in this picture by Guy pose (right).
Leygnac (above).
CREATING THE PICTURE
 USING COLOUR
A successful photograph depends on a variety limited to the way in which the picture is
of individual elements being combined in an framed, but in nude and glamour photography
organized and balanced composition. In black the photographer has at his disposal a great
and white photography this process can be many ways of deciding precisely what colours
analysed in terms of tonal values; elements suchshould be included in the photograph and
as texture, pattern, and the subject and back- exactly where they should appear. In addition to
ground are recorded only in shades of grey, and the selection of clothes and accessories there
once the technique of identifying, isolating, and
is also much the photographer can do in the way
composing these basic elements is learned the he chooses and uses backgrounds and also by
process itself soon becomes almost automatic. controlling the colour content of his pictures by
In colour photography, however, a very power- the use of camera techniques.
ful additional element is introduced, with the There is a wide range of effects that can be
colour quality of the picture and the arrange- achieved which will influence the mood and
ment of colours within the image becoming in quality of the image; by becoming more aware
many cases an overriding factor. of this aspect of picture-making it is possible to
In many areas of photography, the control create photographs with greater impact and also
of the colour content of a picture is virtually to develop a more personal style.
 i
Shooting against the light, Slight under-exposure,
and slight over-exposure, combined with strongly
have created a picture in directional sunlight, has
which the skin texture is emphasized the texture of the
minimized. A reflector was model’s tanned and oiled
also used close to the camera body (right).
to reduce the density of the Rollei SLX with 150 mm
shadows (above). lens; 1/250 at f8;
Rollei SLX with 150 mm Ektachrome 64.
lens; 1/125 at f5.6;
Ektachrome 64.

In a black and white photograph the way that skin is Skin texture is another important consideration. In The rather mellow quality of
recorded is open to considerable interpretation. In a most situations its presence on a face is unflattering afternoon sunlight has
colour photograph, however, the result is a much when emphasized, the exception being possibly a helped to emphasize both the
more literal record, and in nude and glamour pictures dark-skinned or very suntanned face. A quite soft texture and colour of the
model’s skin without
in particular skin quality can bea vital factor. frontal light can be used to minimize skin texture and
creating excessively dense
Colour film is extremely sensitive to changes in the this can be supplemented bya slight degree of over- shadows (right).
colour quality of the light. Daylight film, for example, exposure of, say, half a stop. The use of a soft focus Rollei SLX with 150 mm
is manufactured to give a correct balance when the attachment will virtually eliminate the effect of lens; 1/250 at f8;
subject is iluminated with noon sunlight; on a cloudy texture. Another method of reducing skin texture is Ektachrome 64.
day the film will record a blue cast while in late after- to shoot with the light behind your model, and this,
noon sunlight it will record an orange cast. Light skins combined with a degree of over-exposure, can create
will show these colour casts quite clearly and a bias a very soft, smooth quality. Try and make sure that
which might go unnoticed in, say, a landscape picture there are no coloured surfaces close by which will
will be quite obvious in a portrait. reflect a colour cast on to the model; a white reflector
As well as being affected by light from the main placed quite close to the model will eliminate this
source the skin tones will also be affected by light effect.
which is reflected from coloured surfaces; a blue If you want to accentuate skin texture, ina shot ofa
swimming-pool, for example, can create a quite suntanned nude on a beach for example, use a small
unpleasant skin quality. As a general rule skin tones degree of under-exposure and more acutely angled
tend to look quite pleasing when they have a slight lighting. A light application of oil rubbed well into the
warm or orange cast but a blue or green colour bias model’s skin will also help to emphasize both its
can produce an undesirable effect. texture and colour.
84
USING COLOUR
USING COLOUR

Bold colours

Re ee

In this picture (right), the

model's T-shirt and lip
colour were chosen
deliberately to create a bold
contrast with the turquoise
door and blue jeans.
Pentax 6 X7 with 105 mm
lens; 1/125 at f5.6;
Ektachrome 64.

These two pictures (above), Shooting in colour requiresa quite different approach in a red bikini against a background of blue sea. Since
taken with the same lighting from shooting in black and white. In a black and white this single bold colour will become the most dominant
and in the same location, photograph the composition and mood are largely element of the image it should occupy or be very close
show how the positioning of dependent on the distribution of tones, and the total to the centre of interest of the picture, around which
the model and framing of the
picture can have a marked
effect of a picture is as much a product of the shapes the rest of the composition is balanced. The strongest
effect on the colour quality created by the highlights and shadows as of the effect will be created when the colours are in direct
of the image. Although the subject itself. Taking a successful colour photograph contrast with each other; this occurs when they are
picture on the right has fully is not simply a question of using a different type of from different sections of the spectrum, red against
saturated colours, the effect film since the distribution of colour in the subject will green, for example, or blue against yellow.
is not as dramatic as in the tend to dominate both the composition and the mood In addition to creating the most dramatic effect in
left-hand shot, as the colours of a picture, and as much care and consideration need terms of composition the use of bright, bold colours
are very close together in the to be given to the way colour is used in a picture as to will also affect the mood of the photograph. An image
spectrum. any other aspect of the image, in many ways more so. which contains strong colour contrasts will tend to
Rollei SLX with 150 mm
lens; 1/125 at f8;
Inexperienced photographers tend to react more-to create a lively assertive picture whereas one in which
Ektachrome 64. subjects which contain bright colours when shooting the colours come froma similar area of the spectrum
colour film, but such subjects can produce the least such as green and blue will have a more restful
satisfying results for the unwary. An indiscriminate quality. The colours themselves also have an emotive
mixture of bright colours in an image will produce a value: red, for example, has a quite aggressive quality
fussy and confusing picture no matter how well it is and will always attract attention in a picture even if it
composed and lit, and it is vital to be as aware of the occupies only a small area, whereas orange and
presence and position of the colours in a scene as of yellow tend to create a warm and inviting atmosphere
the other elements of the photograph. and green and blue a cool and peaceful mood.
As a general rule the greatest impact will be Photographers shooting, say, landscape or repor-
achieved when asingle bold colour is placed against a tage pictures have only a limited degree of control
neutral or contrasting background, for example a girl over the colour quality of their pictures, largely by the
86
=)nO = O © O | O = oc
USING COLOUR/BOLD COLOURS

In this picture (left), the bold

colour has been used as a
background tone to
emphasize the shape made
by the model’s body and
clothes.
Rollei SLX with 150 mm
lens; {8 with studio flash;
Ektachrome 64.

choice of viewpoint and the way the image is framed. Here, back lighting has
helped to create both a bold
In nude and glamour work, however, the photo-
tonal and colour contrast,
grapher is able to exercise direct control over many emphasizing the texture of
other aspects of his picture, he is, for example, able to the skin and the translucent
select clothes and accessories with the colour quality quality of the yellow fabric
of his picture in mind, and even the choice of model (lefi).
and the colour of her hair will influence the nature of Nikon F3 with 105 mm lens;
his picture. 1/125 at 8; Ektachrome 64.
With studio pictures the background colour can be
selected from a wide range to suit a particular mood,
and similar consideration can be given to the choice of
props. In location pictures the background can be
controlled not only by choice of viewpoint and
framing but also by moving the model to the most
suitable position. In the majority of nude and
glamour pictures only a relatively small area is
required for a background tone and it can be quite
surprising how much variety of colour and effect can
be achieved in the same location by careful choice of
the viewpoint and the model’s position.
The greatest emphasis will be created with bright
colours when a quite soft lighting is used as hard The predominantly strong
blue quality of this picture
lighting such as an undiffused studio lamp or bright
(right) has given
sunlight will create strong highlights and shadows considerable emphasis to the
which will tend to degrade the quality of the colours. model's brown skin.
Exposure is also critical since over-exposure will Rollei SLX with 150 mm
weaken the colours in the subject and under- lens; 1/125 at f5.6;
exposure will subdue them. Ektachrome 64.
88
USING COLOUR/BOLD COLOURS
USING COLOUR

Soft colours
Although a picture which consists of bold, contrasting
colours will invariably create an image of consider-
able impact it can often be more effective to use
colours in a softer, more harmonious way. A subject
which contains a large amount of detail, for example,
or is strongly lit can easily appear fussy and confusing
if it also contains bright, contrasting colours, whereas
an image with a more harmonious colour quality will
help to prevent the detail from becoming obtrusive.
Softer colours can also help to create atmosphere in a
picture: pastel shades could suggest a romantic mood,
whereas bright, primary colours would be unlikely to.
This soft, harmonious quality is dependent on a
number of factors. The combination of colours in the
image is the first thing to consider; a contrast will be
created by combining colours from different areas of
the spectrum, whereas a harmonious quality will
result from combining colours which are close to-
gether in the spectrum such as greens and blues. This
can be achieved not only by choosing clothes in the
appropriate colours but also by selecting a viewpoint
and framing the image in such a way that any con-
trasting colours are eliminated from the picture area.
The strength of the colours in the subject will also
affect the harmonious quality of a picture: bright,
fully saturated colours create the strongest contrasts,
whereas pastel shades of the same hues, or darker
tones, will be much less dominant and can be used
effectively even when they are not close to each other
in the spectrum. The way that the colours are distri-
buted in the image will have an effect on the colour
quality. Even red and green can harmonize in a scene
provided they are not fully saturated and are not too
close to each other.
Although careful selection of the colours in the
picture area is the first and most basic method of
creating a harmonious quality there are a number of
other techniques. The way the subject is lit can have a
The soft light of open shade The sun-bleached colours of
ona sunny day has helped to a seaside wind-shield have
retain the harmonious produced a soft, pastel effect
quality of the model's in this tightly cropped
clothes and the textured picture. Soft, hazy sunlight
background (right). has prevented strong
Rollei SLX with 150 mm shadows from spoiling the
lens; 1/125 at f5.6; effect (above).
Ektachrome 64; Wratten Rollei SLX with 150 mm
81B filter. lens; 1/125 at f5.6;
Ektachrome 64.

Although lit with quite

strong sunlight, the light
surroundings of sand and
sea have reflected light into
the shadows, retaining
texture but not detracting
from the inherently soft
colour quality (right).
Rollei SLX with 150 mm
lens; 1/125 at f8;
Ektachrome 64.
90
 USING COLOUR

ie
;iy
|
iH
i
Ue
=) Ww)= O O O =IO 2) Ge Y) O TF O O — O =) Be WY)
 USING COLOUR/SOFT COLOURS

Back lighting has created an considerable influence on the nature of the colours. If be further enhanced by using a long-focus lens.
almost shimmering effect in the background area of a picture contains a mixture of When a subject is quite softly lit and hasa fairly low
this picture (left). The bright colours, for example, it may be possible to contrast it can be effective to simply over-expose,
limited colour range has position your model so that she is lit much more which will create pastel tones from quite bright
produced a gentle, peaceful
mood.
strongly than the background. By exposing for the colours. A soft focus attachment will also help to
Rollei SLX with 250 mm model the background colours will record as much create softer colours as it reduces the contrast and
lens; 1/125 at f8; darker, subdued hues, and if you position your model colour saturation of the image as well as reducing its
Ektachrome 64. so that the light is much less bright on her than on the sharpness. A fog filter is useful in this respect as it can
background this will produce weak pastel colours in drastically reduce colour saturation and contrast with
this area. little effect on the definition.
Focusing can help to control the colour quality of When shooting into the light it can sometimes be
background tones. If, for example, brightly coloured effective deliberately to allow the sun to fall on the
details in the background of a scene are thrown well lens and create ‘flare’. This has a similar effect to a fog
out of focus, they will be far less obtrusive and will filter but is a little unpredictable and its effect can
tend to ‘bleed’ into each other, creating a more only be seen accurately when using a special SLR
harmonious effect. This can be most easily achieved camera. A colour cast can also help to produce a
by ensuring that the model is some distance away harmonious quality, either as a natural effect by
from the background and the depth of field is re- shooting in evening sunlight or created artificially by
stricted by using a fairly wide aperture; the effect will means of a colour filter.

Although the colour of the A fog or pastel filter was

model’s clothes is in contrast used to de-saturate the
to the background tone, colours in this picture
both are pastel hues and the (above), causing the model’s
over-all effect is still quite quite brightly coloured shirt
soft. A wide aperture has almost to blend into the
kept the background details background.
well out of focus to give Rollei SLX with 150 mm
added softness (left). lens: 1/125 at f5.6;
Rollei SLX with 150 mm Ektachrome 64.
lens; 1/125 at f5.6;
Ektachrome 64.

95
USING COLOUR

Filters for colour

Filters have two basic functions in colour photo- These three pictures (left)
graphy, one is to correct any colour cast which may 4 | show the effect of colour-
i} correction filters: the use of
result from the colour temperature of the light source i)
7
being higher or lower than that for which the film is an 80B filter (centre) and an
}
I &/B filter (top) compared to
balanced, and the other is to create an unusual or '
the third picture taken
dramatic effect. without a filter. The bluish
Most daylight colour films are manufactured to filters, series 80, will, for
give a correct colour balance when the subject is example, correct the warm
illuminated with a light source which has a colour cast of late-afternoon
temperature of 5500° Kelvin; this is approximately sunlight; the warm series 1
equal to that produced by noon sunlight or an elec- will offset the blue cast
tronic flash tube. Tungsten light has a colour tem- present in open shade and
perature of only 3200—400°K and when it is used with cloudy conditions.
Rollei SLX with 150 mm
daylight film will produce an image with a strong
lens; 1/125 at f8;
orange cast. This difference can be adjusted by the Ektachrome 64.
use of a correction filter; in this case a quite strong
blue filter would be necessary. The smaller differences
of, say, the slightly higher colour temperature of a
cloudy day can be corrected by the use of a much
weaker filter.
Filters are available either as glass or plastic discs or
squares or as acetate squares. Acetates must be
handled extremely carefully as they are easily
damaged by finger marks or scratches. A colour
temperature meter can be used to measure the quality
of the light source for critical work, but in normal
circumstances it is quite satisfactory to estimate the
degree of correction needed for specific conditions.
Filters are most commonly used to add warmth toa
picture which would otherwise have a blue cast, when
the light is of a higher colour temperature than
normal. With outdoor photography the conditions
which are most likely to create this situation are a
cloudy overcast day; in open shade on a sunny day
with blue sky; or on the beach or in the mountains
where there is a strong increase of ultra-violet light.
Kodak designates these filters as Wratten 81 series:
81A, 81B, 81C, each progressively stronger. In condi-
tions where the light source is of a lower colour
temperature than normal, which will produce an
orange or warm cast to the picture, the necessary
bluish correction filter will be in the Wratten 80
series: 80A, 80B, 80C.
It should be remembered that colour casts can also
be created by light reflected from strongly coloured
surroundings, from a wall, for example, or even grass,
and because our eyes are far more accommodating
than colour film it is vital to anticipate such problems
as the effect on the photograph is invariably far
greater than appears at the time of shooting.
As well as being useful to correct the colour
balance of a picture there are many ways in which
filters can create unusual effects which will add to the
impact of a picture. The most basic way is deliberately
to create a colour cast, by using either a pale filter to
add a subtle tint or a really strong filter to produce a
very dramatic image. This will of course affect the
skin quality of the image but in a shot where, for
example, the model is quite small in the frame or is
silhouetted this can be quite acceptable.
It is possible to buy a centre spot filter which con-
sists of a circle of clear glass surrounded by a coloured
filter; this can be used to take a picture where the
central part of the subject records as a normal colour
but the remainder of the picture has a colour cast. The
graduated filter similarly affects only part of the
94
A fog or pastel filter can be
used to reduce both the
contrast and colour
saturation of the image, as
shown in these two pictures
(above and right); unlike a
soft focus filter it has little
effect on the sharpness of the
image.
Rollei SLX with 80 mm lens;
1/125 at f5.6; Ektachrome
64.
USING COLOUR/FILTERS FOR COLOUR
image; in this case one half of the filter is tinted and These pictures (left and
the other half is clear, which means, for example, that below) show the effect of
the sky can either be made darker or be given a colour using a polarizing filter to
cast without the foreground being affected. emphasize the colour of the
The polarizing filter is particularly useful for out- sky and rocks and the
translucent quality of the
door photography. Its effect is to eliminate some of water.
the light which is reflected from shiny surfaces such as Rollei SLX with 250 mm
water, glass, or even foliage, producing richer colours; lens; (left) 1/250 at f8;
it also affects blue sky. The filter is neutral grey in Ektachrome 64; (below)
colour and does not affect the other colours in the 1/250 at f5.6; Ektachrome
scene. The effect is controlled by rotating the filter in 64; polarizing filter.
its mount; it requires an increase of exposure in the
order of one to two stops. It can be especially
effective, for example, when shooting at seaside
locations where by eliminating much of the inherent
glare and reflected light it can help to produce
photographs not only with stronger colours but also
with greater clarity, and it also heightens the
translucent quality of water.
A fog filter or pastel gives quite the opposite effect.
This is a neutral filter with a slightly milky appearance
which results in a reduction in the contrast of the
image. It also softens colours and makes them
weaker, which means that it can be used to good
effect to create a romantic mood.

The tropical quality of this

picture was created by
combining a polarizing filter
and a Wratten 81B filter
which emphasized both the
brown skin of the model and
depth of colour in the
background scene (right).
Rollei SLX with 50 mm lens;
1/125 at f5.6;
Ektachrome 64.
USING COLOUR/FILTERS FOR COLOUR
 CREATIVE
CAMERA TECHNIQUES
OMe MMOS OSCVONMNLUC iaE-TOMBPUieanlontlnianKoyg combined with the experience gained by experi-
recording an image and in many cases a faithful menting with films, exposures, and shutter
record is all that is required by a photographer. speeds in order to discover how, by combining
However, although the photographic process is them in an imaginative way, the quality of the
largely mechanical it does have a number of final image can be accurately predicted.
characteristics which can be both exploited and Although this book deals exclusively with
manoeuvred to produce images which can be nude and glamour photography the basic skills
very different indeed from the scene before the of photography are just as vital in other fields
camera, and the photographer who wishes to and many of the techniques described in this
establish a personal style and to produce pic- section will be found equally effective when
tures with mood and impact must learn how to shooting other subjects. One of the best ways of
maximize his control over the technical aspects extending your own approach and ability is to
of the medium. remain constantly aware of how techniques and
These techniques do not necessarily involve methods used by photographers working with
expensive accessories or equipment, indeed other subjects can be applied or modified to
many are simply dependent on a full under- create a particular effect you eee like to
standing of how to use the basic camera controls achieve in your own work.
CREATIVE CAMERA TECHNIQUES

Exposure

Exposure is important to the visual quality of a vary considerably in colour quality, contrast, the way In this studio-lit, abstract
picture, but the concept of a ‘correct’ exposure is they respond to over- and under-exposure, to push- nude (above), the exposure
something that only really applies when an exact copy processing, and to different lighting conditions. has been reduced by one
of a subject is required. This is seldom the case in the Complete familiarity with a specific film will enable stop in order to emphasize
the skin texture in the
majority of photographs and particularly in nude and you to make the best use of its characteristics and to
highlight areas and to
glamour work where the aim is invariably to create an predict accurately the results you will get under increase the dramatic effect
impression or a mood rather than a factual record. varying circumstances. You may well find through by enhancing the shadows.
Exposure meters are designed to indicate the opti- experience that one particular film may give the Pentax 6 X 7 with 55 mm
mum exposure for a subject of a normal tonal and results you like best in sunlight, another in studio lens; f11 with studio flash;
brightness range which will record detail in both high- conditions, and a third in dull light. Ektachrome 64.
light and shadow areas, but the reading should only It can help to bracket exposures in order to assess
be used as one step towards producing an image which the effects of different exposures with a particular
creates the effect visualized by the photographer. film and to learn how to create a specific quality; this
When shooting black and white film or colour involves making, say, three exposures, one at the
negatives the quality of the image can be controlled at estimated setting, one at half a stop less, and another
the printing stage, but when shooting colour trans- at half a stop more. By doing this under different
parency film it is vital that the correct exposure is lighting conditions and with different subjects you
given to achieve the desired effect. In order to be able will quickly learn the best way, for example, of
to control the image quality of your pictures it is creating delicate high-key pictures with pastel colour
essential that you are completely familiar with the or richly toned images with strong colours as and
characteristics of the film you are using. Film types when you wish rather than by trial and error.
100
 CREATIVE CAMERA TECHNIQUES

In this daylight, indoor nude

shot, the exposure has been
reduced by two-thirds of a
stop to increase the
atmospheric quality (left).
Pentax 6 X 7 with 105 mm
lens; 1/60 at f5.6;
Ektachrome 200.

pO
3ee

toa Seok
ae me
eka
Conus

pa
EE
3 One and a half stops more
ee
a
ey than the calculated exposure
ae
BODE
sa
0 was used to produce the
effect of this portrait
(above). Everything lighter
than a middle tone has
recorded without detail and
with minimum colour, with
only the shadow areas
providing definition.
Pentax 6 X 7 with 150 mm
lens; 1/250 at f11;
Ektachrome 200; soft,
overcast daylight.
CREATIVE CAMERA TECHNIQUES

Photographing movement
The photographic process is unique in its ability to tion of the flash is often 1/1000 sec or less. In outdoor In this picture of Micha
record movement visually and, indeed, many things locations, it is necessary to use fast shutter speeds to Bergese by Anthony
were not properly visible to the eye until the inven- freeze movement: to record a model running, for Crickmay (right), a
tion of the camera and the use of high-speed shutters example, an exposure of 1/500 sec or less might be precisely timed exposure has
captured a peak moment of
and flashes which can isolate a brief moment in time. necessary to produce a sharp image. In these situa-
action, and in doing so has
It is not only the technique of ‘freezing’ movement tions it is often an advantage to use a camera with a revealed the elegant lines
which can be used effectively in a photograph but also motor drive or electric winder as this means pictures created by the dancer’s limbs
the way in which movement can be implied by the can be taken in rapid sequence. and body. The brief
blurring of an image that occurs when the subject is When the picture does not have to be totally sharp duration of electronic flash
moving too quickly for the shutter speed to freeze it. it can be very effective to use a slower shutter speed has frozen the movement.
The human body often looks its most graceful when which will allow parts of the body or clothes to record
it is moving, the muscles and contours creating a as blurred movement. With a running model, for
flowing line and the limbs producing a continually example, it is possible to pan the camera by following
changing series of compositions. When a camera is her movement in the viewfinder in a smooth action
used successfully to capture such movements on film and making the exposure while the camera is moving.
the result can be far more pleasing and effective than If a fairly slow shutter speed is chosen and the
with a static pose. This technique is frequently used panning action is even, this will produce an image
by fashion photographers to present a more flattering where the main part of the model’s body is recorded
image, as not only the model’s body but also the quite sharply but the background is a series of blurs
drape and swirl of the clothes can appear more and streaks. This technique works most effectively
elegant. when the model has a good colour or tonal contrast
In the studio, electronic flash enables pictures to be against the background and there are also contrasting
taken without risk of subject movement as the dura- details in the background itself to create the streaks.

ee
trf te Se

cree ee repeat oe
Mounting the camera on a
tripod and using an
exposure of 1/4 sec has
produced this picture where
A fast shutter speed and an This effect has been created the background has
exposure made at the peak of by using a slow shutter speed recorded sharply but the
the action has produced a and panning the camera to movement of the model has
sharp image of this shot follow the model’s resulted in a blurred effect
(above). movement. Electronic flash (left).
Rollei SLX with 250 mm was also used and this has Rollei SLX with 50 mm lens;
lens; 1/500 at f5.6; Tri-X. produced an element of 1/4 at f22; Agfapan 400;
sharpness within the blurred red filter.
image (above right).
Rollei SLX with 80 mm lens;
1/4 at f22; FP4.

