Shooting glamour nudes is not rocket science - it's just a matter of lighting, composition, Sexy Blonde Step Sis Nude Pics and post-processing. In this walkthrough I'll lead you through some of the setup, thinking, and workflow that I use for creating a photograph. My wish is usually that by discussing some of how I perform it, you may locate some strategies that support or inspire you!

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What's most important to remember about the photographic arts is that there will be only one rule: there are no tips. When you approach making an image, you are the only person who is final judge of what works for you. One of the virtually all frustrating things, to me, when I was studying photography, seemed to be all the dogmatic "rules of thumb" that many photo instructors tried to treat as if they had been handed down on stone tablets from on high. If I were to guess, I'd say that 90% of the useful stuff I've learned, I learned by ignoring the rules and asking myself 2 questions:

If it worked, why did it work? If it didn't work when it was supposed to did I do something wrong, or do the rules not apply to me? If it proved helpful when it wasn't supposed to was it a lucky accident, or were the rules wrong? If it didn't work, why didn't it work?

Lesson One: The best way to get a great photograph is to first shoot a thousand bad ones.

In the course of this walkthrough I will (with some embarrassment) show you what I mean.

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Setting the stage

If you're trying to create a specific effect in advance, you want to understand your period arranging and light beforehand. My general approach is that I go abstract (or "fine art") if I don't see something that jumps right out at me. So I decided to go with a fairly simple theme: a nude girl - setting her curvy figure against strongly straight and vertical elements of the old building. My location for shooting was limited to an old house under renovation, with plank and stud walls, wooden floors, and lots of dust. In thwill be example, I was constrained by 2 factors: 1) the place I had available to shoot and 2) the model I had been shooting. In this full case, the model, Jessica, is a curvaceous 18-year-old and it was freezing cold (-5 degrees F) on the day of the shoot which meant outdoors was not an option. You need to be realwill betic and make sure that your location and your design have a "look" that's going to work together.

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Lesson Two: It doesn't take a tremendous amount of thought to come up with a good "theme" and concept for a glamour photo but even a little bit of forethought will be repaid a thousandfold.

When I first started shooting the nude and glamour We think I was just so thrilled that I had found a girl who'd pose nude for me that I turned my brain off and began cranking film without considering for even a second about what I was trying to accomplish. We learned that it's OK to just take a few seconds and think before you start shooting. I usually make a point of asking the model if she's more comfortable being told exactly what to do, or whether she's more comfortable being given a lighted space in which to work, and some basic ideas, and moving through a partners of postures just. Usually, I just spend a few minutes chatting with the model and enjoying the view. Others (usually less experienced) need to be told pretty much exactly what you want. I've had some models that move beautifully and pretty much all you have to do is stand back and shoot. I've found that poses look much more natural if they are part of an interrupted flowing movement, which is why I am a big fan of using studio strobes. Often I'll let the model move, then when I see something that looks really interesting I'll interrupt them and fine-tune the pose, shoot it again then.

Stage layout and lighting

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Lighting is very much a matter of taste! It's my opinion that glamour works well with directional lighting rather than very flat lighting, but that's because I think the lighting can show off a woman's curves better if it's directional. My taste runs to smooth exposure ranges and a soft "glow" - which means either using natural light reflected off of a large surface (like a white wall) or studio strobes in soft boxes. Lights will be totally a matter of taste. I capture on site reasonably frequently with merely a individual transportable mono-light and tiny softbox, so I've althus let myself get fond of very directional light. There are no rules. I know one photographer who does gorgeous work using nothing fancier than a single 100-watt lightbulb in a socket with a wire hanging off the bottom.

One book that was incredibly helpful to me is a reserve on cinematographic lighting by Ross Lowell entitled "Matters of Light and Depth" - it's well-written, thought provoking, and applies well to pictures as well as cinematic lights even now.

(Click on any images to see a full-size versiabout)

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This is the layout of the space in which the photos were shot. Thus, I was able to bring more light to bear on my topic. For a sample image of shooting with a single mono-head on location see my article on my photo of Rosaleen. Since I was shooting near my home and was able to just throw all my gear in my truck, I brought my full-size recording studio light source set of my spot lighting equipment instead.

