The Manual of Nude Photography PDF

— THE MANUAL OF

NUDE PHOTOGRAPHY
JON GRAY & MICHAEL BUSSELLE

FIRST SESSION • INTERIORS • ON LOCATION

CREATIVE TECHNIQUES • LIGHTING & EQUIPMENT
(
THEMANUALOF
NUDE PHOTOGRAPHY
THE MANUAL OF
NUDE PHOTOGRAPHY
JON GRAY text by MICHAEL BUSSELLE
Copyright ©
1983 Robert
Adkinson Limited
All rightsreserved
including the right of
reproduction in whole or in
part in any form
Published by
Simon and Schuster
A Division of
Simon & Schuster, Inc.
Simon & Schuster
Building
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SIMON ANDSCHUSTER
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Designed and produced

by Robert Adkinson
Limited, London
Editorial Director
Clare Howell
Editor
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Art Editor
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Illustrations
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Phototypeset by
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Illustrations originated by
East Anglian Engraving Co.
Ltd, Norwich.
Printed and bound in Italy
by L.E.G.O. Vicenza
1 23456789 10
Library of Congress
Cataloging in Publication
Data
Busselle, Michael.
The manual of nude
photography.
Includes index.
1 . Photography of the nude.
I. Gray, Jon. II. Title.
TR674.B88 1983 778.9’24
83-14854
ISBN 0-671-49257-8
Reprinted 1984, 1985

CONTENTS
FIRST SESSIONS THE NUDE OUTDOORS
TYPES AND STYLES SETTINGS
WHAT IS NUDE PHOTOGRAPHY? 8 CHOOSING A LOCATION 128
EXOTIC/GLAMOUR 10 BEACHES 132
FULL BODY/PARTS OF BODY 16 VILLAS AND SWIMMING POOLS 136
MALE NUDE 20 IN THE CITY 140
BACKGROUND WORK NIGHT SHOTS 142
HOME STUDIO 24 MOODY SETTINGS 144
PROFESSIONAL STUDIO 26 COMPOSITION 148
PREPARATION AND PLANNING 28 PROFESSIONAL AT WORK
MODELS AND MODELLING CALENDAR SESSION 150
FINDING A MODEL 30 TECHNIQUES AND EFFECTS
QUALITIES IN A MODEL 32 SHOOTING IN SUNLIGHT 152
DIFFERENT TYPES OF MODEL 34 SHOOTING IN SOFT DAYLIGHT 1 56
PROFESSIONAL MODEL 36 AGAINST THE LIGHT 158
AMATEUR MODEL 38 COLOUR AND DAYLIGHT 160
PUTTING THE MODEL AT HER EASE 40 USE OF COLOUR 162
HOW A PROFESSIONAL PHOTOGRAPHER WORKS 42 COLOUR AND MOOD 1 64
MAKE-UP SOFT COLOUR EFFECTS 166
STAGE-BY-STAGE 46 EXPOSURE 168
BODY MAKE-UP 50 FILTERS 170
EXOTIC MAKE-UP 52 LENSES 174
SETTINGS AND SETS
CREATIVE CHOICE 54 PRACTICAL INFORMATION
INDOOR SETTINGS 58
OUTDOOR SETTINGS 60 TECHNIQUES AND EFFECTS
EXOTIC SETTINGS 62 INSTANT CAMERA 176
INDOOR DO’S AND DONT’S 64 POST-CAMERA 178
OUTDOOR DO’S AND DONT’S 68 INDEX AND ACKNOWLEDGEMENTS 1 84
THE NUDE INDOORS

INTRODUCTION
THE BODY INDOORS 74
HOME STUDIO 76
PROFESSIONAL STUDIO 80
PROFESSIONAL AT WORK
CALENDAR SESSION 84
INTERIORS
BASIC TO EXOTIC 86
CREATIVE CHOICE 90
BEDROOMS 92
BATHROOMS 94
OTHER ROOMS 98
PATIOS AND BALCONIES 102
TECHNIQUES AND EFFECTS
BOLD EFFECTS 104
LIGHTS AND LIGHTING 108
USING FLASH 110
COLOUR IN ACCESSORIES 1 12
LENS EFFECTS 114
SOFT FOCUS EFFECTS 116
USING FILTERS 118
BLACK-AND-WHITE 120
MULTIPLE IMAGES 124
6
FIRST
SESSIONS
7
FIRST SESSIONS/TYPES AND STYLES
WHAT IS NUDE PHOTOGRAPHY?

There are a great many approaches to nude photography can be used to produce pictures which are almost totally
- is in many ways one of the more subjective styles of
it
abstract in which the model herself is no longer an
photography- and there is probably a greater polarization important element, and it is simply the tones and shapes
between the attitudes towards the way is done and the it created by the contours of her body and the lighting which
way is seen than there is with other subjects. The sexual
it
are recorded on the film. This type of nude photography
connotations of the nude are also stronger in photo- has a considerable affinity with landscape work, and
graphy than in other art mediums. This may well be techniques which emphasize the elements of texture and
because the more ‘realistic’ qualities of a photograph form, for instance, are of equal importance in both fields.
make it easier for the viewer to identify a photographic
image more closely with a real person than a statue or a
painting allows, but whatever the reason, nude photo-
graphy is undoubtedly most widely used in the more
personal and sexual way.
The ‘pin-up’ approach is in many ways the most basic
style of nude photography, in which the personality and
sexuality of the model form an important element of the
image, and much of the photographer’s skill is directed
towards distilling these elusive elements into a form that
can be recorded on film. This approach was initiated in the
Victorian era in the form of postcards, evolved and matured
in the heyday of Hollywood, and is alive and well today in
the medium of the pin-ups in popular newspapers and the

‘girlie’ magazines. Today, many pictures of this type are
very explicit and their acceptability in terms of taste can
often be questionable. As a consequence, a style of
photography has evolved in which the erotic and sexual
nature of the image is made more acceptable by the use of
more calculated and contrived photographic techniques
to create a degree of mood or ambiguity. Whereas the
photographic techniques and aesthetic approach to the
basic pin-up picture are very simple and direct, the more
atmospheric pictures of photographers such as David
Hamilton, Sam Haskins, and Helmut Newton are far more
complex in both conception and execution. This style of
photography uses the model both as an individual and
simply as an element in a composition in which the setting
or location plays an equally dominant role.
A further extension of this approach is completely to
lose or hide the identity of the model so that her body
simply becomes a visual element in the image. In this way
the picture becomes an abstraction rather than a photo-
graph of a particular person. This can be achieved in a
variety of ways, for example by asking the model simply to
turn her head away from the camera. This device alone
can have a quite strong, depersonalizing effect, in con-
trast to the pin-up type picture where the model's eyes are
invariably directed into the camera inviting the viewer to
acknowledge her as an individual. However, the more
anonymous such pictures need not mean any
quality of
loss in erotic effect- in fact, there can even bean element
of voyeurism in which an intimate and personal moment is
briefly revealed, and this can in some instances create a
heightened, less obvious, sense of eroticism. Another
if
way of creating a more abstract image is to move in much

closer and to frame the picture much more tightly so that
only small parts of the body are included. This approach
8
There are many types and
styles ofnude photography,
ranging from the abstract
(opposite above), to the
pin-up (opposite below), the
contrived (left) and the
atmospheric (below).
9
EXOTIC/GLAMOUR 1
The effect of any photograph
depends equally on the style of
the model and on the approach
of the photographer. This is
particularly true of nude
photography, which offers
scope for many imaginative
images.
10
11
12
These three pictures illustrate
the versatility of the nude
medium: a glamorous bedroom
shot (opposite), a more overt
‘pin-up’ picture (left) and an
exotic jungle setting (below).
13
EXOTIC/GLAMOUR 3
14
15
FULL BODY/PARTS OF BODY 1
16
By careful framing of individual
parts of the body, it is possible
to create a great variety of
effective abstract images.
17
FULL BODY/PARTS OF BODY 2
The use of a thin fabric screen,

both in front of and behind the
model, has added interest to
the simple nude body shot
("below). By contrast, an
altogether more erotic effect
has been created by the
surprising juxtaposition of the
savage dog against the white-
stockinged legs of the model
("opposite).
18
19
MALE NUDE 1
Although the male nude has been featured quite promin-

ently in classical and traditional art it is seldom used as a
subject in photography. This may be because the majority
of photographers are men and they quite simply find more

pleasure in photographing women, or it is perhaps more
likely that the commercial applications of the male nude
are far more restricted. From a purely visual point of view,
however, there no reason why this should be so,
is
particularly when the prime purpose is merely to create

pleasing images, since the more muscular and sinewy
contours of a man’s body can in some circumstances be
photographed even more effectively than the softer, more
bland quality of a woman’s form.
The tough, latently aggressive

figure against the stark red
background (above) stands in
marked contrast to the abstract
nude where the outline of the
model’s body is thrown into
relief by the back-lighting
fright;.
20
21
MALE NUDE 2
The qualities of the mate nude
figure can be exploited just as
readily as those of the female
nude to produce strong and
varied photographic images, in
these three pictures, slight
variations in the model's pose
have created in turn a feeling of
aloofness, reflection and
strength (below left and right,
opposite). In every case, the
lighting emphasizes the
muscular contours of the
model's body.
22
23
FIRST SESSIONS/BACKGROUND WORK
HOME STUDIO
The first attempt at taking any unfamiliar type of photo-
graph is almost certainly likely to throw up a few problems
or difficulties that have not been anticipated. Nude photo-
graphy may well proveto be more prone to this than other
types of picture, simply because in addition to the usual
technical and aesthetic factors there is the all-important
consideration of creating and maintaining a good rapport
with the model. This can be much more difficult to achieve
when there is a degree of uncertainty or unfamiliarity on
the part of the photographer, and doubly so the model is
if
also inexperienced. For this reason the inexperienced

amateur photographer embarking on a first session may
find beneficial to work with a professional model who will
it
be able to make a more positive contribution to the

pictures. If this is not possible then would at least be
it
helpful to ask a close friend to act as model for the first

session since this will at least ensure that there is a relaxed
atmosphere and some of the pressure will be diffused.
In most cases the session will probably take place in a
studio of some sort, whether it is a fully equipped pro-

fessional studio ora makeshift home studio. This is in fact
a good choice as the studio environment offers comfort
and privacy, both of which are important in creating a
relaxed and productive working atmosphere, while the
degree of control over lighting, backgrounds, and props
can also be helpful. Whichever type of studio is used is it
important to be well prepared. If you are setting up a studio

in your home, for example, do so well in advance of the
session, making sure that all the equipment is working

and that you have spare lamps where necessary and that
everything you will need is to hand. It can also be useful,
with a friend as a substitute for a model, to set up your
lighting and check exposure levels, particularly ifyou do
not use the equipment very often.
If you are planning a session in
a home studio, it is sensible to

set up and check all the
equipment beforehand, and to
familiarize yourself with the
setting.
24
25
PROFESSIONAL STUDIO
If you are using a hired studio ask if you can go there a day
or so beforehand just to familiarize yourself with the
equipment and to make sure that there are no additional
accessories that you will want to take along. Even more
important than preparing the equipment, make sure that
you yourself are prepared in terms of ideas for shots. The
main difficulty with studio photography is that you simply
cannot afford to hope that something will evolve as you go
along - a studio shot can only consist of what you put into
and unless you have thought your shot through and
it,
made sure that you have the necessary props and back-
grounds and that the model brings along the right clothes
and accessories then the results will invariably be dull and
disappointing. This can obviously be disastrous, especially
ifyou are committed to paying model fees. The profes-
sional nude photographer cannot allow this to happen,
and it is a good idea as an amateur to adopt the basic
methods of organizing and shooting a session that are
used in a professional studio.
A session in a professional
studio must be planned and
prepared with care if the
outcome is to be successful
and unnecessary time and
expense spared.
26
27
PREPARATION AND PLANNING
When you have selected a model and arranged the basic can change and do her hair and make-up, and that is it
studio facilities the nextthingis to sketch out some rough equipped with a good mirror and adequate lighting. Have
ideas or visuals for your pictures. These do not necessarily coffee or a drink available, particularly is going to be a
if it
have to be followed rigidly once the session is under-way long session. Make sure the studio is really warm as cold
but it is important to have a definite starting-point and a conditions can be a very negative factor in nude photo-
firm idea of what sort of picture up with.
you want to finish graphy and can ruin a session. It is also a good idea to
At this stage is worth while involving your model as she
it have some background music as this can help to create a
may well have some ideas about what she could con- relaxed atmosphere.
tribute to the pictures: for example, she may have clothes
or accessories that could create just the right atmos-
phere, or she may be able to arrange her hair or make-up
to fit a particular theme. But in any case it is important that
you should be able to communicate both your ideas and

your enthusiasm in order for her lo be able to work
effectively. The nextthing is to make a list of items you may
need for props and for any special background effects.
Most professional studios have a props cupboard full of
bits and pieces that can be used to add the finishing touch
to a shot, as well as a wide variety of background colours

and fabrics. It is, however, unlikely that these resources
willbe available to most amateurs so this should be

thought about beforehand. In addition to planning the
basic ideas and props for a session it is also worth
considering whether any particular photographic or light-
ing techniques could make a useful contribution - soft
focus attachments, for instance, or effects filters. You
mightwantto hireaspecial pieceof equipmentto create a
particular effect, such as a spotlight or a wind machine;
most professional dealers stock a wide range of this type
of accessory that can be hired for just a day.
Last but not least, remember your model's creature
comforts: make sure there is a suitable place where she
28
29
FIRST SESSIONS/MODELS AND MODELLING
FINDING A MODEL
Whatever else you may need for nude photography one

thing is certain-you need a model. The right model can in
fact make all thedifference between a simply good picture
and an outstanding one, while the wrong model can make
itimpossible to produce a good picture from the very best
ideas even everything else is perfect. Finding the right
if
model can be a major stumbling block particularly forthe

amateur who may not be able to afford the fees of a good
professional model. This is not to suggest that it is not
possible to take good pictures of amateur models, rather
the main point is that in order to find a suitable professional
model all you need do is look through the model directories
and pick up the telephone, while finding an amateur
model can be much less straightforward.
The essential difference between a professional model
and an amateur is that theformer has had more experience
and has learnt some of the tricks of the trade: a good pro-
fessional model, for example, usually has a good idea of
how she looks in the camera and will know instinctively
how to move and pose without the need for constant
direction, and she will have learnt how to adapt her make-
up and hair-style in the most effective way. On the other
hand, this experience can have drawbacks and in some
situations the rather glossy, stylized look of a professional
model can appear out of place and can actually detract
from a picture unless she is given the right sort of direction.
Another advantage of working with a professional model
is that she will have accumulated a suitable wardrobe of
clothes and accessories and will also know howto make

the best use of them.
If you are looking fora
professional model through an

agency, they will send you index
cards of the models on their list.
The card contains a selection of
pictures of the model, and gives
her vital statistics and other
relevant personal details.
30
Sway™*
Eric
31
QUALITIES IN A MODEL
In nude work, the personality of

the model is equally as
important as her appearance,
and in certain respects even
more so. When planning a
session, it is vital to consider
the model's attitude, as she may
well have definite feelings
about certain types of shot.
While one girl may be quite
uninhibited about posing for a
completely nude picture,
another may prefer to do
topless shots. In the same way,
a particular model may be ideal
fora titillating, overtly erotic
sequence, and another more
suitable for abstract studies.
32
33
DIFFERENT TYPES OF MODEL
Every model has her own style,

and a girl who is confident and
relaxed will be able to project
her personality to create a
strongly individual image.
34
35
PROFESSIONAL MODEL
The best and easiest way to book a professional model is

through a model agency. These can be located through
the local telephone directory or in the specialized media
reference books. It is important to appreciate, however,
that by no meansall models or indeed all model agencies
are prepared to do nude work and you should establish

this before you approach them. Once you have contacted
an agency they will send you index cards from which to

make a selection. This is a printed card, usually A5 size
(approx. 6x8 in), single orfolded, with aselection of pictures
of the particular model printed in black-and-white and
colour; it will also include details of her vital statistics and
of any special skills or features such as good hands or

legs or the ability to dance. In some instances it is possible
to go to the model 'agency and interview some of the
models you would like to consider-this obviously has the
advantage that you can make a more objective decision
about their potential and you will be able to look through
their portfolios which will provide a much wider range of
pictures than the index cards. If the booking is likely to be
for a day or more, or if is for an important assignment
it
such as a magazine feature or a calendar, then the agency

will arrange a casting session for your short-list of models
so that they can visit your studio or office with their

portfolios and perhaps do some test shots.
If you have established a working relationship with a
particular agency or you can approach one with a good

if
portfolio of your own work then it is possible on occasion

to arrange test sessions with models who want pictures for
their own portfolios or index cards. This is often a good
opportunity for both the model and the photographerto do
experimental work and try out new ideas, though these
pictures would not be used for publication unless a
specific agreement was reached with the model. Where
pictures are intended for publication it is important to
make this quite clear to the model and to obtain her
signature on a model release form. This is simply a formal
agreement allowing the pictures to be published, and
blank forms can be obtained from a variety of sources
such as the Bureau of Freelance Photographers in
Britain or the ASMP (Association of Magazine Photo-
graphers) in the United States.
36
/4sa result of practice and
experience, a professional
model will have learnt how to
move and pose in a natural and
relaxed way without the need
for too much direction by the
photographer. All models also
have their own stock of make-
up and accessories which they
can use to add interest to a
session.
37
AMATEUR MODEL
Finding an amateur model is largely a question of exploiting

your friends and suitable contacts, while semi-profess-
ional models can be found in amateur studio clubs and
sometimes art schools will provide a list of models who
pose for the life classes. It does take some measure of
courage simply to approach a stranger on the street or
standing at a bus stop, but this is in fact how many
professional photographers manage to keep finding new
models. If you decide to try this approach you should
adopt a strictly professional manner and not attempt it if
you are likely to be at all embarrassed or inarticulate. First

of all, present a business card and explain briefly the sort
of work you do and how you feel she might be able to help,
then just leave her to consider and ask her to telephone
it
you if she is interested.
You may find that one of your

friends or acquaintances is
willing to model for a nude
session. As an amateur model
has not acquired the experi-
ence in posing and creating an
interesting image that a
professional model has, it is
best to keep the shots simple
until she has gained more
confidence.
38
39
PUTTING THE MODEL AT HER EASE
Whether you engage a professional or an amateur model If a photographic session is to
itis important in all cases that you are able to putthe model be successful, there has to be a
good rapport between the
at her ease and make her feel quite confident that your photographer and the model to
pictures will do her credit. The best way to achieve this is to enable them to work well
together. The photographer
have a good portfolio of your work which you can show
should explain what sort of
her. Most people feel rather vulnerable in front of a camera atmosphere he is trying to
especially when being photographed nude, and even an evoke, and the sort of poses he
wants her to adopt, as this will
experienced professional can feel awkward and ill-at- help the model to relate to the
ease if she feels that you are not competent. This is mood and feel relaxed.
another reason for ensuring that the studio is well pre-
pared and that you have a well-developed and firm idea of
what you are trying to achieve.
40
41
HOW A PROFESSIONAL PHOTOGRAPHER WORKS 1

The work of a professional photographer falls into three director having the casting vote. However, the photo-
main categories. The first is an assignment in which he is grapher's own preferences and recommendations will
briefed and paid by a client to produce a particular also be important since personality and compatibility are
picture or series of pictures to fit a specific layout ortheme, important factors especially when a trip is planned. The
such as a calendar. The second is the speculative session first step in such an assignment will be the initial approach
for which he is not commissioned but takes pictures at his to a particular photographer; at this stage the client will
own expense for a specific market such as a particular usually be considering several possible photographers
magazine or a calendar publisher or possibly for a picture for the job and each will be asked to take along his
library to which he regularly supplies photographs. The portfolio and possibly to discuss ideas and approaches to
third category is the more personally motivated work, the photography as well as availability and of course fees.
which may simply be for his own pleasure or to add new Thisis why a portfolio is so important to a professional
material to his portfolio. This last category most closely photographer and he will make sure that is frequently it
resembles the way in which the majority of amateur photo- updated, both with pictures taken specially for the pur-
graphers tend to work in so far as the pictures are not pose, perhaps of a more experimental or innovative nature,
directly related to earning fees and consequently there is and with recently published work. Once the photographer
much greater freedom in both the type of pictures taken has been selected, the next step will usually be a meeting
and the approach which is adopted. Nevertheless neither with the art director and possibly the client to discuss
the professional nor the serious amateur will allow such where, when and how thepictures will betaken. Ifthejob is
sessions to become aimless: the success of the pictures a calendar or advertising for a national account, the
will inevitably be the result of a well-planned session agency or design group will almost certainly have already
coupled with good ideas even greater flexibility is poss-
if submitted layouts to the client, usually done as Pentel
ible in the course of shooting than would be possible roughs or sketches indicating the basic ideas and theme
when working to a client’s brief. One of the most significant of the session; there might be several roughs and the
aspects of this type of picture is that the photographer has client will select the one he feels most appropriate to the
a completely free hand in his choice of model whereas product. If a photographer has already been engaged, he
when a picture is being taken for an assignment or for will usually be invited to make comments and suggestions
a specific market this choice will obviously be much more even only to indicate what may or may not be possible, as
if
restricted, some visuals can be rather impractical.