102
CREATIVE CAMERA TECHNIQUES

103
CREATIVE CAMERA TECHNIQUES

Films
For most photographs the film is selected and used in
such a way that it creates a quite faithful rendering of
the subject. If, however, a dramatic or unusual effect
or more personal interpretation is required, it is
possible to alter the nature of the image either by
using a special type of film or by using it in a different
way.
One very effective and quite simple technique is to
use the grain structure of the emulsion to create an
image with a textured quality; this is done by using a
fast film which has an inherently coarser grain struc-
ture than the slower types of film. The grain size can
be further increased by push-processing which enables
the film to be rated at a higher setting than normal. A
colour film of ISO 400/27°, for example, could be
up-rated to ISO 800/30° or 1600/33°, which will
produce an image with asignificantly coarser grain.
With black and white film, over-exposure to create
a denser negative will emphasize the grain. Although
large grain can be achieved with normal films such as
Tri-X or HP 5, Kodak manufactures a special Recor-
ding Film No. 2475 which has a very pronounced
grain structure.
It helps to keep the subject quite small in the frame
when shooting so that a greater degree of enlarge-
ment is possible, which produces a strong grainy
effect. Films which increase the subject contrast can
also be used effectively: very high contrast black and
white films such as Kodalith can give dramatic results
in abstract nude pictures by reducing the image to just
pure black and white tones.
Infra-red film is another means of creating unusual
images. The black and white version will produce
very dramatic effects in pictures with a landscape
setting as blue skies are recorded as nearly black and
green foliage as white. Infra-red colour film, used
with various filters, will give quite surrealistic effects
depending on the colour content of the subject.
Kodak’s photomicrographic film is another emulsion
which offers considerable scope to those who like to
experiment. It has a very slow speed of ISO 16/13°
and is extremely sharp and fine grained, producing an
image with enhanced colour saturation and contrasts;
it requires a correction filter in the order of 20 — 30
green when used in daylight to counteract a magenta
The striking effect of this
bias. picture (right) was produced
This studio picture was by the use of infra-red colour
taken using a fast film with film with a sepia filter.
push-processing techniques Nikon F3 with 20 mm lens;
uprating the film from ISO 1/125 at f8; Ektachrome
400/27° to ISO 1600/33° to infra-red film.
increase the grain (above).
Nikon F3 with 105 mm lens;
f16 with studio flash;
Ektachrome 400.
The rather strange quality of
this picture (right) is a result
ofshooting tungsten film in
daylight; the pronounced
blue cast affects the white
wall much more than the
model’s bright red dress and
brown skin.
Rollei SLX with 150 mm
lens; 1/250 at f8;
Ektachrome 160 tungsten
film.
CREATIVE CAMERA TECHNIQUES

Wide-angle lenses
One of the simplest ways of varying the effect of a The wide-angle lens has two main uses; quite large
picture is to change the focal length of the lens. areas of the foreground can be included in the pic-
Modern camera systems such as the SLR which can ture, and the main subject can be photographed from
be fitted with a range of lenses make this facility most quite a close viewpoint while still taking in a large area
easily available. of background. This helps to increase the effect of
The standard camera lens gives an angle of view of perspective and produce pictures with a strong im-
between 45° and 55°; to achieve this the lens has to pression of depth and distance. The effect of both
have a focal length approximately equal to the dia- high and low viewpoints will also be emphasized.
gonal measurement of the film format. With a35 mm The unusual perspective offered by a wide-angle
camera this is about 50 mm. When alens with a longer lens from a close viewpoint can result in a distorted
or shorter focal length is fitted both the angle of view image. This can unintentionally create an unpleasant
and the size of the image will be changed. impression — the hands and arms in the foreground of
A wide-angle lens has a shorter focal length than a a portrait may, for example, appear grossly enlarged
standard lens. With a 24 mm lens on 35 mm film the in relation to the face. On the other hand, such effects
angle of view would be increased to 84° and the image can be used creatively to produce unusual and drama-
would be approximately half the size of that produced tic images. Bill Brandt’s famous series of abstract
by a50 mm lens. The depthof field is also greater with nudes were largely dependent on the exaggerated
a wide-angle lens, which gives an image with sharply perspectives which were produced by shooting with a
focused details in both the foreground and distance. wide-angle lens.

A close viewpoint,
combined with a wide-angle
lens, has given considerable
emphasis to the model’s
hands in this studio shot and
contributed to the strange
mood of the picture (right).
Hasselblad with 50 mm lens;
f16 with studio flash; Tri-X.

106
 ; CREATIVE CAMERA TECHNIQUES

A wide-angle lens has made

it possible to include a close
viewpoint and a wide
expanse of background in
this picture (left).
Rollei SLX with 50 mm lens;
1/60 at fS; FP4; red filter.

The great depth of field A very low and close

which a wide-angle lens can viewpoint has contributed to
provide has been exploited the deliberately distorted
in this shot (right); the perspective of this wide-
foreground rock is only a angle shot (above).
couple of feet from the Rollei SLX with 50 mm lens;
camera but is completely 1/125 at 8; FP4.
sharp, as are the more
distant details.
Rollei SLX with 50 mm lens;
Tpi25 at fil; FP4.
CREATIVE CAMERA TECHNIQUES

Lens attachments
The camera lens is designed to produce a sharp, clear,
and undistorted image on the film, and for most
pictures that is what is required. However, when a
more abstract image is intended or additional interest
or impact is needed, attachments can be fitted to the
lens to distort or modify the nature of the image.
One of the most popular is the star-burst filter, a
clear glass or plastic screen with a series of fine lines
etched or moulded into its surface which produces
radiating streaks of light from bright highlights or
light sources within the picture area. It is available
with a choice of configurations. The effect can be
varied by rotating the attachment in its mount; this
creates a more dramatic image with pictures that have
a dark background.
The diffraction grating or colourburst filter creates
either radiating or concentric bands of rainbow-
coloured streaks from light sources or bright high-
lights. It is used in a similar way to the star-burst filter
but of course is only effective when shooting in
colour.
A multiprism attachment creates a number of re-
peated images of the subject. It comes in a variety of
configurations and can be rotated to vary the effect,
most effectively with subjects which have a clearly
defined outline. There is also a single prism attach-
ment which is used to create a single but distorted
image of the subject when mounted in front of the
lens. It works by refracting the light rays from the
subject before they reach the lens so that the camera
is not aimed directly at the subject, resulting in a very
soft distorted image with rainbow-coloured edges to
the outlines of objects against a light background. As
this device requires considerable manipulation to
create the best effect an SLR or view camera should
be used.
The split-focus lens can be very useful in location
shots, for example. It is in fact half a close-up lens
which enables a close-up foreground subject to be
combined with a distant background, both in equally
sharp focus, making a much greater depth of field
possible than can be achieved by using even a very
small aperture.

108
 CREATIVE CAMERA TECHNIQUES

A multiprism attachment
was used to create this
geometric image from this
studio picture (left).
Rollei SLX with 80 mm
lens;
fS with studio flash;
Ektachrome 64.

A star-burst filter has created

a quite dramatic effect from
the highlights on the water
behind the model (above
left). The dark background
has emphasized its effect.
Nikon F3 with 20 mm lens;
1/250 at f8; Ektachrome 64.

A split-focus attachment has

been used here to enable
both the close foreground
detail of the model and the
distant rocks to be recorded
sharply (left).
Rollei SLX with 80 mm lens;
1/125 at f11;
Ektachrome 64.
CREATIVE CAMERA TECHNIQUES

Long-focus lenses
The telephoto or long-focus lens has a focal length
substantially longer than the diagonal of the film for-
mat, producing a narrower angle of view and increas-
ing the size of the image; a 200 mm lens on 35 mm film,
for example, will give an angle of view of 12.5° and
will enlarge the image produced by a 50 mm lens by
four times. The risk of poor definition through
camera shake is also increased; this can be avoided by
using a faster shutter speed or by mounting the
camera on a tripod. i
The main advantage of this type of lens is that a
tightly framed image of the subject can be obtained
from a distant viewpoint, which not only avoids the
risk of distortion but can be more convenient and less
inhibiting for the model. This is particularly useful in
head shots.
The long-focus lens has less depth of field than a
standard lens and care must be taken to focus
accurately. This sensitivity of focus can be used to
great effect, for example in location photographs
where the background details can be thrown well out
of focus to isolate the model.
A lens of 105 or 135 mm focal length is ideal for
most nude and glamour work, both for portraits in the
studio and for general location work, but longer focal
lengths of 200 mm or more can produce interesting
perspective effects between the model in the fore-
ground and distant objects or details.
A zoom lens will give even more scope for creating
unusual effects. If the lens is set at its shortest focal
length and focused on the subject and then, using a
longish shutter speed, pulled back to its longest
setting (‘zooming* the lens), the result will be a sharp
central image of the model but with streaks of light
, and colour radiating out towards the corners of the
picture. It is advisable to support the camera on a
tripod when taking this kind of shot.

In this picture (left), a long-

focus lens has created a
compressed perspective
effect, where a distant hill
appears quite close to the
model. The shallow depth of
field has enabled her to be
kept in sharp relief.
Rollei SLX with 250 mm
lens; 1/250 at f5.6; FP.
 CREATIVE CAMERA TECHNIQUES

Use of a long-focus lens has A long-focus lens has

resulted in a tightly framed enabled the background of
close-up image in this this picture (above) to be
picture (above), without the kept well out of focus,
need for a close camera preventing it from becoming
viewpoint which would give too obtrusive. A wide
unpleasant perspective aperture has helped this
effects. effect.
Rollei SLX with 150 mm Rollei SLX with 150 mm
lens; 1/250 at f5.6; FP4. lens; 1/500 at f4; FP4.

This picture (left) was

produced by altering the
focal length of a zoom lens
during the exposure from its
shortest to its longest setting.
Nikon F3 with 70-150 mm
zoom lens, 1/4 at f22; FP4;
red filter.
111
CREATIVE CAMERA TECHNIQUES

Soft focus techniques

Modern film technology and lens design make it pos- of sharpness will depend on both the size of the hole The soft effect of this picture
sible to produce images of extremely high definition and the aperture of the lens; you should use an SLR (right) was produced by
with sharply recorded details. For many subjects this camera in order to judge the effect. using an old box-camera
is desirable, even essential, but with nude and A more abstract image can be created by smearing lens, mounted by means of
glamour photography it can sometimes be a disadvan- a thin layer of clear petroleum jelly on to a piece of extension tubes on to the
front ofa Pentax 6X7
tage as these razor-sharp images can often result in an glass or a UV filter in front of the lens, leaving a clear camera.
unflattering or even harsh picture. Much of the soft, spot in the centre. The jelly can then be ‘teased’ 1/30 at f11; Ektachrome 64.
smooth quality of the early Victorian portraits and around with a finger-tip to create a variety of effects:
nude studies was due to the less highly corrected complete areas of detail can be erased, for example,
lenses with which the photographers worked. and bright highlights can be made to create streaks
A similar effect can be obtained by fitting a soft and swirls at will. An SLR camera is again vital to
focus attachment to the camera lens. This is a disc or judge the result.
square of glass or plastic which hasa series of lines or Another method which can be used to more
indentations moulded into its surface and serves to extreme effect is to create a film of condensation on
impair the definition of the lens, producing an image the lens itself by breathing on it; if the lens is removed
with a sharp core surrounded bya veil of softness. and the inside element filmed over and the lens then
The effect is quite different from that of an out-of- replaced, the condensation will last longer and as it
focus image in which the subject is not sharp at all. It begins to clear the effect will change.
is available in a variety of strengths, each producing a Although the same principle applies in most of
different effect. these methods the effect varies considerably and it
Soft focus attachments also reduce both the con- can be a good idea to see how each method affects the
trast and colour saturation of the picture by making picture according to the type of subject and the
the lighter tones spread slightly into the darker areas. lighting conditions.
This effect can be particularly attractive with back Most soft focus techniques are more pronounced
lighting when, for example, a rim of highlight around when there is a strong tonal or colour contrast
the model’s hair will have a glowing, halo-like quality. between the elements in a picture, say the model and
In addition to the specially manufactured attach- the background, and strong highlights will show the
ments there are a number of other methods which can effect particularly well. It can be even more striking
produce a variety of soft focus effects with the help of when used in conjunction with grain-enhancing tech-
simple everyday materials. Clear adhesive tape or a niques (see page 104), resulting in the type of images
piece of fine nylon in which a small central hole has with which photographers like Sarah Moon are
been cut can be stretched across the lens. The degree associated.
Te
he

These two pictures (above front of the lens hood,

and right) show the effect leaving asmall circle clear in
produced by reducing the the centre.
definition of the lens. In this — Pentax 6X7 with 150 mm
case, clear adhesive tape has __ lens; 1/125 at 5.6;
been stretched across the Ektachrome 64.

1)
& cc uw<LkK Ea Lu O << = LuccLt L LuO BL Fas © =) LuY)
CREATIVE CAMERA TECHNIQUES/SOFT FOCUS TECHNIQUES

ate
LoS feataesae
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Fee a
CREATIVE CAMERA TECHNIQUES/SOFT FOCUS TECHNIQUES

A magnifying-glass lens, The soft effect of this

mounted by means of daylight indoor nude
extension tubes on to a (above) was created by
Pentax 6 X 7 camera, was stretching a piece of nylon
used for this shot (far left). A mesh, in which a small
piece of black card, in which aperture had been cut, over
a hole had been cut to create the camera lens.
an aperture of Pentax 6X7 with 105 mm
approximately f5.6, was lens; 1/125 at f5.6;
fitted in front of the lens to Ektachrome 200.
improve the image quality
slightly.
1/250; Ektachrome 64.

A thin film of petroleum jelly

was smeared on to a UV
filter in front of the lens to
produce this effect which has
helped to create a shimmery
quality from the back
lighting (left).
Nikon F2 with 50 mm lens;
1/125 at f5.6;
Ektachrome 64.
CREATIVE CAMERA TECHNIQUES

Multiple exposures
In most cases, a photograph is intended to givea fairly areas of the other, otherwise the result can simply bea Here (right), a simulated
literal impression of the subject, and although many confused image with no dominant feature. If your strobe effect was achieved by
of the camera techniques available to photographers camera has a viewing screen it can help to draw the making four separate
can help them to produce a more personal interpreta- main outlines of the first exposure on to a piece of exposures of the model on to
the same pieceof film. A
tion, they are seldom able to do so in a way which tracing paper held against the screen; this will make it
black background and rim
removes the picture totally from its original context. far easier to frame the second image. lighting have prevented
One versatile method is to combine two or more Double exposures are often most successful when excessive detail from
separate images on one piece of film. one of the images is predominantly dark in tone, confusing the image.
There are a number of techniques which can be which allows the lighter tones of the second image to Hasselblad with 150 mm
used to create this effect in the camera in addition to record clearly. This can be achieved by considerably lens; studio flash;
those which require the use of a darkroom. The most under-exposing the background image, by say two or Ektachrome 64.
straightforward is simply to make two or more expo- three stops.
sures without advancing the film. This is not always Additional separation can be created by using
possible, as many cameras have a mechanism to pre- colour filters, for example, to produce a pronounced
vent accidental double exposure. In this case, the film colour bias in one image, or to shoot one of the
should be rewound and run through again after the images out of focus and the other in sharp focus.
first exposure. In the studio it is possible to build up a number of
There are two important points to remember when exposures on one piece of film into quite complex
using this technique. Firstly, you must reduce each compositions by using a black background and light-
exposure so that the combined exposures equal the ing the subject so that very selective areas are
one you have calculated, as the result will be over- illuminated. A strobe effect can be created by rim
exposed if you give the full exposure to each. lighting your model and making a number of expo-
Secondly, you must frame each image so that the light sures, allowing her to move into a slightly different
areas of one picture are juxtaposed against the darker position between each one.

This effect was produced by This studio portrait (right)

using two projectors to was made by double-
project two Slides, one ofa exposing the image of the
nude torso, one ofa girl against a black
seascape, on to a white card background on to an image
and re-photographing the ofa textured reed mat. The
result (above). exposure of the girl was
reduced by halfa stop from
that calculated and the
exposure of the mat reduced
by one and a half stops so
that the girl became the
dominant feature.
Pentax 6 X 7 with 150 mm
lens; studio flash;
Ektachrome 64.

116
CREATIVE CAMERA TECHNI
CREATIVE CAMERA TECHNIQUES

Projectors
A conventional slide projector can be used in a jected slide allowed to spill over and cover the entire
variety of ways to combine two or more images and so area of the picture.
produce unusual effects. The most basic use is to It can also be very effective to combine conven-
project a slide on to the model so that it acts as tional lighting techniques with a slide projected on
illumination and also creates an additional image. At the model. Care should be taken that only selective
its simplest, the model acts as a screen for the second areas of the model are illuminated as the projected
image so that only her shape will appear as a image will only record in the unlit areas. A snoot or
dominant element in the image. However, if the slide barn doors fitted to the lights will help prevent stray
you select has some light areas with little detail it can light being scattered which would weaken the effect.
be projected in such a way that parts of the model, for You can, of course, reverse the process and project
example her face, will appear as a relatively unob- a Slide of the model on to an object or a textured
scured image, and if the projector is aimed from a surface. With two projectors it is possible to combine
point to one side of the camera position it will cast two slides by projecting them both on to a smooth
shadows within the model’s body which will add white surface and taking a photograph of the combina-
another element to the composition. tion. This gives a result similar to a double exposure
To gain the full effect of the projected transparency with the added advantage that the effect can be
it is necessary to set the shot up in a darkened room, judged before the exposure is made. The result can
and of course when shooting in colour it is important also be controlled by shading areas of one or both
to use tungsten light film to record the colour quality images by interposing pieces of black card between
of the projected slide accurately. The background of the projectors and the screen, which allows two
the picture can either be black or the model can be images to be blended together in an imperceptible
positioned against a white background and the pro- and very convincing way.

This picture (right) was

made by projecting a slide of
a physiogram on to the
model’s body. Back lighting
from two lights fitted with
snoot attachments
positioned behind and
slightly to the side of the
model has illuminated her
outline without obliterating
the light pattern on the front
of her body.
Rollei SLX with 150 mm
lens; 1/4 at f5.6;
Ektachrome 160 tungsten
film.

