A FilmPhotoAcademy Book

Published by FilmPhotoAcademy.com

Copyright (C) 2013 Simon Q. Walden

All rights reserved. No part of this publication may be

reproduced, stored in a retrieval system or transmitted in
any form or by any means, electronic, mechanical,
photocopying, recording or otherwise, without permission
of the copyright holder.

The photographs and diagrams used in this book are

copyrighted or otherwise protected by legislation and
cannot be reproduced without permission of the holder of
the rights.

All text and images by Simon Q. Walden

FilmPhotoAcademy.com produces materials for

photographers, models and creative artists working in the
visual fields.

DVD programs are available which cover the subject

matter of this book in much more detail. Each program is
over 2 hours long and as includes extensive material
covering shoot planning, working with models, posing and
direction, lighting and lighting recipes, post production and
image critiques.

Other books by FilmPhotoAcademy.com include posing

guides for nudes and fashion and several inspirational
guides on nudes and glamour.

The web site shows ongoing projects, new ideas and

additional resources and is ever-expanding.

Download Your Free PDF Copy

Download details near the back of the book.

All our books include a free download copy in PDF format

which you can read on any platform or print for yourself.
 How to Photograph
Concept and Fashion Nudes
About this book

Do you want to create nude images that  Concept Art Nudes

have a modern look?
Do you find a lot of art nude images are old
-fashioned?
In 30 shoots described in this book you will
learn how to create and style exciting,
contemporary images.
 Fashion Nudes
 Modern Art Nudes
Each section gives you an introduction to
the style of images, you will learn the basic
thinking behind the genre of photography.

You will be given tools and techniques that

you can easily apply to your images.

You will be able to create exhibition and

magazine quality photographs.

Throughout the section we will show you:

Through the guide we will explore three  Thinking behind the shoot
different genres of image:  Lighting diagrams and recipes you can
re-use
 Example images and different ways of  Easy to make sets that anyone can use.
shooting them
 Hot Tips from my experience as a
professional photographer

The shoots cover all sorts of different

styles, looks and models. All our models
are professional, cover girl models who
work internationally.

Topics include:

 Shooting with water

 Shooting with smoke
 Using colour theory to add impact
 Using simple setups for dramatic
images
About this guide
I think photographers are clever and
intelligent people who tend to think
visually. What they need in a book are
some sample pictures and a quick guide as
to how the image was created and then
they can take it from there quite
successfully on their own thank you very
much.
That’s exactly the kind of photographer
(and trainer) I am, so of course I assume
everyone is the same.
This is not a book which describes in
laborious detail what a strobe light is, how
do you turn it on, where is the shutter
button on your camera.
Instead it s an enthusiastic, warts and all,
guide through a series of real, genuine
shoots.
I had strict rules for each shoot, it should
take no more than an hour, there were no
re-takes. If I didn’t get it right I still had to
publish it.
That’s what you have here, the results
from four days of shooting covering all
sorts of territory, lighting and style.
To say these shoots were pressurised is to
understate it a little - what I also added
into the mix was that the whole process
was video recorded—including a running with them. Not to get bogged down in
commentary. technical stuff - instead get on with the
important part—shooting!
You can see the full videos (over 2 hours
each) on the web site So have fun and I always look forward to
FilmPhotoAcademy.com. seeing results.

So, on the whole the lighting is simple - I Simon Q. Walden

tend to shoot simple lighting anyway.
Although I have used studio strobes, there
is really nothing here you cannot recreate
with off-camera speedlights.

Similarly with the sets, the sets are simple,

and simple to build. Often all you need is
paper backdrop and a couple of drapes.

I just want you to treat these shots as

inspiration - to take these ideas and run
What does "Concept Art Nude"
mean?
The principle aspect is that rather than
being an improvised shoot it is much more
a constructed shoot. There may be a visual
concept, or a story concept that you are
going to create.
Probably there is more than just the nude
form, that there is some kind of
environment, set or location. There may be
props, clothes and other stylistic features
as part of the shoot.
Crucially there is a very strong pre-
visualisation of the shoot. That if you are
good with words you could describe, if you
can draw then you would be able to sketch
it and so on.
In other words you know where you are
starting from and trying to go to. That’s not
to say that you won’t find lots of other
opportunities in between. As a shoot
evolves you discover new possibilities, new
looks, unanticipated shots and
happenstance. Whether you pursue those
opportunities or focus on your particular
goal depends on you as a photographer.
A concept shoot is much more like an artist
capturing what they have already
envisioned. A study shoot by comparison
you explore the subject with only a more
generalised view of what you are going to
achieve.
I absolutely believe that creativity can be
developed. There is a creative "muscle"
which through exercise and training can be
enhanced.
You do this by (a) looking, (b) recording, practice it. Not every idea needs shooting,
(c) creating. just brainstorming things you could shoot
is sufficient to train your creativity.
"Looking" and observing what is around
you, what you see on TV, film, books,
magazines, art galleries, YouTube and the
web all go to inform your creativity.