The selection of a model something over which
is often At this stage is quite likely that the location will have
it
the photographer has only a limited degree of control been decided; this may be a tie-up with perhaps an airline
when a large or important assignment is being planned, ortravel company who will offer concessions on fares and
such as a calendar or a magazine spread, and several accommodation in exchange for being credited in the pub-
people may be involved in the choice, with the client or art lication. Although major national accounts usually have
Every photographic session on

location presents its own
problems. Fora street scene, for
example, there is the immediate
difficulty of finding an area tree
of both traffic and unwanted
onlookers.
42
Fora trip which involves more
than one model it is likely that
different types of girl will be
chosen, such as a brunette and
a fair-skinned blond, to provide
more variety and flexibility for
the photographer.
If the photographer has been
commissioned for an assign-

ment by a large company, his
freedom of choice of both the
model and the location may be
somewhat restricted, although
his views and recommendations
willalso be important to ensure
a successful outcome.
43

quite large photographic budgets the expenses of such a
trip can be high and ways of reducing the costs are always
considered. Ifthechosen location is notone thateitherthe
photographer or art director, or both, is familiar with is it
likely that a reconnaissance trip will be made to look for
settings and backgrounds and to organize any special

facilities well inadvance. This may be done quite separ-
ately some months ahead or the photographer and art
director may travel out a few days before the models arrive.
Once the location and the date of the trip have been
fixed, the next thing will be to choose a model. The first step
is to go through the index cards and model books and
make a preliminary list of possible candidates. At this
stage the model’s availability will be a deciding factorsince
although trips are planned months ahead there tends to
be a ‘season’ for this type of work and many trips are often
planned at the same period of the year. The first selection
of suitable models who are available will be invited to
attend a casting session either at the offices of the agency
or at the photographer’s studio. They will be asked to bring
their portfolios and possibly be prepared to do a test
to
shot on Polaroid for reference. There are likely to be
several people present at the casting session - including
the photographer, art director, account executive and the
client - and an important account several days and
for
sessions can be involved before a final short list is drawn
up. Until the final decision is made, all the models under
consideration will be provisionally booked to ensure that
someone else does not snap them up. two, three or more
If
models are involved on a trip is likely that they will be

it
chosen with variety in mind: a dark-haired girl with a blond

perhaps, or one with a slim, boyish figure to contrast with a
more voluptuous model. As well as the models, art director,
photographer and client there is also likely to be a photo-
grapher’s assistant, a make-up artist and possibly a
stylist on the trip; the stylist is responsible for arranging
and organizing all the props, accessories and wardrobe

as well as helping to set up shots and arrange settings.
It is vital to the success of any
trip that the model and photo-

grapher get on well together to
produce a relaxed working
atmosphere.
44
45
FIRST SESSIONS/MAKE-UP
STAGE-BY-STAGE 1
46
-
Make-up is an important part of The main stages consist of the

the preparations for a application of tinted foundation
photograph, both to mask any to disguise blemishes, matt
skin blemishes and minimize powder to remove shine,
shine or texture, and to blusher to highlight the cheek-
emphasize particular facial bones and eye shadow and eye
features (’opposite). liner to emphasize the eye area.
47
STAGE-BY-STAGE 2
The last stages of a full make-

up are the application of
mascara and lip gloss.
The final result, with the model

fully made up and her hair
dressed, has added life and
sparkle to her whole
appearance.
48
49
BODY MAKE-UP
In nude photography, make-up
is used not only on the face, but
also on the body. In addition to
its role of hiding blemishes it
can be used to create
exaggerated, even weird,
effects.
50
51
EXOTIC MAKE-UP
The over-all eftect of a picture is

influenced by the style of make-
up which is chosen. In these
three examples, the sophisti-
cated make-up, accentuating
the model’s lips and eyes, and
the choice of suitable
accessories, underlines the
glamorous mood.
52
53
FIRST SESSIONS/SETTINGS AND SETS
CREATIVE CHOICE 1
The background of a picture often plays a very minor role tions can be adequate since the camera see only a
will
in nude photography, but this is certainly not always the and in any case
restricted view of the set is not the main
it
case and, indeed, this aspect of a shot can be very feature of the picture and will be completely
often not
important, particularly where it is necessary to create sharp. The flexibility of this type of setting can be greatly
additional interest or atmosphere. The stock background increased by the addition of a few props such as a window
available in most studios consists of the large rolls of frame or door and some pieces of furniture (a visit to a junk
coloured cartridge paper supplied by professional shop or a demolition site can often provide a useful stock
dealers. While much can be done to create quite inter- of items of this sort).
esting effects with lighting on this background, its use is
quite limited, and the model will also find less conducive
it
to producing relaxed and natural poses. A proper set or

setting, on the other hand, can give her the stimulus to
become more involved in the mood of a picture.
There are essentially three approaches to using settings
in photography: to design and construct a setting, to find
an existing setting, or to use a combination of both

methods. In many cases the actual area of a set needed
for a nude picture is quite small, particularly if it is not a full-
length shot, and the task of constructing a suitable set is
not actually as daunting as it may seem. A great deal can
be ac h ieved with the aid of two or th ree wal f lats - wooden

I
frames about 8x4 feet (2.4 x 1.2 metres) covered in Additional interest can be given
to a shot by the choice of
hardboard, masonite, or plywood - which can be clamped
background. It can be a white
together to create a variety of shapes and angles and can background paper, which will
be either painted or covered in wallpaper or fabric. It is form an effective contrast to a
prop such as a chair (below
worth bearing in mind that really quite crude construc- left); a coloured blanket on
which the model can lie (far
right); or the model can be
positioned behind a plastic
screen fright). To provide more
scope, a simple indoor setting
can be constructed from a
series of wall Hats and window
frames fbelow).
54
CREATIVE CHOICE 2
56
57
INDOOR SETTINGS
Looking for a ready-made setting will obviously be both
less costly and less time-consuming, and most photo-
graphers who do this type of work regularly will always be
thinking in terms of future sessions when they are out and
about. With an indoor setting the main thing to look for is
space and flexibility- for example, it is not a good idea to

use settings that are too cluttered or fussily decorated
since it is much easier to add the odd piece of furniture or a
prop to dress up rather than be restricted in the choice of
it
viewpoints and the framing of shots to avoid distracting

backgrounds. Unless you are looking for a setting for one
specific shot it is always best to view a potential location in
terms of how many possible angles and corners can be
used: is easy to get carried away with an impressive
it
interior only to find that when you start to work there is

essentially only one viewpoint, particularly you had
if
planned a lengthy session. If you are intending to shoot

with available light then this too will be an important
consideration; look at the position of the windows to see
how restricting they might be to your pictures, and even if
you plan to use portable lighting equipment it is always

worth considering the ways in which existing light can be
used in an attractive interior in orderto create atmosphere
even you supplement it. Remember to check the avail-
if
ability of power points and make sure you have the right
plugs and extension leads if necessary. As space is an

important consideration, particularly you intend to shoot
if
full-length pictures, it is worth taking along a camera with a

standard lens when you do a reconnaissance as a
deceptively long ‘throw’ may be needed; ceiling height
can also be a problem in such circumstances. If is an it
important session -for an assignment perhaps or involving

model fees -then is worth while shooting a few Polaroids
it
of the setting you plan to use from different angles, as this

will enable you to anticipate any problems or restrictions
that may be encountered later.
An indoor setting can range

from the very simple, such as a
mirrored wall of a room, to a
window shot which offers
varied lighting effects, to a
wider view which takes in
interesting angles and corners.
58
59
OUTDOOR SETTINGS
The same basic criteria which govern indoor settings
apply to outside locations: look for a variety of possible
backgrounds and angles within a particular location and
also make a note of the angle and direction of the sunlight
at different times of the day and how this might affect your
shooting schedule. As with interior locations, do not
necessarily go for an impressive view. is invariably the
It
small corners and details of a scene that will be useful to

your pictures and often the best locations are places that
might not merit a second glance from the purely scenic
point of view. With outdoor settings there are two other
important considerations: access and privacy. Ideally you
want somewhere that you can get close to by car as even a
few hundred yards can be a nuisance when carrying
camera equipment and model bags. The car will often be
the most suitable and convenient base from which to
work, will provide somewhere for the model to change
it
and make up, as well as being a convenient place to leave

equipment and clothes which are not being used.
Privacy is particularly important for nude photography,
not only because might cause offence to some people or
it
even break the law, but because the presence, or even

threat, of intruders and onlookers can create a serious
distraction and inhibit a relaxed working atmosphere. If
you are going to use a fairly out-of-the-way place for a
lengthy session remember to check on the availability of
basic amenities and refreshments since even the most
enthusiastic models can rapidly lose interest in a session
if conditions are too spartan. If you find that either an
outdoor or indoor location has potential but lacks, say,
basic props, you can introduce items such as furniture to
make more suitable; the scope of an outdoor location, for
it
instance, might be increased if you took along a wicker

chair or a hammock perhaps, and an attractive but un-
suitably furnished room could be made more effective by
hiring or borrowing a nice chair or sofa or taking along
flowers or pot plants.
60
An outdoor location possibly
offers the greatest variety of
backgrounds and settings, and
natural surroundings can
provide interesting contrasts of
colour, texture and tone.
61
EXOTIC SETTINGS
An exotic setting lends itselt
immediately to the creation of
strong, rich images. In the shot
of the sultry model by the
waterfall (below) the gnarled
rough rock and
tree-trunks,
white cascading water form an
interesting textural background
to the smooth skin of the girl.
The lush vegetation, exotic
fruits and primitive raft
(opposite) combine to give
rich tones and shapes.
62
63
INDOOR DO’S AND DONT’S 1
There are two main differences in technique between window light is to alter the position of the camera and the
outdoor and indoor photography: in indoor locations it is model relative to the window, is necessary to have a
it
necessary to give more thought to how the subject will be movable background. A painted or fabric-covered panel
litand there is more restriction on the choice of camera similar to the reflector would be adequate for head-and-
angle and viewpoint. The simplest and most inexpensive shoulders shots but for full-length pictures will be it
method of lighting the nude indoors is by daylight from necessary to use the large rolls of background paper
either a window or a skylight. This method of lighting is in supplied by dealers; the paper can be draped in a smooth
fact particularly suitable for the nude as can be used to curve to avoid the sharp
it
line which is created between
create a soft and natural quality which effectively reveals wall and floor. The paper rolls are best supported on
the vital elements of form and texture, and studio lighting is purpose-built units, available with tripod-type stands or
often arranged to simulate the effect of daylight for this spring-loaded poles which fit between floor and ceiling.
very reason. One of the problems associated with using daylight
The effectiveness and flexibility of daylight indoors will indoors is the substantial reduction in the brightness level
be greatly increased by the use of a few simple access- compared to shooting outdoors. Although this can be
ories. It will, for example, be very useful to have some overcome to a large extent by using fasterfilm, a firm tripod
means of diffusing the light from the window, especially if it is nevertheless a vital accessory. It will not only enable you
is not north-facing and will be subjected to direct sunlight. to use slower shutter speeds without the fear of camera
This can be achieved by the use of a large sheet of tracing shake, but also to frame and focus the camera more
paper, frosted plastic or even a fine nylon mesh curtain. precisely, while allowing you to give full attention to the
Another essential aid is at least one or two large white model. As regards the type of head on the tripod, a pan
reflectors; these are in fact equally necessary for artificial and head a better choice than a ball
tilt is and socket type
lighting and can also be helpful when shooting outdoors. as easier to adjust
it is it accurately.
The reflectors can be simply large, white painted sheets of As regards camera equipment the requirements will not
hardboard, masonite or rigid cardboard, but even more be very different from those for outdoor shots, although
useful are the large 1 -inch (2.5-centimetre) thick sheets of you will find long-focus lenses more restricted in useforall
rigid foam polystyrene which are designed for insulation but head-and-shoulders shots. A wide-angle lens may be
purposes and can be obtained from hardware stores. useful for shooting full-length shots in confined settings,
They are very light and can be propped against a chair, but you have
be careful about the way this is used:
will to
light stand or even a spare tripod. If one side of the from a close viewpoint, for example, you can easily create
reflector is painted matt black can be used to screen
it
excess light from the subject where a more contrasty

effect is needed. As an alternative to this simple type of
reflector there are the manufactured devices available
from professional dealers in both matt white and with a
silver finish for a stronger effect. The advantage of manu-
factured reflectors is thattheyarecollapsible and portable
and so can be used on location as well as indoors.
Another useful accessory is a mirror on an adjustable
stand which can be positioned to create additional high-
lights as well as simply to fill in the shadows. As the only
way of altering the direction of the light when shooting by
64
In a confined home studio
where space is usually at a
premium, the camera can be
positioned in an open doorway
and spring-loaded poles used
to support lights and reflectors
(illustration, opposite left).
65
INDOOR DO’S AND DONT’S 2

unpleasant perspective effects particularly if the camera best procedure is to set the aperture at between one and
is tilted up or down or one part of the model’s body is
if two stops less than that indicated for the correct flash
much closerto the camera than the rest of her. Azoom lens exposure and then use the shutter speed required to give
can be a useful accessory when you are shooting with the the correct exposure for the lighter tones illuminated by
camera mounted on atrlpod as is much easierto use the it the daylight. There is of course no reason why a small
zoom to adjust the framing of the image than to move the flash-gun cannot be used as the sole source of illumination
actualcamera and tripod in relation to the model. For for nude photography, either aimed directly at the model
shooting in quite low light levels - daylight indoors, for or reflected off a wall, ceiling or portable reflector. The first
instance- wide-aperture lenses will be an advantage, not method will create little modelling used close to the
if
only so that faster shutter speeds can be used but also to camera but held above and to one side more defined
if
make focusing easier with a single lens reflex. shadows will be created within the subject. Direct flash is
In addition to the things required for actually shooting not usually the most pleasing lighting for normal use but it
the pictures it will be useful to have a few props and aids to can create interesting effects and a quite pleasing quality
posing: an easily portable sofa or bed, a stool or low- ifused in a considered way; David Bailey, for example, has
backed chair for head-and-shoulders pictures, and a low used direct flash most effectively for some of his nude
support such as a home-made plinth or even cushions pictures. As a general rule, bounce or reflected flash will
which will extend the range of poses that the model can create a softer, more flattering light; a similar effect can be
adopt. A few lengths of fabrics of varying colours and created by using a diffusing medium such as tracing
textures are also useful as they can be draped over paper or translucent white nylon between the flash-gun
supports and furniture to add variety. It is worth assembling and the subject. A single light source is, however, relatively
a small collection of props to add both interest and colour limiting in terms of the degree to which the quality and
- an attractive vase or pot that can be filled with flowers or a effect of the lighting can be controlled, and although a
plant, and perhaps a small table that can be positioned in second or third small flash-gun can be added to increase
the background of the picture. You can get a good idea of the possibilities, the problem with such equipment is that it
the sort of objects that can be used effectively by simply is not possible to see the effect that is being created, and
looking through a few books and magazines that feature this is very important when multiple sources are being
good nude photography to see how other photographers used. For this purpose is much more satisfactory to use
it
have used props to add interest and mood to their pictures. studio-type lighting, either tungsten lights such as photo-
A degree of artificial lighting can be introduced to floods or halogen lamps or electronic flash with built-in
supplement the daylight in order to control the contrast modelling lamps; this will enable you to see the precise
and effect, and even the existing room lighting such as a effect of your lighting arrangements and to make carefully
table lamp or a ceiling light can be used to reduce the controlled adjustments.
density of the shadows cast by the daylight. Tungsten and
daylight cannot be mixed when shooting in colour unless
a blue filter placed over the tungsten lights when
is
shooting on film; sheets of acetate colour

daylight
correction can be obtained from dealers for this
filters
purpose. Fluorescent lighting, however, should be avoided

for all but black-and-white shots as will create a green it
cast on colour film. Although correction filters can be used

tosome effect this type of lighting is certainly not recom-
mended as a suitable source for nude pictures. The colour
quality of the daylight can also vary considerably, and with
a north-facing window in particular there is a tendency for
the higher colour temperature of such a light to create a

blue cast on daylight film, resulting in rather cool skin
tones. For this reason a colour correction
filter such as an
81 A B is a useful accessory for daylight indoor

or 81
photography as well as for outdoor pictures in certain
circumstances.
A small flash-gun can also be used effectively as a fill-in
light when shooting with daylight indoors with the advan-
Indoor daylight can be
tage that its colour quality will mix quite satisfactorily with supplemented to good effect
daylight. When using flash for this purpose it is important with artificial lighting provided
that acetate correction filters
not to give full exposure to the flash as this will eliminate
are used when shooting in
the shadows completely and create an artificial effect. The colour.
66
67
OUTDOOR DO’S AND DONT’S 1
In many ways an outdoor location is the most satisfactory without the need to move the camera and to take incident
choice for a nude session since it frees you from many of light in difficult situations. When you are away on
readings
the restrictions and concerns that indoor pictures impose. a trip any case reassuring to have a back-up meter-
it is in
For example, there is much greater flexibility in terms of ing system in case your equipment should fail.
camera angles and viewpoints and is not necessary to it A basic filter kit should be considered an essential part
use lighting equipment, which also creates its own free- of the equipment for an outdoor session. The warm filters
dom. It is also much easiertofind interesting backgrounds such as the 81 A, B and C are especially valuable for
and settings to create more effective compositions with- controlling skin quality and should be used when shoot-
out the effort and planning which are required for an
indoor session. In many cases, too, the model will find an
outdoor location more stimulating and easier to work in
than the more sterile and restricted atmosphere of a

studio. On the other hand, there are obvious disadvan-
tages: first of all, you are at the mercy of the weather, and
even if the light is good it may wellbe too cold for the
model to work in comfort; secondly, can be difficult to
it
find a suitable place that is both easily accessible and

reasonably private; and finally, it is important not to under-
estimate the problems involved for the model in managing
and maintaining good hair and make-up throughout a
lengthy session in the outdoors as well as looking after
clothes and accessories and avoiding things getting
creased and marked.
For all these reasons the key to a successful outdoor
session is essentially a combination of good planning
and reconnaissance, even if it is for only an hour or two.
Since you will most likely be shooting somewhere farfrom
your base, and also possibly from civilization, it is abso-
lutely vital to have with you everything you will be likely to
need, from equipment to film, props and clothes, and is a it
good idea to write a comprehensive check list for both

yourselfand your model.
The choice of camera for an outdoor session will of
course depend upon personal preference and the pur-
pose of the photographs. While 35 mm is ideal for personal
photography there are often circumstances in which for
commercial reasons is preferable to use the larger roll-
it
film formats. Cameras such as the Hasselblad have the
additional advantage that they can be fitted with a Polar-

oid back which can be invaluable for checking the set-up
before shooting on conventional film; this can be parti-
cularly important when a client or art director is present at
the session as they will usually find it easier to assess the
picture from a Polaroid than on the viewing screen. There
are no particularly specialized requirements with regard
to lenses for outdoor nude photography but as a general
rule long-focus lenses will be found to be useful since they
enable fussy and distracting details in the background
areas to be controlled and subdued by differential focus-
ing. As with indoor photography, a tripod is an invaluable
aid to improving both the definition and the composition
of pictures, and it is particularly important when long-
focus lenses are used because the risk of camera shake is
much greater. A
separate hand meter is another useful
accessory even if the camera has a built-in meter as it can
be used to take close-up readings from the subject
68
Good planning and careful
preparation are vital to the
success of an outdoor session,
especially if the location is
rather remote.
69

ing on overcast days in open shade and against the light It is sensible to assume that these responsibilities will fall
when the higher colour temperature of the daylight will to you, and you should remember to check passport
tend to create a blue cast on colour film. Another useful validities,visas and vaccinations, and so on, since any
type are the polarizing filters which can be very effective in mishaps in this direction are likely to affectyou much more
and stronger blue skies. They are ideal for
creating richer than the models. When travelling to a sunny location be
seaside locations when they can greatly improve the particularly careful of the dangers of sunburn - most
quality of water; used in combination with an 81 B, for models like to sunbathe when they are not working and
example, a polarizing filter can produce particularly rich are not always as careful as they might be, and a sunburnt
skin tones and effects with tanned skin. When shooting in model is virtually useless.
black-and-white an orange or red filter can be used in a Customs and security regulations can also be a
similar way to create richer tones in blue sea and sky problem when going on a trip. Some countries can be
although they will tend to make skin and lips a paler tone. quite difficult you try to take more than one camera, a
if
Both the focus attachment and the fog or pastel filter

soft couple of lenses and a few rolls of film through Customs,
are useful devices when a softer, more romantic quality is and thesightofalargesilvercaseandabig bag of film can
required although soft focus effects can also be obtained make officials react suspiciously. The safest method of
by applying clear adhesive tape or petroleum jelly to the avoiding harassment is to use an ATA Carnet. This is
lens. Other attachments that might be effective on occa- issued by the Chamber of Commerce in many countries
sions but should not be over-used as they can appear and is in fact a temporary import licence. It is expensive,
gimmicky, are the star-burst and colour-burst filters which however, and an application for a licence takes some time
can create pleasing effects when the picture contains to be processed. As a general rule is adequateit you if
spectacular highlights such as the sparkle on back-lit carry a full typewritten

list in triplicate of all your equipment
water.The graduated filters are extremely valuable parti- with numbers and descriptions which can be
serial
cularly for shots where the sky is important such as a checked on entry and again on departure to ensure that
sunset as they can be used to create richer and stronger nothing has been disposed of during your stay; in very
tones and colours in the sky without affecting the fore- difficultcircumstances this list can be transferred into your
ground. A small selection of colour correction filters in a passport if necessary. Airport security can also be a
range of colours can also be useful for special effects. source of concern to the travelling photographer because
In addition to basic camera equipment is important to it of the widespread use of X-ray machines for checking
have some means of controlling the quality and contrast hand baggage. In spite of the reassuring notices to the
of the lighting and for this reason a portable reflector is a contrary these devices can and do fog unprocessed film,
vital accessory. They are available in a variety of sizes and and although just one scan is unlikely to do any harm
types, but remember that for full-length shots the reflector several doses will have a cumulative effect. As a sensible
wi 1 1 need to be q u ite large to be effective, say 4 x 2 feet (1 .2 x precaution it is best to pack your film in unbroken packs in
0.6 metres). A large diffuser is also useful; this could quite a separate bag, get to the airport a little early and wait until
simply be a piece of translucent white nylon stretched on the security checkpoint is not too busy and then simply
same frame as the reflector and placed between the
to the ask very politely for this one item to be checked by hand. It
sun and the model. A small flash-gun can be used to fill in isnot advisable to allow your film to go into the luggage
the shadows and in some circumstances can also be hold of the plane because these items are sometimes
used to simulate the effect of sunlight on a dull day. checked bya high-dosage X-ray machine that will without
If you are planning to go away on a photographic trip, doubt fog the film.
perhaps abroad, then the preparations and planning
need to be even more thorough. It is vital to take two or
perhaps three camera bodies and to ensure that you have
sufficient stocks of spare batteries and film. Film require-
ments always tend tobe greater than you anticipate and it
is best to take more than you need since film bought from
an unknown source abroad may have been badly stored
or be from a substandard batch. To avoid any problems it
is advisable to buy a batch of film from your regular dealer
before you go and to test a roll to check the colour

balance. Make sure that your camera equipment is cover-
ed for use abroad: some policies are for the home country
only but can usually be extended for a specific period. It is
also worth taking out holiday insurance for both yourself
and the models since you may well be liable for any
medical costs that they might incur while working for you.
70
Packing equipment
An important part of preparing for a photographic
trip is careful packing of cameras and equipment
to prevent damage while you are travelling abroad.
The best way ensuring that equipment is
of
protected but still remains accessible is to use
two typesof case: a rigid, shock proof case with
compartment divisions for transporting equip-
ment from one location to another: and a soft
shoulder bag for use on the move.
Equipment checklist
Depending on the type of work to be done, a
equipment checklist will contain some
typical or
all of the following pieces of equipment:
35 mm camera
Spare camera(s)
Variety of lenses, e.g. 400 mm, fast 55 mm, 180 mm,
16 mm fish-eye
Lens hoods, body and lens caps
Film in marked cans
Light meter
Filters, e.g. gelatin, graduated/neutral density
Portable flash
Flash sync cable
Spare batteries
Cable release
Preparation and planning are Motor drive extension cable
the mainstays of a photo- Blower brush
graphic trip. It is worth making a
checklist of the equipment you Tool kit
will need to take with you, and