118
 CREATIVE CAMERA TECHNIQUES

Here (right), a slide was With the model standing

projected from the right of against a white background
the camera position, with the paper, this slide was
model positioned against a projected from close to the
plain white background camera-position, but turned
paper. The shadow cast by on its side to create the
the projector on to the paper impression that the model is
has added emphasis to the in a reclining position
outline of her body. (above).
Rollei SLX with 150 mm Rollei SLX with 150 mm
lens; 1/15 at f5.6; lens; 1/4 at f8; Ektachrome
Ektachrome 160 tungsten 160 tungsten film.
film.

119
 ON LOCATION.
Although many successful pictures are taken factors and shows examples of the type of pic- —
as a result of an unplanned or unexpected AYO Me temo MOCred Ma mre a mee
moment, in the field of nude and glamour worktechniques and settings and also suggests ways
in particular it is neither sensible nor economi-
in which the very most can be extracted from a
cal to rely on such quirks of fate, and the success
-session lasting a few hours or merely a day. It is
also vital to be aware that the best pictures of
rate of a session will depend very largely on the
care and thought which both the photographer this type invariably result when both the model
and the photographer are equally enthusiastic
_and the model devote to the planning of a shoot.
While in the studio it is possible to controland in harmony with a location; the selection of
a suitable setting should take this into consider-
virtually every aspect of a picture the same is not
true of a location session and it becomes even
ation as much as the purely visual aspects of a
location. A model must feel happy and relaxed
more crucial to eliminate as many of the poten-
in order to create a convincing mood ina picture |
tial hazards as possible and also to be aware of
and her comfort and convenience are very
all the possibilities that a particular location
may offer. important in the selection of a location and the
The following section examines both these planning of a session.
ON LOCATION

Controlling the background

Inexperienced photographers often do not give much
thought to the background area of their pictures and
think of it as a rather negative element that just
happens to be there. A successful photograph,
however, is likely to be as much a result of a well-
chosen or considered background as of other aspects
of the composition, whether its role is simply to
provide a good contrast to the model, to help create a
mood or atmosphere, or to contribute to the compo-
sition of the image by introducing additional interest.
It is vital to be aware of the role you require the
background to play before you can begin to set up
your shot. A contrasting background, for example,
can be created by choosing a viewpoint or placing
your model so that the right tones or colours are
produced behind her. Areas of shadow could provide
a rich contrast to a picture of a girl wearing light-
toned clothes, or a brightly lit area could create an
effective foil to a close-up of a dark-haired portrait or
of a dark-skinned nude.
Shooting from a low viewpoint can often help you
to make use of the sky as a background tone as can
shooting from a higher viewpoint with sand or water
as a plain contrasting background tone for your
model. Differential focus is another way of creating a
bold relief and increasing impact by focusing on the
model and ensuring that the background is thrown
well out of focus. This can be achieved by making sure
that there is adequate distance between the model
and the nearest background details and by using a
fairly wide aperture. The use ofa long-focus lens— 105
or 135 mm—ona35 mm camera will further enhance
this effect.
Lighting can be used to create a degree of separa-
tion between model and background. Back lighting,
for example, can produce a rim of light around the
hair or body, adding considerable impact to the
picture, but you must remember to compensate for
exposure readings in these circumstances as exposure
meters will indicate less exposure than is required. In
outdoor shots you must be careful to avoid the effects
of flare which can result from sunlight falling on to the
unshielded lens.
The choice of alow
The value of a particular location depends very
viewpoint has meant that the
much on the scope and variety of the backgrounds it sky can be used as both an
can provide, and when you are choosing a venue for a uncluttered and contrasting
session or when you arrive at an unknown spot you background to this picture,
should always evaluate it in terms of its suitability and emphasizing both the shape
usefulness for your purpose. and colour of the model and
the fabric (above).
Rollei SLX with 150 mm
lens; 1/250 at f5.6;
Ektachrome 64; polarizing
filter.

Here (right), a potentially In this picture (right), the

fussy and intrusive background itself is the main
background has been element of the composition
subdued by using a long- and the model is given
focus lens and a wide emphasis by positioning her
aperture to limit the depth of at the balancing point of the
field. image.
Rollei SLX with 150 mm Rollei SLX with 150 mm
lens; 1/250 at f4; lens; 1/125 at f5.6;
Ektachrome 64. Ektachrome 64.
122
ON LOCATION
ON LOCATION

Using the foreground

Although a background is usually an unavoidable nant aspect of the picture if you make her smaller and
element in a picture a foreground is not, and in fact a allow the foreground details to lead the eye towards
large number of photographs do not have any fore- her; sometimes moving further back and allowing
ground and the model is the closest part of the scene more into the frame can create additional impact, just
to the camera. A foreground can, however, on occa- as on other occasions it is better to move in closer and
sions be a very useful addition ina picture: it can help frame more tightly. You will find that even a small
to create a greater impression of depth by empha- change of viewpoint will produce a significant change
sizing the three-dimensional effect, it can enhance the in the composition of an image when you introduce a
atmosphere or the mood, or it can provide a powerful foreground element and it is important to be aware all
extra ingredient in the composition of the image. the time of the changing balance and emphasis in
When you are choosing a viewpoint for your these circumstances. Sometimes a foreground detail
camera or a position for your model you should can be used to conceal an unwanted or distracting
develop the habit of visualizing how the picture might object in the background: the overhanging branch of
be improved by introducing the elements of the scene a tree might be used to mask a blank sky.
between the camera and the model. There are many A sense of mystery can be created by shooting
ways in which a foreground can be used effectively in through foreground details and allowing parts of the The foreground arch of rock
in this picture (below) has
a composition — out-of-focus leaves or flowers, for subject to be concealed. Alternatively, it is possible formed a natural frame to
example, could form a misty frame around a head to produce a quite soft and flattering effect by inter- concentrate attention on the
shot, or a sharply focused foreground of rippled sand posing very out-of-focus details between the camera model.
or a rock formation could be used to emphasize the and the model, shooting through grass for example. Rollei SLX with 150 mm
smooth contours of a nude picture. With this effect it is often best to use a long-focus lens lens; 1/250 at f4;
The model can quite often become a more domi- with a fairly wide aperture to limit the depth of field. Ektachrome 64.
 ON LOCATION

es | The out-of-focus
foreground of grasses has
helped to emphasize the
sharply focused image of the
model (left). The shallow
| depth of field is achieved by
the use of a wide aperture
| and along-focus lens.
| Pentax 6 X 7 with 200 mm
© lens; 1/250 at f4;
Ektachrome 64.

The white flowers and green

foliage lead the eye towards
the model whose red dress
contrasts boldly against both
foreground and background
(right).
Rollei SLX with 80 mm lens;
1/250 at f5.6;
Ektachrome 64.

125
ON LOCATION:

Composing the image

Good composition is vital to the success of a picture as
without it the loveliest model, the ideal location, and
the most perfect lighting conditions will-at best
produce nothing more than a snapshot. Composition
is simply a pleasing and balanced arrangement of all
the elements of the image into a single unified whole.
These elements are the raw materials of the photo-
grapher’s craft — shapes, textures, patterns, light and
shade, colour, all or some of them exist in every
subject and it is the task of identifying them,
combining them, and creating emphasis where it is
needed that is the essence of good photography.
In most pictures there will be a dominant element
to which the eye is most strongly drawn and to which
the other elements are subordinate. In nude and
glamour pictures this will usually be the model or an
aspect of the model’s appearance, her expression, for
example, or the line of her body. It is very important
that you identify this main point of interest and see
where within the frame it will be most effective before
you can decide how the other elements of the picture
can be used to emphasize or complement it.
It is quite common to place the main subject at a
point where a line drawn fromathird of the way along
the base or top of the picture intersects with a line
drawn a third of the way along the side. Although
rules can be restricting if followed blindly, there are
many successful pictures which adhere to this parti-
cular rule and, indeed, the division of the image in
this way does create pleasing and balanced propor-
tions. A centrally placed subject can result in a rather
static and symmetrical composition although even
this can create an effective picture when done in a
considered way. You must also remember that
although your photograph exists only in two planes,
your subject is three dimensional, and you must
consider how the foreground, middle distance, and
background relate to each other and how the ele-
ments of depth and perspective can be used to assist in
the composition of your picture.
The most important aspect of composition is
awareness; you must be aware not only of the
elements of your picture but also of the effect they
create and how they can be either emphasized or
subdued in order to produce the most powerful
image. There is very rarely only one solution to the
composition of a particular scene and one of the most
effective ways of learning the technique of successful
composition is to explore all the possibilities. In this
way you will also more readily discover what you find
most effective and satisfying, which is a vital step
towards establishing a personal style and approach.

This picture (above right)

uses the well-tried formula
for composition in which the
subject is positioned at the
intersection of thirds and is
boldly contrasted against the
background.
Rollei SLX with 250 mm
lens; 1/250 at f5.6;
Ektachrome 64; polarizing
filter.

126
 ONLOCATION

Sd

In this picture (left), the A frame within a frame is

model and the background always an effective means of
almost merge and the concentrating attention on
interest is created by tight the subject. In this picture
framing and the use of (above), the use ofa dark
strong shadows and bright background behind the
highlights to produce model gives added
emphasis. emphasis.
Rollei SLX with 150 mm Rollei SLX with 150 mm
lens; 1/250 at f5.6;
lens; 1/250 at f8;
Ektachrome 64. Ektachrome 64.

127
ON LOCATION _

Beach and seaside

The beach and seaside must be the single most
popular outside location for nude and glamour
photography. There are several reasons for this, the
most obvious being that it provides a natural environ-
ment in which a model can be completely or almost
completely nude and so avoids the danger of an inap-
propriate setting which can make a picture look a
little silly. Another reason is that the seaside can
create both a relaxed and a lively atmosphere,
qualities which can contribute a valuable ingredient
to this type of picture. Beach locations also usually
provide a good selection of photogenic props which
can be used in pictures, such as fishing boats or
driftwood. The lighting too can be ideal since even on
a bright sunny day the highly reflective quality of the
sand and water will help to prevent the creation of
harsh shadows.
Despite these advantages there are problems that
can be encountered on such locations. One is the
comfort and convenience of the model, especially on
a full-day session, and it is vital that there is
somewhere she can retire to at suitable intervals to
repair the damage caused by sand and water and to
renew her make-up or adjust her hair. It is worth
contacting a nearby hotel in advance and arranging
for her to use their facilities. If you are shooting ona
really deserted beach it is a good idea to take along
plenty of clean towels and a couple of large plastic
cans of fresh water, as nothing is more frustrating
than to find the ideal spot and to have everything
going well, and then having to stop early because the
model is unable to tidy up. No matter what the
temptations it is best to leave pictures of the model
runing in the sea or rolling in the sand until the end of
the day.
You should also be careful to protect your equip-
ment as both sand and seawater can damage delicate
mechanisms. Cameras and lenses can be kept in small
polythene bags when they are not being used.
Remember to remove all traces of sand from your
equipment with a blower brush as soon as you leave
the beach.
Ultra-violet light which is often present at the
seaside can cause technical problems. Although it is
invisible it can create a blue cast when shooting colour
film. This can be corrected by using a UV filter but it
will generally be more effective if you use a stronger
filter such as a Wratten 81A;; this will add warmth to
the skin tones as well as eliminating the effects of the
ultra-violet light. You will also find that a polarizing
filter is a useful accessory to have since by reducing
some of the light which is reflected from the sea and
sand it will help to produce pictures with greater
clarity and depth of colour.
The camera’s ability to The model was simply
capture texture and form is washing the sand from her
exploited in this image hair and body, and the result
(above right). is a pleasing picture (far
RolleiSLX with80mmlens; _ right).
1/125 at f8; Ektachrome 64. Rollei SLX with 150 mm
lens; 1/250 at f8;
A boathas addedacolourful _ Ektachrome 64.
element, helping to create a
relaxed composition (right).
Rollei SLX with 150 mm
lens; 1/125 at f8;
Ektachrome 64.
128
ON LOCATION
 ON LOCATION

Landscape
Landscape is one of the most challenging fields of the seasons, and the weather are also elements that
photography and offers a rich variety of possibilities can contribute a great deal to the impact of an
to the observant photographer. A feeling for land- evocative photograph. The landscape can play a quite
scape can be of particular benefit to the photographer dominant role in a picture and can even perhaps form
involved in nude and glamour work, not only because a composition in itself with the model an element
the landscape setting itself can be used very effec- within it. It is in some ways surprising that even a
tively but also because there is a close affinity small human figure placed within a wide landscape
between landscape and the nude — the relationship will still attract the eye, a fact that can be used most
between the light and the contours of the body and effectively in composition. In this type of image it is
the landscape is very similar and the importance of often easier to compose the landscape element, but at
form and texture common to both. the same time keep a picture of the model in your
The moods that are created by the changing light, mind so that you will be able to identify the most

A distant viewpoint and a This tightly cropped picture A different contrast of

long-focus lens have enabled (top) has emphasized the textures has been created by
a natural archway of trees to textural and tonal contrast the strongly lit light-toned
create a frame around the between the model’s smooth rock and the model’s brown
model (above). The shallow white skin and the gnarled skin (above).
depth of field has prevented tree stumps. Rollei SLX with 50 mm lens;
the background from Rollei SLX with 50 mm lens; 1/250 at f8; FP4.
becoming too obtrusive. 1/125 at f8; FP4.
Rollei SLX with 250 mm
lens; 1/250 at f5.6; FP4.
130
 ON LOCATION

effective position in which to place her within the dramatic sky, and you should become aware of the
composition. possibilities that this offers for both contrasting and
Many people think of landscape in terms of sweep- complementary effects. In many ways nude and
ing vistas but in fact there are many opportunities to glamour work is ideally suited to black and white
create dramatic and exciting images on a smaller scale photography since elements such as form, texture,
by using an outcrop of rocks or a lone silhouetted and pattern can be enhanced in monochrome and the The contrast in both shape
and texture between the
tree, for example, and in many cases the most element of colour can often introduce a prettifying
model’s body and the rock
effective landscape photographs are not the breath- and distracting quality. Creating this type of image formation has been
taking views. can be an ideal way for the photographer to learn how emphasized by tight framing
One of the most powerful aspects of this type of to identify the essential elements of a picture and by and back lighting (below).
picture is the juxtaposition of shapes and textures, say experimentation to discover more about the art of Rollei SLX with 250 mm
of skin against stone or a silhouetted figure against a successful composition. lens; 1/125 at 5.6; FP4.
ON LOCATION

Water
The inclusion of water in a photograph invariably Moving water can create a considerable degree of Sun-tanned skin, oil, and
provides an important additional element. Its effect is excitement in a picture, and a fast-flowing river, a water have combined
not limited to the purely visual, however, and in nude waterfall, or even the ebb and flow of waves on a effectively to convey a very
and glamour photography especially it can be used beach can be used to create powerful images. The tactile quality (right). The
use of mostly reflected light
very effectively to increase the sensual and tactile choice of shutter speed can have a dramatic effect on
has emphasized the sheen on
quality of a picture. the appearance of moving water, a fast shutter speed the skin without creating
The appearance of water is dependent on the such as 1/500 sec, for example, will freeze the harsh shadows.
lighting conditions and the weather since its surface movement of the water, revealing individual droplets Rollei SLX with 150mm
creates a variety of tones and colours as a result of the and creating a sharply defined image, whereas a slow lens; 1/125 at f8;
reflections from the sky and surrounding details. A shutter speed of, say, 1/8 sec or longer will record the Ektachrome 64.
calm sea on a sunny day can, for instance, produce a water as a smooth, smoke-like flow of tones. If the
smooth, even colour and tone whereas a rippled camera is mounted ona tripod and the model remains
surface caused by breeze or tide will create much quite still, even longer exposures of, say, a second or
stronger tonal variations. An expanse of water such as so can create quite strange ethereal effects.
a lake or the sea can be used to very good effect It is important to be careful when assessing expo-
simply as an uncluttered background to a picture; a sures where water is present since its highly reflective
blue sea would create a bold tonal contrast for a qualities can suggest less exposure than is really
model wearing a red or yellow bikini, for example. needed, particularly in bright sunlight, and it is best to
More importantly, however, water can help con- take a close-up reading from the model.
siderably in creating mood and atmosphere; the A polarizing filter can be a helpful accessory when
smooth water of a peaceful lake could provide the photographing water as it can be used to control
right setting for a romantic, soft focus picture of a reflections and colour quality — blue sea on a sunny
pensive girl, whereas a back-lit, sparkling seascape day, for example, can be made to appear a much
could add excitement to a lively action shot of a stronger colour and more translucent if a polarizing
bikini-clad model. filter is used.

A fast shutter speed and With the camera mounted on

back lighting have created a a tripod, aslow shutter speed
picture in which the droplets has been used to create the
of water have been frozen smoke-like effect from the
and sharply recorded surf surrounding the model
(above). (right).
Nikon F3 with 105 mm lens; Rollei SLX with 150 mm
1/1000 at f4; lens; 1/2 at f32; Ektachrome
Ektachrome 64. 64; polarizing filter.

132
ON LOCATION
ON LOCATION

Using buildings

The window-frame ofa

derelict building forms an
effective compositional
feature in this picture and
has added a mysterious
element (right).
Rollei SLX with 80 mm lens;
1/60 at f5.6; FPA.
The majority of outdoor locations which are used in building materials can also be used to enhance the
nude and glamour photography are natural environ- visual quality of an image and to create an element of
ments such as woodland and seaside, but man-made contrast: a white stucco wall and a dark, weathered
settings can also often contribute significantly to both wooden door could quite conceivably be found to-
the atmosphere and quality of a picture, and the gether, and if used individually would create pictures
selection of a location which includes some architec- with an entirely different quality. In addition to the
tural features such as a cottage or even a ruin will add textural quality of man-made settings the regular geo-
variety to the scope of your pictures. In some in- metric shapes and patterns can provide an effective
stances the building itself can be used asa pictorial and different range of compositional elements.
element and in other cases it can simply provide a With many nude and glamour pictures often only a
variety of details such as walls, windows, or doorways small area of background is required and what might
which can help to create additional interest. at first glance seem to be an unattractive, dull
With colour photographs the decor of a building structure might well on closer investigation reveal
can provide a useful range of colours to those found in interesting nooks and crannies. Lighting can also be
a natural setting — brightly painted walls and doors, influenced by a building: the white-painted walls of
for example, can add considerable impact to a Mediterranean houses, for instance, can be an ideal
picture, and a red brick wall could form a contrasting reflector for the harsh sunlight as well as providing
background to a model wearing blue or green clothes open shade for a softer light. Doorways can be an
which would be virtually impossible to find in nature. effective setting for a model as the lack of top lighting
In black and white photography the textures of produces a flattering frontal lighting effect.
134
 ON LOCATION

The proportions of the

archway have formed a
pleasing frame for this
elegant composition (above
left). The light-toned wall
has provided a contrasting
background.
Rollei SLX with 150 mm
lens; 1/250 at f8; FP4.

A peeling whitewashed wall

has created a subtly detailed
background for this quiet
study (above).
Rollei SLX with 150 mm
lens; 1/125 at f5.6; FP4.

Unlike a natural setting, a

building can be used to
introduce a more geometric
quality to the composition of
a picture. The interior ofa
building can provide an
effective black background,
as here (left).
Peete Rollei SLX with 150 mm
lens; 1/125 at f8; FP4.

T Se
ON LOCATION

Choosing a viewpoint
There are many ways in which a photographer can close to the model a distant background will create an
influence and control the visual quality of his pictures image with more feeling of depth than when the same
but the most basic and important lies in the choice of scene is photographed at a greater distance from the
the camera viewpoint. It is probably true to say that model. These effects are further emphasized by using
the majority of nude and glamour pictures are taken a long-focus lens when shooting from a far viewpoint
with the camera placed at between 6 and 16 ft (2 and and a wide-angle lens when shooting from a position
5 m) from the model and at somewhere near shoulder close to the model.
height, and the effect of moving the camera away Both high and low camera positions can be used to
from these limits will invariably add impact to a add considerable impact to a picture, partly of course
picture. because they present an unfamiliar aspect of the sub-
Viewpoint controls perspective and this in turn ject but also because such viewpoints will often
affects the relationship between the model and the enable the photographer to take a different approach
background and also the composition of the elements to the composition of the image. A high-viewpoint
within the picture. A more distant viewpoint shot of a girl lying on a beach, for example, will have
emphasizes the scale of the objects in an image; a an entirely different aspect from that of one taken
model photographed with a distant tree in the from a normal height, and a shot of the same situation
background, for example, will appear much smaller from ground level will be quite different again. In
in relation to the tree when photographed from a many cases the appearance of a picture can be
further viewpoint, and when the camera is moved considerably altered if the photographer simply
closer to her the tree will become progressively stands on a chair or camera case to take the shot. A
smaller in relation to her. The feeling of depth will wide-angle lens will add further emphasis to the effect
also be affected by the viewpoint; with the camera of high and low viewpoints.