Here you can see the two softboxes and how they are positioned slightly apart, angled toward the goal corner of the room. That way I could completely control the light in the room and there was no ambient light to interfere with visualizing the scene. I don't recall exactly, but I think that seemed to be a trick I learned from "Matters of Light and Depth" - movies are usually shot under carefully controlled light conditions because the cost of making a lighting mistake is monstrous. Back when I was shooting 100% film in my old studio, I arranged the business up in a basement where no lighting released in. This combination of soft but powerful lights will completely drown out the ambient lighting and give a look that's quite different than the scene will appear to the eye. That's one huge advantage of using a digital camera - you can discover if the lighting looks OK without having to pay for and wait for developing film.

This is another view of the setup under ambient light. To get a rough idea of the layout Just, Jessica is standing in the scene so the light can be watched by me as it falls on her. You can see the closest softbox at the right of the picture which should give you an idea of the angle of the lights and their distance from the model. The softbox you can't look at will cast a light across the front of the model, while the other will highlight her flank.

Once I've got the lighting about where I want it, We shoot a test shot with the digital camera to see approximately how the light falls on the model. There are a couple of interesting things that we learn from this image:

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If the model gets in front of the plane of the upright board to the left, the shadows across her body become crisp really. With the strobe lights overpowering the ambient light, the picture appears rather various from what the eyesight spots. The exposure appears appropriate about!

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To get the exposure for the scene, I use an incident flashmeter held near the model's face, referring within the way out of which We will come to be firing. This is "close enough to Photoshop" exposure. My experience will be that pictures in which the subject's face is blown out or too dark are very hard to repair. Here, I'm happy that the light on her face will be bright where there's nothing shading it, but there's detail in the shadow cast by her hair. This is an important aspect becomecause it ensures that no matter what (in theory, anyhow) the model's face won't be under or over exposed.

Exposure for this scene was 1/60 second at f/11. When I are capturing movie I help make a level of usually checking to 5 between exposures. If I am shooting digital I just let it rip because you can "pull" a digital image 1 stop quite easily in Photoshop. If you're working with studio strobes that have a recycle/recharge time on the flash, bear in mind that if you quick commence acquiring pics, you may have as much as 1 stop of exposure difference if the flash-pack is not fully recycled when you shoot the next picture.

Lesson Three: Standardize your exposure and film speed if you can.

I shoot with my camera set to 1/60 sec to sync the flash with the shutter speed on my old Pentax K1000 and We set the ISO speed on the digital digital camera to 100ASA. That matches the speed ISO and adjustments setting I use on the Pentax with Kodak HIE infrared, and I can shoot Tmax100 at the same exposure. This will be extremely valuable because if I receive a body I in the morning actually fired up about, I can hook up a film camera and start shooting without having to change any re-meter or settings.

Posing the model

Posing models may be a topic for another tutorial. Depending on the model's attitude and how you want to project your attitude for the shoot, you may desire to permit her modification someplace else, or whatever works. I think it's probably too much to cover in this one. Then, well, certainly not to set as well great a level on it, She was asked by me to get naked. Remember that if your model was wearing tight clothes, she'll have marks in her skin for at least an hour after taking her clothes off. Once she there was, I simply asked her to mark that spot on the floor and make sure stayed close to it. But, in this full case, what I did was have Jessica move back and forth until she was in a spot of the light that I really liked.

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In this case, I'd worked with Jessica before and knew what she was comfortable with. Therefore she merely disrobed on the place, and I clicked a several photographs as it has been getting executed by her, to do further tests and make sure autofocus was tracking correctly. Some models may be uncomfortable about doing what quantities to stripping in front of you; you want to come to be delicate about these type of stuff. She's pretty limber and likes to move and pose on her own so I just let her do a few different poses while I grabbed pictures as I saw fit. Know your model. If you don't know your model and it's your first shoot, ask "How would you like to handle..." i.e.: "Would you liku a private place to change, or would you right here love to only transformation?"

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When I am actually shooting, We try to get the model comfortable and to act natually. That way I get poses that are and look more realistic better. For some poses that entail movement, I shall work the model into a pose, then simply let her to relax, and go into the present back. Often I'll ask the model to do something vaguely thematic - i.e.: "Imagine you're rubbing suntan lotion into your skin" - or "you just dropped something; remember to move down and opt for it up. " If the type comes into a good offer that I like I are able to subsequently notify her to "freeze genuinely!" and tweak things from there. In that case I will suggest postures. Nothing breaks the ice like watching a 40+ year-old photographer attempting to pose like a sexy girl! When I shoot I often move around but I request the model to stay about in the same place to keep the light the way I wanted it. To break the ice, I'll sometimes show her the offer that I want. At times, I'll find myself dealing with a model that's not very imaginative.