View camera
ensuring that it is packed
securely fright). Once on 90 mm wide-angle, 150
Variety of lenses, e.g. mm
location, a Polaroid camera is clamp
Rail
extremely useful for recording
ideas for pictures (above).
Double sheet film holders
Cable release
Polaroid back
Monorail
Lens holders
Gelatin filters
Bag bellows and standard bellows
71
72
THE
NUDE
INDOORS
THE NUDE INDOORS/INTRODUCTION
THE BODY INDOORS

An indoor setting is arguably the
most suitable for a nude
session, especially for the
amateur photographer, as
privacy is guaranteed, which
will produce a relaxed
atmosphere for both photo-
grapher and model. The indoor
setting can form an integral part
of the picture, like a landscape
in an outdoor shot. Indoor
pictures can be lit in various
ways: by daylight, portable

studio lighting ora combination
of both, and it can also be
effective to use the ordinary
room lighting.
74
-
-V
75
HOME STUDIO 1
It is quite possible to take successful nude pictures in lights which can be obtained in kit form consisting of two
an ordinary indoor location but there are many situations or three lightson folding stands with a variety of reflectors
in which a studio offers more control and flexibility, and the and attachments. An alternative is the studio electronic
enthusiast will find some sort of studio facility a consider- flash units which have built-in modelling lights; these are
able advantage, either on a permanent basis or simply as available either in the form of self-contained units such as
a temporary makeshift arrangement. Thefirst essential of a the Bowens Monolight where each light has its own
studio is to have clear space in which to arrange your power pack, more powerful equipment in
or the larger,
lighting and backgrounds; remember that the height of a which a single power pack fires a number of flash heads.
room can be just as important as its length and breadth. If The flash units can be triggered either by a synchronization
you are going to have a temporary studio select a room lead or by an infra-red transmitter attached to the camera.
from which the furniture can easily be cleared. does not It When a number of flash units are used only one needs to
in fact have to be a room - a garage or even a large garden be fired by the camera and the others can be simul-
shed could wel be used - and the actual amount of space
I
taneously triggered by slave cells which fit into the sync
required will be largely dependent on the type of pictures sockets.
you want to take: head-and-shoulders shots or tightly In addition to the lights themselves you will also need to
framed body shots can be taken in a quite modest space, consider the reflectors and attachments that can be used
but full-length pictures will need considerably more. As an to control the quality of the light. In
most circumstances in
approximate guide, shoot a full-length standing figure
to nude photography the light from a standard reflector will
with a standard lens you will need to have at least 1 0 to 13 be found to be rather too hard for the main or key light and
feet (3 to 4 metres) between the camera and the model, will be necessary to have some means of diffusing
it
The it.
and in addition ideally at least another 6 feet (2 metres) umbrella reflector is a popular means of achieving a softer
between the model and the background. Do not forget and can be fitted to most types of flash and tungsten
light
that the camera can be positioned outside a doorway, for halogen lights; the advantage of the umbrella reflector is
example, so that the room’s actual dimensions could be that it provides a relatively large source of light but is easily
slightly less. You will also find that a ceiling height of portable. The window
light or light box is another effective
anything less than about 10 feet (3 metres) will be quite way a light source; this is essentially a large
of diffusing
restricting when shooting a full-length figure especially square or rectangular reflector which fits over the light
when using lower than normal viewpoints. When con- source and has a translucent plastic screen at the front.
sidering the width of the room allow for the fact that the Where portability is not a consideration, however, it is
standard rolls of background paper are 9 feet (2.7 metres) relatively simple to construct a diffusion screen in the form
wide and you will need a couple of yards each side of this of a large wooden frame about 6x3 feet (2 x 1 metres)
in order to position the lights. covered in eithertracing paper or frosted plastic. This can
It will be necessary to eliminate the daylight when be propped against a light stand or tripod between the
shooting with tungsten or electronic flash but the normal light source and the model and the degree of softness
curtaining in a domestic room is usually sufficient. The adjusted by altering the relative positions between them: a
floorcan be a problem as if the room is carpeted you will softer result will be achieved when the light is further from
find that when the
model stands on the background paper the screen. Although this type of diffusion screen is less
it crease and mark badly; a simple solution is to place a
will convenient in use than the specially made attachments it
hardboard or masonite panel on top of the carpet before can create a much softer light.
running the background paper down. The paper rolls can It is also essential to have one ortwo large reflectors In a
be supported on the specially designed units, either the home studio. These can either be the manufactured type
tripod type or spring-loaded poles which fit between floor or simply a large sheet of white painted card, hardboard,
and ceiling. The advantage of the spring-loaded poles is masonite or foam polystyrene. These can be used both to
that they take up less floor space, and for this reason they reflect light back into the shadow areas of the subject and
can also be useful as light stands. With a permanent to bounce the main light from to create a soft diffused
it
studio facility could be more convenient to have a wall-

it effect. As well as devices to make the light softer you will
mounted background support bracket which takes up to need reflectors that can create a harder or more confined
three rolls, thus allowing rapid changing. light for rim-lighting and background effects, for example;
The choice of lighting equipment will largely be a honeycombs and snoots are useful in this respect, and for
question of personal preference and budget. The most a really hard-edged light a spot light or spot attachment is
inexpensive form of lighting, which is nevertheless ver- ideal. In addition to the conventional light stands you will
satile, are the simple floodlight reflectors on stands fitted useful to have a boom arm
find it stand which will enable
with photoflood bulbs; these are similar to conventional you to position a light directly above the model's head for
domestic bulbs but are ‘overrun’ to give a much higher back-lighting or lighting the hair, and a low-level stand can
output in exchange for a much shorter working life of only also be useful for hiding a light behind the model to
a few hours. More efficient and powerful are the halogen illuminate the background.
76
Space is the first requirement
when setting up a home studio
as there must be enough
room to allow for flexible
arrangement of the equipment
and backgrounds.
77
HOME STUDIO 2
In most cases, it is possible to

turn a domestic room into a
studio without too much
difficulty (above).
Expanding spring-loaded poles

(right) can be used to support
both background rolls and
lighting. Tripod stands (far
right) are available in a variety
of sizes, heights and degrees of
stability.A boom arm (extreme
right) is the most common
method of suspending lights
over the subject.
The ball and socket head

(above) is an alternative to the
pan and tilt mount (top), the
most common type of tripod
head.
78
Electronic flash has largely
superseded tungsten lighting in
studio photography. The quality
of the light can be modified by a
variety of head attachments, to
concentrate, diffuse or shape it.
(Left to right) Flash tube with
coilhead; deep bowl reflector;
barn doors; snoot.
(Left to right) Flash tube; deep

bowl reflector; opal diffuser;
gauze diffuser; scrim; dished
bowl with spiller cap.
(Left to right) Bowens

Monolight, a flash tube with
integrated power pack and
head; Lowell Softlight and
Lowell Totalite, two tungsten
lamps which provide the
continuous lighting necessary
insome circumstances.
Umbrellas can be fitted in front

of the light to provide broad,
diffuse but unshaped lighting.
("Left to right) Silvered
umbrella; gold umbrella;
translucent umbrella; square
umbrellas.
(Right) A trace frame is a

simple large-area diffuser
covered with thin cloth or
tracing paper.
(Far right) Shading devices can

be suspended in front of a light
to control the way it falls on to
the subject. Various designs are
available: French flag (above),
gobo (below), yashmak
(extreme right).
79
The only ways in which a professional studio is likely to
from the studio facility which a keen amateur might

differ
have are in respect of the amount of space available, the

convenience and the investment in equipment. As regards
space, a great many professional photographers of the
nude work in quite modestly sized studios; in fact, unless
large sets or props are used there is often no real advan-
tage having a very large studio, as there is little that
in
cannot be achieved in this field in a space of about 32x26

feet (10x8 metres). Convenience, on the other hand, is a
vital consideration for the professional since both model
time, studio time and the photographer’s time are expens-
ive commodities and anything that can reduce the amount
of time wasted during a session is valuable. In terms of
lighting, for instance, wheel-based stands would be more
convenient than the tripod type, and some studios use the
overhead tracking systems which keep the floor area free.
A professional studio is likely to use the more powerful
electronic flash packs; these not only have a greater
output than the smaller units, which can be useful when
using the larger formats since smaller apertures are often
needed for adequate depth of field, but also have a very
fast recycling time when used at the lower power settings
which means that pictures can be taken in rapid suc-
cession. Most professional studios tend to favour elec-
tronic flash in preference to tungsten because light, partly
the flash is so brief that the problem

camera shake and
of
subject movement and also
are virtually eliminated,
because the flash generates less heat and the modelling
lamps less glare than tungsten, making more comfortable it
for the model.

As far as equipment is concerned, most studios will
have a solid tripod or camera stand; the most common
type is the wheel-based stand which enables the camera
to be raised and lowered very quickly and easily. This has
the added advantage that can support the camera at up
it
to 8 feet (2.5 metres) or more from the floor, facilitating

high-viewpoint shots. In most professional studios there
will be a wide selection of background paper rolls and wall
flats which can be used to create instant sets, and many
will have a stock of props and accessories for dressing a
shot. As the model is a key element in this type of work

there will usually be a model room where she can change
and do her hair and make-up; this should be well and lit
A professional studio relies on

convenience and usability in
terms of both equipment and
arrangement. Everything is
chosen to minimize the amount
of time wasted during a
photographic session.
80
n
rTn
ii
81
have a full-length mirror and a garment rail or wardrobe to this size alone. The larger picture area of the roll film
hang clothes and accessories. A selection of chairs, camera is often a considerable advantage, not only forthe
stools and other supports will also be found in most well- improvement in quality which offers but also because
it
equipped studios, and in addition to conventional back- both the photographer’s clients and also the printer who
ground papers many studios have a variety of fabrics and reproduces the pictures can be prejudiced against 35
decorative or plastic laminates for use both as a back- mm; is, for exam pie, easier to see the larger transparency
it
ground and as a surface on which the model can sit, kneel without the need for projection and any retouching or
if
or lie; shiny black plastic laminate, for instance, can be afterwork is needed this too will be much easier on the
very effective. A wind machine is a very useful accessory larger format than with 35 mm. It is important to appreciate
for nude work as it can be used to create a little life and that the professional’s work will often be incorporated with
movement in studio shots; these can be hired from lettering as part of a design, and often part of the back-
specialist dealers but many photographers like to have ground area must be left clear for this purpose; when the
one ready to hand. Another accessory which is perhaps subject occupies only part of the frame will be very small
it
used less often but is none the less useful for special effects indeed with 35 mm. This is one reason why the square
is a front projection unit which enables a colour slide to be format camera such as the Hasselblad is so widely used
used as a background in studio shots. In terms of camera as its shape enables the picture to be cropped in a variety
and lenses the professional will tend to have a wider of ways even to the extent of being able to decide later a if
variety of formats and also a greater number, as break- picture is to be a landscape or upright shape. A further
downs are not unknown when equipment is used hard advantage of the roll film S LR system is that most cameras
and frequently and a spare must always be to hand. of this type can be fitted with a Polaroid back to enable
Although the 35 mm format is used in professional lighting set-ups and effects to be prejudged on a Polaroid
studios few photographers in this field would be limited to before shooting on normal film.
A floor plan is essential when

designing the layout of a studio.
The arrangement shown here
(lefty is for a portrait studio, in
which the lighting requires a fair
amount of space.
Portrait studio
1 Camera 1
2 Camera 2
3 Main light
4 Fill-in
5 Background striplight
6 Effects light
7 Dressing room
8 Dressing table and mirror
9 Film changing room
82
A camera stand (right) is a steel
pole set on a heavy wheel base
and can be raised to a height of
at least 10 ft The camera
<3 m).
ismounted on a platform. A
mobile stand (below) is useful
in a permanent studio for heavy
lighting heads.
A pantograph (left) is a support

usually fitted to tracks in the
ceiling which allows variable
overhead lighting positions. The
Fresnel Luminaire (above) is a
sophisticated tungsten light
which can be adjusted to allow
precise control of the quality
and shape of the light. A
window light (below) provides a
square or rectangular area of
light useful with reflective
subjects.
There are two main kinds of

power units: separate, free-
standing units which can be
linked together and are usually
more powerful (below left), and
units which are integrated with
the head. A booster can be used
to speed up the recycling time
(below).
THE NUDE INDOORS/PROFESSIONAL AT WORK
CALENDAR SESSION
In recent years, many
companies have started to use
the glamour calendar as a tool
to promote their products or
services. The photographer
who is commissioned to shoot
the calendar has to meet
exacting standards and he will
experiment with many versions
of a picture before both he and
his client are satisfied. For this
bedroom shot with its rich,
romantic setting, the photo-
grapher took several different
pictures of the model in the
same pose before making the
final choice.
84
T\
OCTOBER
MON 5 12 19 26
TUE 6 13 20 27
WED 7 14 21 28
THU X 8 15 22 29
FRI 2 9 16 23 30
SAT IO 24
3 17 3i
SUN ^ ii 18 25
NOVEMBER
MON 30 2 9 16 23
TUE 10 17 24
3
WED 4 11 18 25
THU 5 12 19 26
FRI 6 13 20 27
SAT 14 21 28
7
SUN I 8 15 22 29
DECEMBER
MON 7 14 21 28
TUE I 8 15 22 29
WED 2 9 16 23 30
THU 3 10 17 24 31
FRI 4 11 18 25
SAT 5 12 19 26
SUN 6 13 20 27
•**'*«* ajaatastie night oat . . he teems uil[y interested in me . . . thinks /

<o»M go a long way . ,
,
Jilm ,mh . ht-nJ thitl h/arr. Hopt hit rliml likes
the pietism . . and he did let me keep the knitken . . . hmeh tamoeiaw with
him, tee .. .oh well tweet dreamt .
9)
85
THE NUDE INDOORS/INTERIORS
BASIC TO EXOTIC 1
86
-
tw
Any interior, however basic,

lends itself to successful nude
photographs. These three
pictures illustrate the different
visual effects obtained from
three contrasting settings: the
most basic, where the
combination of dramatic
lighting against a plain
background has produced a
strong image (left); the interior
of a derelict villa, with the rough
walls forming a textural
contrast to the model’s skin
("right,); and a softly lit, old-
fashioned interior which

conveys a gentle, introspective
mood (be low).
87
BASIC TO EXOTIC 2
Three more elaborate interiors

have produced a different
effect in the final image. The
Victorian bedroom with its
ornate wall and bed coverings
has a rich, romantic quality
(below), while the luxurious
decor of the two other pictures
with the heavy drapes and
stylized furniture has created a
more glamorous, overtly erotic
atmosphere.
88
89
CREATIVE CHOICE
You only need to look through books and magazines

which feature nude photography to see how important the
choice of setting is to both the mood and effect of a
picture. In some cases the setting can almost dominate
the style of a photograph - the slick, sophisticated interiors
of Helmut Newton contrasted with the folky, rural settings
of David Hamilton, for example- where the setting appears
to dictate not only the atmosphere and quality of the
photograph but also the choice and personality of the
model. For this reason it is worth taking the time and
trouble to consider the potential of various rooms and
settings in a fairly analytical way. The average family house
consists of living-room, bedrooms, kitchen, bathroom, hall
and stairs and a dining-room, and in certain circum-
stances all of these rooms can make a useful contribution
toa picture as they are usually furnished and decorated in

quite different ways.
The choice of a setting plays an

important role in the creative
A setting with
effect of a picture.
a defined character, such as the
Victorian drawing-room (right),
can dictate the atmosphere of
the photograph. It also
influences the style and
approach of the model, as in the
two cottage interiors (above)
where the simplicity of the
setting has produced a natural,
relaxed pose.
90
91
BEDROOMS
A bedroom forms an obvious setting for nude photo- The different styles of bedroom
have created markedly
graphy, especially if the sexual aspect of the image is to be
contrasting pictures. The rich,
emphasized, and also because the furnishings and decor- luxurious furnishings have a
ations will usually be pleasingly soft and evocative. The glamorous, almost decadent
effect fbelowj, whereas the
bed itself is often an ideal setting, not only for the immediate ornate Victorian setting
sexual and even erotic connotations but also because it produces a more romantic
provides the model with a situation in which she can be mood, with the mirror being
used to add an effective
completely flexible and unrestricted in the way she poses voyeuristic element (opposite).
and moves her body. A large mirror can also add both
interest and impact to a bedroom shot; as well as simply
making use of the reflected image, a decorative mirror
such as a cheval glass could be used as a key prop in a
picture, forming the main element of the composition.
92
93
BATHROOMS 1
The bathroom is almost a natural place for taking nude
pictures if only for the reason that it is of course ideal for
wet shots; it provides a logical setting and also means that
the model can get very wet without the problems this
would obviously cause in any other room. Showers and
baths are therefore understandably popular settings for
nude pictures and the textural and photographic qualities
of wet skin are considerable. The problem in most bath-
rooms, however, is that both lighting and camera angles
are usually very restricted because of the limited space
unless you are lucky enough to own or have access to a
really large bathroom. Often the most practical way of
dealing with the lighting is to use bounce flash from a wall
or ceiling although that can give a rather excessively soft,
bland light unless care is taken, particularly in a room with
light, reflective decor. The problem of camera angles can
sometimes be solved by removing the door or by using a

mirror to create a longer throw. When shooting in bath-
rooms you must also be particularly careful to avoid un-
wanted reflections in shiny surfaces and mirrors as these
can be very distracting.
A mirror can be used to good

effect in a bathroom shot to
overcome the problem of
restricted camera angles.
94
95
BATHROOMS 2
A bathroom or shower offers a

surprising number of photo-
graphic possibilities, as these
pictures show. The setting of
cool marble, mosaic and gilt
fitments has produced a
sophisticated image (left), while
isolating the model in front of
the mirror as she applies her
make-up has created a more
intimate and personal picture
("above). In the shower shot
("right) the skilful use of lighting
has emphasized the lines of the
model's body.
lisnjsiiii
ISili!
96
97
OTHER ROOMS 1
Even a kitchen need not be considered entirely inappro-

priate for nude photography, especially if a light-hearted
or even abstract approach is adopted. The glossy, highly
sophisticated quality of a modem kitchen, for example,
can be exploited quite effectively in the right type of
picture, with reflective steel or laminated surfaces being
used as backgrounds or as part of the composition, while
in total contrast the warm, homely atmosphere of a farm-
house-style kitchen, perhaps furnished in pine, could

create a quite different mood.
The living-room is one of the more obvious interior
because a nude will probably look more
settings not only
naturaland less unexpected than in the kitchen but also
because the room is usually larger and more convenient
to shoot in and the decor and furnishings will create a
more relaxed and sympathetic environment. Curtains and
drapes, for example, will often provide an effective back-
ground or prop in a picture, and so will a nice sofa or easy
chair; a luxurious carpet or rug can also be used to good

effect, and if the room has an open fireplace that could
create both atmosphere and interest.
The hall and stairway can be useful ifonlyforthe reason
that they usually have less conventional proportions than
an ordinary room and reveal interesting shapes and
corners, as well as the opportunity of using different levels
both to position the model and to enable high and low
camera angles. A particularly decorative stairway offers
many possibilities and can make a much more dominant
contribution to the composition and mood of a picture.
The by a dining-room are essen-
possibilities afforded
tially more
similar to those of a living-room except that the
functional and formal furniture is likely to be more restrict-
ing, though this too can be used effectively in some
situations, particularly has rich grain and texture such

if it
as antique mahogany.
The busy detail of this

farmhouse kitchen, with the
warm tones of the pine
woodwork and contrasting
colours of the pastel flowers
and blue china, has created an
inviting, homely atmosphere
(opposite! Even a hallway can
provide a setting; here the
highly polished tiled floor has
formed an effective background
to the model (right).
98
99
OTHER ROOMS 2
100
-
A living-room can provide a

series of ready-made settings
as it usually offers both
sufficient space and enough
furniture and angles for
interesting backgrounds. An
open fireplace ora mirror, tor
example, can be used as the
focal point in the image.
101
PATIOS AND BALCONIES
It is worth bearingin mind that the settings and back-
grounds shot do not necessarily have to be sensible

of a
or logical and they can also be used for deliberately con-
trived and dramatic effects where unexpected juxta-
positions can create a bold or bizarre quality. If handled
with a little panache, quite unrelated objects can be used
as props or combined to produce semi-abstract or
ambiguous pictures which can tease the viewer’s imagin-
ation. When considering the potential of a room do not
forget to take into account the possibilities afforded by the
windows; these can contribute to the composition and
mood of a picture as well as to the lighting, particularly if
you have French windows, for instance, or recessed

garret-style or casement windows. Sometimes these types
of windows are accompanied by a small balcony or patio
and these too can provide an effective setting. Curtains
and blinds can also be included, both to form back-
grounds and to create lighting effects, for example the
bars of light formed by the slits in a Venetian blind or the
textured effect of light and shade produced by a coarse
mesh curtain.
In rooms in the conventional sense
addition to using
you might also consider the possibilities of perhaps a
garden shed, garage, boxroom or an attractive conser-
vatory for atmospheric pictures. An empty room that has
been cleared of furniture for decorating can also be putto
effective use, and old derelict houses have often provided
successful settings for nude pictures, as elements like A Venetian blind can create
interesting visual effects in an
broken windows, peeling plaster, cracked woodwork and
image. Here the stripes of the
bare floorboards can be surprisingly evocative for certain blind are echoed in the model’s
types of photograph. glasses.
In this shot, the intricate