These two pictures (above used the sea and sky as a

and right) show the effect of background; the other
shooting from both a high picture has emphasized her
and a low viewpoint, with torso and has used the sand
the same model and the same as a contrasting tone.
situation.T he picture on the Nikon F3 with 50 mm lens;
right has focused attention 1/250 at f5.6;
on the model’s legs and has Ektachrome 64.

136
 __ ON LOCATION

Here, a close viewpoint, A distant viewpoint,

combined with a wide-angle combined with the use of a
lens, has enabled a wide long-focus lens, has created
expanse of background to be an image in which the scale
included in the picture of the background in
(right). relation to the model has
Rollei SLX with 50 mm lens; been emphasized (above)
1/125 at f5.6; Rollei SLX with 250 mm
Ektachrome 64. lens; 1/250 at f5.6;
Ektachrome 64; polarizing
filter.
ON LOCATION |

Shooting in sunlight
A bright, sunny day is in many ways a mixed blessing
for a nude and glamour session. The atmosphere and
the working conditions are of course likely to be more
pleasant, but at the same time the harsh quality of
strong sunlight can create problems for the unwary
photographer and considerable care is needed to
avoid contrasty and unflattering pictures.
On a day when there is a clear blue sky the light
from the sun is rather like that from a studio spotlight;
it casts deep shadows with a sharply defined edge,
produces strong highlights, and emphasizes skin tex-
ture, qualities which, when combined, can give very
unpleasant effects. In such conditions the angle and
direction of the lighting are critical as even a slight
change will make a significant difference.
The brightness range produced by undiffused sun-
light is very likely to be more than the film can tole-
rate, which will result in highlights being bleached out
and shadows recorded with no detail. It is therefore
important to choose a camera position and to arrange
your model in such a way that the image is either of
predominantly shadow or highlight tones and to
calculate the exposure accordingly. This will mean in
fact that you will sacrifice the detail in a small area in
order to obtain good graduation in the major part of
the picture.
The time of day will of course also have a consi-
derable effect on the nature of these shadows and the
brightness range; at midday, for example, the shadows
will be very dense but they will also be at their
smallest and can be easier to control by changing the
angle of model and camera. Early or late in the day
when the shadows are at their longest they are also
likely to be less dense since the sun usually loses some
of its harshness as it approaches the horizon. In the
main it is necessary to plan the types of picture and
camera angle according to the position of the sun in
the sky during the course of a day’s shoot.
The high degree of reflection
from the light surroundings
has prevented the shadows
becoming too dense (above).
Rollei SLX with 150 mm
lens; 1/250 at f8; FP4.

With the main subject largely

in shadow, the correct
exposure has ensured
adequate detail and tone (far
left).
Rollei SLX with 150 mm
lens; 1/250 at f5.6; FP4.

Overhead sunlight has

produced small, dense
shadows, making a bold
composition (left).
RolleiSLX with 50 mm lens;
1/250 at f8; FP4.

The low, slanting angle of

late-afternoon sunlight has
created long shadows and
emphasized the textural
quality of this image (right).
Rollei SLX with 150 mm
lens; 1/250 at f8; FP4.
ON LOCATION

Using soft daylight

Open shade on a sunny day The quality of daylight can vary enormously, and the It is important to take care that the lighting from an
was found in this shot way in which the atmosphere diffuses the light from overcast sky does not create an excessively ‘top’ light,
(above) by positioning the the sun is the major factor that controls it. Even ona since although the light is soft it can produce deep
model under a tree, which
sunny day the effect of the lighting will be signifi- shadows under the model’s eyes and chin. This can be
also prevents excessive top
lighting. A soft focus
cantly influenced by the amount of cloud in the sky: a avoided either by angling the model’s head or by
attachment has added to the deep blue sky, for instance, will produce a much using natural shade to eliminate some of the light
effect of the picture. harder light than when there are a large number of from the sky immediately above the model, just
Pentax 6X 7 with 150 mm white clouds. Even a small amount of haze in the under the boughs of a tree, for example, or in a
lens; 1/125 at f5.6; atmosphere will considerably reduce the density of doorway or arch to produce a very pleasing frontal
Ektachrome 64. the shadows and soften their edges. light effect. With fairly close shots it is possible to
The ideal lighting conditions for nude and glamour achieve this effect by supporting a large piece of card
photography, in a purely technical sense, are pro- just above the model’s head out of shot. Even on a
bably created when the sky is covered with a thin film bright, sunny day with a blue sky it is still easy enough
of cloud or haze but the sun is still a bright source. The to find a soft light simply by positioning your model in
light will be directional enough to produce good an area of open shade, that cast by a building or a
modelling but not so harsh to emphasize skin texture tree, for example; remember, though, that there will
and give excessive contrast. Even a dull day can give a still be the risk of excessive top light.
soft light and when the subject contains bold colours Soft light not only produces a pleasing effect, it
this can be preferable to a sunny day as a brightly often also creates a more suitable mood in some
coloured scene is enhanced more by lighting which pictures for which a subdued tonal range may be more
does not produce strong highlights and shadows. appropriate than that produced by bright sunlight.
140
 ON LOCATION

Hazy sunlight has created a

soft and almost shadowless
light for this portrait, but still
gives quite bright highlights.
These are almost ideal
conditions for this type of
picture (left).
Rollei SLX with 150 mm
lens; 1/125 at f8;
Ektachrome 64.

Although taken on a bright,

sunny day, the shade of an
open doorway has produced
a soft, flattering frontal
lighting for this picture
(right).
Rollei SLX with 150 mm
lens; 1/125 at f5.6;
Ektachrome 64.

14]
ON LOCATION

Shooting against the light

Shooting almost directly into One way of producing pictures with a different and be contrasted. When shooting at seaside locations,
the light and calculating the sometimes more dramatic quality is by shooting for example, back lighting can create highlight
exposure for the highlight towards the sun so that it is behind your model. As sparkles on the water.
tones has produced a near most pictures are taken with the sun somewhere One possible problem of shooting against the light
silhouette, which
behind or to one side of the camera, photographs is an increase in the contrast or brightness range of the
emphasizes the outline of the
model’s body (above). taken against the light tend to be eye-catching if only image since this type of lighting will create strong
Rollei SLX with 150 mm because they are less familiar. highlights on the outline of the model’s head and
lens; 1/250 at f8; FP4. This technique does have some more positive body but she herself will be in shadow. Normally it is
advantages. It can help to overcome some of the less best to calculate the exposure for these shadow areas
pleasing aspects of shooting in sunlight by producing and simply allow the small areas of highlight to
a softer and more flattering light on the model’s face, become over-exposed. Be sure to take close-up
for example, and it avoids the risk of ugly facial exposure readings as otherwise the meter will be
expressions such as frowning or squinting that can be influenced by the highlights and the picture will be
caused when the model 1s looking into the sun. It can under-exposed. Another possibility is to expose for
be used to isolate the model from the background and the brighter tones and to allow the other parts of the
to subdue details, either by providing a shadow tone model to record as a semi-silhouette. This can be very
from a part of the background scene or by creating a effective if you want to emphasize skin texture, say
brightly lit high-key area against which the model can when photographing a sun-tanned nude ona beach.
142
 ON LOCATION

In this picture (above), Here, shooting against the

shooting towards the light light and exposing for
has emphasized both the shadow details has resulted
texture and contours of the in an almost white
model's body. The exposure background, providing a
is calculated for the brightly bold contrast for the model
lit areas and allows the (above).
shadows to go black. Rollei SLX with 150 mm
Rollei SLX with 150 mm lens; 1/250 at f5.6; FP4.
lens; 1/250 at f8; FP4.
Shooting into the sun ¢an also produce flare, a
scattering of light within the lens as a result of the
sunlight shining directly on to it, creating a flat, light-
toned picture with weak colours. If the sun is outside
the picture area it is possible to avoid this flare effect
by the use of an efficient lens hood or by shielding the
lens with your hand or with a piece of card. Another
useful way to prevent this is to place the camera in an
area of natural shade, under a tree for example. If the
sun is within the picture area the only solution is to
obscure the sun behind a part of the subject, the
A small degree of flare,
model herself for instance. resulting from the sun
The effect of flare may sometimes actually con- shining on to the camera
tribute to the mood of a picture as it can create very lens, has produced a
soft images with pastel colours. However, it is difficult pleasingly soft, high-key
to judge and control this effect without the help of an quality in this picture (left).
SLR camera which allows you to view the image Rollei SLX with 150 mm
through the lens itself. lens; 1/250 at f5.6; FP4.
143
ON LOCATION

Flash and dayl I9 i pd

 ON LOCATION

In addition to the use of reflectors, electronic flash These three pictures (left)
equipment is another means of controlling the light- show the effect of using flash
ing quality in daylight locations. As electronic flash to balance the lighting
matches daylight in colour quality the two sources can contrast when shooting
against the light. The picture
be mixed without creating a colour cast. In its in the centre shows the effect
simplest form it can be used in place of a reflector to produced without using the
fill in the shadows created by sunlight, which can be flash, and the picture above
particularly useful when shooting into the sun, for shows the artificial’result
example, as it makes it possible to balance the illumi- 4 when the flash exposure is
nation on the model’s face so that the highlight areas too great. The third picture
are not over-exposed and bleached out. It is impor- (below) has a nicely
tant that the flash fill-in should not be too strong or a balanced ratio between the
flash and the daylight; the
flat artificial quality will result.
flash exposure was given 1'/2
The way to calculate the correct balance is to take a stops less than the ‘correct’
light reading and establish the exposure required for exposure.
the background and the lighter parts of the subject; Rollei SLX with 150 mm
let us assume that this is 1/60 at f8. Then, using the lens; (top) 1/500 at f4;
guide number of the flash-gun and the distance from (centre) 1/125 at fS, without
the subject, calculate what aperture will be required flash; (below) 1/125 at
to give a correct flash exposure; this might also be f8. f5.6/8; FP4.
However, to avoid ‘over filling’ it is preferable to
under-expose the flash by one stop, so you should set
your aperture to fll, and then reset your shutter
speed to 1/30 sec to retain the correct background
exposure.
With most nude and glamour subjects a small
battery-powered flash-gun provides quite adequate
fill-in, but if a larger area needs to be lit there are the
more powerful studio units; you will be able to hire a
portable generator from a professional dealer.
It is also possible to create the effect of sunlight ona
dull day by reversing the balance of the lighting so
that the exposure is correct for the flash and about
one stop under-exposed for the daylight; in this way
the flash will appear as the sunlight and the daylight
will act as the fill-in. The flash should be positioned so
that the shadows it casts will be at the right angle to
simulate sunlight.
Flash can also be effective in sunset or dusk shots,
as the exposure required to produce a rich tone in the
sky will not be sufficient for the model and will result
in a silhouette, and a flash fill-in will provide the
necessary illumination to balance the lighting.
Special effects can be created in colour by using
colour filters over the camera lens and/or the flash to
produce quite surreal images. If, for example, a red
filter is used on the camera lens and acyan filter of the
same strength fitted to the flash, the result will be a
picture with a red background but with the model
recorded normally. This is because the cyan-tinted
light from the flash will correct the red bias in the
model but will not affect the more distant background
details.

The moonlight effect of this Additional impact has been

picture, taken in normal produced by placing a
daylight, was created by mauve filter over the camera
using flash to illuminate the lens which has created a
model in the foreground colour cast on the
with the aperture set to give background, with a
the correct flash exposure, yellowish filter over the flash
but the daylight exposure to bring the foreground
under-exposed by two steps colour back to normal (left).
by selecting a faster shutter Rollei SLX with 50 mm lens;
speed than that indicated by 1/500 at f11; Ektachrome
the exposure meter. 64; Vivitar 283 flash.
ON LOCATION

Daylight and colour

The colour quality of a light source can be determined quality is important, unless a dramatic effect is In this picture (right), the
by measuring the colour temperature. Most daylight specifically required. cool, bluish quality of an
colour films are manufactured to give a correct Daylight can also have a higher colour temperature overcast day has been
balance at a colour temperature of 5500° Kelvin; this than noon sunlight, which will produce a bluish, or further emphasized by the
use ofa bluish filter to
is equal to that produced by noon sunlight and most cold, cast on the film. This is caused by a variety of
accentuate the mood.
electronic flash tubes. conditions — dull, overcast skies, for example. In high Rollei SLX with 250 mm
Even a slight change in the colour temperature will altitudes and near the sea the amount of ultra-violet lens; 1/125 at f8;
cause a shift in the balance of the subject; skin tones light can be significantly high, and although it is not Ektachrome 64; Wratten
in particular are sensitive to even a small variation visible it will be recorded by the blue-sensitive layer of 52B filter.
in colour quality. Although the eye is usually unable the colour film. A blue cast is also quite common ¢

to detect any change, the film will record it quite when pictures are taken in open shade on a sunny
faithfully. day. This is because the main source of light is the
In daylight the colour temperature decreases as the blue sky and the bias this creates will show itself quite
sun drops in the sky; by late afternoon the light will distinctly, particularly on skin tones.
produce a quite pronounced orange, or warm, cast. As a general rule, a slight warm cast looks quite
This can bring a pleasing mellowness to a picture, for pleasing but a blue bias will be unpleasant, so that
instance to enhance the quality of sun-tanned skin ina when you are shooting under conditions which might
bikini shot on the beach. For this reason professional produce this effect it is wise to use a ‘warm?’ filter such
photographers often leave such pictures for later in as a Wratten 81A or 81B to counteract it. Where
the day as this type of light also tends to emphasize mood is particularly important, consider whether the
blue sea and sky. Close to sunset, however, the light colour quality of the light is in fact contributing to it,
can have a very pronounced orange cast, and this time in which case you may wish to use a filter of the same
of day should be avoided for pictures where skin colour as the cast to create more emphasis.

The late-afternoon sunlight Taken in open shade ona

has added a degree of sunny day, this picture
warmth to this picture (right) has a much cooler
(above), emphasizing the appearance than the picture
tanned skin of the model and on the left. The use ofa
the background tone of the Wratten 81B filter has
rock. prevented an unpleasant
Rollei SLX with 150 mm blue cast.
lens; 1/250 at f8; Rollei SLX with 150 mm
Ektachrome 64. lens; 1/125 at f5.6;
Ektachrome 64; Wratten
5/B filter.

146
O Z =IO O < O Zz
mo
ON LOCATION

Reflectors
Although the quality of daylight can be controlled to
a large extent by careful choice of camera viewpoint
and the position of the model, in nude and glamour
photography where the lighting effects are particularly
crucial to the success of the picture, you can in many
cases achieve an even greater degree of control by the
use of reflectors and diffusers. While this may not be
convenient on a casual shoot, if you have planned,
say, a day’s session on location, it could be well worth
taking a reflector or two along with you.
The simplest device is a large piece of white card or
foam polystyrene which can be placed close to the
model on the shadow side. This will reflect back the
light from the main source, the sun or the sky, into the
shadow areas and reduce the brightness range of the
image. You can vary its effect by placing it closer to or
further away from the model.
With a fairly close-up shot even a very small
reflector can make a significant difference. With head
shots, for example, a piece of card or even a white
handkerchief held on the model’s lap can consider-
ably improve the effect of a shot taken with top
lighting as it will help to fill in the shadows under the
model’s eyes and chin. With a longer shot such as a
full-length figure, a much larger reflector will be
needed as it will have to be moved far enough from
the model to avoid intruding on the picture area;
3 X 6 ft (1 x 2 m) would be an ideal size.
It is possible to buy fabric reflectors which are
supported on a collapsible metal frame; they are
easily portable as they are no larger than a tripod
when dismantled. Several finishes including silver
and gold metallic are available — the gold version can
be useful for giving added warmth to skin tones. This
type of reflector has a stronger effect but is more
directional so the angle should be adjusted carefully.
A translucent fabric used on the same frame will act
as a diffuser between the sunlight and the model. An
opaque black version will shield the model from
excessive top lighting and prevent the formation of
shadows under the eyes, nose, and chin.

In this back-lit picture

(right), the lid of an
aluminium camera case was
placed just in front of the
model to reflect light back
into the shadows on her face.
Rollei SLX with 150 mm
lens; 1/125 at f5.6; FPA.
148
 ON LOCATION

In this quite close-up, semi-

back-lit portrait, a piece of
white card, placed very close
to the model on her left, was
sufficient to relieve the
shadows on her face (left).
Rollei SLX with 150 mm
lens; 1/125 at f8; FP4.

A large, silver, collapsible In this beach shot (above),

reflector was used in this exposure calculated for the
picture (left) just to the right shadows and an inherently
of the model’s position. A high degree of natural
degree of natural reflection reflected light from the sand
from the surrounding rocks have made an artificial
has also helped to create a reflector unnecessary, but
soft, even lighting on the detail has had to be
model. sacrificed in the background
Rollei SLX with 150 mm tones.
ss
lens; 1/125 at f8; FP4. Rollei SLX with 150 mm
lens; 1/250 at f5.6; FP4.

149
 Roman tic sem -nude (Frank Eugene, 1903)
Three female nudes (Thomas Eakins, c. 1883).

‘Art’ study (anon., c. 1880).

 MASTERS OF NUDE &
GLAMOUR PHOTOGRAPHY
Female beauty has been a subject for the unacceptable area of photography. Also, and
camera since the very dawn of photography. perhaps more significantly, fine art was the only
The first photographic processes were available source of stylistic influence and the
published in 1839 and it was not long before frank photographic depiction of erotic beauty,
photographers, using the pioneering calotype with which we are so familiar today, was as yet
or daguerreotype methods, went beyond the untried and represented a viewpoint for which
initial novelty of straight portraiture and that early generation was quite unprepared.
explored the theme of erotic beauty, making The history of nude and glamour photo-
nude studies and allegorical compositions. It graphy has been a continuing story of the
seems inevitable that photographers should conflict. between form and content which only a
have attempted to capture images of female few talented photographers have satisfactorily
beauty and it is perhaps equally inevitable that resolved.
the resulting images should betray Mts OWelepiiietcolsemecmemmuerKeloiiertcced oy maels
as being very much of their time. painterly approach with the most characteristic
The majority of the early exponents of the examples, by such photographers as_ the
genre leaned heavily on fine art sources and Frenchman Braquehais or the British-based
influences in the creation of their images. In Oscar Gustav Rejlander, placing their models
part, this could be ascribed to the relatively in allegorical contexts or in exotic settings
strict codes relating to the display of nakedness reminiscent of harem scenes by Ingres. The
which were a feature of the age, and the claim fulsome nudes favoured in the nineteenth
made by such photographers to the title of century would regularly be presented in the
artists would justify and make more socially more bland context of ‘artist’s’ studies’, the
acceptable the practice of a _ potentially photographer often remaining anonymous.