"Recording" is making sure you have a

means of recalling those observations, to
remind and re-inspire you. This may be by
notebook, tear sheets, files on your
computer and saved to your phone.

"Creating" is the process where you

synthesise those inputs and make and
shape the idea that you want to ultimately
photograph.

This final part is something that some

people find harder than others, but you can
Smoke and Drapes
Despite all the drama of
this shot it is not terribly
complicated in its setup. It
is only a two light shot,
some simple drapes and a
smoke machine. Almost
genuinely a case of
photography being "smoke
and mirrors".
The drapes are tied to the
walls of the studio area.
Some are directly to the
side of Carla; others go
right to the back wall. This
spread creates a sense of
depth to the whole image.
A smoke machine is placed
behind the model on the
floor. It is actually blowing
through a bit of old tubing
and some crumpled paper
to ensure it goes upwards
behind Carla in a random, In particular as it comes in
diffused spread. front of the model you have
a short while to capture the
Lighting is one red-gelled models shadow in the
light directly behind the smoke before it becomes
model and a main light just too foggy.
front and left with a large
softbox. I wanted a sort of "Goddess
Rising From the Volcano"
With smoke machines you look to the image, so Carla
have limited shooting time is standing on a raised dais
before the smoke and I'm shooting low to the
overwhelms the space and floor.
you have to seriously
ventilate to clear the space,
so work out your shoot
strategy and sequence in
advance.
When the first smoke is
released into the image you
get a completely different
kind of picture than when it
is filling the whole space.
 (Above) Surprisingly perhaps this setup also
works really well in monochrome. This maybe not
the most obvious choice having setup all that
colour, but doesn't it look great and ethereal?

(Left) Although the principal setup of this shot was for the
big wide shot I also knew there would be possibilities for
some closer shots too. All the time I am being very careful
that my subject is between the rear light and the camera
to prevent it burning out the image.
Lightbox Shadows
For this shoot I've placed
Suzanne inside a high key
backdrop lightbox. But, you
could use any white
diffusion material as long
as it is held securely at the
top and bottom (a
weighted light stand could
be easily used).
All the light comes from
behind and to one side of
the model and this creates
the interesting shadows on
the wall of the lightbox.
When the model pushes
into the wall the shadows
key points
Even a bedroom sheet will
work as a diffusion screen
if enough light is pushed
into it. You can adjust your
ISO to increase the
exposure.
increase in depth and you there is almost a knife cut
get impressions of the of light across her torso
models form in the separating her body into
material. two halves.
It is this changing
proximity of the model to
the wall that gives the
interesting shadow effects,
ranging from dark to light
tones.
In the first image we've
positioned Suzanne up
against the wall, but with
her back arched out so
(Above) I really like the
way the shadow of the face
is created here and is
looking to the left while the
body is posed to the right.
The white space around the
head and neck creates an
interesting negative space
with the hand on the right
firmly placed in the
negative space.