The marble wall and tile floor ironwork of the ornamental
in the corner of this patio balcony forms an interesting
provide an effective background textural contrast to the lace of
to this portrait shot. the model's wrap.
102
103
THE NUDE INDOORS/TECHNIQUES AND EFFECTS
BOLD EFFECTS 1
As a genre, nude photography is particularly suitable for

photographers who like to shock or surprise with their
pictures. Even in these enlightened times an element of
naughtiness still attaches to the nude and when is used it
with other elements which create bold or unexpected

effects the result can be very powerful indeed. There are a
number of ways of achieving this in a picture- deliberately
erotic images, for example, will always attract attention
and invite comment. This does not necessarily mean,
however, that such pictures have to be explicit, in fact in
this context implication can be more effective since sexual
response is very largely a product of the imagination and a
picture which stimulates the imagination is likely to be
more erotic than one that simply records visual information.
Photography also has an advantage over other graphic
media in that can very effectively convey the impression
it
of texture in an image. In this way a photograph can be

used to provoke a tactile response from the viewer as well
as a purely visual one. Lighting which emphasizes the
texture of a model's skin, for example, will invariably create
a degree of impact in a picture. Texture can also be
enhanced by juxtaposition with other textures, skin and
silk together in a picture, for instance, while the same
applies to many popular images like wet or oiled skin, fur

and and so on; indeed, fetishism is a very powerful
leather
erotic element and is often associated with textures.
Another way of creating bold effects in a picture is by
exploiting the element of surprise, using a model in a
strange or unexpected setting or juxtaposing her with
other objects. This approach to nude photography is
limited only by the photographer’s imagination and taste
and his ability to make work. It is very hard to draw the line
it
between a powerful and meaningful picture and one that

is merely silly or banal, and the decision is also very
subjective. It is not difficult to think of potentially startling

situations like a nude girl tied to a cross for instance, as
photographed by John Swannell, but it is quite another
thing to shoot pictures of this type with taste and conviction
and to make other people see them in the same light. I
There are many ways of

introducing bold effects into a
nude picture. One obvious way
isby the choice of a deliberately
provocative pose for the model, l
enhanced by her accessories

(above right). Another
technique is by the
juxtaposition of fabrics such as
silk or fur against the skin
fright), or strange or
unexpected props can be used
to create an element of shock
fopposite).
104
105
BOLD EFFECTS 2
The arresting effect of this
double exposure of a nude and
a seascape (right) was made in
a slide duplicator. By contrast,
careful framing and the model’s
suggestive pose have created a
strongly erotic effect in the
abstract nude shot (below).
106
This startling, even disturbing
image relies on the shock effect
of the model’s pose and
accessories (above), while the
impact of the nude figure under
the shower results from the
choice of lighting which
emphasizes the texture of the
model's wet skin (leftl
107
LIGHTS AND LIGHTING
The direct light of an undiffused

light positioned behind the
model is used in this abstract
nude shot ('right); the black
background emphasizes the
outline of the model's body. The
nude torso (opposite above)
was lit by one light positioned
slightly behind and to the left of
the model behind a large
tracing-paper screen. In the
head-and-shoulders portrait
(opposite below) an un-
diffused tungsten light, fitted
with a snoot, was positioned
slightly to the right of the
camera and just above the
model's eye level to emphasize
her cheek-bones. A second
light, to the right and behind the
model, fitted with a snoot, has
created the highlights on her
hair.
108
-
(Top) Manual flash units (left)

have a fixed output, while
automatic units (right) have a
sensor which measures the
light reflected from the subject,
controlling the duration of the
flash for automatic exposure
adjustment.
(Left) A wet cell unit has a

large, rechargeable battery
which is carried on a shoulder
strap. gives greater power
It
and rapid recharging between

flashes.
Guide no.80 Guide no.1 60

(Above) The recycling battery
unit has a very high output and
recharges rapidly.
(Left) Guide numbers provide

a method of calculating flash
exposures. Most flash units
have a guide number indicated
in feet or metres which relates
to a specific film speed. To
calculate the exposure, divide
the guide number by the
distance between the flash
and the subject
109
USING FLASH
Flash can be used to create a the indoor shot (right), daylight

variety of effects in an indoor isbalanced will fill-in flash. For
location. A single flash bounced the studio shot (opposite), one
from the ceiling reduces the flash is aimed at the white
unflattering shadows caused by background and a diffused
harsh, directional light (below). flash from 45° to the camera
A diffused flash close to the angle, with a white reflector on
camera is balanced by a second the other side to fill in the
flash behind the model aimed at shadows,
the background (bottom). In
110
*
warn
WSM
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ISIS
111
COLOUR IN ACCESSORIES
112
An obvious way of introducing a
vigorous quality into a nude
photograph is by using brightly
coloured accessories. These
can make a strong impact in an
image when contrasted against
skin tones.
113
THE NUDE INDOORSTTECHNIQUES AND EFFECTS
LENS EFFECTS
Flare is an effect that is usually considered to be a fault. It is still be included. This has the effect of greatly exaggerating
caused when a bright light falls directly on to the front of the effect of perspective to the extent that some parts of the
the lens causing light to be scattered indiscriminately model’s body or even her face can be made to appear
within the lens producing a lowering
of contrast and disproportionately largerthan others; Bill Brandt’s famous
colour saturation and often accompanied by streaks of distorted nudes were done in this way. Even more bizarre
light from the source. It is commonly experienced, for effects can be achieved with ultra-wide-angle lenses or
example, when shooting into the sun, particularly when fish-eye lenses. The opposite effect is achieved with long
the sun is close to the edge of the picture or within it. telephoto lenses as they enable a distant viewpoint to be
However, flare is used in a considered and controlled
if used and close foreground detai Is to be excluded, and the
way can produce a quite pleasing effect and can be
it it result can be almost to eliminate the effect of perspective
judged fairly accurately when using an SLR, for example. and the impression of depth, creating pictures in which
The use of lenses of different focal lengths can also there can appear to be a compression of planes.
introduce an unusual or dramatic quality into a picture, There are also a wide variety of lens attachments which
largely because it enables you to control the effect of can create different effects; these can be obtained
perspective. Pictures taken with a standard lens present a individually or as part of a filter system such as the Cokin.
view of the subject which is close to that which we Devices likethestar-burstfiltercan beusedtoadd interest
experience visually in that we perceive an impression of toa picture by creating star-shaped streaks of lights from
depth and distance by the fact that objects of a similar size highlights, while the colour-burst or diffraction grating
appear to become smaller the further they are from the creates a similar effect with rainbow-coloured streaks of
camera. This effect is heightened when we approach the light. Other useful attachments include multiprisms which
foreground objects more closely and diminished when we create a number of repeated images of the subject in
are further away from them; with the model close to the different configurations, and special colour filters with
camera, for instance, a distant tree would appear to be clear spots in the centre which allow the subject or the
much smallerthan the model and as the camera is moved central part of the image to be recorded normally but with
furtheraway would become progressively larger than
it the rest of the picture given a colour cast. However, all of
the model. With a wide-angle lens, for exam pie, the subject these devices should be used with discretion as otherwise
can be approached very closely and more distant details they can appear somewhat gimmicky.
114
The different types of lenses
can be manipulated to
introduce many different
an image. These
qualities into
three examples were taken with
a 35 mm wide-angle lens (left);
a standard lens with cross-
standard lens
lighting (right); a
with the model standing on a
mirror to create the distortion
(above).
115
SOFT FOCUS EFFECTS
Soft focus is probably one of the most simple and widely With a model running across the camera you can, for
used effects in the field of nude photography. As well as instance, pan the camera so that she is recorded quite
creating a pleasing quality in its own right it also has the sharply while the background or surroundings are blurred.
particular advantage of masking any slight flaws in the you could have the model static against a
Alternatively,
model’s skin and of being a quite flattering effect generally. moving background such as a waterfall and with the
There are a wide variety of attachments which can be camera mounted on a tripod use a slow shutter speed to
bought as part of a filter system such as the Cokin, or create a blurred background. When using a zoom lens
separately such as the Zeiss Softar. The basic principle, you can also create an unusual blurred effect by moving
however, the same: a piece of clear glass or plastic
is thezoom setting of the lens from theshortesttothe longest
engraved or moulded with an interference pattern is focal length during the exposure; as this is likely to need a
placed over the camera lens and creates a degree of fairly slow shutter speed it is usually easiest to shoot with
The effect is qu ite different from that of an out-of-
diffusion. the camera mounted on a tripod. Another interesting
focus image as there is an underlying core of sharpness variation on the blur effect is to combine flash with daylight,
which is surrounded by a softer effect. As a result the using a slow shutter speed and a moving subject. In this
image appears quite clear but fine detail is subdued; in way where the light from the flash predominates there will
addition it can cause highlight areas to ‘bleed’ slightly into be a sharp image and where the daylight predominates
the darker tones which can create a pleasing halo-like the image will be blurred. The exact effect ofthis technique
when shooting into the sun or when the subject is
effect is a little unpredictable and is wise to vary both the speed
it
Another by-product of thesoftfocus attachment is

back-lit. of the movement and also the shutter speed settings.
that tends to reduce both contrast and colour saturation,
it
producing images with a more mellow quality; this can be

particularly helpful when a more harmonious colour
quality or romantic mood is required.
addition to manufactured attachments there are a
In
number of other widely used methods of producing soft

focus effects and professional photographers often prefer
these. Clear adhesive tape can be stretched across the
front of the lens mount or across the lens hood with a small
clear area left in the centre to allow a degree of sharpness
to be retained. Another method is to smear clear petroleum

jelly on to a filter or piece of thin glass placed over the lens,
again with a clear area left in the centre; the advantage of

this method is that the jelly can be swirled around with a
finger-tip to vary the effect, which in addition to producing
soft focus can also create interesting streaks from high-
lights in the image. Other widely used materials are nylon
mesh (as used in ladies’ tights, for example) and plastic
film or thin plastic sheeting. The fog or pastel filter also
creates a similar effect to the soft focus attachment;
it has or no effect on the definition of the image
little
but will reduce the contrast and colour saturation quite

considerably.
can also be introduced into the image by
Soft effects
using the background or surrounding details
blur, either in
or in some cases
within the main subject. This can be
achieved in a number of ways. Shallow depth of field is
perhaps the most basic. By using a wide aperture and
preferably a long-focus lens and focusing on the model it
is possible to throw other details that are closer to or

further from the camera well out of focus, and this can
produce quite exciting effects, for example when the
foreground and background contain brightly coloured or
contrasting details such as shooting through a foreground
of flowers. Another method is to use slow shutter speeds,
which will allow parts of the subject that are moving to be
recorded as a blur but with the static elements quite sharp.
116
There are a number of ways of
creating soft focus effects in an
image, all of which produce a
pleasing quality. One of the
manufactured attachments can
be used (top! but it is also
possible to achieve the same
effect (opposite) by means of a
home-made method such as
stretching clear adhesive tape
across the front of the lens, as
shown in the illustration above.
In the studio shot of the dark-
skinned model against a white
background (left) a soft
salmon-pink filter was used on
the catchlight, with the key light
directed from the right.
117
USING FILTERS
As well as using colour correction filters to offset a technique works on the principle that ultra-violet light
potential colour cast is also sometimes effective to use ‘excites’ fluorescent material and causes
it
it to ‘glow’. As this
introduce a deliberate colour bias, and in some
filters to lighting effect is of a much lower intensity than normal light
instances this can be used to contribute to the mood of a levels this type of shot has to be set up in a darkened room,
picture. For this purpose the gelatin filters which are and the UV lamp will have to be placed quite close to the
available both the primary and complementary colours
in model. Even with a fast film such as Ektachrome 200 you
in a wide range of strengths are very conven ient since they find that quite slow shutter speeds are needed, so a
will
can introduce either a very subtle or a pronounced colour tripodwill also be necessary. is best to usedaylighttype
It
cast. Insome circumstances it can be effective to achieve filmand also a UV absorbing filter to eliminate scattered
thiscolour cast by shooting on the wrong type of film for UV as you only want to record the fluorescence. The
light
the light source- shooting on tungsten-balanced film in fluorescent materials can be introduced either as props
daylight, for example, will produce a strong blue cast, and fluorescent dyes are used in many fabrics, for instance-or
daylight type film in artificial light will create a strong objects can be painted with fluorescent colours which are
orange cast. For even more bizarre results infra-red film, available from art stores. The model could also use these
available in both colour and black-and-white emulsions, colours on herself as make-up, on the fingernails, for
can be used to good effect. When used with the re- example, or in her hair.
commended Wratten 1 2 filter (a strong yellow) the colour
version produce quite strange colour effects: skin
will
tones, for example, will appear fairly normal but green

foliage will record as a magenta tone. The effect can be
varied by using other filters and it will also vary according
to the lighting conditions and the exposure level. The
black-and-white version of the film can also produce
interesting effects - used with a red filter will record blue it
skies as almost black and green foliage as white-and it is

particularly effective when used with subjects that have a
landscape element. The film is also quite grainy and this
can be used to add further impact and interest to a shot.
In fact grain alone can be very effective in some cir-
cumstances, in both colour and black-and-white pictures.

The technique is simple enough: use a fast film, possibly
push-processing it to increase both its speed and the
grain size, and compose your picture so that only a small
proportion of the film is used. This means that it can be
enlarged considerably which will of course increase the
effect of the grain;one way of doing this is to frame the
picture using a long-focus lens and then to switch to a
wide-angle for the actual exposure.
Another nteresting way of altering the colour qual ity of a
i
picture is to use filtered flash when shooting in daylight.

The technique is similar to that of fill-in flash except that
where the flash exposure is used to illuminate the fore- Filtration can be used to create
ground (the model) and the daylight exposure records the a variety of interesting effects in
an image, such as a spectral
background details, a colour filter is placed over the
star nebula filter which splits
camera lens to create a colour cast- say a blue filter-and the spectrum (above), a star-
a filter of the opposite hue (in this case, yellow) is placed burst filter (right), and an ultra-
violet filter used in combination
over the flash-gun; the colour cast will be eliminated in with an ultra-violet light source
those parts of the image which are illuminated by the flash, and fluorescent materials
i.e. the foreground model, leaving the more distant areas
('opposite).
with the blue colour cast.

As well as utilizing the infra-red
wavelengths of light to
create colour effects it is make use of the
also possible to
ultra-violet band spectrum to create interesting
of the
images. An ultra-violet light source is needed for this
technique, of the type that emits ‘black light’ which is often
used in window displays and discos, for example. The
118
119
BLACK-AND-WHITE 1
Most experienced photographers would agree that is it
quite difficult to shoot both black-and-white

and colour
pictures during the same session, for the simple reason
that each requires a quite different approach, and switch-
ing from one to the other on alternative rolls of film
involves both effort and concentration. The quality of a
good black-and-white print lends itself admirably to the
applications of nude photography although its value lies
perhaps more in the realm of personal expression than a
commercial context. One reason why the nude and black-
and-white materials combine so successfully is that the
elements of line, shape, form and texture, which can be
exploited to the full in a nude photograph, are particularly
effective in the black-and-white medium, and in this con-
text the presence of colour in the image can detract from
the basic elements. What is more, the black-and-white
medium is ways that the tonal
particularly flexible in the
quality of the image can be controlled and manipulated.
Another consideration that may be overlooked is that
colour photographs have become extremely common-
place. is a relatively simple matter for even an inexperi-
It
enced photographer to expose a roll of colour negative

film, send to a laboratory for processing and get back a
it
batch of good-quality colour prints. The black-and-white

process, on the other hand, is in many ways both more
difficult and more rewarding where high-quality results
are concerned and as most people are in general less

familiar with the medium is an ideal vehicle for more
it
personally motivated and interpretative work.
The black-and-white medium

lends itself well to the creation
of effectivenude photographs.
Three effects are shown here:
in the first example, the model
was lit against a bamboo
background (top): the low-key
effect of the second picture
fright) relies largely on the dark
tones of the image in the dark
skin of the model and the dark-
toned background paper: while
the use of a stark white
background and even frontal
lighting has provided the ideal
contrast to the model's fish-net
tights (opposite).
120
121
BLACK-AND-WHITE 2
I
The elements of line, form and

texture are shown to particular
effect in these three pictures,
the back-lit silhouette shot
against a white background
(opposite) emphasizes the
smooth lines of the model’s
body; the illustration (left)
shows two typical lighting set-
ups for creating a silhouette. In
the abstract female nude shot
(below left), a light positioned
to the right of the model has

allowed the shadows to go
dark, creating interesting
shapes and accentuating the
skin texture. In the shot of the
male torso (below right), the
key light is placed at an acute
angle to the right of the model,
with a reflector on the left.
123
MULTIPLE IMAGES
Where a more abstract type of picture is required can be it quite tightly so that it illuminates only small selected areas
achieved effectively in many instances by combining two of the subjectand is not allowed to be scattered indiscrim-
or more images. This can be done in a number of ways, inatelywhich would degrade the projected image. For this
perhaps the easiest being simply to make two or more reason is best to fit the lights either with a snoot or
it
exposures on to the same piece of film. Ideally this cardboard cones or to use a spotlight; rim-lighting or
requires a camera which enables the double exposure back-lighting is particularly effective for this effect.
prevention mechanism to be bypassed, although is it Another way of using a projector is to project a slide of
possible to wind the film back and run through the it the model on to another surface and rephotograph this;
camera again after the first exposure; this is rather tricky, this can create a textured or distorted effect or the nude
however, and the starting position of the film must be can be made to appear as part of an object. For example,
marked accurately in the first place. The success of this the slide could be projected on to a piece of crumpled
technique depends largely on the way the images are paper to create a distorted image or on to a light-toned
juxtaposed, and is best to use a camera with a viewing
it object in a still-life arrangement. A projector can also be
screen so that the position of the first image can be traced used to create a more realistic background effect in which
on to with a marking pen to make easier to line up the
it it a slide of an outside location can form part of the image in
second image. As a general rule the technique is most a studio shot of a model. There are essentially two ways of
effective either when the light tones of one image are doing this. The first is to place a large translucent screen
juxtaposed against the darker tones of the other, or when behind the model and the projector behind this, with the
one image is used as a more subdued background detail selected slide sized and focused on to the screen. The
and the other is allowed to dominate- for example, a quite model is then lit in the normal way but taking great care
well-lit nude torso could be double exposed effectively on that the lighting does not spill on to the screen as this will
to a dark-toned wood grain to create a textured effect. It is degrade the projected image; for this reason is also it
also important to appreciate that as each additional necessary to ensure that there is some distance between
exposure will have a cumulative effect they should be the screen and the model. A more satisfactory method is to
decreased to avoid the final image being over-exposed; use front projection. This requires the use of a device with
reducing one exposure more than the other will also help a semi-silvered mirror which fits on to the front of the
to make the lighter image more dominant than the darker camera. The projector is placed at right angles to the
image. Another way of using this technique in the studio is camera and with the aid of the mirror projects the back-
to place the model against a black background in a ground transparency along the optical path of the camera.
darkened room and to make two or more exposures, This is then focused on to a highly reflective screen which
allowing herto move between each exposure. This can be is placed behind the model who is lit in the normal way,
used to create a stroboscopic effect and is not necessary it again ensuring that light does not spill on to the screen. A
to reduce individual exposures since the black back- specially manufactured version of this equipment with a
ground means that each image is effectively being projector illuminated with electronic flash is used in many
photographed on to unexposed film. professional studios to create outdoor backgrounds as
A projector can also be used in a number of ways to well as many more abstract effects.
create a multiple image. This technique has to be carried
out in a darkened room and artificial light type colour film
used with a tungsten projector. One method which can be
particularly effective with the nude is to project an image
on to her body and simply rephotograph the result. If the
model is placed against a black background the projected
image will show the model's outline quite clearly, but if she
is placed against a white background the projected
image will continue over the background creating a more

subtle effect. The position of the projector will also have an
effect on the nature of the image: if is placed close to the
it
camera will create a quite flat result with little indication

it
of modelling within the model’s body, but is positioned if it
at an angle to the camera a more three-dimensional effect
will be created. It is also possible to introduce more
interest into the image by using some studio lighting to