151
 MASTERS OF NUDE & GLAMOUR PHOTOGRAPHY

PCCM TOM Co amen meteNy towards taking the naked figure as the basis for
painterly style came into vogue involving a formalized or near-abstract photographs, often
deliberate softness in the pursuit of the using close-ups of sections of the body to de-
supposedly artistic effect. This new ‘aesthetic’ personalize the image. The distortions of André
style is most strongly associated with the Kertesz, the semi-abstract studies by Bill
American group, founded by Alfred Stieglitz Brandt, the silhouettes of Harry Callahan have
and known as the photo-secessionists, though it opened up new possibilities.
found its exponents throughout Europe also In recent years the relaxation of traditional
and created an international style of nude taboos, the greatly increased use of colour
photography perhaps most _ effectively photography in publishing and publicity and the
demonstrated in the work of the French increased commercial exploitation of erotic
photographer Robert Demachy. photography have, in turn, engendered new
The twentieth century has seen a wide variety styles and approaches ranging from the hard
of novel creative approaches. The Surrealists, and sophisticated imagery of — such
and most notably Man Ray, explored the photographers as Helmut Newton and Guy
subconscious aspects of erotic beauty as well as Bourdin, with its roots in the world of fashion,
devising tricks such as solarization to give a new through the soft and romantic, though all the
look to a familiar subject. The twenties and while undisguisedly erotic, work of David
des are ers Oem i mele trie Hamilton, to the slick commercial polish of
modernistic lighting of Frantisek Drtikol, the today’s top glamour photographers who have
dramatic, athletic oiled nudes of Maurice Beck, brought a new stylishness as well as an
and the haunting studies of Erwin Blumenfeld. unprecedented frankness to this most perennial
A major twentieth-century trend has been of subjects.
 MASTERS OF NUDE & GLAMOUR PHOTOGRAPHY

Eleanor (Harry Callahan).

ii a ii
aksAa BAS RB RE
iOO

Distortion 6 (André Kertesz, 1933),

a
Solarized nude (Man Ray, 1930s).

rhe)
 MASTERS OF NUDE & GLAMOUR PHOTOGRAPHY

Edward Weston
Edward Weston is acknowledged as one of the most are a journey of discovery and he was always reluctant
distinguished and influential photographers of the to put their qualities into words. “To all critics . . . in
twentieth century. Photographic critic and historian photography . . .’, he wrote, ‘...Isay...youcan’t
John Sarkowski has described Weston’s ‘real explain a Bach fugue. If you could you would explain
aesthetic philosophy’ as *. . . a simple and functional away its very meaning — its reason for existence.’
one: he photographed clearly what he saw life to be. . . Weston’s nudes, like his other images, are often
a transformer of commonplaces into wonders’. formalized compositions in which the subject is
Working on the West Coast of the United States, isolated and observed. They are at the same time the
Weston found his direction in the early 1920s when he most natural of images and their qualities seem to
abandoned pictorialism in favour of the pin-sharp emanate from the subjects which they depict in a
fine-resolution analysis of the world around him. He serene moment of timeless and, to Weston, inevitable
became a gifted founder of a whole new school of beauty. They escape the traps of time, they never
American photography which found poetry in the become elegant clichés adopting fashionable, and
natural beauty of our world and sought to depict it therefore datable, poses. Weston’s aim was always to
with an unprecedented clarity. capture the ‘Thing itself’. He did not wish to trans-
Edward Weston’s fine nude studies are indivisible form or interpret; his role was that of the technician
from the remainder of his work and constitute just who allowed the beauty of the natural order of life to
one facet of his all-embracing vision. His photographs shine through the photographic process.
MASTERS OF NUDE & GLAMOUR PHOTOGRAPHY

155
 MASTERS OF NUDE & GLAMOUR PHOTOGRAPHY

Lucien Clergue
Lucien Clergue is a photographer who has worked the sea as a foil for his studies of the female body.
hard to preserve his creative independence. Many Clergue’s most characteristic images depict his
talented photographers have flourished under models in close-up, usually faceless, with waves
commercial patronage, producing their best work for crashing against the swells of their bodies. They are
the magazines to which they are under contract or for full, well-rounded creatures whose skins tingle at the
advertising agencies and other such clients. Clergue, contact of the water. At times transformed into
however, has shunned contractual offers, making a almost abstract, sculptural shapes, these daughters of
living through print sales and book production and Venus, rising from the sea, are very much flesh and
working always to his own standards. His camera has blood and Clergue well captures their tactile appeal.
captured many subjects, but his overriding passion He has won the praise ofpoets and painters, among
has always been the nude and it is his distinctive them Picasso and Jean Cocteau, and his books have
approach to the photography of the nude which has achieved considerable popularity. Among his most
established his reputation. celebrated, and suitably evocative, published titles
Clergue’s home is in the South of France, in Arles, are the anthologies of nudes Née de la vague, Corps
and his favourite setting has been the Camargue. mémorable, and Naissance d’ Aphrodite. Clergue has,
Here he has photographed the landscape, the sand in recent years, taken to forest and urban settings for
and the sea, the gypsy people and their way of life, his nude studies, but his most memorable images
and the bull fights. Above all, however, he has used remain those made to the eternal rhythm of the sea.
Lap
 MASTERS OF NUDE & GLAMOUR PHOTOGRAPHY

David Hamilton
David Hamilton, British-born designer and art when innocence Is about to give way, or is already just
director turned photographer, has created a distinc- giving way, to adolescence and self-discovery.
tive style of erotic photography. The response over Hamilton favours soft natural light to achieve his
the last ten years or so to his dreamy, muted-colour, effects. As a result his images have a subtle pastel
romantic images of young girls has been truly prodi- palette, a gently faded, thin, ethereal quality. The
gious and he has achieved vast sales for the numerous impressionistic effect is heightened by the grainy
books and postcards which he has published. He has quality of many of his photographs. His images are
even translated to feature films the imagery and style romantic, some might say sentimental, though there
of his still photography and has been responsible for is less whimsicality in the recent, more explicit
successful advertising campaigns, notably for the studies. His models are photographed in‘ the most
perfumes of Nina Ricci. relaxed of poses. They give the impression of having
Hamilton’s work base is an old house in the village been gently roused from their slumber or caught in a
of Ramatuelle, near Saint-Tropez. It is here and in private reverie. Hamilton’s own day-dreams, which
the surrounding countryside that he has conceived so he has been able so effectively to express through his
many of his photo essays. His models are usually fair photography, have evidently struck a chord in the
and usually Scandinavian and are selected at an age imaginations of a very wide public.
MASTERS OF NUDE & GLAMOUR PHOTOGRAPHY

159
 MASTERS OF NUDE & GLAMOUR PHOTOGRAPHY

160
MASTERS OF NUDE & GLAMOUR PHOTOGRAPHY
 MASTERS OF NUDE & GLAMOUR PHOTOGRAPHY

Jan Cobb
Jan Cobb began his photographic career by studying black and white work having no place in the context
at the school of visual arts in New York City. Here he of such magazines. The big international men’s maga-
was taught by a number of notable photographers, zines build their success on the fuelling of fantasies,
among them Eugene Smith. Female beauty was not fantasies which are as much about aspects of material
Cobb’s first area of speciality. He made his start as a success and status in a materialistic world as about
photographer by specializing in the shooting of well- erotic wish-fulfilment. Cobb works in colour, using
crafted still-life compositions for a wide variety of Kodachrome 64 and Ektachrome films, and _his
commercial patrons including such companies as images present his view of the commercially tried and
R.C.A. and Johnson and Johnson. successful idealized world of sun-soaked, glamorized,
Cobb made the decision to change direction and and ever-youthful female beauty. *
has now specialized in glamour work. He photo- Among the numerous magazines in which Cobb’s
graphs beautiful women in various stages of undress work has been published, in addition to those already
for a wide variety of publications including the large- mentioned, can be listed Viva, Photo, Psychology
circulation international magazines Penthouse and Today, Tempo, Time, and Town and Country. He
Oui. There is a very considerable market in such has meanwhile continued to work for commercial
magazines and it is a market which has created patrons, specializing in cosmetic and fashion work, a
distinct styles of picture-making. The single most natural extension of his involvement in photograph-
obvious trend is that colour has become the norm, ing beautiful women.

162
MASTERS OF NUDE & GLAMOUR PHOTOGRAPHY

163
 MASTERS OF NUDE & GLAMOUR PHOTOGRAPHY

Larry Dale Gordon

Larry Dale Gordon was born in Texas but was raised
and educated in southern California and has made
Los Angeles his work base. He studied architecture
but turned to photography as a profession which
would provide greater opportunity to travel. He
studied photography at the Art Center College of
Design in Los Angeles and entered a career which has
given him the chance to travel to some sixty countries.
He does a very wide variety of advertising work fora
diversified list of clients which includes such major
names as Marlboro, United Airlines, Braniff, Kraft,
Sears, Suzuki, Oldsmobile, Standard Oil, Schlitz,
and Dewars. He can, equally, claim an impressive list
of magazines for which he has supplied editorial
images, among them Esquire, Time, Money, Fortune,
Town and Country, Travel and Leisure, Sports Illus-
trated, Oui, and the doyen, though arguably no longer
the most inspired, of men’s magazines, Playboy.

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 MASTERS OF NUDE & GLAMOUR PHOTOGRAPHY

Hans Feurer
Swiss-born Hans Feurer became a_ professional Feurer’s work is stylish and distinctive. He has an
photographer in May 1967 after working as an art art director’s instinct for colour, composition,
director in the London offices of a large advertising cropping, and detail and his photographs reflect the
agency. He worked from a studio in London for a few care and perfectionism which he puts into their
years before moving to Paris and he very rapidly creation. They are distinctive above all, however,
earned a reputation as a stylish fashion and beauty because they glorify a particular breed of woman.
photographer. In the early years of his career as a Feurer’s models are magnificent creatures and he
photographer he produced some of his most exciting knows exactly how to mould them into the image
images for two magazines which seemed to act as which he has in mind. His well-built, usually golden-
catalysts, encouraging the creation of some of the skinned girls combine the sophistication of high
most memorable images of their era, the British Nova fashion models with a seductive sexiness.
and the German Twen, both now, sadly, defunct. By the late seventies Feurer had become dis-
Feurer has since worked for countless magazines enchanted with photography and has in recent years
including Italian Vogue and Stern, has created advert- worked only as much as has been necessary to support
ising images and superb series of photographs for his passion for deep-sea fishing. Those who have
calendars, notably the last Pirelli calendar, that for enjoyed and admired his work hope the flow of
1974, and the Pentax calendar for 1978. images will not cease.

166
MASTERS OF NUDE & GLAMOUR PHOTOGRAPHY

169
 MASTERS OF NUDE & GLAMOUR PHOTOGRAPHY

Bob Carlos Clarke

Since the relaxation of censorship in the sixties a vast have a disturbing veracity. Rather than use colour
market has been created for a branch of erotic photo- film he very often applies his own tints meticulously
graphy which falls between the extremes of formal, on to the black and white print or montage, achieving
‘creative’ nude studies and undiluted pornography. strange, unreal effects and asserting his mastery over
This new style of glossy erotica is to be found in the image-making process.
aspects of fashion and beauty photography, in In his use of montage and his bizarre erotic imagery
calendar and other advertising photography, and in he works in the tradition of the Surrealist photo-
the context of soft pornography magazines. The graphers of the twenties and thirties. His obsessive
genre has many slick exponents but originality is rare. themes, however, combine certain timeless ideas with
London-based photographer Bob Carlos Clarke has motifs and references which are very mueh of today.
emerged as an inventive and imaginative new talent His central subject is the erotic mystery of Woman, a
and his work contains many remarkable images which mystery which he explores through the symbolism of
confirm the richness and independence of his sexuality, in particular through the symbolism of the
approach. bizarre apparel of fetishism and sado-masochism. He
His originality shows itself as much in his tech- establishes through many of his images a disquieting
niques as in his subject-matter. Many of his photo- kinship between desire and violence and his fantasies
graphs are built up by printing from a number of make a lasting impression because his dreams hover
negatives, and he creates impossible scenarios that precariously on the brink of indelible nightmare.

170
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 SPECIAL PROJECTS
A professional photographer has one main be allowed to develop from them. The starting
advantage over the majority of amateurs and it point for a photographic session is often an idea
has nothing to do with superior equipment or which is changed or modified as the session
facilities. It is simply that the necessity of progresses, but the idea itself is none the less
producing the goods and the discipline of vital since without this starting point you can
working to a brief tends to make a photographer easily become involved in an aimless and
think and try harder, and generally promotes a uninspired search for a picture. This can not
more creative and competitive approach. only be time wasting and frustrating but also
This part of the book is intended to suggest to boring and demoralizing for the model.
the enthusiast ways in which he can provide his _ In addition to providing a starting point anda
own motivation and develop the invaluable challenge, tackling a specific project can help a
habit of creating and meeting challenges to both photographer to identify if an idea is not work-
his technical and creative abilities. The projects ing and when a change of direction is necessary,
suggested should not be considered as inflexible and to develop a feeling for the mood and
exercises but more as a basis for ideas that can rapport on which a successful session depends.

ava
SPECIAL PROJECTS

The first nude session

This back view ofa nude

seated on a Stool was taken
with studio lighting. A single
diffused light, from right
angles to the camera
position, has emphasized the
shape and contours of her
back against the plain grey
background paper. No
reflector was used, so that
the shadows were
emphasized (above).
Rollei SLX with 150 mm The first steps in any new venture are always the most of having to set up and adjust lighting equipment. Be
lens; f11 with studio flash;
FP4. difficult, and nude and glamour photography is no sure to do a thorough reconnaissance of the area
exception. The first problem, of course, is to find a beforehand and find a suitable location that offers
Window light indoors was suitable model. There may be someone within your some privacy, as this is likely to be very important
used for this simple, almost circle of aquaintances you could approach but if it is a with an amateur model who might find the risk of
unposed nude portrait person you do not know well then it is important to onlookers inhibiting. A good compromise would be
(above right). The shadows establish some rapport before the session is planned. an indoor location using window lighting.
were reduced by means of a It is a good idea to show her some of the work you There are a number of things you can do to ensure
reflector. A plain wall served
have done, even though they will not be nude or that the first session goes smoothly. First of all, work
as an effective background.
Nikon F2 with 105 mm lens;
glamour pictures, as this will help to reassure her that out clearly what you want to achieve and try to put
1/125 at f5.6; Tri-X. you are a competent and perceptive photographer in together a few basic ideas for pictures so that you
whom she can have confidence. If your model is at all have a definite starting point even if you change them
Studio lighting was used in apprehensive it would be wise to keep the first session later. Check all your equipment: if you are using
this demure nude shot fairly simple and not to attempt any pictures which lighting have it set up and ready and make sure you
(above, far right). A single might make her feel uncomfortable. These problems have spare lamps and fuses and that everything is
light, bounced from a white are far less likely with a professional model, and working. This also applies to cameras, lenses, and
umbrella, was positioned although fees can be quite expensive an experienced light meters and to any filters or accessories you may
close to the camera. The
model could help you to overcome some of the initial need. Have them all ready to hand with spare
plain black background
emphasizes the whiteness of hurdles and to establish your own confidence. batteries where required and make sure you have an
the model’s skin. The next decision will be where to take your adequate supply of film of the right type and speed.
Nikon F3 with 105 mm lens; picture. A studio obviously offers the maximum com- It can be a great help to write out a check list and
fll with studio flash; FP4. fort and convenience but on the other hand it can bea simply to run through it just before the session. A
rather unrelaxed and even uninspiring setting, par- polaroid camera can be a useful additional piece of
ticularly for an inexperienced model. An outdoor equipment since the ability to check set-ups and see a
location can provide a much richer variety of preview of the pictures can help to inspire confidence
backgrounds and props and also avoids the necessity in both model and photographer.
174
In these two abstract shots,
the torso (above) was lit by a
single light bounced from a
plain white background
behind the model. The other
picture (left) uses the direct
light of an undiffused light
positioned behind the
model. The black
background effectively
emphasizes the contours. It
is often best ata first session,
particularly with an
inexperienced model, to
concentrate on parts of the
body in this way rather than
to attempt full-figure shots.
(above) Rollei SLX with
150 mm lens; f11 with studio
flash; FP4.
(left) Pentax 6 X 7 with
150mm lens; f16 with studio
flash; FP4.

175
SPECIAL PROJECTS

Hollywood classic
If you want to take pictures in the style of the main light should be placed carefully, to emphasize The main light was used
‘glamour’ photographs of the classic Hollywood era the cheek bones: slightly above the model’s eye level, from a position directly in
you do need to have lighting equipment. The original but not so high that it creates shadows in the eye line with the camera,
photographers used tungsten spotlights but a similar sockets, and almost in line with the model’s nose. Ina creating virtually no
modelling on the face
effect can be achieved with undiffused floodlights or three-quarter profile, for example, it would be at
(right). A second light, fitted
electronic flash. about 45° to the camera position. The light should be with a snoot and mounted on
Make-up is essential: the model should wear a quite hard, not diffused, so that the shadow cast by a boom arm, was positioned
heavy foundation to create a smooth skin texture, and the nose is quite sharply defined but fairly small. slightly behind and directly
well-defined, dark lip colour and eye make-up. The An important quality in most glamour pictures of above the model’s head to
three most important elements in this type of picture this era was ‘sparkle’, produced by a second light “create a rim of light around
are the eyes, mouth, and usually the shoulders and behind the model to create highlights on the hair, the her hair. The background
cleavage; it will add to the effect if the model is edge of the face, or the shoulders. A third light was effect was produced by
wearing a quite low-cut, off-the-shoulder top. frequently used to create a pool of light or to cast projecting a circle of light on
to a white background by
Adjust the model’s position and the camera angle shadows on an otherwise plain background.
means of a slide projector.
to give full prominence to these parts of her body. A degree of soft focus was a common feature of this
The best position for the model is probably seated at style. It was achieved by stretching a piece of gauze
about a three-quarter angle to the camera and across the lens or by using a soft focus attachment.
possibly leaning slightly forward on to a support. The This not only helped to reduce the pronounced skin All these pictures were taken
camera is often positioned a little above the model’s texture that might be caused by the rather hard light- with Rollei SLX with 150
eye level so that she looks slightly upwards into it, ing but also produced an attractive shimmery effect mm lens; 1/15 at f5.6; Tri-X;
giving further impact to the eyes and cleavage. The from the highlights created by the back lighting. soft focus attachment.

A single photoflood light In this shot (right), the

with a silver reflector and undiffused tungsten light,
fitted with a snoot was used fitted with a snoot, was used
froma position 2 to 3 ft (half from a position slightly to
to one metre) above the the right of the camera and
camera and close to it; the Just above the model’s eye
light was placed so that it level; this has emphasized
created quite a flat her cheek bones. A second
illumination on the model’s light, from behind and to the
upturned head (above). A right of the model, also fitted
slide projector was used to with a snoot, was used to
project the light pattern on to create highlights on her hair.
a white background paper. The background effect was
The pattern was formed by created by means of a slide
making a grid from thin projector and a grid of
pieces of black tape on to a horizontal lines.
clear piece of film and
throwing the projected
image well out of focus.

176
 SPECIAL PROJECTS

The small figure of the

model contrasted against the
white wall is given further
emphasis by the strongly
defined beams of the roof
(right).
Rollei SLX with 50 mm lens;
1/60 at f5.6; FP4.

Although quite tiny in

proportion to the picture
area, the model remains the
centre of interest because she
is placed at the strongest
position in the composition
and the surrounding details
create a frame around her
(below).
Rollei SLX with 150 mm
lens; 1/125 at f5.6; FP4.
A long-focus lens, combined
with a wide aperture and
back lighting, has created a
sharply defined image of the
model against the soft details
of foreground and
background (left).
Rollei SLX with 250 mm
lens; 1/250 at f5.6; FP4.

181
SPECIAL PROJECTS

Shooting a sequence
This series of pictures creates Most photographs are intended to be seen as a single obvious being a picture story in which each image is
the impression ofa story self-contained image, but there are occasions when a used in a planned sequence in order to create a narra-
because the same space is number of individual photographs can be combined tive or to describe a situation or an event as it is
shown ineach. Although the effectively in a sequence to create a more meaningful affected by the passage of time. This could be a quite
changing element — the or interesting story than can be achieved in one single literal and logical sequence like still pictures from a
model—has no meaning, the movie, for example, possibly showing a model
photograph. The production of a picture sequence
temptation is to see the
sequence as a continuous can be both a challenging and instructive exercise as moving from one situation to another and telling a
whole. well as providing a different and perhaps novel way of story in the process, or it could be far more ambi-
Rollei SLX with 50mm expressing an idea. guous with only a tenuous link between the individual
lens; 1/125 at f8; Agfapan There are a variety of ways in which the sequence images, leaving the viewer free to interpret the story
400; red filter. can be planned and presented, perhaps the most in his own way.
 SPECIAL PROJECTS

Another way is to present a series of pictures as a book or mounted together on a large board with the
photographic essay in which the individual images images juxtaposed to create the most effective layout.
describe different aspects of the subject as opposed to There are many variations of this form of presen-
an event or an action. It could, for example, consist ot tation: you could, for example, mix black and white
a series of evocative close-ups of the model, her eyes and colour prints or you could intersperse pictures of
in one shot, lips in another, and parts of her body in your model with, say, landscape shots. In any event
other pictures; each of the pictures should be planned the discipline required in planning and executing your
not only to create a pleasing image in its own right, project will help you to become more fully aware of
but also to complement and enhance the other pic- the various ways in which you can photograph a
tures in the series. These photographs could be model and encourage you to explore fully the poten-
presented either in a sequence like the pages of a tial of a subject.
SPECIAL PROJECTS

Illustrating a theme
Professional photographers have one big advantage
over most amateurs which has nothing to do with
better cameras or equipment, but is simply the fact LEG , Od : GbR GO)
that they are given specific assignments or briefs to J Y RIS
which they must work. At first glance this may seem g
more like a restriction than an advantage, but it is rao
i ae
often the challenge of such assignments that stimu-
lates the imagination and develops both creative and
technical abilities.
To take a photograph which illustrates a specific
theme means firstly that the photographer must think
in visual terms about something which is not neces-
sarily visual itself, a good example is perhaps a picture
to illustrate a record sleeve where the music has to be
represented in a visual form. Visualization is an
important part of learning the art of photography
since it is by being able to reproduce photographically
something which accurately represents the image you
have in your mind that makes you fully aware of the SNES
elements of your picture and how they can be patie e)34
exploited and controlled to create a specific effect. aT rlitzer
It can be very instructive to set yourself a theme
into which you can channel your imagination, eT
especially if you do it regularly, say once a month.
The exercise will be even more useful if someone else
sets the theme for you. In the context of nude and
glamour work the added restriction of realizing a
theme through what is essentially a photograph of a
girl will make it all the more challenging.
The type of theme to which you might work can
vary enormously from something quite abstract such
as a piece of music to a very tangible assignment like a
photograph to illustrate an advertisement for a
particular product or a picture to illustrate the book
jacket of a novel. It can be even more instructive if
you attempt to find several different solutions to each
theme, possibly by using different photographic
techniques or by using a different visualization, a
literal interpretation, for example, and then a more
subtle or ambiguous solution.
This type of project is used frequently as part of the
training course by photographic schools. In addition
to stimulating the imagination and encouraging the
rapid acquisition of skills and techniques it also helps
the photographer to build up a portfolio of work
which will be invaluable to those who want to practise
photography professionally.