(Right) The more

interesting the pose against
the wall, the more
fascinating the final image
becomes.
Big Montage
Some photographers can
call upon hundreds of
models to create this kind
of shot. Most of us don't
have that kind of budget
and/or that many willing
friends.
So instead we have to
cheat in post processing.
The camera position is
locked off on a tripod - for
this shot I've got the
camera as high as I can get
it. This ensures a relatively
clean view across the
heads of the "crowd".
This is not unlike shooting
a wedding group.
Next we test the lights at
the edges and centre of the
shot, making sure we have
a consistent exposure at all
points. Or if there is a
change in exposure it is
acceptable both in technical
and aesthetic terms.
Finally the focus on the
camera is locked off at the
hyperfocal point - roughly
one third of the way into
the image. This ensures
that things are pretty much
in focus from front to back.
Though it is not an issue if
key points
Lock the camera into
position and set manual
exposure and manual focus
so they do not change
between shots.
things are little soft in the
back row.
Then the model moves
from position to position,
with typically just one or
two shots in each spot.
The first trick is to try and
minimise the amount of
overlap in the figures to
simplify your post
processing,
The second trick is to
create some sense of
interaction between all the
figures. So the model can
chat to "herself" - be
looking into another's eyes, be passing objects between
them etc.
Smoke
Smoke can be used as
quite a delicate part of an
image. In this case I've
used smoke to create an
interesting, but not
overpowering, backdrop for
Carla.
The trick with smoke is to
light from the side,
underneath or behind. If
you light from the front it
will "fog" out - and give a
big white smear instead of
smoky vapours.
There are many different
fog machines on the
market, at not very
key points
You get limited time
shooting with smoke before
it gets everywhere. Be
prepared to shoot quickly
and ventilate as soon as
you are finished.
expensive prices. You
don't need a huge nightclub different directions) to
machine for photography. create interesting effects.
I do not recommend using
the small cans of smoke -
I've only used those once
and it left me and the
model with a very rough
chest for a few days.
In this shoot I've lit the
smoke with a purple gel to
add interest. Gels work
really well in smoke and
still convert to
monochrome very well too.
I've only used a single gel,
but you can use multiple
colours (firing in from
(Right) As Carla has
turned you can now see
colour from the gel being
properly picked up on her
body. You can either
angle the gel light so it
only goes into the smoke,
or let some light come
forward and act as a
feature light or rim light.

(Right) I've turned the gel

light further forward so we
get multiple colour tones
across Carla's figure. The
smoke is now a much
smaller part of the image,
just adding a little drama in
the background.
Cheese Cloth
OK, I know this is a nude
shot that doesn't actually
contain any nudity, but the
implications of the figure
through the cloth are very
exciting.
This is an exaggerated
form of abstracting the
body into shapes, but
because it hides as well as
reveals the new forms that
it creates are clearly
human but different and
that makes them very
interesting to look at.
When using this kind of
material your model has to
key points
Strange props can make
great images, use your
imagination.
work hard to push their and that the somewhat
body into the material to flattened form of Suzanne
create the right forms. As is still clearly visible
the photographer you need through shades of light and
to be watching out for dark.
creases in the material.
Any crease can be very
distracting in the image
and difficult to photoshop
out.
I've used a very strong
sidelight (and later rim
light) to make sure that the
texture of the material
shows as clearly as possible
(Above) I wasn't expecting to see
this, but I love the "hammerhead"
look of the arms pulling the
material across the face. With a
setup like this you need to be
aware of new opportunities that
you had not anticipated.

(Right) As the light swings round

behind the model it becomes more
see through, creating another form
again.
Rain
Creating a good rain effect
in a studio photograph is
much harder than you
would think. As human
beings we are so used to
seeing rain as something in
motion, yet photography
wants to freeze it. Rain in
video is much easier and
much more convincing.
Ideally you want to get a
lot of water falling, with
very little power, in a wide
area. I've used a really
simple but neat trick to do
this - a leaky garden hose.
The hose is for slow
watering of plant beds, you
can then spread the hose
out over an area to create
a good width and depth.
This is completely different
to a shower which tends to
push the water down in one
single column; it has no
real width to it.
For this shoot I've used
continuous light and hence
a slower shutter speed.
Flash just freezes the water
in a mid-air and you lose
the sense of rain - instead
you just get frozen droplets
of water.
key points
Freeze water droplets with
flash; have rain moving
with continuous lights.
You really want to backlight
the water to give a proper
sparkle; in my studio I
can't do that, my wet area
is in a corner So I have had
to light the water from one
side.
I'm using very long shutter
speeds, 1/4 second to 1
whole second, so camera
shake and motion blur from
the model is an issue.
In the first image there
is just a slight softness
in the pose, particularly
around the head which
must have moved
slightly in the 1/4
second shot. There is
almost no "rain" visible
at all, but the running
water across the body
has come out beautifully
with a terrific
combination of sparkle
and shadow giving it
depth.
(Left) In this full length shot
the water drops are now
clearly visible, lots of short
and longer drops depending
on their distance from the
camera. I've also added
some additional drops in post
processing.

The pose is a very strong

contemporary pose and the
water runs onto and flows off
the body in really interesting
ways.

The very high contrast

lighting has a real sense of
drama.

(Right) mentioned earlier

that the slow shutter speed is
an issue. This shot is at 1/3
second and although
extremely blurred I actually
really like it. What we call a
"pleasing lack of definition".