illuminate parts of the body. In this way the projected
image will appear to blend with the image
of the model
since the projected image be erased where the
will
lighting predominates. This lighting needs to be controlled
124
There are various methods of
creating a multiple image:
multiple exposures made one
after the other on to the same
piece of film (opposite); a slide
sandwich (top); a physiogram
(far left); using a mirror in front
of the camera lens to create a
double image (left); projecting
a slide on to the subject to
produce a textured effect
(below). Front projection is a
method of using a colour
transparency as the back-
ground of a studio shot; the
illustration (above) shows the
typical set-up.
125
126
THE
NUDE
OUTDOORS
127
THE NUDE OUTDOORS/SETTINGS
CHOOSING A LOCATION 1
Choosing a suitable setting for a nude session is a vital wall could give a lift to the pictures when shooting in
factor upon which the ultimate success of the pictures can colour, or areas of very light or dark tones included in the
depend, and therefore warrants careful consideration.
it picture area to increase the brightness range when shoot-
With the concern for both privacy and access uppermost ing in black-and-white.
in your mind you must from the outset have a clear idea of The setting can also have a considerable influence on
the type of pictures you want to take in order to be able to the quality and nature of the lighting; a woodland scene,
weigh up the potential of various locations and to see forexample, can create quite considerable contrast even
them in terms of actual pictures rather than simply as a on a dull day because of the shadows produced by trees
scene. The essential nature of the place you choose will and foliage whereas an open sandy beach will produce a
have an influential effect on both the type of pictures you
take and the mood and effect they create, regardless of the
choice of model or any photographic techniques that you
might apply; a session in a woodland setting, for exam pie,
would have a quite different outcome from a session on a
beach. It may appear an obvious point but is worth
it
bearing in mind that the basic colour quality of the

pictures can often be determined by the nature of the
setting - for example, would be difficult to avoid a
it
predominance of green in a woodland setting just as it
would blue in a Mediterranean beach location. You will

obviously be able to introduce other colours but the over-
all tone of the session is likely to beset by the initial choice
of location.
Unless you are setting outto produce a particular image
fora specific purpose then it is also important to consider
the ways which a location or setting can be used to
in
create variety, particularly when an all-day session is

planned. In a beach location,
for example, do not just look
for a nice expanse of sand but see if there are other
features that you will be able to use such as a fishing boat
or an outcrop of rocks. In th is way you will be able to take a
series of shots all within a distance of a few yards but each
looking as were taken in a completely different setting.
if it
The lighting is another important consideration: in bright

sunlight, for instance, you may find that certain viewpoints
and camera angles are only possible at a certain time of
day and this can be a problem when setting up a specific
shot, for example shooting with a sunset over the sea as a
background would be futile on an east-facing beach. You
should also bear in mind when choosing a location that it
might appear less attractive if the lighting conditions on

the day of the shoot are different from when you first saw it.
A beach seen on a bright, sunny day under a blue sky

would look very different and might indeed be quite
unsuitable for the shots you had planned on a dull day
when the sea appeared grey and there were no highlights
and only weak shadows. Unless you are prepared to
arrange with your model to cancel the session and try
again itis always worth while looking for an alternative
location or for other backgrounds you can use in the place

you have selected. Although grey sea and sky can look
effective when shooting in black-and-white or when a
particular mood is required, for colour shots as a general
rule they will not be very pleasing and you will need to find Privacy and ease of access are
vital considerations when
settings that will introduce some additional contrast either
choosing a location for nude
tonally or in terms of colour. A brightly painted doorway or photography.
128
129
great deal of reflected light and reduce the brightness Each setting has its own
particular lighting conditions
range even in brightsunlight. These effects will also affect
which will influence both the
the mood a picture so the lighting potential of a setting
of quality and mood of a picture. In
should be considered in terms of mood as well as quality. thisrespect a beach location is
very different from a woodland,
Sunlight, for instance, may
well be inappropriate for the and due allowance must be
pictures you want to take and your choice of setting may made when shooting.
be dictated partly by the need
to find areas of shade for
your shots. Low light levels are often conducive to the
establishment of mood and atmosphere and settings
which can be used in this way can be very effective,
whether the effect is created simply by the shade of a leafy
wood or a building or by making use of low levels of
daylight such as a sunset or at dusk in an urban setting
where artifical lighting can be incorporated into the
picture.
130
131
BEACHES 1
A beach is understandably one of the most popular When using a camera with TTL metering a zoom lens can
locations for nude photography and for a variety of be useful in this respect since the reading can be taken
reasons. In thefirst place it provides a logic for nudity as with the zoom extended and then retracted for the ex-
many pictures of the nude are unsuccessful quite simply posures. With a tripod-mounted camera a hand meter will
because the model looks out of place in the setting that be an advantage as close-up readings can be taken from
has been chosen. The technique whereby unusual loca- the model without disturbing the camera, and the incident
tions are used to create a dramatic or ambiguous effect light facility of most hand meters can also be an effective
needs to be approached very carefully since the results way of taking readings under difficult conditions.
can only too easily look silly, but this is unlikely to happen As well as exposure problems the colour quality of light
with pictures taken in a beach setting. In addition a beach by the sea also needs consideration as tends to be of a
it
provides a natural and relaxed environment forthe model, higher colour temperature and there is a greater presence
one in which she is less likely to feel restricted or inhibited of ultra-violet light. Both these factors will tend to create a
and to which she will be able to relate more easily; this blue cast when shooting in colour and in general you will
makes such a location ideally suited to the more in- need to use a warm filter in the order of 81 A or 81 B to
experienced model or photographer. compensate; this will also be necessary when shooting in
Another reason why a beach is a good choice for nude open shade or against the light with a blue sky. A polarizing
pictures is that the quality of the light can be particularly filter is often invaluable in beach settings as it can be used
pleasing and flattering. This is especially true in conditions to controlsome of the scattered and reflected light, thus
of bright sunlight where in less reflective surroundings creating richer tones and colours as well as making the
such light can easily create excessive contrast. The large sky darker blue and the sea more translucent.
amount of light reflected from the light-toned sand and In addition to the visual properties the physical qualities
sea will tend to make the choice of viewpoint and camera of a beach are an important element in nude photography.
angle less restricted on a beach than would be in a
it Water in particular can be a valuable asset since skin and
setting with darker, more enclosed surroundings. This water together have both strong textural and sensual
can, however, create its own problems: exposure readings properties that can add considerable impact to a picture.
can, for example, be quite misleading since the scattered The effect of water on the model’s skin is often heightened
light can cause a meter to indicate unrealistically high by the use of a little oil; this is rubbed in well the water will
if
readings and great care must be taken to avoid under- form into well-defined droplets and of course the skin itself
exposure. The safest method is to take very close-up will also look more lustrous. Shots of this type can betaken
readings from an important mid-tone in the subject, and with the model actually in the water so that she can
this is necessary even when quite long shots are taken. constantly dip under the surface causing the water to run
The higher colour temperature

of the light in a seaside location
has to be taken into consider-
ation when shooting. In both
these pictures, one taken early
in the day (left) and the other at
late evening (opposite), an 81
filter was used to warm up the
subject, with fill-in flash to
compensate forthe shadows.
132
-
133
BEACHES 2
off her skin in rivulets. Where there is a suitable surf she
can also lie in the edge of the water so that the waves flow
over her; this can be an ideal situation in which to
experiment with slow shutter speeds with the camera
mounted on a tripod to create a wispy, smoke-like quality
in moving water, whereas with the model dipping under
the water a fast shutter speed will be more effective in

recording the individual droplets of spray.
Water on skin is an effective subject for the more
abstract or close-up approach and for this it may be more
convenient to have the model positioned on dry land and
to apply the water byspraying itorflicking it on to her body.
As a general rule such pictures are more successful with
dark or tanned skin although a paler skin can be made to
look more appealing with a little contrivance. A pale skin
should be well oiled and a warm filter such as an 81 B
used, indirect light is best either by shooting in open
shade or into the light, and a degree of under-exposure will
heighten the textural quality of the image; in some circum-
stances a polarizing filter will also help to improve the skin
tone. In addition to indirect light a very low, late-afternoon
sunlight acutely angled so that it literally skims across the
surface of the skin can also be effective in revealing
texture. Care is needed, however, as directional sunlight
can create an unflattering effect, and in these conditions
you will be unlikely to need the warm filter because the
light will have a lower colour temperature at this time of
the day.
To add another dimension to shots taken in a beach
location look out for elements other than just the sand and
water-fishing boats, driftwood, rocks and small pools can
all be very effective and will give your pictures more
interest- and if you can find a quiet enough spot the usual
trappings of holiday resorts such as deckchairs and
beach huts can add both colour and variety. You should
also consider the practical problems of shooting on a
beach. Sand and seawater are extremely harmful to
camera equipment and you must be very careful to protect
them. Store individual items in plastic bags inside your
camera case and remove all traces of sand and water
before replacing them after use; flick or blow sand away
from the surface before wiping and be especially careful
with lenses and glass surfaces. Do not forget the model’s
needs and comfort: plan your location and shots so that
she has a chance to maintain both her composure and
her hair and make-up throughout the day, and leave the wet
or sandy shots until after the other shots have been taken.
134
(Far left) An 81 A filler was used
to compensate for the overcast
day in this shot taken in sub-
dued light. (Left) A combination
of flashand a very fast speed of
1/400 sec was used to freeze
the surf in this action-filled
picture. (Below,) An 81 A filter
added warmth to the subject
and fill-in flash was used to
compensate for the early-
morning shadows.
mm
135
VILLAS AND SWIMMING POOLS 1
Like a beach, a villa or a swimming pool provides a

believable setting for nude pictures with the added advan-
tage that there is a much greater degree of comfort and
privacy. However, much more depends on the actual

physical appearance of the setting for the outcome of the
session, and in general the backgrounds and settings will
be more restricted unless you are fortunate enough to
have access to a really opulent villa. Another advantage is
that in the event of bad or unsuitable weather you will be
able to consider interior locations and even for the exterior
shots there will always be a readily available stock of
props and accessories. This type of location will of course
produce pictures with a quite different quality from those
taken in a natural setting as the backgrounds will be
harder and more angular. In general this will be the main

advantage of this type of location and the way you see
and approach your pictures should reflect this aspect. A
wide-angle lens is often an advantage since when com-
bined with the closer and more restricted viewpoints it will
enable you to emphasize the effect of perspective and
exaggerate the lines and shapes created by the setting. In
addition to the wider backgrounds provided by the location
you will also be able to find small corners which can be
used effectively for closer shots -a mosaic tiled surround,
for instance, or a shuttered door or window, even an
angled white wall combined with perhaps an interesting
shadow or a flowering plant could provide the finishing
touch to a picture.
The swimming pool will also have some useful appli-
cations since shots of the model in the water are often
much easier to control when she is in a pool than
in the
sea, and it is possible to use more interesting and varied
viewpoints, for example shooting down on to the model
from the diving board. Another advantage is that most
pools have an almost luminously coloured lining which
can make the water appear a more attractive colour than
the sea in some circumstances, particularly when the sea
is rough or the sky is cloudy. This can create a problem,

however, as can easily create a colour cast by reflecting
it
light on to the model, and you need to take care in
choosing model positions and camera angles. Like a

beach setting a villa location usually has very bright
surroundings such as white walls and this can
reflective
mean exposure readings must be taken with care.
that
However, because of the greater number of angles and
shadows in a villa setting the brightness range and
contrast can be much more pronounced than on a beach.

You need to choose viewpoints and model positions
will
carefully to avoid excessive contrast, and quite often

reflectors or fill-in flash will be necessary to control the
contrast. The harsh quality of such a setting in bright
sunlight can, however, be used as a positive element by A villa offers a variety of
potential settings for nude
deliberately allowing areas of the picture to be burnt out or
work. Doorways and windows
lost in shadow. Photographers like Helmut Newton have provide effective angles and
often used these harsh and dramatic qualities very effec- frames for the image, while the
textures of walls and woodwork
tively in their pictures. add further interest.
136
137
A swimming pool has a number

of advantages over a beach
location. Privacy is assured,
shots of the model in the pool
are easier to control and the
colour ot the water is usually
more attractive than that of the
sea.
!
-
138
139
IN THE CITY
As as nude photography is concerned, an urban

far A town or city setting can
location is, generally speaking, used rather less frequently,
provide scope for striking
pictures, especially in the
partly because does not provide a logic in the same way
it
context of nude photography. It
that a beach or villa setting does, and partly because the is important to ensure, however,
that you will not be infringing
problem of finding quiet and private settings is that much
any byelaws before you
greater. However, does lend itself to this genre in
it
start shooting.
perhaps a more limited way - like a villa setting, a city-
scape provides the more dramatic and contrived quality of
manmade structures, and when used with sensitivity can
create unusual and even surreal effects in a picture. The
main problems with shots of this type are almost entirely
practical ones: how to find locations that are interesting
and urban enough make them worth using, but at the
to
same time private enough to avoid crowds of on lookers or,
worse still, official intervention. One obvious solution is to
choose the time of day with care- even the busiest parts of
a city are largely devoid of people at six o’clock in the
morning, for example, or on a Sunday, and when you are
planning to take shots in a fairly public place this will be
the only answer. There are other solutions, however, such
as locating private places within the urban setting and
obtaining the necessary permission to shoot there, in an
industrial area, for example, or in a private garden or park.
Another solution is to find a house or apartment that has a

suitable outlook for use as a background: photographers
like Helmut Newton and Jeff Dunas often use balconies or
rooftop terraces in this way.
140
141
NIGHT SHOTS
142
The majority of photographers
restrict their picture-taking
outdoors to the daytime, but it is
possible to create successful
images after the sun has gone
down. The use of flash in a night
shot produces an interesting
effect ("left;. In the two pictures
shot at sunset, the use of flash
illuminates the models fully
(opposite), while shooting
without flash produces a
silhouette effect (below).
143
MOODY SETTINGS 1
Mood is a very subjective quality in a picture, and the willlend itself to high-key images with a more gentle and
photographer who wishes to impart a particular mood romantic atmosphere. A setting with bold, bright, fully
must depend largely on his own taste and instinct when saturated colours willcreateasimilarlybrightand cheerful
choosing a setting. Elements such as lighting, colourand mood, while soft, pastel colours in a scene will produce a
image quality will also have a marked effect, but when a lighter, more whimsical mood, and darker, neutral hues
picture is taken within a setting it will be that factor that has willbe more suited to pictures with a more serious or even
the most dominant influence. This can be seen very easily sad atmosphere. It is important to appreciate as well that
from the work of photographers like Helmut Newton, the predominant colour quality of a setting will also affect
David Hamilton and Jeff Dunas where the choice of the mood of a picture: red, orange and yellow tend to
location is almost an inherent part of their style and create a warm and inviting quality, blues and greens
approach. Mood is most readily created in a photograph suggest a more peaceful and relaxed mood, while at the
when something is left to the imagination -a picture which other end of the spectrum indigo and violet can impart a
is well lit, sharp and clear and in which all the details are more introspective or dramatic atmosphere.
boldly defined is not likely to convey much impression of In a more general way you should consider the relevance
mood or atmosphere - and this should be taken into of the setting to the mood you are trying to achieve; for
account when choosing a location. Avoid settings with a example, a rustic farmhouse interior of the type favoured
lot and instead look for places where there
of fussy detail by David Hamilton would not lend itself very well to either
are softand subtle tones and colours and where there is a the models or the type of mood preferred by a photo-
and colour that will be in keeping with the
quality of light grapher like Helmut Newton. It must be appreciated that
mood you wish to portray. the mood of a photograph will result from the successful
Tone and colour are vital factors in the creation of mood; combination of a number of different factors - the model,
a setting that contains predominantly dark, shadowy clothes and accessories, lighting, colourand tonal quality
tones and details, for instance, will enable you to shoot as well as the setting - and each must be considered in
low-key pictures which will help to establish a more relation to the other, as one of them is inappropriate then
if
subdued or sombre mood, whereas a light-toned setting the over-all effect will invariably be to destroy the mood.
The use of infra-red film with a

sepiafilter has produced the
warm, vibrant mood in this shot.
144
The choice of a particular
setting will influence the mood
of a picture. In these two
examples the exotic outdoor
location immediately conjures
up a relaxed, expansive mood.
145
MOODY SETTINGS 2
146
The tones and colours of an
image are important factors in
the creation of mood: strong,
bright colours produce a bold,
vigorous effect, while softer,
pastel hues have a gentler
quality.
147
COMPOSITION
While the question of composition for studio pictures is the picture to be well balanced and composed it is
is
largely one of selecting a background and positioning the important that other detailsand objects are placed within
model, in outdoor pictures the approach tends to be far the frame such a way that they are of secondary
in
less restricted, partly because an outdoor location pro- importance and are not allowed to be distracting or to
vides a greater variety of opportunities and also because create an imbalance in the image. Tones and colours
there is a much wider choice of camera viewpoint. The must be considered in the same way- a bright highlight,
major factors in composition are the choice of viewpoint, for example, or a bold colour which occurs unplanned in
the position of the model, the way the image is framed and the background of a picture can be just as unwelcome as
the choice of lens; by combining these elements, a wide a distracting detail or object. When framing the picture it is
is opened up within each situation.
variety of possibilities important to study the image carefully within the view-
In its nude picture would consist only of
simplest form, a finder to ensure that you can see all the details in relation
subject and background, and in many photographs the to each other and to experiment with different ways of
background will be a fairly negative quality, merely pro- positioning the frameuntil the best balance is achieved.
viding a contrasting tone or colour so that the model is The choice of viewpoint is another vital factor in the
clearly defined; in manyways this theoutdoor equivalent
is composition of a picture and you should learn to explore
of a roll ofbackground paper in the studio. However, is it all the possibilities that this can offer before starting to
often far more effective to use the background or setting in shoot. A more distant viewpoint, for example, will allowyou
a more defined and dominant way, especially if you wish to to include more in the frame and will also alter the
create a mood or to introduce more interest into the perspective between subject and background. In addition,
image, and it is in this context that the choice of viewpoint it can enable you to include foreground details to add
and the framing of the picture become more important. interest or to increase the impression of depth in the
In the majority of nude pictures the model be the
will image. A higher or lower viewpointcan also have a
centre of interest in the image and for this reason she significant effect on the composition, and this is often a
should always be placed in the strongest position within way of creatingmore impact in a picture. The important
the frame. This can be achieved in two ways: by choosing thing about composition is toallowyourown instincts and
where she is to stand and by framing the picture with care. taste to decide these factors, as this is the best way to
A human figure tends to attract the
eye wherever is it develop a personal style. Do not always choose the safe or
placed, particularly a nude figure, and forthis reason can it obvious option but have the courage sometimes to go
often be quite small in relation to the setting. However, if against the rules and to experiment with new ideas.
The model may dominate the (above left,), or the background Careful framing and harmonious
composition of a nude picture, may play a greater role in colours have produced a well-
with the background merely creating atmosphere (above balanced composition in this
providing a contrasting tone right! tropical grove.
148
149
THE NUDE OUTDOORS/PROFESSIONAL AT WORK
CALENDAR SESSION
The shoot for an important
calendar project on location
involves a great deal of time,
money and effort. Choosing the
right models requires careful
casting and test sessions, and a
reconnaissance trip is usually
made beforehand to find suit-
able settings and backgrounds.
In addition to the photographer
and models themselves, the trip
will usually include a stylist,
make-up artist and art director,
and perhaps a representative
from the client company.
N 0 V D E C J A N
M T W T F S s Mi T W T F S S M T W T F S S
30 1
|
1 2 3 4 5 6 1 2 3
2 3 4 5 6 7 8 7 8 9 10 11 12 13 4 5 6 7 8 9 10
9 K) 11 12 13 14 IS VI 15 16 20
17 18 19 11 12 13 14 15 16 17
j
16 17 IS 19 20 21 22 21 22 23 24 25 26 27 18 19 20 21 22 23 24
23 24 25 26 27 28 29 28129 30 31 25 26 27 28 29 30 31
150
M A |{ A P K M A Y
M T W T F S s M T W T F S S M T W T F s s
30 31 1 1 2 3 4 5 1 2 3
2 3 4 5 6 7 8 6 7 8 9 10 11 12 4 5 6 7 8 9 10
9 10 11 12 13 14 15 13 14 13 16 17 18 19 11 12 13 14 15 16 17
16 17 18 19 20 21 22 20 21 22 23 24 25 26 18 19 20 21 22 23 24
2:i 24. 25 26 27 28 29
1 27 28 29 30 25 26 27 28 29 30 31
T*4nj
I.OUtf
•if »n
li<« 111
“If m*«l
•hurt ImhI. Ill HHillffhit
Ii|i|iliiiiti“li-, ill.-
utuIVLOP TYRES
fc
|irrlrfrmtfH.^ m it li .“'.iii.ihii . Going further all the time.
151
THE NUDE OUTDOORS/TECHNIQUES AND EFFECTS
SHOOTING IN SUNLIGHT 1
It is only natural that most people prefer to shoot pictures

when the sun is shining, and it does have some advan-
tages -indeed in some situations it is almost a necessity -
yet sunlight does create a few problems and has to be
approached with some care. Direct sunlight can easily be
unflattering, emphasizing skin texture and creating a
harsh quality with dense shadows. When used in this way,
the position of the model and the viewpoint must be
chosen with care to avoid these effects: the angle of the
model’s head, for instance, should be placed so that the
light falls on from an angle which creates only small
it
shadows. When the sun is quite high in the sky you must
be careful to avoid shadows forming under the eyes and
dense shadows under the chin; this can sometimes be
avoided by asking the model to tilt her head up towards
the sunlight, although this might make her squint and
frown, which creates its own problems. As a general rule,
when direct sunlight is wanted for a shot is best to shoot it
later or earlier in'the day when the sun is lower in the sky.
This has the added advantage that the sunlight at this time
is a little more mellow in both quality and colour.
It is also important to appreciate that direct sunlight can
easily create a brightness range that is greater than the

filmcan record, resulting in excessive contrast with either
dense, blocked-up shadows or bleached-out highlights.
One solution is to choose a camera and model position
that either gives only very small areas of shadow or means
thatthe model is primarily in shadow, and to calculate the
exposure accordingly. A better solution is to use a reflector

placed close to the model on the shadow side and angled
to deflect the sunlight back into the shadows, thus
reducing their density and the contrast. A small flash-gun
can also be used to fill in the shadows. The method in this
case is to calculate the correct exposure for the highlight
areas of the subject and then to select an aperture that will
give between one and two stops under-exposure for the
flash; you give the full exposure forthe flash the shadows
if
will be completely eliminated and this will appear un-

natural. Although direct sunlight is often desirable and
can be effective with longer shots, a more close-up picture
often requires a softer light, and in these circumstances it
is necessary to find some way of diffusing or reflecting the
sunlight. One method is to use a large diffusion screen

made of either white translucent nylon or tracing paper
supported on a frame and positioned between the sun
and the model; this will obviously have to be quite large for
anything but head-and-shoulders pictures. If you are able
tomove the model the simplest solution is to position her
Shooting in sunlight brings
an area of open shade such as under a tree or in the
within
both advantages and dis-
shade of a wall. When there is a blue sky, however, this will advantages, and due care must
tend to when shooting
create a blue cast in colour and it
be taken. At midday when the
direct sunlight creates a harsh
will usually be necessary to use an 81 A or 81 B filter to quality, reflectors can be used
correct the effect. to fill in the shadows and give
less contrast ("above and top).
An alternative is to shoot very
early in the day when the light
has a softer quality (opposite).
152
153
SHOOTING IN SUNLIGHT 2
154
(Opposite) In this shot taken in
shadow at midday, fill-in flash
was used to retain detail in the
shadow area. (Left) Here, a
reflector was placed at the front
of the model to bounce the light
back from outside the cave. The
exposure was calculated for the
model, leaving the rest to over-
expose. (Below) The shadows
were allowed to go dark in this
midday nude study. The
exposure was calculated for the
highlights to create a
deliberately contrasty effect.
155
SHOOTING IN SOFT DAYLIGHT