The model’s exuberant pose _ These two photographs by

and carefree expressionecho Hanya Chlala are an
the title of this long-playing imaginative attempt to
record (above right). represent signs of the zodiac
in a new and striking way:
Sagittarius (right) and Libra
(opposite).
SPECIAL PROJECTS
haba
sow
 DARKROOM
TECHNIQUES
The great popularity of photography as a hobby Modern photographic materials and process-
and the numerous advances and improvements ing equipment are very easy and convenient to
in the process itself have resulted in an extremely use and even a modest outlay will provide a
good and relatively inexpensive service for the darkroom which can make a wide range of these
processing and printing of films, and many techniques available to the enthusiast. A
photographers, professionals included, now number of ways of enhancing a picture and,
consider their work complete once the film is more importantly, of doing so in a way which
removed from the camera. In many ways this is can help to create a more personal style are
a great pity since one of the pleasures of photo- described here.
graphy is the almost magical process which only The techniques outlined are all adaptations
the darkroom-worker witnesses. However, the and extensions of standard photographic pro-
photographer who does not do his own dark- cedures but even the basic process of making a
room work misses more than this one pleasure, black and white or colour print can help a
he also foregoes the enormous number of photographer to become much more aware of
creative controls which can be used to influence the full potential of the medium and to appre-
the nature and the quality of the image. ciate the nuances of image quality and control.

Rev
DARKROOM TECHNIQUES

Bleach outs and texture screens

Bleach outs
The technique of reducing a normal-toned image to
one of pure black and white tones can be very effec-
tive when applied to the right subject. The only
special requirement in addition to conventional dark-
room facilities is a supply of lith paper or film and
developer, materials which are manufactured for use
in process and document work. The paper (or film) is
designed to eliminate all half-tones so that every tone
lighter than, say, a mid-grey will record as pure white
and all darker tones will produce a pure black when
processed in the special developer.
The main area of control is in the exposure since
this will determine the point at which the white and
black tones separate. With a normal negative, for
example, a short exposure will produce an image
where only the deepest shadows record so that the
image is predominantly white, whereas full exposure
will produce an image which is mainly black with only
the highlights recording as white.
The bleach out can be used in several ways: for
added emphasis where the outline of the model is
clearly contrasted against the background, creating a
silhouette effect, and for enhancing both texture and
boldly defined details.

Texture screens
A texture screen can be used to create a variety of
interesting effects. The process involves placing a
piece of translucent textured material in contact with
the negative and making a print from the combined
sandwich. A range of specially made texture screens
are available from photographic stores but it is a
simple matter to find or make your own. For instance,
you can use the translucent envelopes in which nega-
tives are stored.
The effect of these screens will depend partly on
the degree of enlargement. It is possible to use a
grain-enhanced negative to create a texture screen
effect by making an enlargement on to lith paper or
film. This will produce an image formed solely of
black grains on a white ground which, when viewed at
a normal distance, will give the impression of a half-
tone image — the effect of a photograph reproduced in
a newspaper. You can also impose a grainy effect on
to a fine-grained negative by making a lith positive on
film from a considerably enlarged even-toned section
of a grainy negative, and using this as a texture screen
with your selected negative.

In this picture (right), a print

from anormal negative was
made directly on to high-
contrast Kodalith paper, Sa f
reducing it to purely black ae iy ‘
and white tones. 4 ake A
188
 DARKROOM TECHNIQUES

A piece of translucent paper

(from a negative envelope)
was placed in contact with
the negative in the enlarger
carrier and a print made
from the combined
sandwich (left).

This effect was created by Here, first of all a lith

placing a sheet of patterned _ positive was made froma
tissue paper in contact with small section of a grainy
the printing paper and negative, then a negative was
making the exposure made by contact and from
through this screen (left). this the final print, with the
grain structure recorded as
black tones on white paper
(above).

189
DARKROOM TECHNIQUES

Tone separation and bas relief

Tone separation
This technique uses a normal continuous-tone nega- contact-printed in precise register on to a sheet of
tive to produce an image which consists of only three continuous-tone film to provide a master negative
or four flat tones, white, light grey, dark grey, and and an exposure test made from the shadow separa-
black, for example. For a four-toned image the tion positive (the one with the largest area of clear
method is to make three lith positives from the film) so that it produces a light grey on the negative.
selected negative, the first very light so that only the This same exposure must then be given to each of the
The three small pictures
darkest shadows record black on aclear film, the positives in turn on to the same piece of film. The (below left) show the
second given more exposure so that both the darker result will be a negative of four tones only, including intermediate lith film stages,
tones and the shadows record as black, and the third white and black. The registration must be very accu- with the resulting print from
positive exposed so that only the highlight tones are rate and ideally a punch register system should be these printed in register
left as clear film. Each of these lith positives is then used. The lith positives can also be printed in register (below).
 DARKROOM TECHNIQUES

on to a sheet of reversal colour print paper or film positive together just out of register and then making
using a different colour filter for each to produce a a print from this combination. The degree of displace-
wide range of colour effects. ment and its angle will affect the result and can be
assessed visually; it tends to be most effective with
Bas relief subjects that have clearly defined details or pro-
Bas relief can create a three-dimensional impression nounced textures and it can be controlled to produce
on a print. The method involves making a positive anything from a barely discernible effect to a near The picture below shows the
image on film in contact with the selected negative, abstraction. The same principle can be used in colour effect produced by the bas
the positive should be of similar density and contrast with a black and white positive and a colour negative, relief technique in
and of course exactly the same size. The effect is or with a colour transparency and a colour negative comparison with the original
achieved by binding the original negative and the although these must be of less than normal density. print (below left).
DARKROOM TECHNIQUES

Montage printing
This technique is in effect the opposite of that and expose your first image. It is vital that you replace
involved in making double exposures in the camera as the printing paper for the second exposure the same
a montage print builds up dark tones on a light back- way round: it helps to make a pencil mark in one
ground whereas a double exposure builds up light corner. Put the exposed sheet ina light-tight box. The
tones on a dark background. other negative can now be sized up, focused, and
When making a montage print it is vital that you repositioned on to its outline. Place the printing
position each image accurately on the printing paper. paper with its first exposure in the masking frame, the
To do this you need a good masking frame, some right way round, and make the second exposure; if
adhesive tape, a piece of layout paper the same size as only two images are being made the paper can now be
the finished print, and a black pencil or pen. developed and fixed.
The first step is to place one of the negatives in the You will usually want to make another attempt
enlarger, size it up on the masking frame, and focus it; with modifications; where the dark tones of each
then place the layout paper in the frame and pencil in image coincide, for example, the result will probably
the main outlines of the image. You can now make a be over-exposed so in your next print you could shade
test strip of the first negative. Position the next or hold back either or both of these areas so that their
negative on the board, relative to the first pencil combined density is right. Or you may decide that it
outline, size it up, draw in the outlines, and make would be better if one of the images is more dominant
another test strip. Choose the best exposure from than the other, in which case you could reduce the
each test strip and make a note of it. Now you are over-all exposure of one image and increase the
ready to attempt the first montage. exposure of the one you wished to be dominant.
Take one of the negatives you have chosen and Montage printing offers infinite possibilities but in
place it on the frame, making sure it is positioned order to get the best results you must be methodical
accurately in relation to its outline and is correctly and make a careful record of each change in exposure,
focused; tape the frame down to prevent it moving, and of how long and where you shade on each attempt.
The picture on the far right
shows how montage printing
can add interest to a picture
without the technique itself
being evident. It was felt that
the blank sky in the
straightforward print (right)
detracted from the mood of
the picture, and a stormy sky
from another negative was
montaged into this area.
This surrealistic effect
(below) was produced by the
suggestion of rolling hills in
the abstract nude shot. The
blank sky of the landscape
and the white background of
the nude shot made it
relatively simple to combine
the two images.

192
DARKROOM TECHNIQUES

Although the technique is

basically the same for
montaging from the negative
and from a transparency, in
the latter case a dark area is
required as a background
into which the second and
subsequent exposures are
made, as in this picture by
Mitchell Funk (left).

193
DARKROOM TECHNIQUES

Making a slide sandwich

The advantage of this technique is that you are able to and fairly even range of colours, and those with
see the precise effect of the image as you are forming interesting textures that can be used in the same way a
it. To make the sandwich you will need two (or more) texture screen is used with black and white prints.
colour transparencies of considerably less than normal Using transparencies of the same format will greatly
density. Initially you may like to experiment with limit the variety of possible juxtapositions so it helps
some reject pictures that were perhaps over-exposed, to have transparencies where only a small section of
but as you progress you will find it far more satisfying the image can be used or to have a range of different
to shoot images with a particular result in mind. formats such as 35 mm or 6 X 6 cm.
You will also need a light box on which you can Once you have arranged the sandwich to your
place your transparencies and manoeuvre them into liking, fasten the transparencies together at the edges
the best position. As you are adding two images to- with small pieces of adhesive tape. The finished sand-
gether it is important in most instances that the main wich can be presented in a variety of ways, bound
feature of one picture is placed against a light area of together in a slide mount and projected, for example,
the other so that it can be seen reasonably clearly. or used to produce a colour print.
The most straightforward type of slide sandwich The most permanent method is to make a duplicate
usually consists of one transparency with a quite transparency. You can do this by using a slide copier
boldly defined subject semi-silhouetted against a light attachment on your camera or by printing the sand-
or even blank background, while the other wich through the enlarger on to a sheet of duplicating
transparency primarily adds details and colour to the film. Both methods will involve making tests for
background tone of the main image. colour quality and exposure so it is best to do this
For this reason it is a good idea before starting a when you have accumulated a number of sandwiches
session to sort your potential sandwich slides into, you wish to duplicate. If you only want the occasional
say, three categories — those with a boldly defined duplicate it may be preferable to have it made by a
main subject, those with a pleasing but unobtrusive professional laboratory.
This picture by Chris Alan Two very light identical
Wilton has used the slide transparencies have been
sandwich technique to sandwiched together, with
combine two images, one of one reversed left to right,
which is a montage, the creating the symmetrical
other already a slide effect in this picture (right).
sandwich in itself. Four
quite separate images have
been combined into one
(right).

194
DARKROOM TECHNIQUES

195
DARKROOM TECHNIQUES

Black and white in colour

There are a number of methods of producing a
coloured image from a normal black and white nega-
tive (or positive) which can in many circumstances
help to add both interest and impact to a picture,
particularly when it is to be used for display or
decorative purposes. This is often even more
effective when combined with techniques such as
bleach out or texture screens to produce images with
a strong graphic quality. The most straightforward
method is to use a bromide paper which is coated ona
coloured base such as Autone or Kentint; these are
available in a wide range of colours including
fluorescent and metallic. The equivalent American
paper, Luminos Pastels, is available in sheets of
varying sizes, and in rolls. When processed in a
normal black and white developer these papers
produce a black image on a coloured background.

Chemical Toning
This method takes as its starting point a normal black
and white print which has been fully developed, and
thoroughly fixed and washed. The most commonly
used toner produces a range of tones from sepia to
brown and consists of two solutions. The black and
white print is first bleached in the first solution until
the image is reduced to a weak yellow tint; the print is
then rinsed and redeveloped in the second toning
solution when after a few minutes the image re-
appears as a rich brown. Single-solution kits are also
available which produce a red or blue image in
addition to the brown tones.

Fabric Dyes
Ordinary fabric dyes can also be used to colour a
conventional black and white print by tinting the
white base of the paper. This will affect the whole
image but is of course less noticeable in the darker
areas of the print. Both hot- and cold-water dyes can
be used but care must be taken to avoid the emulsion
becoming ‘frilled’ (i.e. bubbling) or damaged at
higher temperatures. In Britain, there is an extremely
useful and versatile kit of chemicals available called
COLORVIR, which consists of a combination of
bleaches, toners, and dyes. Also included are
solutions which produce a solarized effect and which
prevent selected tones of the picture being affected by
the toning process, which means that they can be
treated later in a different colour.
One normal black and white print can be treated in
a series of these chemicals, creating a number of
different colours in the same picture and making it
possible to achieve a wide range of effects.

These three pictures show result of using the bleach and

some ofthe results which can solarizing solution, followed
be obtained with the by ared dye treatment; the
COLORVIR kit. The first third (opposite) shows the
picture (above right) shows effect created by the blue
the result of using the bleach toner. All three pictures were
solution, then the brown produced from conventional
toner, followed by treatment black and white prints made
in a turquoise dye bath; the on resin-coated paper.
second (right) shows the
196
DARKROOM TECHNIQUES

LO
DARKROOM TECHNIQUES

Hand-colouring
In the early days of photography hand-colouring was
simply a method of producing a coloured image in the
absence of colour film and in most cases it was used
only as a substitute for the real thing. This technique
does still have some useful applications today, how-
ever, particularly for the photographer who likes to
combine the additional control of what is essentially
an artwork technique with the quality of a photo-
graphic image in order to create pictures with a more
personal stamp. Used in conjunction with other
photographic techniques such as chemical toning
hand-colouring can produce quite striking and
original images.
To be suitable, the print should have a matt surface
and should also be of fairly low contrast and density
without large dark areas. It can be an advantage to
sepia-tone the print before starting colouring but this
is not essential. It is vital, however, to have an extra
identical print on which you can make tests before the
final application; the main print should also be dry-
mounted.
You will need the following materials: a range of
photo tint dyes, a selection of sable brushes from very
fine to broad, blotting paper, cotton balls and buds, a
palette for mixing colours, and a water container.
Your work surface should be well lit, preferably by
daylight.
Before you start to work on the prints you must first
dampen them by swabbing the surface with a cotton
ball soaked in water; it helps if you add a small
quantity of wetting agent to the water. The largest
areas of colour should be tackled first. Mix your
colours on the palette and make a test on the spare
print so that the colour can be applied evenly on to the
main print with as few strokes as possible. You should
aim to achieve the correct colour and density in the
first attempt as streaks are likely to develop with
repeated applications.
When the main areas of colour have been applied
you should next work on the smaller solid areas,
testing each one first as you proceed. The fine details
should be left to the last and applied with great care
using a very fine sable brush; for this stage it can help
to use a magnifying glass on a stand to ensure the
greatest accuracy. Often the most effective pictures
are produced by applying small selective areas of
colour to a black and white or toned print as opposed
to tinting the entire surface.

In this picture (above right), | This photograph has been

the colouring has becomea coloured by hand to produce
far more dominant element. an almost natural effect but
The black and white with a quality that could not
photograph has beenheavily be achieved with colour
overlaid with colour, butin __ film. The black and white
spite of this the picture has print was sepia-toned before
retained an essentially the tints were applied (right).
photographic quality.
DARKROOM TECHNIQUES

Added impact has been

created in this picture (left)
by cutting round the outline
of the hand-coloured black
and white print and
mounting it on to a coloured
board; this has emphasized
the graphic, poster-like
quality of the image.

199
DARKROOM TECHNIQUES

Photo-montage
Although montage printing and double exposures
make it possible to combine several separate images
in one picture they usually result in a final effect that
is quite unreal. By contrast, photo-montage, or col-
lage as it is sometimes known, which involves cutting
out single images and mounting them together, can
create quite realistic pictures which have every
appearance of being a straightforward photograph.
The technique itself is not difficult, but to be
successful the final result needs to be carefully
planned and constructed.
A fairly simple photo-montage may consist of, say,
four images, a background picture, for example, with
three other elements positioned upon it. You can
easily make a first attempt from shots you have
already taken; you may, for example, have a
landscape picture into which you could incorporate
two or three nude figures, but remember that you will
have to cut carefully around the outline of the single
images so you should avoid pictures with complex
outlines such as wisps of hair or fingers.
If you are intending to create a realistic image you
should select pictures which have a similar per-
spective and lighting quality; this is, of course, a
major advantage when shooting pictures specially for
a pre-visualized montage. The background picture
should be dry-mounted before work commences and
the cut-out images would be best printed on a single-
weight paper although this is not vital. It is best to
establish the size and position of the individual images
by preparing a tracing-paper overlay with the outlines
pencilled in.
You will need a scalpel or sharp knife, a cutting
board, an adhesive and sandpaper, and also retouch-
ing inks and brushes to cover any visible joins. The
individual images can be cut out roughly with sharp
scissors initially and then finished with the scalpel; the
cut edges should be chamfered on the reverse side
with the fine sandpaper before the adhesive is
applied. After the images have been put down and
have dried any marks or joints can be retouched and
the artwork photographed.
It is best to make the photo-montage at least 50 per
cent larger than the final print size you require as the
reduction will further help to minimize the visible
effects of your work. The basic photo-montage tech-
nique can be applied in many different ways and
combined with other techniques — black and white
and colour prints can be combined, for example, or
This picture (above) is taken The montage technique in
the same image can be repeated a number of times or from a series for a calendar this picture by Bob Carlos
cut and juxtaposed to create a pattern. The individual using the montage technique Clarke (right) has been used
images can also be mounted before cutting out and as the basic theme, in which in a quite realistic way,
then rephotographed positioned in a three-dimen- a fairly straightforward nude except that it has created a
sional setting. Once you start to use this technique the studio photograph has been gross falsification of the
variations which suggest themselves are virtually montaged on to an artwork relative scale of the two
limitless. background. images.

200
DARKROOM TECHNIQUES

201
PRACTICAL INFORMATION

Presentation
Presentation is an important part of the photographic
process as if it is done carelessly or without due
thought then even the best pictures will not be seen to
greatest effect.
Colour transparencies, for example, only really
have maximum impact when they are projected on to
a screen in a darkened room. If they are arranged ina
planned and integrated sequence with slide dissolve
techniques and a soundtrack, the effect can be quite
dramatic.
Prints can be treated in a variety of ways, but what-
ever the final choice of presentation, it is usually best
to mount the print initially on a mounting board, as
even this will greatly improve its appearance. Dry
mounting is the most common method for photo-
graphs; a thin sheet of shellac-coated tissue or
thermoplastic film is placed between the print and the
card mount and subjected to heat and pressure. The
tissue melts and forms a permanent bond, leaving the
print with a smooth, flat surface.
Card-mounted photographs can simply be stored
individually as they are in a portfolio box or a case, or
they can be displayed in an album with clear plastic
envelope leaves which give some protection to the
surface of the photographs. Pictures that are likely to
be handled a great deal can be given additional
protection by lamination. This encloses them in an
envelope of clear plastic, producing a quite rigid and
virtually indestructible unit. It is often favoured
by professional photographers for protecting their
portfolios.
If you want to make a more permanent display
there are a number of methods to choose from. Using
illustration boards is very cheap and straightforward
and can give quite attractive results. The print is
pressed down on toa self-adhesive mount and simply
trimmed to the correct size. The boards are available
in the most popular sizes, with finished edges, and
they can be either wall mounted or free standing. You
can also buy self-adhesive foam polystyrene board
which looks similar when finished but is of course
much lighter.
An inexpensive method of wall-mounting is to
sandwich the print between a sheet of glass and a
piece of hardboard or masonite and fasten them
together with small metal clips. As well as the made-
to-measure frames you can also buy kits complete
with glass and ready-cut bevel-edged mats which can
be assembled easily in a few minutes.