The motion blur, rain drops,

gaping mouth and closed
eyes all smushed together
create a really ambiguous
image that I like. Certainly
not one I intended but out of
all the blurred shots this one
stood out to me. Always be
prepared to find something
out of the ordinary.
Milk Dress
Creating a milk dress is a
combination of multiple
shots of milk being poured
or thrown at your willing (!)
model and a lot of
painstaking photoshop
work.
The first step is to pose
your model. Suzanne
needed to find a position
that both looked good but
that she could hold as still
as possible through the ten
to twenty minutes it took to
shoot.
Your model will move, even
if she is only breathing.
key points
When using unusual
substances be ready to
clean up afterwards, you
don't want a studio that
smells of rotten milk!
Then we took a lot of shots little corn starch to thicken
of milk being thrown or it.
poured. In general the
pouring gives you a thicker
coat, but throwing gives
you more interesting
splashes.
We used milk and warm
water in equal quantities - I
didn't want Suzanne
flinching every time she
was hit with cold water.
This watered down look is
very translucent which is
what I wanted. If you want
a thicker coat you use full
fat milk - or even add a
I've used two different
photoshop techniques. In
the first image (previous
page) I have taken all the
useful images that we shot,
layered them one above the
other and aligned them.

Then I have set the blend

mode to lighten. This means
only the lighter parts of any
layer are shown - in other
words the milk.

I have then erased any part

of the layer which does not
include a milk covered body.

The image took around 50

layers, but using this
technique is reasonably
quick. However it does lead
to a little blurring, if you look
closely you can see the knee
of the left edge of the image
is not terribly well defined.

This is the same image, but

with most of the splashes
removed. Either version is
fine, they are just different
presentations. I like the
splashes on the shoulder and
especially the arc near the
head on the first image, but
prefer the cleaner look below
the waist from the second
image.
This third image is a close
up version. It is shot as
you see it, not cropped
afterwards.

My photoshop process here

was to take around 10
different layered shots and
erase portions of any layer
I did not want to use. Each
layer is completely opaque
and this gives a more
tightly defined image.
Paint Splash
Children's finger paints -
definitely washable!
Four colours, very primary,
very dramatic. One naked
model. One grungy
background. Can we
make the model look like
the background? Of course
we can.
Throughout this series I've
used different methods of
applying paint. In some
the model is squirting it on
herself; in others my
assistant is letting it dribble
and later just throwing it
on in great splashes.
It is the kind of shoot that
has to develop in its own
way, there is no way you
can go back a step, so
careful application of paint
is required - yes I'm
serious. I don't move onto
the next step until I'm
sure.
Throughout the process the
model must take care not
to have any body contact.
For example, if she brings
her arms to her body it is
going to smudge all those
colours into one brown
smear.
key points
Some shoots are one way
only, with no reverse, no
undo. Be sure you have the
shot you need before
moving on.
I've shot this many times
with different models and
it's always interesting to
me how they each
approach it differently.
Some are diffident, artistic
and considered, others just
want to throw themselves
into it with gay abandon.
(Left) Don't forget there
are always other shots to
be made. Look at the way
the paint has flowed across
the skin in a lovely abstract
pattern. You can crop into
this image further and
reveal more - it is like a
fractal pattern - always
detailed.

(Right) This is where I was

aiming for - the model
blending in and becoming
part of the background.
Shadows

Casting shadows across
your subject sounds so
easy, but in practice turns
out to be much harder than
you would think.
Creating a nice, sharp crisp
shadow relies on two
things: firstly getting the
object creating the shadow
as close to the subject as
possible; secondly getting
the light source as far as
possible from the subject.
between") close enough
but not in shot can be a
battle of compromises.
One thing that helps is to
use as close to a point
source of light as you can.
So using studio strobes but
with all softboxes and
reflectors removed, so it is
just bare bulb. In fact
your camera speedlight
may do this job better than
a studio strobe.
strobes these are usually
(expensive) Fresnel lenses.
Most hot video lights
actually come with the built
in for a fraction of the cost.
In this shoot I've used a
single video light with
Fresnel lens. I've had to
bring the ISO up on camera
to handle the low light.

In practical terms though The second thing you can

limits to size of studio, do is use a focussing
getting the shadow object Fresnel lens. For studio
(called a "gobo" for "go
When setting up the shadows and the poses try and make
the pose work with the shadows. The lines of the pose
maybe will echo those of the shadows.

Also pay particular attention to the shadow of your model.