In a purely technical sense a hazy or even slightly cloudy it will tend to give you greater freedom in the choice of
day is preferable for nude photography because the viewpoint and model position, but when the day is very
atmosphere creates a natural diffusion which reduces overcast the brightness range can be reduced to a point
the density of the shadows cast by the sun and' produces where there is insufficient contrast in the image and the
lower contrast. In these circumstances the brightness pictures can appear flat and dull. The simplest way of
range is likely to be within the range of the film without the overcoming this is to compose your shots so that more
need for reflectors or fill-in flash. It is still necessary, contrast is introduced into the subject either in terms of
however, to consider the position and density of the tones or colours. With a colour shot, for example, you
shadows terms of the effect they create - on a very
in could add contrast to the picture by introducing some red
overcast day, for example, an excessively top light effect or yellow clothes or accessories into the shot, and in
can be created very noticeably with facial lighting, with black-and-white shots you could add light-toned props or
unpleasant shadow underthe eyes and chin. The solution accessories and position your model against a dark tone
is similar to that used when shooting in sunlight, asking in the background, or vice versa. It is possible to use flash
the model to tilt her head upwards, for example, or using a to increase the lighting contrast as well as to reduce it, but
white orsilver reflector placed close to and under herface for full-length shots it will need to be quite powerful. The
to reflect the light up into these areas. Another solution is procedure is to set the aperture of the camera to give the
to position the model so that the top light is screened from correct exposure for the flash and to select a shutter speed
her, making the over-all lighting effect more frontal, under that will under-expose the daylight exposure by between
a tree for example, or in a doorway. one and two stops; in this way the flash becomes the main
As the softer light of a cloudy day is much less directional or key light and the daylight acts as a fill-in.
Shooting in soft tight on an

overcast day is particularly
effective for nude photography.
In this moody colour shot taken
at midday, a reflector was used
to the left of the model to reflect
light on to her body, and her red
skirt introduces contrast into
the picture fright).
156
157
AGAINST THE LIGHT
One approach to shooting in daylight which is particularly

effective with nude photography is to shoot towards the
sun; with the sun behind the model this has the effect of
using the light reflected from the sky, which is of course
diffused, as the main source. This has a number of
advantages. One is that this softer light will create a more
flattering effect which enhances skin quality, another is
that in many instances it will create a pleasing halo of light

around the outline of the model, and it can also subdue
unwanted or distracting background details. There are,
however, a number of problems with this lighting ap-
proach. Exposure calculation can be rather less straight-
forward than in normal circumstances because the image
will contain extremely bright highlights, and if a reading is

made in the ordinary way, taking an average from the
whole of the subject, the picture will usually be under-

exposed. The best method is to take a close-up reading
from a mid-tone the subject, usually from the model,
in
being careful to screen the meterfrom the background or

highlight areas, or alternatively to take an incident reading.
If neither of these methods is practical then
you must
increase the exposure indicated by a normal averaging
reading by one and a half to two stops. Another problem is
that shooting into the sun can create a blue cast as the
subject is being lit by light reflected from a blue
primarily
sky and so it is usually necessary to use an 81 A or 81 B
This type of lighting will also of course create an
filter.
extremely high brightness range, but in many cases the

areas of highlight will be very small and of little importance
and the loss of detail as a result of over-exposure can often
simply be ignored. In other circumstances you will need to
use either fill-in flash or reflectors to reduce the contrast.
Shooting against the light

creates a number of different
effects: the background is burnt
out back-lighting (above),
("topi,
back-lighting in evening light
will fill-in flash (lefty, back-
lighting with a gold reflector
(opposite,).
158
jrri
/ftessl
? V'V.'V.'
159
COLOUR AND DAYLIGHT

When shooting in daylight is important to be fully aware
it near the sea when the ultra-violet content of the light is
of how the quality of the light affects the colour rendering much greater, and when shooting against the light or in
of the film. This is particularly important with nude photo- open shade on a sunny day. In these circumstances it is
graphy because the flesh tones which are all-important in necessary to use the orange-tinted filters in the range of
this type of work are extremely sensitive to even slight B or 81 C. As a general rule, a
81 A, 81 slight warm cast is
shifts in the colour balance of the film. The colour tem- more acceptable with skin tones and in some cases can
perature of daylight can vary quite considerably depending improve the effect of a shot, while a blue cast, on the other
upon the time of day and the atmosphere; daylight colour hand, is unwelcome since can make skin appear
usually it
transparency film is balanced for use with light at approx- rather cold and waxy. Consequently, you suspect that if
imately 5500° Kelvin and variations in the colour tem- the colour temperature might be too high then is generally it
perature will produce a significant colour cast on the film best to use a warm filter to be safe. n add ition to the actual
I
even though it might not be apparent to the eye. The colour colour temperature of the daylight its general quality will
temperature of daylight decreases when the sun is lower also have an important effect on the colour in the image.
in the skyin the morning and evening; this will create a As a general rule, bright colours in the subject will be
warm orange cast on the film and can be corrected by
or enhanced when the light is quite soft and diffused, while a
the use of a bluish filter such as an 82A.82B or 82C. There hard, directional light will create highlights and dense
are more situations, however, in which the colour tem- shadows which will degrade the colours and detract from
perature can be much higherthan that for which the film is their effect. In these circumstances a hazy day or shooting
balanced, thus producing a blue cast on the film. The most in open shade or against the light is preferable to shooting
common are when the sky is overcast, at high altitudes or in direct sunlight.
The colour temperature of

daylight varies considerably
throughout the day, and this
must be taken into account
when shooting. In this location
shot in front ota villa fright),
taken in evening light which
catches the model's face, a gold
was used to add
reflector
warmth and to enhance the
richness of the door and the
model’s skirt. In conditions
where the ultra-violet content of
the light is high, such as by the
sea (opposite), an 81 A filter
can be used to enrichen the
skin tones.
160
161
USE OF COLOUR
A good understanding of how colour film responds to the bold areas of colour, for example, these will attract the eye
colours in a subject and how colour can be used to best so strongly that unless they are part of, or close to, the main
effect in a picture is any photographer, but in
a vital skill for centre of interest of the picture they will become a dis-
the nude medium the photographer has a great deal traction. Similarly, in a picture that contains a number of
more control over this particular element of his pictures bright colours distributed throughout the image the effect
than in the field of landscape photography, for instance, will be one of discord and
conflict even if the picture is well
and so this knowledge is anything even more important if
if
composed other respects. The most effective way of
in
he is to make the best of his opportunities. Colour trans- using colour in a photograph is to restrict it to just one or
parency film is designed to give a correct result under two bright colours, with the remainder of the picture either
quite precise lighting conditions and if this varies the in contrast or as a quite neutral hue. This is particularly
colour quality of the result will not be true. Daylight colour important when the colours are bright and fully saturated;
example, is intended for use with a light source of a
film, for with softer and more harmonious colours the effect is not
colour temperature of about 5500° Kelvin which approx- as marked. Fortunately, in nude photography is possible
it
imates to that of noon sunlight; the colour tem- when in most circumstances to control the colour content of the
perature is much higher than
say on a dull day or in
this, picture quite strictly either by the choice of clothes, props
open shade, the resulting picture will have a blue cast, and and backgrounds or by the position chosen for the model
when the colour temperature is lower, around sunset or and the camera viewpoint and the way the picture is
when shooting in artificial light, the picture will have an framed, and these factors should be used to ensure that
orange cast. Even quite small variations that are not the colours are selected and positioned to create the most
apparent to the naked eye will produce a noticeable They can be chosen to create a bold effect
telling effect.
colour cast: designed for use with tungsten
film that is forexample, a dark-skinned model wearing a yellow leo-
will produce a warm or orange
studio lights, for example, tardand placed against a dark-toned background would
cast when used with ordinary domestic bulbs because have a very striking effect even though there was only one
these are of a slightly higher colour temperature. main colour in the picture - or alternatively, the colours
This question of the colour temperature of the light could be selected so that they blended and harmonized to
source is vital to the photographer of the nude as he is create a more subtle and romantic effect like the pale
dealing principally with skin tones and these are par- pinks and blues of a photograph by David Hamilton.
ticularly indicative of variations in colourquality.and even
a slight blue cast, for instance, will give the flesh tones an
unpleasant quality. A colour temperature meter is available
which measures the colour quality of the light source in
the same way that an exposure meter measures the level
of brightness, but in most cases is possible to anticipateit
those situations in which a colour cast might occur or to

judge them visually and to use the appropriate colour
correction filter. The most commonly used range of
correction filters and 82 series; the 81 A, 81
are the 81
and 81 C are very pale orange tinted filters of progressively
greater density which can be used to warm up the image
when the colourtemperature of the light source is too high,
and the 82A, 82 B and 82C are bluish filters which can be
used to cool the colour quality when the colour tem-
peratureis too low. These precautions are really only
necessary when shooting with colourtransparency film as

with colour negative film variations in the colour quality
can be adjusted by filtration atthe printing stage, butsince
the majority of pictures of this type are taken on trans-
parency film it must be taken into account.
Just as important as the colour quality of the image is
the colour content, and the way

which colour is used in
and distributed in have a marked effect on
the picture will
both the mood and the composition of the picture. The

colour content of an image has such a dominant effect It is possible to shoot at midday (opposite,) the gold and brown
that can easi ly override other aspects of the composition
it in shadow, using reflectors and of the model’s outfit is
and so when shooting in colour is vital to consider the fill-in flash, and still retain the conveyed by the use of part
it
colours in an image (above). daylight and part fill-in flash.
most effective way of using when a picture contains
it; In the rustic interior shot
162
163
COLOUR AND MOOD

A photographer should be aware of how the colours in a
subject can be controlled in order to create the most
effective composition, but at the same time he should
appreciate how the colour quality of an image will affect
themood of a picture. Each of the colours in the spectrum
has its own ‘mood’ value and the presence of a particular
colour in a picture will therefore contribute this aspect
to the over-all effect. Red, for instance, is a very bold and

assertive colour which will tend to dominate other aspects
of the image; when used as a contrasting hue it will usually
create a quite dramatic and lively effect in the picture. The
same is true of orange and yellow, though to a rather lesser
extent. Blues and greens have a more restful, peaceful
quality and will help to create pictures with a more gentle
or romantic mood, while the more sombre hues of indigo
and violet will tend to produce a more serious or intro-
spective atmosphere.
The way that the colours in a picture react with each
other will also affect the mood. Colours which harmonize
will tend to create a quieter, less vigorous quality while

colours which create a contrast or a discord in the image
will produce a more dominant or cheerful mood. In the
same way bright, fully saturated colours will also tend to

create a bold or dark, sombre colours or
lively quality while
pastel hues will help to produce pictures of a more

restrained and atmospheric nature.
Colour and mood are closely

related in every image. In these
two pictures, the dramatic
quality of late-afternoon
sunlight has produced a warm,
vibrant effect fright), while the
blues and greens have created
a more restful mood fopposite).
164
165
SOFT COLOUR EFFECTS
The use of soft colours can be particularly appropriate to sunny day this can be arranged by placing the model in
nude photography, partly because as a general rule they open shade or by shooting into the sun. This method has
tend to create a more flatten ng image as far as the model is the added advantage that it can on occasions be used to
concerned but also because they are often more effective create a degree of controlled flare which can cause
in the production of pictures with a definite mood or considerable desaturation of the colours as well as a
atmosphere. The most immediate means of achieving soft lowering of image contrast, especially when combined
colour effects is by a careful and judicious choice of the with over-exposure.
model’s clothes and accessories and the selection of an A degree of over-exposure can be used to create softer
appropriate background tone, and also by the way in colours in other circumstances, and with subjects that
which the picture is framed. In this way is possible to
it have a low brightness range under-exposure can also be
ensure that the image contains only colours from a similar exploited to make colours less saturated and harmonize
area of the spectrum and that contrasting hues are ex- more readily with each other. In addition to exposure
cluded. There are, however, other factors which will also techniques soft focus attachments and fog or pastel filters
affect this soft colour quality in a picture. While it is can create soft colour effects, given the right subject.
possible to create a soft effect when the colours are When shooting outdoor locations where background
in
saturated, providing they harmonize, desaturated or pastel colours are obtrusive, it is often possible to make these
hues will be far more effective in producing really soft and softer by means of differential focusing; by placing the
romantic images. Lighting is important in this respect-for model some distance from the background and using a
instance, a diffused lightwhich creates quite soft-edged wide aperture, preferably with a long-focus lens, the back-
shadows and produces a fairly low brightness range in the ground will be thrown so far out of focus that the colours
subject will be more effective in emphasizing soft colours will blend to create a softer effect. The same principle can
than a hard directional light. In outdoor situations on a of course also be applied to foreground details.
Soft colours usually produce a

flattering effect, which is
especially desirable in nude
work. In outdoor locations,
background colours can be
softened by differential
focusing which throws them out
ot focus ('rights.
166
Pastel colours, like those in this
sun-bleached background, are
particularly effective in the
production of a soft image
(above)
167
EXPOSURE
In nude photography, where the
aim is to create a mood rather
than a strictly factual record,
the exposure can be calculated
to achieve the desired effect.
The exposure can be taken for
the highlight tones to give detail
in the texture of the model’s
skin (below;, or a slight degree
of under-exposure can be used
to make the colours richer and
stronger (far right). By taking
the exposure from the model in
the shadow area (right), both
the background and the sun-lit
foreground are over-exposed,
giving a delicate effect. For the
beach shot (opposite), taken in
early morning light, the
exposure is calculated for the
model, with fill-in flash to
balance the shadows.
168
169
FILTERS 1
There are basically two categories of filters for use when A star-burst filter was used to
shooting in colour: correction filters that are used to adjust create the burst of light from
the highlight on the water
the balance between the colour temperature of the light
(below,). A
polarizing filter
source and that of the film in use, and effects filters which eliminates some of the light
are used to introduce a deliberate colour cast into the reflected from shiny surfaces;
in this picture ("bottom,) it has
image in order to alter the mood or colour quality of a
made the water more trans-
picture. While strong correction filters are available that lucent and richer. In this sunset
shot (opposite), a 20 red filter
will enable daylight film to be used with tungsten light and
was used to add warmth to the
vice versa, for instance, in most circumstances correction image, with fill-in flash to
filters are used to correct smaller differences in colour balance the detail.
temperature. The most useful filters for nude work are

those in the 81 range A-B-C which create a progressively
warmer effect to correct the blue cast which can result
from shooting on overcast days, in open shade, into the
light and near the sea or in the mountains when ultra-
violet light can be more predominant. The UV filter is an
almost colourless filter that will help to correct the effects
of ultra-violet light but will in general not be strong enough
when the light is of a substantially higher colour tempera-
ture than that for which the film is balanced. However, as
the UV filter will have no adverse effect on the image when
is not required many photographers simply leave
it
on the it
lens permanently, because offers some protection to the

it
front element of the lens. The 80 and 82 ranges of filters

have a pale blue tint and can be used to correct the warm
cast that will be created when the light source is of a lower
colour temperature than that for which the film is balanced.
This occurs in shooting when the sun is low in the sky or
shooting in ordinary domestic lighting with artificial light
film which is balanced for use with photographic lamps
which have a higher colour temperature.

All of these filters can be used for creating a colour cast
when a special effect is needed, but in addition there is

also a series of filters available in acetate in both the
primary and secondary colours in a wide range of densities

thatcan be mixed to create a specific hue. These can be
placed in a special holder which is fitted on to the lens like
an ordinary filter. When shooting in black-and-white, filters
can create a tonal contrast between the colours in a
subject: if a filter of the same colour as a particular object
in a scene is fitted over the lens it will make that object
record as a lighter tone on the print, while colours of an

opposite hue will record as a darker tone. A girl wearing a
blue dress standing in front of a red door, for instance,
would photograph with the dress and the door of similar
tones in a black-and-white print when shot without a filter
but a red would make the dress appear as a much
filter
darker tone and the door as a much lighter tone; a blue

filter would reverse this and produce a dark-toned door
with a light-toned dress.
170
171
FILTERS 2
Kelvins Source Filter
10000
7000
In the two pictures above, both

shot open shade, the left-
in
hand picture was taken without
a filter, which has resulted in a 5500
slightly blue cast, while the
other was taken with an 81
filter which restores the warm
skin tones. An 81 A filter was

used in the beach shot
(opposite) to create a warm 4000
effect, with a polarizing filter to
reduce the reflections from the
wet fabric and the water and to
produce richer colours.
3400
The illustration (right) shows
the colour temperature of
various familiar light sources,
from candlelight to shade under
a blue sky. As the colour
temperature of the light source
2500
increases, it creates a bluer
cast on the film which requires
a yellowish filter to correct it; as
the temperature decreases, it
creates a red cast which 2000
requires a blue filter.
172
173
LENSES
A long-focus lens, used from a
distant viewpoint, has isolated a
small detail of the figure and
compressed the perspective
("below! The use of a wide-
angle lens (bottom) has
emphasized the effect of a high
viewpoint and exaggerated the
perspective, making the
model’s legs appear longer. A
180 mm lens, used for the 6 x 7
cm format fright), has given
less depth of field, causing the
background to go out of focus.
174
175
PRACTICAL INFORMATION/TECHNIQUES AND EFFECTS
INSTANT CAMERA
Instant tilm is extremely useful

for checking the composition
and lighting of an image in
order to improve the final result
(right).
176
177
POST-CAMERA 1
Once the film has been exposed there are still a wide from photographic dealers but it can be more interesting
variety of techniques which can be used to create different to make your own by photographing a variety of surfaces.
effects and qualities in the image. The home darkroom If you choose essentially dark objects or under-expose to
worker has many advantages in this respect as even basic make a weak image you can use the resulting negative as
processing and printing offer considerable control over the texture screen. In addition to an image on film it is also
the final photograph in comparison to trade processing in possible to use translucent paper or fabric - the material
both black-and-white and colour. Perhaps the most basic used for negative sleeves can produce a very pleasing
form of image manipulation is contrast control with black- granular effect, for example - and instead of placing the
and-white pictures. Quite dramatic effects can be created texture screen in contact with the negative a larger piece
by printing negatives on to a harder grade of paper than can be used and placed in contact with the printing paper
would normally be used; this has the effect of producing during the exposure.
bold, stark images in which the tonal masses of the image Montaging is a technique which the darkroom worker
and the shapes and lines of the subject are emphasized can use to produce a multiple image; is similar in
it
and the more subtle gradations of the picture are lost. principle to double exposure in the camera but uses two
While this, can be very dramatic when conventional or more negatives printed on to the same sheet of paper.
bromide papers of Grades 3, 4 and 5 are used, even more As it is carried out under more controlled conditions and
unusual pictures can be produced by the use of Lith the exposures can be varied at will and shading and
materials (this is a film that when processed in the specially dodging techniques used when printing, it is possible to
formulated developer will convert a normal graduated
image into one with only black-and-white tones). The point
at which the image divides into black or white is deter-
mined by the exposure so that a short exposure will record
only the darkest tones as black with the rest of the picture
as pure white, while a longer exposure will record all but
the lightest tones as black. These materials can also be
used to create tone separations or posterized images. The
principle is to make two Lith positives from a normal black-
and-white negative, one very light so that only the shadows
record and one very dark with only the highlights as clear
film.These are both printed in register on to the same
sheet of normal negative film, and the result will be a
negative which will produce a print consisting of just three
tones: black, white and a mid-grey. The Lith positives can
also be used to print on to colour transparency film using
different colour filters for
each exposure to create a wide
range of effects. More tones and colours can be produced
by making more than two Lith positives from the original,
each of course of different densities.
Another way of creating an image with an unusual tonal
range is by solarization (more accurately called the
Sabbatier effect). This involves re-exposing a negative
about half-way through the development and continuing
forthe normal time. The result
is an image which is partially
negative and partially positive, with a fine line outlining the

tonal masses. The degree of re-exposure required is quite
small and you will have to experiment to determine the
exact amount; for this reason it is unwise to attempt this
technique with original negatives and copies should be
made first. The resulting image can be quite soft and can it
therefore be an advantage to make the copy negatives on