202
 PRACTICAL INFORMATION

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203
PRACTICAL INFORMATION

Selling your work

Nude and glamour work can be rather more expen-
sive than other types of photography, particularly for
the amateur, if only because it is invariably necessary
to shoot more film for each situation than for a land-
scape, for instance. There are also other considera-
tions such as lighting equipment, backgrounds,
props, and in many circumstances model fees. Conse-
quently, many amateur photographers who produce
good-quality work will consider ways in which they
can help to finance their hobby, by selling their
pictures, or even turning it into a spare-time business.
The first and most important step is to ask your
model to sign a model release form. This is simply a
formal letter of agreement which allows you to use
the pictures for reproduction and protects the model,
the photographer, and the publishers against any
possible misunderstandings. The necessary forms can
be obtained from a number of professional bodies
such as the Bureau of Freelance Photographers or, in
the United States, the ASMP (Association of Maga-
zine Photographers).
Most amateur photographers will be mainly con-
cerned with selling their existing pictures, at least to
start with. There are various ways of going about it.
The largest potential market for nude and glamour
work is undoubtedly magazine publishing, but before
you submit any work to a particular magazine make
sure that it uses pictures of that type.
When you have completed a session it is a good
idea to go through your pictures and categorize them
in terms of their possible use. Do you, for example,
have enough shots of the same model in a number of
different situations and clothes to make a two- or
three-page feature in a girlie magazine, or do you
have some nice black and white bikini shots on a
beach that could be used in a women’s magazine for a
slimming or holiday feature? If you have colour shots
of models on plain-coloured backgrounds with space
above for lettering, they could be ideal for a photo-
graphic magazine cover. Once you have some expe-
rience in selling and understand the needs of the
market you will be able to shoot pictures with a
particular magazine in mind, and this may lead to The space in this picture An evocative picture like this
commissioned work. (top) makes it ideal for (right) could be used fora
When submitting work, make sure that it is neatly magazine use. slimming feature in a
presented and carefully packed and that return Hasselblad with 150 mm magazine or for an
postage and packaging are enclosed. In most instances lens; f8 with studio flash; advertisement. Copy can be
it should be addressed to the picture editor of the Ektachrome 64. stripped into the space at the
magazine but if you are in doubt it is best to check by top.
telephone first. Black and white prints should not be This picture (above) can be RolleiSLX with 250 mm
used as an advertisement for Jens; 1/250 at f5.6;
larger than 8 X 10 in (200 X 250 mm) and should be sun cream or ina travel Ektachrome 64.
printed on a smooth or glossy paper; colour trans- brochure.
parencies should never be mounted in glass but in Rollei SLX with 250 mm
card mounts with protective plastic sleeves. Every lens; 1/125 at f5.6;
picture should be individually captioned and stamped Ektachrome 64; polarizin
with your name, address, and telephone number. filter. :
When you make a sale you should establish the fee dozens of times over, and of course they also save you
and the rights you are selling: exclusive or non- the time, trouble, and cost of making individual
exclusive, English language, American, or World submissions yourself. Be sure that the library to which
rights. A calendar publisher, for example, may you apply is a member of a reputable association.
demand exclusive calendar rights but leave you free You will be required to deposit a minimum number of
to sell the same picture again to a magazine. pictures for a minimum specified period and may find
An alternative way of selling your work is through that they are only interested in photographers who
picture libraries. Although they take a large com- have hundreds of suitable pictures. Black and white
mission on sales, up to 50 per cent, they have access to pictures have less appeal to libraries in general and
a much wider market and can sell a good picture some do not handle them at all.
204
PRACTICAL INFORMATION
PRACTICAL INFORMATION

Lighting equipment
A Bowens Monolight A 1000-watt Lowell
(right) is an electronic Quartzlight is a useful
flash system with an basic lamp. It should be
integrated power pack and fitted with shaped barn
head and is therefore ideal doors to control the width
for location work. It can and direction of the light
be used with a wide range beam.
of reflectors, diffusers,
and umbrellas. Several of
these systems can be used
together to light a single
shot but only one need be
synchronized with the
camera by a sync lead; the
others fire simultaneously
by means of slave cells
which pick up the flash
from the main light.

A folding window light or

bank light gives a soft,
even flood of light similar
to that obtained from a
north-facing window. It
can be used on location as
it is both collapsible and
lightweight.

Head attachments are used

to modify the light by
concentrating, diffusing,
or shaping it. The snoot
(right) is a conical metal
tube that slips over a light
source and channels light
in a narrow beam, similar
in effect to a spotlight.

A deep bowl reflector (left) A shallow bowl reflector

broadens the light source with spiller cap (right)
in proportion to its depth gives a softer shadowless
and diameter. Small deep light over a larger area
bowls give little diffusion which. is slightly harder
and illuminate a small than that given by an
angle. The adjustable barn umbrella. A spiller cap
doors, shown here, control shields the subject from
the width of the beam. It the direct beam.
can also be used with
diffusers.

206
 PRACTICAL INFORMATION

Umbrellas (right) give very

broad, diffuse, but
unshaped lighting.
Translucent umbrellas are
more diffuse than those
with a white, silver, or
gold lining and can also be
used in front of the light.

A trace frame is a simply

constructed large area
diffuser covered with
tracing paper or thin cloth.

There are two basic kinds

of power source available
for high-output electronic
flash - a free-standing unit
(below) and those that are
integrated with the head.

A flash meter measures the

flash exposure and
indicates the correct
aperture. It is capable of
registering the light of
short flash durations as
well as continuous light.

207
PRACTICAL INFORMATION/LIGHTING EQUIPMENT

The portable lighting

system (right) is complete
with case, umbrella
reflector, and integrated
flash head. It is mainly
used for location work as
its advantage is that there
is no need to carry a
separate power pack.

The Norman 200 B (below) The Hannimex flash is

is a recycling battery unit useful as a fill-in light
that has a very high level outdoors. The model
of flash output and can shown here(left) has a clip-
recharge very rapidly. on bounce reflector for
soft, forward lighting.

208
 PRACTICAL INFORMATION/LIGHTING EQUIPMENT

v q
Expanding poles (right) are Tripod stands (right) are
spring-loaded so that they available in many forms,
are held between floor and heights, and degrees of
ceiling. They make good stability. Their main use is
lighting supports that take for horizontal or diagonal
up hardly any floor space. lighting and they are the
They can also be used to best support for situations
hold background rolls of where slow shutter speeds
paper or fabric. are required or the weight
of the camera may cause
camera shake.

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Boom arms (below) are the
most common method of
obtaining top lighting and
allow great flexibility of
movement in all directions.
A light can be supported
above the subject on the
long arm, while the stand
itself remains out of the
picture area.

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Mobile stands (left) are

used in permanent studios
when using heavy lighting
heads, such as luminaires
as they are difficult to lift.
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Floor bases are used for

low-level lighting situations
in the studio (above).

209
PRACTICAL INFORMATION

Studio accessories
This background support Paper hooks can fit on to
system (right) can be used poles (left) and hold a roll
for lamps and reflectors as of paper. This is a triple
well as paper rolls. Its hook.
spring-loaded telescopic
supporting poles are held
in place between floor and
ceiling and locked. Its
main advantage is that it is
portable and can be used
both on location and in
the studio.

A vise grip (above) is

another type of clamp also
usable as a support.

Universal clamps (above)

can clamp on to poles and
are used to support lights,
background rolls of paper,
or any horizontal A G clamp (or C clamp), a
supporting beam. locking device, can be used
as a camera support as it
can be attached to
furniture or used in places
that would be inaccessible
for a tripod.

Lighting heads can be

fitted to a variety of
clamps such as this one
(right) and attached to
bars, poles, or furniture.

210
 PRACTICAL INFORMATION

The hexagonal, square,

and rectangular reflectors,
shown here (right), are a |
series of reflectors which,
when teamed together, in a \
studio, with any electronic
flash or daylight source,
will provide soft, even,
and balanced light. Used
in outdoor situations, they
offer the same studio-
quality light control with
the ease of portability.

The speed of the fan of a

wind machine (left) is
infinitely variable and the
air flow can be aimed to
achieve the desired effect
of wind.

To produce the effect of

rain, a rain-making
machine (above) is used.
Perforated pipes are
connected to a main water
supply and run over the
scene.

A fog generator (above) is

used to create the effect of
fog. It produces an oily
smoke caused by small
drops of oil heated to
quite high temperatures.
211
PRACTICAL INFORMATION

Cameras and accessories

The Hasselblad 500 CM
camera system (right) is
the most widely used
professional roll film
camera. It has a wide
range of lenses, viewing
systems, including a
magnifying head, and a
meter prism (shown here).
The Hasselblad accepts a
Polaroid back as well as
interchangeable magazines
for different formats and
film types. The between-
lens shutters enable flash
synchronization at all
shutter speeds.

CAF VGGisGssaAIssGaeBS,

The Pentax 6 x 7 (right) is

a system SLR camera
using the larger 6 x 7 cm
format. It produces ten
6 x 7 cm rectangular
pictures on a roll of 120
film in a substantially
larger image area than
6 x 6 cm and many
photographers prefer to extension tube
use a rectangular format.
Fitted with a lever wind,
shutter speed dial, and
click stops the Pentax
6 x 7, although larger and
heavier, handles much like
a 35 mm SLR.

prism head
2AZ
 PRACTICAL INFORMATION

The Nikon F3 SLR system

(right) incorporates the 13 mm wide
latest developments in
electronics, providing both
manual and fully
automatic metering, and
displays complete
SS
=)
information on the viewing
screen using LCDs. A wide
variety of lenses, viewing
systems, and motor drives
make it capable of
handling almost any
problem within the limits
of the image quality
obtainable with 35 mm
film. It is ideal for
location work because of
its extreme flexibility and
relatively light weight.

340-1200 mm

16 mm fish-eye

The view camera (left)

offers the highest possible
image quality using sheet
film up to 8 x 10 inches
(18 x 24 cm). A wide range
of lenses can be fitted and
both Polaroid backs and
roll film adaptors are
available. The viewing
system, however, makes it
less than ideal for nude
and glamour work
particularly on location
and a tripod must be used
for static shots where
image quality is more
important than
convenience of use.

213
PRACTICAL INFORMATION/CAMERAS AND ACCESSORIES

The Bronica ETR (above)

is a full SLR system
camera using the
rectangular 4.5 x 6 cm
format on a 120 roll film.
Although it can be fitted
with a wide range of
lenses, film backs, and
viewfinders, it will not
The Rollei SLX (above) is screens and between-lens take a Polaroid back.
another versatile shutters make flash
The Mamiyaflex (above) is and the large format 24% x 2% in (6x 6 cm) synchronization possible at
one of the few remaining makes it ideally suited for format camera and all speeds. Advantages
2% in twin-lens reflex recording fine detail with incorporates many of the include built-in automatic
cameras (TLR) in high image quality. electronic innovations metering and motor wind
production. However, it is less flexible available in 35 mm. It has and rapid pre-loaded film
Interchangeable lenses than the single-lens reflex a wide range of lenses, inserts.
make it useful and reliable cameras. hoods, and focusing

A compact 35 mm Sealed cameras suitable for

viewfinder camera such as underwater photography,
the Olympus XA (left) is such as the Nikonos 35
useful for more casual mm (right), are also ideal
usage. Wider applications for bad weather conditions
are limited because one on location. Inter-
cannot interchange lenses, changeable backs are
but it is still effective in a available for this model
range of situations. but simpler versions, such
as the Fujica H1, are also
available.

The instant picture and glamour photography,

camera, such as the it can be useful for
Polaroid SX-70 (right), is establishing confidence in
widely used to check the nervous or inexperienced
compositional and lighting models and for trying out
elements of a set-up before ideas before shooting on
a final shot or to keep a conventional film.
record of sessions. In nude

The Leica ML-2 (right)

offers the most flexible
CST es
and reliable 35 mm camera
system using rangefinder
focusing. Its smooth, quiet
operation makes it ideal
for situations where the
noisier SLR mechanisms
would be intrusive as well
as in low light levels where
the focusing method can
be advantageous.

214
 PRACTICAL INFORMATION/CAMERAS AND ACCESSORIES

The integrated filter

systems, such as Cokin
(right), are ideal for
travelling as the
interchangeable adaptors
make it possible for one
set of filters to fit a wide
variety of lenses and
cameras.

The Weston Euro-Master

light meter (left) requires
no battery as it uses
selenium cells. It can be
used for measuring both
reflected and incident light
but is not as sensitive as
the battery-powered
cadmium sulphide cells
(CdS). Since its acceptance
angle is quite wide it must
be aimed with care.
The adjustable type of A pistol grip (above) can
professional lens shade be useful for steadier
(above) is ideal for fine hand-held shooting.
control over stray light
outside the picture area. It
is of particular use in the
studio and also on location A special meter such as the
when shooting towards the Minolta Flash Meter III
sun. (far left) is needed for
calculating exposures when
using electronic flash.

The Gossen Profisix (left)

is capable of measuring
light from very low to very
high levels. A number of
attachments can be fitted
to it for different
purposes.

The hard case (far left) is

ideal for transporting
equipment as it offers a
high degree of protection
against impact as well as
dust and water. It is fitted
inside with adjustable
divisions or foam inserts.
It is useful for standing or
sitting on, and the
aluminium lid can serve as
a reflector. The soft case
(left) offers less protection
but is often more
convenient for carrying
equipment on the
shoulder.
ZS
PRACTICAL INFORMATION

Camera supports
A standard tripod (right) is A miniature tripod (right)
an ideal all-purpose is useful for interior shots
support. It has three- using a 35 mm camera. It
sectioned telescopic legs is small enough to carry in
that extend to a reasonable a shoulder bag.
and stable height. The
centre column is
adjustable.

Although the heavy tripod

weighs approx. 17 lb (8 kg)
it is still portable and is
especially useful for
supporting the larger
format cameras.

The table-top tripod (right)

can be used as a support
on most level surfaces. It
is useful for close-ups and
low-angle shots.

A monopod (right) is
designed essentially for
hand-held shooting. It is
not as stable as a tripod.
 PRACTICAL INFORMATION

A camera stand (right) is

the most stable platform
for a camera in a
permanent studio. It is a A ball and socket head
wide-diameter steel pole, (left) has the advantage of
mounted on a very heavy L free movement in all
wheel base and capable of directions. A heavy-duty
ascending to at least 10 ft head, it can hold even an
(3 m) in height. The 8 x 10 in (18 x 24 cm) view
camera is mounted on a camera securely.
platform and can be
moved from ground level
to the top of the stand in a
couple of seconds.

The pan and tilt (right) is

the most common type of
tripod head and has a
three-way separate
movement: forward/
backward and sideways
tilt. Small adjustments can
be made in a single
direction without affecting
the others.

The rifle grip (above) is a

shoulder support used as a
means of steadying the
camera and is especially
useful when using the
longest telephoto lenses.

ZANT,
GLOSSARY

Angle of view The widest angle at which Colour temperature A scale used to Exposure The total amount of light
incoming light rays can be converted measure the colour quality of a light allowed to play on the film as a result of
into a usable image on the film by a source, expressed in degrees Kelvin a combination of the subject bright-
specific lens. (K). ness, the shutter speed, and the lens
Aperture The hole through which the Complementary colours A colour which aperture.
image-forming light rays pass, usually when mixed with a primary colour
inside the lens. Adjustable, by means produces white light: cyan is comple- Fill-in light A secondary light or re-
of an iris diaphragm, in marked steps mentary to red, magenta to green, and flector used to reduce the density of
called f-stops. yellow to blue. shadows created by the prime light
ASA see ISO. Contrast A term used to describe the source.
Auto-winder A battery-powered elec- brightness range of a scene or image. Film speed Measurement of a film’s
tric motor which automatically advances Contrast filters Coloured filters which sensitivity to light, expressed in ASA or
the film in the camera after an exposure can be used to accentuate the tonal DIN scales, and now increasingly in
has been made. variation between different colours ISO.
when using black and white film. Filter factor The amount by which an
Back lighting Lighting conditions in exposure must be increased to compen-
which the strongest light source is di- Daguerreotype A photograph produced sate for the density of a particular filter.
rected from behind the subject towards by one of the earliest photographic pro- Fish-eye lens Lens with extremely wide
the camera. cesses, devised by the French inventor angle of view but producing a highly
Barn doors Hinged flaps on studio Daguerre in 1838. distorted image.
lights for controlling light spill. Definition A term used to describe the Flare Indiscriminate scattering of light
Boom A long counter-balanced arm on clarity of an image, referring to sharp- within a lens or camera.
a stand for supporting a studio light ness, graininess, contrast, and tone. Focal length The distance between the
when overhead lighting is used. Depth of field The range of acceptable film plane and the optical centre of a
Bounce A term used to describe the sharpness extending before and beyond lens when it is focused at infinity.
technique of reflecting a light from a the point at which alens is focused; it is Front projection A method of pro-
surface such as a ceiling to create a soft, dependent on focusing distance and jecting a slide from in front on to a
diffused effect. aperture and extends further behind screen to form a background for a
Bracketing The method of taking the point of focus than in front. composition.
pictures at the estimated exposure and Diffusion Scattering of light to soften
at greater and smaller exposures. the rendering of the image or the Graininess The granular, rough appear-
Brightness range The range of lumi- quality of light, either by means of a ance of an image caused by the clumping
nance between the brightest and darkest diffusion filter on the lens or a trans- together of silver halide crystals, result-
tones of the subject; a wide range is lucent screen in front of the light source. ing from the use of fast film, over-
known as contrasty, a low range as flat. Double exposure Two images exposed exposure, or long development.
on to the same piece of film.
Cast The bias towards one colour in a Dry mounting The method of bonding a High key An image which consists
colour photograph, frequently caused print to a card mount by applying heat primarily of light tones.
by lighting conditions, and usually not and pressure to a shellac tissue between Highlights The lightest tones in an
noticeable when viewing a scene. the print and the card. image.
Colour correction filters Colour filters Hot shoe Metal slot on a camera for
used to adjust an imbalance between Electronic flash A light source of brief holding a flash gun, and providing
the colour temperature of the light duration produced by an electric dis- cordless synchronization.
source and that for which the film is charge from a capacitor in a gas-filled
balanced. Available in both primary tube. The power can be supplied by Infra-red film Film which is sensitive to
and secondary colours in a range of dry-cell batteries, rechargeable cells, the infra-red wavelengths beyond the
densities. or mains supply. visible spectrum.

218
 GLOSSARY

Inverse square law The level of Polarized light Light rays which are Standard lens Camera lens with a focal
brightness on a surface decreases in caused to vibrate in one plane only asa length approximately equal to the dia-
proportion to the square of its distance result of being reflected from a surface, gonal of the film format used which
from the light source. or passing through a polarizing filter. gives an angle of view similar to the
ISO Unit of measurement of film speed, Polarizing filter A filter which can be human eye.
now replacing the ASA and DIN scales. used to eliminate polarized light from Stop A term used to describe the setting
reflective surfaces. of the lens aperture, i.e. f-stop. Stop-
Joule Unit of measurement of the ping down reduces the aperture.
output of electronic flash, and used to Reciprocity failure The term used to Strobe light Another name for elec-
compare the power of flash systems; describe the effect of a film becoming tronic flash. Stroboscopic light is pro-
equivalent to one watt-second. less sensitive when given long exposures duced by a special light flashing at a
in excess of 1 sec. selected frequency.
Kelvin(K) Unit of measurement of Red eye Caused by a flash source when
colour temperature. Colour films are it is too close to the lens axis, producing Telephoto lens An optical design for a
balanced for a specific temperature, a red reflection from beneath the retina long-focus lens which allows it to be
e.g. acolour daylight film at 5500°K. of the subject’s eye. physically shorter than its focal length.
Reflector A surface for directing and TTL Abbreviation for the Through
Lith Extremely high contrast black and concentrating light. Bright, curved The Lens metering system used in SLR
white film. metal bowls are used around studio cameras, in which the camera’s expo-
Long-focus lens A lens with a focal lights and flashlight sources, white cards sure meter takes its reading from the
length substantially greater than the are used outdoors to direct light to light passing through the lens.
measurement of the diagonal of the shadow areas. Tungsten light The basic artificial light
film format used, producing a narrower Ring flash Electronic ring-shaped flash source in photography and the home,
angle of view than a standard lens. tube fitted around the camera lens, produced by passing electricity through
Low key An image consisting predomi- giving flat, shadowless lighting. Specifi- a tungsten filament in a glass bulb.
nantly of dark tones. cally used for close-up work.
Ultra-violet light Invisible light which
Mirror lens A long-focus lens which Single-lens reflex (SLR) camera Camera can create a blue cast on colour film. It
uses an optical mirror to fold the light using one lens for both viewing and can be reduced bya filter.
rays, permitting a more compact design. recording the image on the film by Under-exposure The result of the film
It has no aperture adjustment. means of a hinged mirror between the receiving too little light, producing thin
Motor drive Battery-powered electric lens and the film which directs the light negatives and dense transparencies.
motor which provides automatic rapid- to the viewing screen.
sequence film advance and shutter Snoot Cone-shaped shield fitted to a Viewfinder Apparatus for viewing, and
release of up to 10 frames per second. light to direct the light on to a small often focusing, the subject in the
area. camera.
Over-exposure When too much light is Soft focus Technique of reducing the Viewpoint The position of the camera
received by the film, resulting in dense definition of the camera lens by the use in relation to the subject.
negatives and weak transparencies. of attachments or diffusing materials
such as gauze, to give a soft, romantic Wide-angle lens A lens of shorter focal
Panning The technique of following a effect. length than that of a standard lens, pro-
moving subject which moves across the Spectrum The bands of colours pro- ducing a greater angle of view.
field of view by swinging the camera. duced by white light passing through a
Parallax error The difference in view prism. Zoom lens A lens of continuously vari-
given between the camera lens and the Spotlight A studio light which uses a able focal length.
viewfinder lens; avoided in SLR or lens to produce a concentrated and
view cameras. variable beam of light.