A perfectly posed model may not be creating a perfectly
posed shadow. Often you need to rotate the model a little
to create the right effect.
Changing the camera
angle, models position and
distance of the gobo has
completely changed the
look of the whole setup.
Flour
To shoot with flour and
other powders you have to
be prepared to make a real
mess of studio. Expect the
powder to travel much
further than you think, into
all the corners of the space
- no matter how big it is!
Get all your equipment
covered, or it will get into
all the nooks and crannies
and you'll never get it out.
You can use different kinds
of powder. Regular flour is
an obvious starting point.
This gives quite a good
cloud effect, though you
will always get larger lumps
in it (I suppose you could
sieve it).
Milk powder is good; it has
a heavier weight to it and a
sort of gritty look to it that
flour doesn't have.
Talcum powder or baby
powder is probably my
favourite. It has a soft
delicate flow to it and
doesn't really form lumps.
In these shots I've used a
combination of flour and
talcum powder. Flour gives
a bit of heft and weight so
key points
Wrap everything well
before starting. You could
of course shoot outside at
night.
that it can be thrown
around and the talcum
powder gives the looser
"cloudier" look.
Incidentally, you can drop
powders in front of a fan
for an instant smoke effect.
Just like smoke the
powders need a good back
light to make them show
up well.
In the first shot Kirsty is
holding powder in her hands,
as she spins she releases the
powder. Although you will be
fascinated by the powder flow,
check the expression on the
face is good too.
The second image has the model holding
powder in her hands, but we have also left a
layer of powder along her arms.

So as she flings her arms upwards we get both

the release from the hands but also a trail from
the whole arm - giving the "wings" effect.
In our last image the arms have been liberally
covered in powder then the model spins releasing
the powder.

Controlling the spin is important. Firstly setup the

final position, then track the model back to a start
position - which may be an awkward shape. Apply
the powder then get the model to swing back to the
first position again.

The swing has to be very fast and the model has to

stop the swing very quickly. This makes the
powder really flare out.
What is Fashion Nude?

Over the last couple of years this term has
started to coalesce into a fairly clear
meaning. Modern, assertive subjects with
strong rather than soft posing; possibly
nude, possibly dressed,
In overall style it takes it cues from
contemporary advertising with drama,
power, sexuality and creativity.
 Poses are strong, angular, sexualised
 Lighting is dramatic, contrasty, hard
 Clothes may accentuate sexuality
 Composition may be dynamic or
unstable
 Colours will more often contrast
 Post processing may be extensive

Depending on the shoot it may have a bias

to the model being fully or partly clothed,
or actually have no clothes at all - but
using the posing and presentation styles of
fashion work.
Classical Nudes:
Fashion Nudes:
 Poses are soft, delicate, asexual
 Lighting is soft, low-contrast
 Clothes are neutral or hide sexuality
 Composition is balanced and stable
 Colours will more often compliment
 Post processing normally limited
sense of "come-on", there is no invitation
to the viewer. To compare to a "glamour"
photo where the invitation is explicit and
the model objectified in fashion nude the
invitation is denied and the model is
powerful.

One of the key features is that it is a much

more sexualised image. A classic art nude
image is very asexual; it is not created for
titillation. Whereas a fashion nude image
can be much more sexual - but still not
titillating. This can be a hard concept to
get your mind around.
Fashion nude portrays models in a sexually
empowered way (typically), where their
sex is part of who they are and part of
what the image is about, but there is no
Sack
I bring the "sack" out at
many of my workshops and
the initial reaction is always
the same mix of WTF and
giggles at what it is.
A simple soft cloth made
into a tube. Looks so
unexciting yet in reality
gives loads of different
posing possibilities. A
dress, a scarf, a wrap, a
hood, a hooded dress, a
sack, a prison, a nun's
habit....
To keep this shoot in the
fashion style I have lit with
a softbox to far right,
key points
Simple props can create
exciting possibilities.
giving quite hard edged and vulnerable". In this
shadows and contrast. way the model can use
their whole body - and
In our first image I've body language - to reflect
directed Kirsty to look and create the emotion you
soft and delicate and are looking for.
maybe shy or concerned,
the pose with hunched
shoulders and the face
partially obscured helps
convey all those
emotions.
I use this style of posing
often, rather than say
"hunch, look down,
scrunch up" I will give
the model a feeling or
story "you are feeling sad
(Left) The second image is
an absolute classic strong
fashion power pose:
upright woman, loose
arms, slightly crossed legs
(as though walking). The
chin is up, the look is
disdain.

Now our simple wrap has

become a fashion item.

It can be adjusted to cover

the breasts or reveal,
pulled round to make a
hoop over the bust, or
turned into a cleavage
revealing dress.