Lith film but processed in a conventional developer.
A texture screen is an effective way of producing a
picture with a different quality. In this technique, a film
image of a textured surface such as hessian is placed in
contact with the negative and a print made from the
combination. Ready-made texture screens can be bought
178
Home-made texture screens
can produce interesting
textural effects. In this picture
(above left) a piece of
translucent paper was
sandwiched with the negative
and a print made from the
combination. In a tone
separation (above right) three
Lith positives are used to create
an image with just three tones
of white, grey and black.
Solarization is a method of
creating unusual tones in an
image; in this example (left) the
effectwas produced by a
chemical toning process and
then colour-dyeing the result.
179
-
POST-CAMERA 2
have much more control over this technique than with a
double exposure in the camera. Having selected the
negatives you wish to use it is best to make an initial
sketch of the final image, bearing in mind that when
printing from negatives you will need to juxtapose the
darker tones of one image against the lighter tones of
another for them to be clearly defined; a semi-silhouetted
nude figure could be montaged very effectively on to a
light-toned seascape or cloud formation, for example. The
next stage to take a piece of drawing paper of the size
is
you intend to make your print and place this in the

masking frame. Then size up and focus the first of the
negatives and make a tracing of its main outlines on the
paper; you can now make a test strip in the normal way to
determine the right exposure. Replace this first negative
with the next and size, focus and position the image using
the tracing of the first image as a guide, and make a
second test strip. When all the negatives you intend to use
have been treated in this way you can attempt a first print. It
is vital that the printing paper is placed in the masking
frame the same way each time so you must mark one
corner of and of course after each exposure must be
it, it
placed in a light-tight box while the next negative is placed

in the enlarger carrier. It is unlikely that the first print will be
completely satisfactory since when more than one nega-

tive is printed on to a single piece of paper there will be a
cumulative exposure which will result in the print being too

dark in some areas, particularly where the two images
overlap; in this case you can make a second print and
shade these areas accordingly.
Another method of making a multiple image which can
be carried out after the film has been processed is the As with a montage is best to make an initial sketch of the
it
slide sandwich. This involves placing two or more trans- final image after selecting or photographing the com-
parencies in contact with each other and making a print ponent pictures and then to use this to size up the
either from the combination or from a duplicate trans- individual negatives. Prints from the negatives should
parency. Unlike a double exposure in the camera a slide preferably be made on to a single-weight paper, and it is
sandwich builds up density so is best to select slides
it best to make two or three prints from each to allow for
which are somewhat over-exposed. The technique tends mistakes when cutting out. In most circumstances you will
to work best when one of the images is essentially light have a background image that extends over the whole
and fairly even in tone and the other is quite bold and picture area to which the others are added; this print
clearly defined - a similar requirement in fact to a straight- should be dry-mounted. Using a pair of small, sharp
forward print montage- a silhouetted tree on a horizon, for scissors or a scalpel cut out each of the component
example, could look quite effective when sandwiched images as close as possible and chamfer
to the outline
with a high-key nude torso. Initially you will probably be the back edge sandpaper to reduce the amount
with fine
able to find existing, possibly reject, slides from which to the prints stands ‘proud’ when mounted down. Photo
make suitable sandwiches but it can be more interesting spray mountant is ideal for this purpose, and the edges of
and satisfying to plan your final image in advance and to the prints should be rubbed down hard to ensure a neat
shoot pictures specially for it. join. Any imperfections can be retouched and the final
When you want to produce images with an element of collage rephotographed to provide a master negative. It is
abstraction or fantasy a technique which has considerable best to make the collage somewhat larger than the final
potential is collage, in which separate images are cut out prints areintended to be, and the reduction will also help
from prints made to size and pasted down form a
to to hideany imperfections.
composite picture. Photographers like Bob Carlos Clarke Adding colour to black-and-white pictures can some-
have perfected this technique and combined with other it times be more interesting and effective than shooting on
effects such as hand-colouring, air-brushing and toning colour film, and one of the simplest ways of doing
this is by
to create quite bizarre and sometimes disturbing pictures. chemical toning. Most people are familiar with the old-
180
This montage ("top) was formed
by exposing two nega fives on
to the same piece of paper. Two
identical negatives, one
reversedleft to right, were
sandwiched together to create
this symmetrical pattern
(above). This texture screen
(right,) was produced by
photographing a piece of
mottled paper and using the
negative in a sandwich with the
image of the girl.
181
POST-CAMERA 3
fashioned sepia prints and this element can add consider- brush. Unless you are particularly experienced with a
able impact to the right photograph. There are many brush then you may find the water-colour dyes easier to
suitable toners available, some which require the print to deal with, and resin-coated paper as opposed to fibre-
be bleached firstand then redeveloped, others which use a based material can also be an advantage. As the dyes are
single solution. Any well-processed black-and-white print transparent a full-toned print will tend to degrade the
on bromide paper can be used; the process is carried out colours so is best to make the prints fairly light and soft
it
in normal light. In addition to sepia-toning, however, it is for hand-colouring, and some people prefer to work on a
possible to obtain a wide range of colours in the image sepia-toned print. It is also a good idea to make two prints
with the use of different solutions ranging from blue-green so that one can be used to test the colours before they are
to red. As well as toning which adds colour to the darker applied to the master print. You will need a selection of fine
tones of the leaving the whites unaffected, prints can
print, sable brushes and one or two broader brushes together
be dyed, adding colour to the lightertones but leaving the with cotton-wool swabs and cotton buds, some sheets of
darker tones black. A quite dilute solution of ordinary fluffless,preferably photographic blotting paper, as well
fabric dyes can be used for this purpose; the print can be as the colours, a palette and a containerfor water. The print
left in the dye bath until takes on the required density of
it
should be soaked in water first and the surface blotted dry
colour. There are a number of kits on the market such as before the colour is applied. It is best to start with the larger
the ColorVir which contain a variety of dyes and
in Britain areas, mixing the dyes together on the palette until the
chemical toners which can be combined to create a wide right hue achieved and adding water to dilute it to the
is
variety of effects, in some cases with several colours on right density. Large areas can be coloured either with a
one print. This particular kit also contains a solution which broad brush, a cotton bud or a cotton-wool swab. Blot the
produces a solarized effect; this can be used in con- surplus dye from the surface of the print after each
junction with toners and dyes to give quite dramatic application. Use the finer brushes for the small details and
effects. By using a masking medium (obtainable from art when using the more concentrated colours, which should
supply stores) and applying it to certain areas of the print it be left until last. Remember that the point of hand-colouring
is also possible to use the toning process selectively. these days is to create an effect rather than to simulate
Another method of adding colour to a black-and-white colour film, and often the best examples of this technique
printis by hand-colouring, where oil colours or water- are where the colour is added quite sparingly to selected
colour dyes are applied directly on to the print with a areas of the print or to create deliberately unreal effects.
182
ft
4
A black-and-white print can be

sepia-toned to add a mellow,
old-fashioned quality to the
picture; this can be particularly
effective if the image has a
romantic style (above). Hand-
colouring is another method of
giving impact to a print. The
original picture (far left) was
sepia-toned and then the flower
was hand-coloured with
transparent water-colour dyes
(left).
183
INDEX AND ACKNOWLEDGEMENTS
Numbers in italics refer to Contrived style, 8, G Montaging, 1 78-80, 787
captions. Customs regulations, 70 Gobo (shading device), 79 Mood
Graduated filter, 70 and
colour, 144, 747, 164, 764
D Grain, effects of, 1 1 and
setting, 1 44, 745, 747
A Daylight shooting Multiple images, 124, 725, 180
Abstract style, 8, 9, 20, 1 06, 1 08,
effect on colour, 1 60, 7 60
H Multiprisms, 1 1
123 soft light, 156, 756, 757 Flail setting, 98, 98 M uscular contours, use of, 20,
Accessories, use of coloured, Depth of field reduction, 7 74
Flalogen lights, 76 22
113 Diffraction grating, 1 1
Flamilton, David, 8, 90, 1 44, 1 62
Association of Magazine Diffused flash, 7 10 Eland-colouring, 1 82, 7 83 N
Photographers, 36 Diffuser, 70 Elaskins, Sam, 4 Newton, Helmut, 4, 90, 136,
ATA Carnet, 70 large area, 79 Home studio, 24-5, 24, 76, 77, 78 140,144
Atmospheric style, 9 Diffusion screen, 76, 1 52
Honeycomb attachment, 76 Nightshots, 743
Automatic exposure adjustment, Dining-room setting, 98
109 Distortion effects, 114,775 I O
Double exposure effect, 706, Infra-red film, 744 Orange cast, 1 60, 1 62
B 124 Infra-red light effects, 1 1 Outdoor settings, 60, 67, 68, 69,
Background, 20, 26, 28, 54, 54, Dry ice, use of, 28 Instant film, 776 70
82 Dunas, Jeff, 1 40, 144 Insurance cover, 70
paper, 54, 76 P
Back-lighting, 20, 158 K Packing of equipment, 71
E Pan and tilt mount, 64, 78
Bailey, David, 66 Kitchen setting, 98, 98
Balcony setting, 1 02 1 02
Effects, bold, 104,704, 706, 707 Pantograph,
, lighting, 83
Effectsfilters, 170, 7 70
Balland socket head, 64, 78 L Pastel filters, 70, 1 1
Electronic flash units, 76, 79, 80
Barn doors attachment, 79 Lens, types of Patio settings, 1 02, 702
Bathroom setting, 94, 94, 96 Empty room setting, 1 02 fish-eye, 1 1 4 Photographer, selection 42
of,
Equipment
Beach locations, 1 32, 7 32, 134, long-focus, 64,68, 7 74 Physiogram, 725
135
home studio, 24 24 ,
standard, 58, 1 14, 7 75 Pin-ups, 8, 9, 73

professional studio, 80,80, 82
Bedroom setting, 13, 84, 92, 92 telephoto, 1 1 Planning, 28, 42
Black-and-white effects,
Erotic setting, 8, 18, 106 wide-angle, 64, 66, 1 1 4, outdoor, 68, 69, 70
1 20, 7 75,
Exotic make-up, 52
120, 123 1 36, 7 74 Plastic screen, 54
Black light’ effects, 1 1 62
Exotic style, 73, 75, 57,
zoom, 66, 11 6, 132 Polarizing filters, 70, 1 32, 7 70,
Blue cast, avoidance of,
Exposure Lens attachments, 1 1
1 52, 7 72
158,160
beach shot problems, 1 32 Lens effects, 1 14, 7 75 Polaroid camera shots, 68, 77
calculating, 709, 755, 156
Body, use of parts of, 17, 108 Light 82
effects of varying, 168
Body make-up, 50 shooting against, 1 58, 7 58 Poles, spring-loaded, 64, 65, 76,
Bold effects, 104, 104, 106, 107
Exposure adjustments, shooting in soft daylight, 1 56, 78
automatic, 109
Boom arm, 78 756, 757 Posterized images, 1 78
Bounce flash, 94 110 , 'shooting in sunlight, 1 52, 752, Power units, 83
Bowens Monolight, 76, 79 F 755 Preparation, 28, 42
Brandt, Bill, 1 1 152, 755
Fill-in flash, 7 70, Light box, 76 overseas 70 trips,
Brightness level, indoors, 64 Film requirements, 70 Light reflectors, 64, 65 Printing papers, 1 78
Bureau of Freelance Filtered flash, 1 1 Lighting Privacy, need for, 60, 74, 1 28,
Photographers, 36 Filters, types of 66,
artificial, 66 728, 738, 140
colour-burst, 70, 1 1 4 daylight, 64,66 Processing techniques, 1 78
C colour correction, 66, 66, 70, fluorescent, 66 Professional studio, 26-7,26,
Calendar session, 84, 150 162,170, 7 72 spot, 28 80,80, 82
Camera, choice of diffraction grating, 1 1 tungsten, 76, 79, 80, 83 Projector, use of for multiple
Hasselblad,68,82 effects, 1 70, 7 70 use of, 708, 709 images, 24, 7251
Polaroid, 68, 71, 82 fog, 70, 116 Lighting equipment, 76, 83 Props, need for, 26, 28, 66, 82
SLR, 82 graduated, 70 Lith materials, 1 78, 7 79
35 mm, 68, 71, 82 pastel, 70, 1 16 Living-room setting, 98, 707 R
view, 71 polarizing, 70, 1 32, 7 70, 7 72 Location selection, 42-3, 42, 43, Reflectors, 64, 65, 76
Camera stands, 80, 83 sepia, 744 60,61,128, 728, 130,730 deep bowl, 79
Check list of equipment, 68, 71 star-burst, 70, 1 1 4, 7 70 Long-focus lens, 64, 68, 7 74 portable, 70
71 star nebula, 7 78 Lowell Softlight, 79 Romantic style, 84, 88, 783
Chemical toning, 1 80, 82 1 ultra-violet, 1 1 8, 7 78, 1 70 Lowell Totalite, 79
City settings, 140 140 ,
Filters, use of, 68, 70, 1 1 8, 7 78 S
Clarke, Bob Carlos, 1 80 Fish-eye lens, 1 1 M Sabbatier effect, 1 78,7 79
Cokin filter system, 114,116 Flare effect, 1 1 4, 1 66 Make-up, 47, 48 Screen, use of fabric, 78
Collage, 180 Flash, fill-in, 7 70, 152, 755 body, 50 Seaside locations, 1 32, 732,
ColorVir kit, 1 82 Flash, use of, 7 70 exotic, 52 134, 735
Colour Flash-gun, 66, 70 Male nudes, 20-3, 7 23 Security regulations, 70
and mood, 164 164 ,
Flash packs, electronic, 80 Meter, hand, 68 Sepia filter, 744
effect of daylight, 1 60 160 ,
Flash tube, 79 Mirrors, use of, 64, 92, 92, 94, 96 Sepia toning, 182, 783
use of, 162,762 Flash units, 709 Model agencies, 30, 36 Settings
Colour-burst filters, 70, 1 1 709
batteries, Models balcony, 102 102 ,
Colour content, image, 1 62 guide numbers, 709 accessories for, 26, 28 basic ,87
Colour correction filters see Fluorescent lighting, 66 amateur, 24, 30, 38,38 bathroom, 94, 94, 96
Filters, colour correction Fluorescent materials, 118,778 clothes for, 26, 28 choice of, 54, 54, 87, 88, 90,
Colour temperature, 1 60, 1 62, Fog filter, 70, 1 1 professional, 24, 30, 30, 36, 37 90
7 72 Framing the picture, 1 48, 748 selection of, 30, 30, 32, 36, 38, erotic, 88
meter, 162 French flag (shading device), 79 42-4, 43 exotic, 62
Colours, soft, 166, 766, 767 Fresnel Luminaire, 83 types of, 34 indoor, 58, 58, 74, 90
Composition, 1 48, 748 Front projection unit, 82, 1 24, working conditions, 28, 40, kitchen, 98, 98
Contrast, use of, 1 56, 756, 757 725 40, 44, 60,80,82,734 moody, 144, 745, 747
184
outdoor, 60, 67, 68, 69, 70 ACKNOWLEDGEMENTS
romantic, 84, 88 1 83 ,
All the photographs in the

showers, 96, 107
book are by Jon Gray with the
Victorian, 88, 90, 92
exception of the following,
Shading devices, 79
Shock effect photos, 13, 104,
which were taken by M ichael
Ri iccpllp-
107
8 (above), 9 (right), 16-17,32
Shower setting, 96, 107
(above; below right), 34 (right,
Shutter speeds, choice of, 1 1
above and below), 54, 58
Silhouette effect, 123, 143
(above), 59, 86-7, 90, 98, 100
Slide sandwich, 125 180
04
,
(above), 1 02 (below), 1
Snoot attachment, 76, 79, 108
(below),1 06, 1 08-9, 1 1 0 (left
Soft colours, 1 66, 7 66, 767
and below), 111,114-15,116,
Soft focus effects, 70, 1 1 6, 7 7 7
1 1 7 1 1 8-1 9, 1 20 (below),
(right),
Soft light conditions, 1 56, 756,
121.1 22-3, 1 24-5, 1 28 (below),
757
1 29. 1 31 (above left), 1 42
Solarization, 1 78, 7 79, 1 82
(above), 144, 147, 148, 152,155,
Spotlights, 28
1 57. 1 58 (above and right), 1 59,
Staircase setting, 98
164-5,166-7,168,170,172-3,
Star-burst filters, 70, 1 1 4, 7 70
1 74-5, 1 76, 1 78-83
Star nebula filter, 7 78
Studio
Photographs by Jon Gray also
82
floor plan,
supplied courtesy of Tony Stone
home, 24-5, 24, 76, 77, 78
Associates Ltd, London
professional, 26-7, 26, 80, 80,
82
Model index cards (30-1
Sunlight shooting, 1 52, 752,
courtesy of Linda Lusardi and
755
Niki Clark
Swannell, John, 1 04
Swimming pool settings, 1 36,
Photograph on p.1 38 courtesy
138
ofDunlop
T
Telephoto lens, 1 1
Texture screens, 1 78, 7 79, 787

Titillating style, 73
Tone separations, 1 78
Trace frame, 79
Tripod stand, 64, 68, 78, 80, 83
Tungsten lighting, 76, 79, 80, 83
U
Ultra-violet filters, 1 1 8, 7 78, 170
Ultra-violet light effects, 1 1 8,
778
Ultra-wide-angle lens see Fish-
eye lens
Umbrella reflectors, 76, 79
V
Venetian blinds, 02 1 02, 7
Victorian setting, 88, 90, 92

Viewpoint, choice of, 1 48
Villa setting, 1 36, 736
W
Wall flats, 54, 54
Water effects, 1 32, 1 34, 1 36
Wet shots, 94, 132, 134
Wide-angle lens, 64, 66, 1 1 4,
7 75, 741 36, 7
Wind machine, 28, 28, 82

Window light, 76, 83
Window settings, 02 1
X
X-ray checks, 70
Y
Yashmak (shading device), 79
Z
Zeiss Softar attachment, 1 1
Zoom lens, 66, 1 1 6, 1 32
185
'
'
.
THE MANUAL OF
NUDE
PHOTOGRAPHY
JON GRAY
TEXT BY MICHAEL BUSSELLE
From the earliest days of photography, the female form has been a perennially
popular subject and source of inspiration. Nude photography is one of tlie most
challenging and visually stimulating forms of photographic art, for the amateur
and the professional alike.
THE MANUAL OF NUDE PHOTOGRAPHY is designed as a comprehen-

sive, essentially practicalguide to all aspects of the subject. In a spread-by-
spread treatment with fully integrated color and black-and-white photographs,
the clear, informative text covers both the technical and artistic viewpoints
to
help the photographer create successful and satisfying images.
• 100 color photographs, 200 black-and-white photographs and special diagrams

• Types and styles of nude photography
• Planning a first photographic session
• Professional and non-professional models, make-up, props and accessories
• The nude indoors and outdoors
• Lighting, equipment, settings, creative techniques and effects
Jon Gray is one of the leading British photographers in the field of

glamour pho-
tography, producing a wide selection of calendars and posters. Michael Busselle
is a professional photographer and the well-known author of
numerous photo-
graphic books.

New York
1, 35^5 $ 9.95 ^ 71 - 4
*
1257-3
Cover printed in Italy
THE MANUAL OF
NUDE PHOTOGRAPHY
Mm?*
SIM USTERNEW YORK