2S
 Bibliography
Calendar Girls, Michael Colmer, Sphere Books.
Cowboy Kate, Sam Haskins, Bodley Head;
Crown.
Darkroom, Lustrum Press.
Darkroom 2, Lustrum Press.
Fashion: Theory, Lustrum Press.
Fire Girls, Sam Haskins, Bodley Head; Crown.
Foxy Lady, Cheyco Leidmann, Love me tender.
Masterpieces of Erotic Photography, Arrow;
Talisman.
Nude: Theory, Lustrum Press.
Nudes, My Camera and I, André de Dienes,
Focal Press.
Paul Outerbridge Jr. 1921-1939 Photographs,
Thames & Hudson.
Perspective of Nudes, Bill Brandt, Bodley
Head.
Photographics, Sam Haskins, Argus Books.
Photographing Nudes, Charles F. Hamilton,
Spectrum.
Private Collection, David Hamilton, Morrow.
Sisters Under the Skin, Norman Parkinson,
Quartet; St. Martins Press.
Sleepless Nights, Helmut Newton, Quartet;
Congreve.
Trouble and Strife, David Bailey, Thames &
Hudson.
Views on Nudes, Bill Jay, Focal Press.
Vogue Book of Fashion Photography, text by
Polly Devlin, Thames & Hudson; Simon &
Schuster.
White Women, Helmut Newton, Quartet;
Congreve.
 INDEX

Index
Numbers in italics refer to illustrations Bureau of Freelance Photographers, 204 Darkroom techniques, 187—201
bas relief, 191, /9/
black and white in colour, 196, 196—7
Abstract nudes, 37, 68, 69, 74—5, 106, 152, C clamp, 2/0 bleach outs, 188, /88
TT5 Calendar nudes, 16-19 montage printing, 192, 192—3
black and white, 104 Callahan, Harry, 152, 153 photo-montage, 200, 200-1
erotic quality in, 76 Calotype, 151 slide sandwich, 194, 194—5
exposure, 100 Camera shake, 78, 110, 209 texture screens, 188, 189
montage printing, /92 Camera supports, 2/6—17 tone separation, 190, 190-1
Advertising photos, 22—3, 23, 204-5 see also Tripods Daylight
Aerosol paint spray, 66 Cameras, 2/2—]4 colour, 146—7
Arber, Caroline, 54 Chabas, Paul, /6 flash and, /44—5, 145
Art and photography, 26—7 Chemical toning, 26, 196, 196 indoors, 31, 50-3, 54, 74, 101, 178, 178-9
ASMP, United States, 204 Chlala, Hanya, 63, 106, 184—5 shooting against the light, 142-3, 145
Clamps soft, 140-1
G (C) clamp, 2/0 tungsten film in, 104
Background, 34, 35 lighting beads fitted to, 210 Demachy, Robert, 9, 152
balance between model and, 180, /80—/ universal, 2/0 Depth of field, 78, 93, 108
colour and, 86, 88, 88, 93, 93 vise grip, 2/0 long-focus lenses, 110, 110, 124, 125, 130
creating effects, 60-1 Clark, Sir Kenneth, The Nude, 28 wide-angle lenses, 106, 106-7
high-gloss or reflective, 60, 60—/ Clarke, Bob Carlos, 170, 170-1, 201 Dietrich, Marlene, /3
indoor locations, 54 Clergue, Lucien, 156, 156-7 Differential focus, 122
outdoor locations, 122—3, 130 Clothes and accessories, 64—5, 76, 76, 83 Diffraction grating, 108, 109
simple, 58—9 Cobb, Jan, 162, 162-3 Diffused light, diffusers, 32, 32-3, 35, 36,
textured or patterned, 60 Cokin filter system, 2/5 37,505 200
Victorian nude, 178, 178-9 Colorvir kit, 196, 196—7 body, 42, 44, 44-5
_ Background support system, portable, 50, Colour, 83-97 face, 46, 46-7
210 background, 86, 88, 88, 93, 93 on location, 148
Bailey, David, 168 black and white in, 196, 196-7 trace frame, 207
Ball and socket head, 2/7 bold, 86-9 Double exposures, 116, //6, 118, 192, 200
Barn doors, 35, 47, 118, 206 buildings and, 134 Drtikol, Frantisek, 152
Bas relief, 191, /9/ daylight and, 146-7
Beach and seaside, 128, 128-9 filters for, 94-7
Beck, Maurice, 152 skin quality, 84-5, 88—9 Eakins, Thomas, 28, /50
Belloc, Auguste, S soft, 90-3 Early nude, 8—9
Bernhard, Ruth, 26 see also Hand-colouring Equipment cases (hard and soft), 2/5
Black and white film, 104, 178 Colour casts, 52, 54, 84, 93, 94, 96, 104, Erotic images, 76-7
infra-red, 104 146, 178 Erotic postcards, 10, 0-11
Black and white in colour, 196, 196—7 Colour film, 84, 86, 94, 146 Eugene, Frank, /50
chemical toning, 196, 196 infra-red, 104, 105 Expanding poles, 209
fabric dyes, 196 uprating, 104 Exposure(s), 100, /00-1
hand-colouring, 198, 198-9 Colour temperature meter, 52, 94 bleach outs, 188
using coloured printing paper, 196 Colour transparencies (slides), 178 film and, 100
Black and white photographs, 131, 168 exposure, 100 flash and daylight, 145, 145
bas relief, 191,797 low-key lighting and, 40 flash meter’s measurement of, 207, 215
bleach outs, 188, /S8 making duplicate, 194 low-key lighting and, 40
buildings and, 134 montage printing, 193 montage printing, 192
choosing clothes, 64 presentation of, 202 multiple, 116, //6—17
in fashion magazines, 24 projection on to model of, 118, 7/8, 119 photographing movement and, 102, /02,
low-key lighting and, 40 slide sandwich, 194, 194-5 103
skin quality, 84 tone separation, 191 shooting against the light and, 142, /42,
tonal values, 83, 86 Coloured acetates (over lights), 48, 49, 60 143
tone separation, 190, 190 Composition, 126 texture and, 78
Bleach outs, 188, /88, 196 colour and, 86 tone separation and, 190
Blumenfeld, Erwin, 152 for impact, 180, /S0-/ water and, 132
Blur, 102, 702 framing, 126, 127
Body, lighting the, 42-5 intersection of thirds, 126
Boom arms/stand, 35, 209 landscape, 130-1 Fabric dyes, 196
Bourdin, Guy, 152 viewpoint and, 136, 136-7 Face, lighting the, 46-7, 46—7
Bowens Monolight flash system, 206 Crawford, Joan, /2 Fashion photography, 24—5, 38, 102, — 68
Brandt, Bill, abstract nudes of, 106, 152 Crickmay, Anthony, 103 Feurer, Hans, 24, 166, /66—7
Braquehais, 151 Cunningham, Imogen, 27 Film(s), 104, 04-5
Brightness range, 32, 34, 48, 100, 138, 142 colour, 84, 86, 94, 146
British Safety Council poster, 20 exposure and, 100
Bronica ETR camera, 2/4 Daguerreotype (Louis Daguerre), 9, /0, increasing grain size of, 104, 104
Buildings, 134, /34—5 151 infra-red, 104, /05
221
INDEX

lith, 188, 789, 190, 190-1 Honeycomb attachment, 34, 35 photoflood, 31, 176
photomicrographic, 104 portable lighting system, 54, 208
tungsten, /04 reflected, 2/5
uprating, 104, 104 Illustrating a theme, 184, 784-5 shooting against (into) the, 93, 142-3, 215
Filters Indoor daylight, 31, 50-3, 54, 74, 10/7, 178, skin quality and, 84
centre spot, 94 178-9 slide projection techniques, 118, 7/8
colour, 94—7, 145 Indoor locations, 54—5 special effects, 48—9
colourburst, 108, 109 Infra-red film, 104, 705 studio, 31, 32-53, 54
colour correction, 94, 94, 104 Instant picture camera see Polaroid tungsten, 12, 24, 54, 84, 176, 176
fog or pastel, 93, 93, 95, 96 Intersection of thirds, /26, 180 working with one light, 32-3
graduated, 94, 96 working with two or three, 34-5
integrated systems of, 2/5 see also Daylight; Diffused light,
polarizing, 96, 96, 97, 128, 132 Jewellery, 64, 64 diffusers; Flash; Reflectors; Snoots;
sepia, 105, 178 Spotlights; Sunlight
soft focus, 60, 95 Lighting supports, 209-10
star-burst, 60, 108, 08 Kane, Art, 29 Lith paper or film, 188, 789, 190, 190-1
WIG IS es Kertesz, André, 152, 153 Long-focus (telephoto) lenses, 74, 110,
Wratten 80 series, 94, 94 Kodalith black and white film, 104 110-11, 122, 122, 124, 125, 130, 137, 181
Wratten 81 series, 52, 94, 94, 97, 128, 146 Kodalith high-contrast paper, /88 105 mm and 135 mm, 74, 110, 122
First nude session, 174, 174-5 200 mm, 110, 125
Flare, 93, 143, 143 Lowel Quartzlight (1000-watt), 206
Flash, 31, 61, 74, 75, 78, 208 Lamour, Dorothy, 13 Low-key lighting, 40, 40-1
Bowens Monolight, 206 Landscape, 130-1 Luminaires, 209
daylight and, 744-5, 145 Leica ML-2 camera, 2/4
fill-in, 52, 145, 208 Lens attachments, 108, /08—9
Hannimex, 208 diffraction grating, 108, 109 Magnifying-glass lens, //4
Norman 200B recycling battery unit, 208 multiprism attachment, 108, 109 Make-up, 62, 62—3, 128, 176
photographing movement, 102, 102, 103 single prism attachment, 108 Male nude, 28-9
power sources for high-output electronic, split-focus lens, 108, 108 Mamiyaflex TLR camera, 2/4
207 star-burst filter, 108, 108 Maybridge, Edward, 28
ring-, 24 Lens hood, 143 Men Only cover photo, 15
Flash meter, 207, 215 Lens shade, 215 Minolta Flash Meter III, 2/5
Floodlight, undiffused, 176 Lenses Mirrors, 35, 52
Floor bases, 209 magnifying-glass, 1/4 Mobile stands, 209
Foam polystyrene, 66, 148, 202 soft focus techniques, 112-15 Model
Fog generator, 2// split-focus, 108, 108 balance between background and, 180,
Foreground, on location, 124, 124-5 zoom, 110, /// 180, 181
Framing, 74, 74-5, 126-7, 131, 180, 180 see also Long-focus lenses; Wide-angle erotic image of, 76-7
Freeman, Robert, 16 lenses first nude session and, 174, 174-5
Fujica H1 underwater camera, 2/4 Leygnac, Guy, 80 make-up, 62-3, 128, 176
Funk, Mitchell, 793 Light box, 194 posing the, 70-3
Light meters, 2/5 role of, 68-9
Light, lighting Victorian nude, 178, 178—9
abstract nudes, 74, 75 Model release form, 204
G clamp, 210
background, 60, 60—/, 122 Monopods, 2/6
Garbo, Greta, /3
Gibson, Ralph, 27 back lighting, 88-9, 92, 176 Monroe, Marilyn, 16, /7
Girlie magazines, 14-15, 24
beach location, 128 Montage printing, 192, 192-3, 200
the body, 42-5 Mood
‘Golden Dreams’ calendar, 16, 17
Gordon, Larry Dale, 164, 164-5
buildings and, 134 colour and, 86, 88
Gossen Profisix, 275 colour quality of, 52, 84, 146 lighting and, 36-7
coloured acetates over, 48, 49, 58 Moon, Sarah, 112
Grain-enhancing techniques, 104, /04, 112.
188, 189 emphasizing texture by, 78, 78 Motor drive, 24, 102
equipment, 206-10 Mounting prints, 202, 202-3
erotic pictures, 76 Movement, photographing, 102, 102-3
the face, 46-7, 176 Movement of water, 132, 132
Hamilton, David, 152, 158, 158-61 floodlight, 176 Multiple exposures, 116, 1/6—17
Hand-colouring, 26, 198, 198—9 folding window light, 206 Multiprism attachment, 108, /09
Hannimex flash, 208 Gossen Profisix, 2/5
Hansen, Beate, 25 high-key, 38-9
Harlow, Jean, 12 Hollywood classic photos, 12, 176, 176-7 Newton, Helmut, 152
Hasselblad 500 CM camera, 2/2 incident, 275 Nikon F3 SLR camera, 2/3
High-key lighting, 38, 38-9 indoor locations, 54 Nikonos underwater camera, 2/4
Highlights, 34, 35, 38, 40, 40, 42, 44, 47, 48, landscape and, 130, 131 Norman 200B recycling unit, 208
DISS 4242 OmO low-key, 40-1
Hollywood glamour/classic, 12-13, 176, Lowel Quartzlight, 206
176-7 mood and, 36-7 Olympus XA viewfinder camera, 214
2
 INDEX

Outerbridge, Paul, Jr, 27 on location, 122 Tri-X film, 104

Outside locations, 121—49 shooting against the light and, 142, /43 Tungsten film, 118
Over-exposure, 38, 78, 84, 84, 93, 142 sunlight and, 138 shooting in daylight, 104
using daylight indoors, 50 Tungsten lighting, 24, 54, 84, 176
Shutter speeds, 102, 702, 110, 132, 132, 178 spotlights, 12, 176
Panning, 102, 102 Sieff, Jean Loup, 27
Pentax 6x7 SLR camera, 2/12 Skin texture and tones, 32, 46, 47, 48, 52,
Perspective 62, 78, 78, 142, 146, 176 Umbrella reflectors, 32, 33, 38, 207, 208
long-focus lenses, 110, 770, 111 colour and, 84, 84, 85, 8S&—9 translucent, 207
viewpoint and, 136 exposure and, 100 Under-exposure, 38, 40, 78, 84, 84, 145
wide-angle lenses, 106, 107 landscape and, /30, 131, 131 Underwater cameras, 2/4
Paper hooks, 2/0 Slide copier, 194 Universal clamps, 2/0
Photoflood lights, 31, 776 Slide projectors, 118-19, 176
Photomicrographic film (Kodak), 104 Slide sandwich, 194, 1/94—5
Photo-montage (collage), 26, 200, 200-1 Snoots, 34, 35, 35, 46, 47, 48, 58, 78, 118, Vance, David, 29
Photo-realism, 26 WH, WV, BUS Victorian nude, 178, 178—9
Photo-secessionists, 152 Soft-focus attachments,
53, 76, 84, 112, 176, View camera, 108, 2/3
Photo tint dyes, 198 178 Viewpoint, 122, 122, 124, 180
Picture libraries, 204 Soft focus techniques, 112—15 Vise grip, 2/0
Pin-ups, 10-11, 14, /4 clear adhesive tape across lens, 112, 112
Pirelli glamour calendars, 16 condensation on lens, 112
Pistol grip, 2/5 gauze across lens, 176, 178 Wall flats, 66, 66, 67
Plate cameras (8 x 10), 12 magnifying-glass lens, 1/4 Water, 132, 132-3
Polaroid cameras, 174 old box camera lens, 1/3 Weston, Edward, 154, 154-5
SX-70, 214 petroleum jelly smeared on UV filter, Weston Euro-Master light meter, 2/5
Portable lighting system, 54, 208 ie) White, Clarence H., 9
Portraits, 32, 38, 107, 110 Solarization, 152, 196 Wide-angle lenses, 106, 106, 107, 137, 180
Posters, 20-1 Spiller cap, 206 Wilton, Chris Alan, 194
Presentation (of slides and prints), 202—3 Split-focus lens, 108, 108 Wind machine, 2//
Prism attachment, single, 108 Spotlights, 12, 24, 33, 60, 60, 75, 78, 176 Window light, folding (bank light), 206
Props, 80, 80-1 Staple gun, 66
Push-processing, 104, 104 Star-burst filter, 60, 108, 208
Steichen, Edward, 12 Zoom lenses, 110, ///
Steiglitz, Alfred, 152
Rain-making machine, 2/1 Strobe effect, 116, 177
Rangefinder focusing, 2/4 Studio photography, 88, 100, 101, 104
Ray, Man, 152, 153 building simple sets, 66-7
Recording Film No. 2475 (Kodak), 104 first nude session, 174, 174
Reflectors, 33, 34, 35, 44, 49, 52, 52, 84, lighting, 31, 32-53, 54
145, 174, 208, 210, 211 multiple exposures, 116, 1/6
black, 48, 148 using props for effect, 80-1
deep bowl, 206 see also Indoor locations
high-key lighting and, 38, 38-9, 47 Sunlight, 140, 740, 141
on location, 148, 145-9 colour and, 84, 84—5, 88, 90-1, 146, 146
shallow bowl, 206 shooting in, 138, 138-9
silver, 51, 148, 149, 176, 179, 207 shooting towards the sun, 93, 142-3, 145,
umbrella, 32, 33, 38, 207, 208 145, 215
white, 50, 52, 84, 207 see also Daylight
Rejlander, Oscar Gustav, 8, 151 Sunset or dusk shots using flash, 145
Rifle grip, 210 Surrealists, 152, 170
Rim lighting, 34, 34, 40, 48, 48, 116 Swannell, John, 168, /68—9
Ring-flash, 24
Rollei SLX (6X6 cm) camera, 2/4
Telephoto lenses see Long-focus lenses
Texture(s), 143
Sarkowski, John, 154 buildings and, 134
Selling your work, 204 contrasting two different, 78, 78
Sepia-toned prints, 178, 196, 198 emphasizing, 78—9
Sequence of photographs, 182-3 landscapes and, 130, 131, 131
Sequence shooting, 102 skin, 32, 46, 47, 48, 62, 78, 78, 176
Sets, building simple, 66-7 Texture screens, 188, /89, 196
Shadows, 34, 34, 48, 48, 126, 176 TLR (twin-lens reflex) cameras, 2/4
flash and daylight, 145 Tone separation, 190, 190-1
lighting the body, 42, 42, 44, 45 Trace frame, 207
lighting the face, 46, 46, 47 Tripods, 102, 209, 216
low-key lighting and, 40 pan and tilt head, 2/7
228
 Acknowledgements
8 (top) Auguste Belloc 80 (left) Guy Leygnac/Image Bank ‘
(bottom left) Oscar Gustav Rejlander 103 Anthony Crickmay
9 (top) Clarence H. White 106 (left) Hanya Chlala
(bottom) Robert Demachy 150 (top left) Thomas Eakins
12-13 The Kobal Collection (top right) Frank Eugene
14 Michael Sharman/EPL 153 (top) Harry Callahan
15 courtesy of Paul Raymond Publications (bottom left) Man Ray
16 Paul Chabas (bottom right) André Kertesz
18 Leslie Turtle/courtesy of Lamb’s Navy 154-5 Edward Weston
Rum 156-7 Lucien Clergue
19 (top left and right) Leslie 158-61 David Hamilton/Image Bank
Turtle/courtesy of Lamb’s Navy Rum 162-3 Jan Cobb/Image Bank
(bottom) Barry Lategan/©Mintex 164-5 Larry Dale Gordon//mage Bank
Brake & Clutch Linings, 1981 166-7 Hans Feurer/Image Bank
20 (left) courtesy of British Safety Council 168-9 John Swannell —
(right) Oliviero Toscani/courtesy of 170-1 Bob Carlos Clarke
Zanella; agency Adas 184 (top) Crystal Recording CRY 3019,
21 James Wedge/courtesy of Pretty Polly; courtesy of President Records Ltd,
agency Collett, Dickenson and Pearce London
22 Steve Slayford/EPL (bottom) Hanya Chlala; make-up by
23 Image Bank Christina Saunders
24 (left) Hans Feurer/Image Bank 185 Hanya Chlala; make-up by
(right) Nino Mascardi/Jmage Bank Christina Saunders
25 Beate Hansen//mage Bank 193 Mitchell Funk//mage Bank
26 Ruth Bernhard 194 Chris Alan Wilton/Image Bank
27 (top left) Jean Loup Sieff 198-9 John Farnham
(top right) Paul Outerbridge, Jr 200 © Motorway Tyres and Accessories
(bottom left) Ralph Gibson Limited, 1979
(bottom right) Imogen Cunningham 201 Bob Carlos Clarke
29 (top) Art Kane/Image Bank
(bottom) David Vance/Image Bank Drawings by Richard Blakeley
37 (top right) EPL
54 (bottom) © Motorway Tyres and The author would like to thank the
Accessories Limited, 1976 following people for their help and
55 Caroline Arber/Camera Press co-operation:
60 (bottom) EPL Geoff Wootten Model Agency
63 (top) Hanya Chlala; make-up by Sarah Cape Model Agency
Christina Saunders International Model Agency
(bottom) Hanya Chlala; make-up by Joanie Allum
Casey Wendy Bennet
66 Michael Sharman/EPL Janine Andrews
67 © Motorway Tyres and Accessories Steve Varley, Portland Holidays
Limited, 1976 Peter Cogram
77 Leslie Turtle/courtesy of Lamb’s Navy John Farnham
Rum and Pat Busselle who typed the manuscript

224
>

eis
ISBN O-?4 L4-4
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il
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80 748°10 _
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