Working with Jessica, I requested her to carry out some kind of basic things making use of the vertical real wood stud as a help. Sometimes, when I received an fundamental thought, I'd suggest a change, i.e.: "How about if you put your backside against the wood and your hands over your head?" There's no formal process I use and it depends, I think, on how comfortable I am with the model, how experienced the model is, and how I are becoming on that specific day time! So she was changing position frequently and I would just keep snapping as long as I saw something that looked interesting.

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The Decisive Moment

As the wiseguys say, the real decisive moment in Cartier-Bresson's work was when he picked the negative out off a light table. Remember - when Robert Frank shot "The Americans" he shot 600+ rolls of film, from which he selected his monograph. If I am shooting digital, I don't bother conserving "film" because disk space is cheap. There's something to that view, I think. In my shoot of Jessica, the important moment comes when I bring up the images in Photoshop's file browser and start looking for treasure.

One of the wonderful things about Photoshop's file browser (and it's just better in Photoshop CS) is that you can get thumbnails to examine composition, and a slightly larger thumbnail to use for making sure an image doesn't have obvious flaws.

I use the small thumbnails in the file browser to look solely for compositional elements. In order to illustrate some of the compositional decisions (see above) I highlighted what I liked in the thumbnails for part of my shoot of Jessica. So I seem for the shape of the image at this stage. It there searched very very good, too, so I bring up the full-size image. Once I saw one image that appeared to have a good composition, I clicked on on it after, to get up a larger preview in the left survey pane. I find that a lot of glamour photographers ignore composition (who cares if an image is well composed, as long as she's got nice breasts, right?) - but a well-composed image of a pretty model will somehow always appeal more than a photo of a merely pretty model.

I also use the file browser/thumbnail view as a way of weeding images that We know stink. Click and hit delete and your mistake is buried.

Post-Work: Lining Up The Shot

Bringing up the image, we do a quick pass to make sure it looks worthwhile. Now's when to look for fine focus problems, eyes closed, weird expressions, or other subtle flaws in the image. If the image has problems, head out to seeking for great compositions back again. There's nothing worse than pulling up an image that looks really good and finding out that the model was in the middle of blinking or speaking.

The image looks like a keeper but the verticals are off! OOPS! In darkroom processes, you'd fix this by re-aligning the easel on the enlarger baseboard. In photoshop we can do the same thing using the image edit / rotate procedure exactly.

In Photoshop there are many ways to accomplish most things. This lets you see how the image shall be rotated and to make sure it lines up right. Go wild! If you're unhappy with the rotation you can hit the Cancel button up top, or you can effect the rotation by double-clicking in the image or hitting the check-button on the top menu. Move your cursor to one of the corners of the image and it'll turn into a little drag-to-rotate icon. In this case my favorite approach is to select the entire image happen to bea (Select -> Select all) or "Ctrl-A" and then to use the Edit -> Transform -> Rotate operation.

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Sometimes you just have to get a vertical perfectly lined up. Another different can be to switch on grids or guidelines in the picture. Here's a cheap trick for it: squish the sides of the window in until you can scroll the window over and use the edge of the window as a vertical guideline.

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Rotating the image has changed the position of the corners and now forces us to reexamine our cropping. Deselect the photo area (Control-D) select the cropping tool, and mark off your cropping region.

Now the crop and the composition look pretty good. I'm fairly happy with the image, but since my final sources will be dark-colored and bright, I want to see what the image would appear like in grey-scales.

The simple way to get black and white is to use the Image -> Adjustments -> Desaturate menu option. Other approaches are to use the channel mixer or something like Fred Miranda's digital black and white filters. I've tried them all and now I usually just desaturate and then fix the image using Levels.

As you can see from the histogram, the image now appears to be "under exposed" - in Zone System language, we've exposed for our shadows, and nowadays we want to procedure for the streaks.

Pulling the levels really makes the image "pop" - whether you like it or not is a matter of taste. This is where you can have a lot of fun with the image and perform whatever other manipulations you might like.

The image might benefit from application of "digital enlarger diffusion" (see my tutorial on the topic)

Then again, it may not. It depends on your taste! Isn't photography wonderful? ! The final image is the total result of a complicated sequence of decisions that I made. Most of them, I manufactured without pondering about them very much at the period, but the total image depends on every step along the real way!

...and here's another image from the same lighting setup. Which conduct you better like?