..... m
FIRST
SESSIONS
7
6
m
MALE NUDE 1
Although the male nude has been featured quite promin-

ently in classical and traditional art it is seldom used as a
subject in photography. This may be because the majority
of photographers are men and they quite simply find more
pleasure in photographing women, or is perhaps more
it
likely that the commercial applications of the male nude

are far more restricted. From a purely visual point of view,
however, there is no reason why this should be so,
particularly when the prime purpose is merely to create
pleasing images, since the more muscular and sinewy
contours of a man’s body can in some circumstances be
photographed even more effectively than the softer, more
bland quality of a woman’s form.
The tough, latently aggressive

figure against the stark red
background ("above) stands in
marked contrast to the abstract
nude where the outline of the
model's body is thrown into
relief by the back-lighting
("right;.
20
21
PROFESSIONAL STUDIO
If you are using a hired studio ask if you can go there a day
or so beforehand just to familiarize yourself with the
equipment and to make sure that there are no additional
accessories that you will want to take along. Even more
important than preparing the equipment, make sure that
you yourself are prepared in terms of ideas for shots. The
main difficulty with studio photography is that you simply
cannot afford to hope that something will evolve as you go
along - a studio shot can only consist of what you put into
and unless you have thought your shot through and
it,
made sure that you have the necessary props and back-
grounds and that the model brings along the right clothes
and accessories then the results will invariably be dull and
disappointing. This can obviously be disastrous, especially
ifyou are committed to paying model fees. The profes-
sional nude photographer cannot allow this to happen,
and is a good idea as an amateur to adopt the basic
it
methods of organizing and shooting a session that are

used in a professional studio.
A session in a professional
studio must be planned and
prepared with care if the
outcome is to be successful
and unnecessary time and
expense spared.
26 27
FINDING A MODEL
Whatever else you may need for nude photography one

thing is certain -you need a model. The right model can in
fact make all the difference between a simply good picture

and an outstanding one, while the wrong model can make
itimpossible to produce a good picture from the very best
ideas even everything else is perfect. Finding the right
if
model can be a major stumbling block particularly for the

amateur who may not be able to afford the fees of a good
professional model. This is not to suggest that it is not
possible to take good pictures of amateur models, rather
the main point is that in ordertofind a suitable professional
model all you need do is look through the model directories
and pick up the telephone, while finding an amateur
model can be much less straightforward.
The essential difference between a professional model
and an amateur is that the former has had more experience
and has learnt some of the tricks of the trade: a good pro-
fessional model, for example, usually has a good idea of
how she looks in the camera and will know instinctively
how to move and pose without the need for constant
direction, and she will have learnt how to adapt her make-
up and hair-style in the most effective way. On the other
hand, this experience can have drawbacks and in some
situations the rather glossy, stylized look of a professional
model can appear out of place and can actually detract
from a picture unless she is given the right sort of direction. Swayne
Another advantage of working with a professional model

is that she will have accumulated a suitable wardrobe of
Eric
clothes and accessories and will also know how to make

the best use of them.
If you are looking for a
professional model through an

agency, they will send you index
cards of the models on their list.
The card contains a selection of
pictures of the model, and gives
her vital statistics and other
relevant personal details.
31
j

quite large photographic budgets the expenses of such a
trip can be high and ways of reducing the costs are always
considered. If the chosen location is notonethateitherthe
photographer or art director, or both, is familiar with is

it
likely that a reconnaissance trip will be made to look for
settings and backgrounds and to organize any special

facilities well in advance. This may be done quite separ-
ately some months ahead or the photographer and art

director may travel out a few days before the models arrive.
Once the location and the date of the trip have been
fixed, the next thing will be to choose a model. The first step
is to go through the index cards and model books and
make a preliminary list of possible candidates. At this

stage the model’s availability will be a deciding factor since
although trips are planned months ahead there tends to
be a ‘season’ for this type of work and many trips are often
planned at the same period of the year. The first selection
of suitable models who are available will be invited to
attend a casting session either at the offices of the agency
oratthe photographer’s studio. They will be asked to bring
their portfolios and possibly to be prepared to do a test
shot on Polaroid for reference. There are likely to be
several people present at the casting session - including
the photographer, art director, account executive and the
client - and for an important account several days and
sessions can be involved before a final short list is drawn
up. Until the final decision is made, all the models under
consideration will be provisionally booked to ensure that
someone else does not snap them up. If two, three or more
models are involved on a trip is likely that they will be
it
chosen with variety in mind: a dark-haired girl with a blond

perhaps, or one with a slim, boyish figure to contrast with a
more voluptuous model. As well as the models, art director,
photographer and client there is also likely to be a photo-
grapher’s assistant, a make-up artist and possibly a
stylist on the trip; the stylist is responsible for arranging
and organizing all the props, accessories and wardrobe

as well as helping to set up shots and arrange settings.
It is vital to the success of any
trip that the model and photo-

grapher get on well together to
produce a relaxed working
atmosphere.
44

In many ways an outdoor location is the most satisfactory without the need to move the camera and to take incident Good planning and careful
choice for a nude session since frees you from many of
it light in difficult situations. When you are away on
readings preparation are vital to the
success of an outdoor session,
the restrictions and concerns that indoor pictures impose. a trip any case reassuring to have a back-up meter-
it is in
especially if the location is
For example, there is much greater flexibility in terms of ing system in case your equipment should fail. rather remote.
camera angles and viewpoints and is not necessary to it A basic filter kit should be considered an essential part
use lighting equipment, which also creates its own free- of the equipment for an outdoor session. The warm filters
dom. is also much easiertofind interesting backgrounds
It such as the 81 A, B and C are especially valuable for
and settings to create more effective compositions with- controlling skin quality and should be used when shoot-
out the effort and planning which are required for an
indoor session. In many cases, too, the model will find an
outdoor location more stimulating and easier to work in
than the more sterile and restricted atmosphere of a
studio. On the other hand, there are obvious disadvan-
tages: first of all, you are at the mercy of the weather, and
even if the light is good it may be too cold for the
well
model to work in comfort; secondly, can be difficult to
it
find a suitable place that is both easily accessible and

reasonably private; and finally, it is important not to under-
estimate the problems involved for the model in managing
and maintaining good hair and make-up throughout a

lengthy session in the outdoors as well as looking after
clothes and accessories and avoiding things getting
creased and marked.
For all these reasons the key to a successful outdoor
session is essentially a combination of good planning
and reconnaissance, even if it is for only an hour or two.
Since you will most likely be shooting somewhere far from
your base, and also possibly from civilization, is abso- it
lutely vital to have with you everything you will be likely to

need, from equipment to film, props and clothes, and is a it
good idea to write a comprehensive check list for both

yourself and your model.
The choice of camera for an outdoor session will of HPN mf 'mA P/ VH - dip
i
i
$; f
HES mm
course depend upon personal preference and the pur-
pose of the photographs. While 35 mm is ideal for personal
ff!
photography there are often circumstances in which for
commercial reasons is preferable to use the larger roll-
it
film formats. Cameras such as the Flasselblad have the

m a v n™ §K i
* iWm
additional advantage that they can be fitted with a Polar-
oid back which can be invaluable for checking the set-up
before shooting on conventional film; this can be parti-
cularly important when a client or art director is present at
the session as they will usually find easier to assess the it
picture from a Polaroid than on the viewing screen. There

are no particularly specialized requirements with regard
to lenses for outdoor nude photography but as a general
rule long-focus lenses will be found to be useful since they
enable fussy and distracting details in the background
areas to be controlled and subdued by differential focus-
ing. As with indoor photography, a tripod is an invaluable
aid to improving both the definition and the composition
of pictures, and it is particularly important when long-
focus lenses are used because the risk of camera shake is
much greater. A separate hand meter is another useful
accessory even if the camera has a built-in meter as it can
be used to take close-up readings from the subject
THE
NUDE
INDOORS
72 73
The only ways in which a professional studio is likely to
differfrom the studio facility which a keen amateur might

have are in respect of the amount of space available, the
convenience and the investment in equipment. As regards
space, a great many professional photographers of the
nude work in quite modestly sized studios; in fact, unless
large sets or props are used there is often no real advan-
tage in having a very large studio, as there is little that
cannot be achieved inthisfield in a space of about 32x26
feet (10x8 metres). Convenience, on the other hand, is a
vitalconsideration for the professional since both model
time, studio time and the photographer's time are expens-
ive commodities and anything that can reduce the amount
of time wasted during a session is valuable. In terms of
lighting, for instance, wheel-based stands would be more
convenient than the tripod type, and some studios use the
overhead tracking systems which keep the floor area free.
A professional studio is likely to use the more powerful
electronic flash packs; these not only have a greater
output than the smaller units, which can be useful when
using the larger formats since smaller apertures are often
needed for adequate depth of field, but also have a very
fast recycling time when used at the lower power settings
which means that pictures can be taken in rapid suc-
cession. Most professional studios tend to favour elec-
tronic flash in preference to tungsten light, partly because
the flash is so brief that the problem of camera shake and
subject movement are virtually eliminated, and also
because the flash generates less heat and the modelling
lamps less glare than tungsten, making it more comfortable
for the model.
As far as equipmentis concerned, most studios will
have a solid tripod or camera stand; the most common

type is the wheel-based stand which enables the camera
to be raised and lowered very quickly and easily. This has

the added advantage that can support the camera at up
it
to 8 feet (2.5 metres) or more from the floor, facilitating
high-viewpoint shots. most professional studios there

In
will be a wide selection of background paper rolls and wall
flats which can be used to create instant sets, and many
will have a stock of props and accessories for dressing a
shot. As the model is a key element in this type of work

there will usually be a model room where she can change
and do her hair and make-up; this should be well lit and
A professional studio relies on

convenience and usability in
terms of both equipment and
arrangement. Everything is
chosen to minimize the amount
of time wasted during a
photographic session.
81
80
CREATIVE CHOICE
You only need to look through books and magazines

which feature nude photography to see how important the
choice of setting is to both the mood and effect of a
picture. In some cases the setting can almost dominate
the style of a photograph -the slick, sophisticated interiors
of Helmut Newton contrasted with the folky, rural settings
of David Hamilton, for example- where the setting appears
to dictate not only the atmosphere and quality of the
photograph but also the choice and personality of the
model. For this reason it is worth taking the time and
trouble to consider the potential of various rooms and
settings in a fairly analytical way. The average family house
consists of living-room, bedrooms, kitchen, bathroom, hall
and stairs and a dining-room, and in certain circum-
stances all of these rooms can makea useful contribution '
jgj
to a picture as they are usually furnished and decorated in
quite different ways.
The choice of a setting plays an

important role in the creative
effect of a picture. A setting with
a defined character, such as the
Victorian drawing-room (right),
can dictate the atmosphere of
the photograph. It also
influences the style and
approach of the model, as in the
two cottage interiors (above)
where the simplicity of the
setting has produced a natural,
relaxed pose.
90
I
BATHROOMS 1
The bathroom is almost a natural place for taking nude

pictures if only for the reason that it is of course ideal for
wet shots; provides a logical setting and also means that
it
the model can get very wet without the problems this
would obviously cause in any other room. Showers and
baths are therefore understandably popular settings for
nude pictures and the textural and photographic qualities
ofwet skin are considerable. The problem in most bath-
rooms, however, is that both lighting and camera angles
are usually very restricted because of the limited space
unless you are lucky enough to own or have access to a
really large bathroom. Often the most practical way of
dealing with the lighting is to use bounce flash from a wall
or ceiling although that can give a rather excessively soft,
bland light unless care is in a room with
taken, particularly
light, reflective decor. The problem of
camera angles can
sometimes be solved by removing the door or by using a
mirror to create a longer throw. When shooting in bath-
rooms you must also be particularly careful to avoid un-
wanted reflections in shiny surfaces and mirrors as these J<95
;/
can be very distracting.
A mirror can be used to good

effect in abathroom shot to
overcome the problem of
restricted camera angles.
94 95
COLOUR IN ACCESSORIES
An obvious way of introducing a

vigorous quality into a nude
photograph is by using brightly
coloured accessories. These
can make a strong impact in an
image when contrasted against
skin tones.
112 113
THE
NUDE
OUTDOORS
127
great deal of reflected light and reduce the brightness Each setting has its own
particular lighting conditions
range even in bright sunlight. These effects will also affect which will influence both the
the mood of a picture so the lighting potential of a setting quality and mood of a picture. In
should be considered in terms of mood as well as quality. thisrespect a beach location is
very different from a woodland,
Sunlight, for instance, may well be inappropriate for the
and due allowance must be
pictures you want take and your choice of setting may
to made when shooting.
be dictated by the need to find areas of shade for
partly
your shots. Low light levels are often conducive to the
establishment of mood and atmosphere and settings
which can be used in this way can be very effective,
whether the effect is created simply by the shade of a leafy
wood or a building or by making use of low levels of
daylight such as a sunset or at dusk in an urban setting
where artifical lighting can be incorporated into the
picture.
130 131
BEACHES 2
(Far left) An 81 A filter was used
off her skin in rivulets. Where there is a suitable surf she to compensate for the overcast
can also lie in the edge of the water so that the waves flow day in this shot taken in sub-
dued light. (Left) A combination
over her; this can be an ideal situation in which to
of flash and a very fast speed of
experiment with slow shutter speeds with the camera 1/400 sec was used to freeze
mounted on a tripod to create a wispy, smoke-like quality the surf in this action-filled
picture. (Below) An 81 A filter
in moving water, whereas with the model dipping under
added warmth to the subject
the water a fast shutter speed will be more effective in and fill-in flash was used to
recording the individual droplets of spray. compensate for the early-
morning shadows.
Water on skin is an effective subject for the more
abstract or close-up approach and for this may be more it
convenient have the model positioned on dry land and

to
to apply the water by spraying it or flicking on to her body.
it
As a general rule such pictures are more successful with

dark ortanned skin although a palerskin can be made to
look more appealing with a little contrivance. A pale skin
should be well oiled and a warm filter such as an 81 B
used, indirect light is best either by shooting in open
shade or into the light, and a degree of under-exposure will
heighten the textural quality of the image; in some circum-
stances a polarizing filter will also help to improve the skin
tone. In addition to indirect light a very low, late-afternoon
sunlight acutely angled so that it literally skims across the
surface of the skin can also be effective in revealing
texture. Care is needed, however, as directional sunlight
can create an unflattering effect, and in these conditions
you will be unlikely to need the warm filter because the
light will have a lower colour temperature at this time of
the day.
To add another dimension to shots taken in a beach
location look out for elements other than justthe.sand and
water- fishing boats, driftwood, rocks and small pools can
all be very effective and will give your pictures more
interest- and if you can find a quiet enough spot the usual
trappings of holiday resorts such as deckchairs and
beach huts can add both colour and variety. You should
also consider the practical problems of shooting on a
beach. Sand and seawater are extremely harmful to
camera equipment and you must be very careful to protect
them. Store individual items in plastic bags inside your
camera case and remove all traces of sand and water
before replacing them after use; flick or blow sand away
from the surface before wiping and be especially careful
with lenses and glass surfaces. Do not forget the model’s
needs and comfort: plan your location and shots so that
she has a chance to maintain both her composure and
her hair and make-up throughout the day, and leave the wet
or sandy shots until after the other shots have been taken.
135
134
A swimming pool has a number

of advantages over a beach
location. Privacy is assured,
shots of the model in the pool
are easier to control and the
colour of the water is usually
more attractive than that of the
sea.
138 139
LENSES
A long-focus lens, used from a
distant viewpoint, has isolated a
small detail of the figure and
compressed the perspective
(below/ The use of a wide-
angle lens (bottom; has
emphasized the effect of a high
viewpoint and exaggerated the
perspective, making the
model's legs appear longer. A
1 80 mm lens, used for the 6x7
cm format (right), has given
less depth of field, causing the
background to go out of focus.
174 175
INSTANT CAMERA
Inslant film is extremely useful

for checking the composition
and lighting of an image in
order to improve the final result
(right).
176
POST-CAMERA 1
Once the film has been exposed there are still a wide from photographic dealers but can be more interesting
it
variety of techniques which can be used to create different to make your own by photographing a variety of surfaces.
effects and The home darkroom
qualities in the image. Ifyou choose essentially dark objects or under-expose to
worker has many advantages in this respect as even basic make a weak image you can use the resulting negative as
processing and printing offer considerable control over the texture screen. In addition to an image on film it is also
the final photograph in comparison to trade processing in possible to use translucent paper or fabric - the material
both black-and-white and colour. Perhaps the most basic used for negative sleeves can produce a very pleasing
form of image manipulation is contrast control with black- granular effect, for example - and instead of placing the
and-white pictures. Quite dramatic effects can be created texture screen in contact with the negative a larger piece
by printing negatives on to a harder grade of paper than can be used and placed in contact with the printing paper
would normally be used; this has the effect of producing during the exposure.
bold, stark images in which the tonal masses of the image Montaging is a technique which the darkroom worker
and the shapes and lines of the subject are emphasized can use to produce a multiple image; is similar init
and the more subtle gradations of the picture are lost. principle to double exposure in the camera but uses two
While this, can be very dramatic when conventional or more negatives printed on to the same sheet of paper.
bromide papers of Grades 3, 4 and 5 are used, even more As is carried out under more controlled conditions and
it
unusual pictures can be produced by the use of Lith the exposures can be varied at will and shading and
materials (thisa film that when processed in the specially
is dodging techniques used when printing, is possible to it
formulated developer will convert a normal graduated

image into one with only black-and-white tones). The point Home-made texture screens
at which the image divides into black or white is deter- can produce interesting
textural effects. In this picture
mined by the exposure so that a short exposure will record (above left) a piece of
only the darkest tones as black with the rest of the picture translucent paper was
sandwiched with the negative
as pure white, while a longer exposure will record all but
and a print made from the
the lightest tones as black. These materials can also be combination. In a tone
used to create tone separations or posterized images. The separation (above right) three
Lith positives are used to create
principle is to make two Lith positives from a normal black-
an image with just three tones
and-white negative, one very light so that only the shadows of white, grey and black.
record and one very dark with only the highlights as clear Solarization is a method of
creating unusual tones in an
film. These are both printed in register on to the same
image; in this example (left) the
sheet of normal negative film, and the result will be a effectwas produced by a
chemical toning process and
negative which will produce a print consisting of just three
then colour-dyeing the result.
tones: black, white and a mid-grey. The Lith positives can
also be used to print on to colour transparency film using
different colour filters for each exposure to create a wide
range of effects. More tones and colours can be produced
by making more than two Lith positives from the original,
each of course of different densities.
Another way of creating an image with an unusual tonal
range is by solarization (more accurately called the
Sabbatier effect). This involves re-exposing a negative
about half-way through the development and continuing
forthe normal time. The result
is an image which is partially
negative and partially positive, with a fine line outlining the

tonal masses. The degree of re-exposure required is quite
small and you will have to experiment to determine the
exact amount; for this reason is unwise to attempt this

it
technique with original negatives and copies should be

made first. The resulting image can be quite soft and can it
therefore be an advantage to make the copy negatives on

Lith film but processed in a conventional developer.
A texture screen is an effective way of producing a

picture with a different quality. In this technique, a film
image of a textured surface such as hessian is placed in
contact with the negative and a print made from the
combination. Ready-made texture screens can be bought
178 179
POST-CAMERA 2
have much more control over this technique than with a
double exposure in the camera. Having selected the
negatives you wish to use it is best to make an initial
sketch of the final image, bearing in mind that when
printing from negatives you will need to juxtapose the
darker tones of one image against the lighter tones of
another for them to be clearly defined; a semi-silhouetted
nude figure could be montaged very effectively on to a
light-toned seascape or cloud formation, for example. The
next stage is to take a piece of drawing paper of the size
you intend to make your print and place this in the
masking frame. Then size up and focus the first of the
negatives and make a tracing of its main outlines on the
paper; you can now make a test strip in the normal way to
determine the right exposure. Replace this first negative
with the next and size, focus and position the image using
the tracing of the first image as a guide, and make a
second test strip. When all the negatives you intend to use
have been treated in this way you can attempt a first print. It
is vital that the printing paper is placed in the masking
frame the same way each time so you must mark one
corner of and of course after each exposure it must be
it,
placed in a light-tight box while the next negative is placed

in the enlarger carrier. It is unlikely that the first print will be
completely satisfactory since when more than one nega-

tive is printed on to a single piece of paper there will be a
cumulative exposure which will result in the print being too
dark in some areas, particularly where the two images
overlap; in this case you can make a second print and
shade these areas accordingly.
Another method of making a multiple image which can
be carried out after the film has been processed is the As with a montage is best to make an initial sketch of the
it
slide sandwich. This involves placing two or more trans- final image after selecting or photographing the com-
parencies in contact with each other and making a print ponent pictures and then to use this to size up the
either from the combination or from a duplicate trans- individual negatives. Prints from the negatives should
parency. Unlike a double exposure in the camera a slide preferably be made on to a single-weight paper, and is it
sandwich builds up density so is best to select slides

it best to make two or three prints from each to allow for
which are somewhat over-exposed. The technique tends mistakes when cutting out. In most circumstances you will
to work best when one of the images is essentially light have a background image that extends over the whole
and fairly even in tone and the other is quite bold and picture area to which the others are added; this print
clearly defined - a similar requirement in fact to a straight- should be dry-mounted. Using a pair of small, sharp
forward print montage- a silhouetted tree on a horizon, for scissors or a scalpel cut out each of the component
example, could look quite effective when sandwiched images as close to the outline as possible and chamfer
This montage ("top) was formed
with a high-key nude torso. Initially you will probably be the back edge with fine sandpaper to reduce the amount
by exposing two negatives on
able to find existing, possibly reject, slides from which to the prints stands ‘proud’ when mounted down. Photo same piece of paper. Two
to the
make suitable sandwiches but itcan be more interesting spray mountant is ideal for this purpose, and the edges of identical negatives, one
reversedleft to right, were
and satisfying to plan your final image in advance and to the prints should be rubbed down hard to ensure a neat sandwiched together to create
shoot pictures specially for it. join. Any imperfections can be retouched and the final this symmetrical pattern
When you want to produce images with an element of ("above). This texture screen
collage rephotographed to provide a master negative. It is
(right) was produced by
abstraction or fantasy a technique which has considerable best to make the collage somewhat larger than the final photographing a piece of
potential is collage, in which separate images are cut out prints are intended to be, and the reduction will also help mottled paper and using the
negative in a sandwich with the
from prints made to size and pasted down to form a tohide any imperfections.
image of the girl.
composite picture. Photographers like Bob Carlos Clarke Adding colour to black-and-white pictures can some-
have perfected this technique and combined it with other times be more interesting and effective than shooting on
effects such as hand-colouring, air-brushing and toning colourfilm.and oneofthesimplestwaysofdoingthis is by
to create quite bizarre and sometimes disturbing pictures. chemical toning. Most people are familiar with the old-
181
180

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— THE MANUAL OF

FIRST SESSION • INTERIORS • ON LOCATION

Designed and produced

Reprinted 1984, 1985

THE NUDE INDOORS

WHAT IS NUDE PHOTOGRAPHY?

the medium of the pin-ups in popular newspapers and the

way of creating a more abstract image is to move in much

FULL BODY/PARTS OF BODY 1

FULL BODY/PARTS OF BODY 2

The use of a thin fabric screen,

Although the male nude has been featured quite promin-

subject in photography. This may be because the majority

of photographers are men and they quite simply find more

particularly when the prime purpose is merely to create

The tough, latently aggressive

also inexperienced. For this reason the inexperienced

be able to make a more positive contribution to the

helpful to ask a close friend to act as model for the first

studio of some sort, whether it is a fully equipped pro-

important to be well prepared. If you are setting up a studio

session, making sure that all the equipment is working

If you are planning a session in

a home studio, it is sensible to

PREPARATION AND PLANNING

you should be able to communicate both your ideas and

to a shot, as well as a wide variety of background colours

willbe available to most amateurs so this should be

Whatever else you may need for nude photography one

model can be a major stumbling block particularly forthe

clothes and accessories and will also know howto make

If you are looking fora

professional model through an

In nude work, the personality of

DIFFERENT TYPES OF MODEL

Every model has her own style,

The best and easiest way to book a professional model is

are prepared to do nude work and you should establish

an agency they will send you index cards from which to

colour; it will also include details of her vital statistics and

of any special skills or features such as good hands or

such as a magazine feature or a calendar, then the agency

so that they can visit your studio or office with their

particular agency or you can approach one with a good

portfolio of your own work then it is possible on occasion

Finding an amateur model is largely a question of exploiting

you are likely to be at all embarrassed or inarticulate. First

you if she is interested.

You may find that one of your

PUTTING THE MODEL AT HER EASE

Whether you engage a professional or an amateur model If a photographic session is to

HOW A PROFESSIONAL PHOTOGRAPHER WORKS 1

restricted, some visuals can be rather impractical.

Every photographic session on

If the photographer has been

commissioned for an assign-

HOW A PROFESSIONAL PHOTOGRAPHER WORKS 2

photographer or art director, or both, is familiar with is it

likely that a reconnaissance trip will be made to look for