(Right) Our final image

goes somewhere else - that
of trying to break free.
Again it is important that
the whole body (and even
Kirsty's face within the
sack) is expressing that
desperation to escape.

Crucially, by hiding the face

the image stops being
anything close to a portrait
but now becomes
allegorical. Any viewer
can imagine either
themselves, or another
person in that same
position of trying to escape,
trying to break free.
Jeans and Gels
A girl in her jeans, so
simple, so clean, so often
seen as well, it is after all a
staple of jeans advertising.
The wall behind Carla is a
messy paint finish on an off
-white base, but I wanted
to put some colour into this
image for impact. I have
used a simple red gel on a
gridded light to push colour
onto the off-white base
background.
Carla is lit by a
conventional studio white
strobe.
key points
Experiment with different
methods of creating
monochrome shots - don't
use greyscale - it's the
least interesting.
This mix of white light and Carla's pose in the first
coloured light is important, image is strong and
if Carla was lit by the assertive, a girl who takes
coloured light as well the no prisoners.
impact of the colour
scheme would be lost. In
fact you need white light
somewhere in the image to
make the colour actually
look colour, otherwise you
end up with a toned
monochrome look to the
image.
You can adjust the relative
powers of the main and
background lights to adjust
the level of saturation in
the back colour.
Although clearly set up to
be a colour shot, notice
how this look is still very
effective as a monochrome
image. You can use
differently levels of Red,
Green and Blue when
creating a mono image -
the default style would be
use to a large component
of red, which of course
means the red coloured
background goes to white.
I've pushed the main light
more to one side, still
making sure the white light
does not fall on the
coloured background. This
shift in the light creates a
more dramatic image.

The posing is such that

with very little movement
of the arms and shoulders
you can switch between a
guarded and closed look to
an open and revealing look.
Inside a Lightbox
These giant lightboxes are
used to create a portable hi
-key backdrop. Normally
you position them against a
wall - put one or two
strobes to pump light inside
them. In this way you
have a completely white
background in quite tight
spaces that is easily
portable. The subject then
stands in front of them with
their own main light.
However, I'm misusing, or
maybe re-using the
lightbox in a different way.
In this case I've got
Suzanne inside the lightbox
and the lights outside.
As you can see from the
images this creates a
complete wrap around
light, with very limited
shadows.
There is also a bonus in
that the model is in a very
enclosed space and that
means they have a
different mental attitude
and new possibilities for
posing.
Finally, you are forced to
shoot as wide as possible,
with the camera just
poking through into the
box.
So, the combination of an
unusual light source,
posing space and unusual
camera position and focal
length gives you images
that are quite different.
In the first image I've used
the wide angle lens to
exaggerate Suzanne's body
length.
(Left) You can still use
more conventional poses
within the space and enjoy
the soft, even, wrap-
around lighting that is
created.

(Right) Making the most of

the wide angle lens to both
fill the frame and create a
serious sense of depth to
the image.
Montage
Black and white and red all
over - no it's not a
newspaper, it's our strongly
themed set.
The core red and white sofa
and cove are already
strong, so we need a black
outfit rather than coloured
to keep all the colours
strong and contrasting.
There is one main light to
front and left, with a fill
light to front and right - but
positioned much further
away from the subject.
This gives a fairly soft and
even lighting across the
field but with just enough but with a direct gaze to
shadow to add form and camera.
shape. The cove is lit with
two lights above the
corners to keep it clean and
white.
This first image clearly
shows that you need to use
strong posing to match the
strong environment. It
would not work at all to
have soft, gentle posing in
such a setup.
So the pose is all angles,
stretched and pulling. A
very typical "fashion" pose
In this image I've cropped
in tighter. When framing
shots like this it is generally
better to either get both
ends of the sofa in or
neither. To have one end
showing doesn't always
work so well (See the third
image).
On the plus side of this image I've moved the model to the
floor. When using a prop like a sofa or chair it's so easy to
forget that the floor can be used as well. Particularly for a set
like this it gives another collection of posing possibilities
altogether.

On the negative side you can see what happens when you only
show one end of the sofa; it has a slightly imbalanced look to
it. Of course there isn't really an alternative on this shot,
because there would be too much empty space on the right
hand side if I included the whole piece.

The better fix would be to just move the whole pose further
along the sofa.
CineFoil
Cinefoil, also known as
simply black foil, is a great
light shaper. If you haven't
come across it before, it is
like a thick kitchen foil
painted black. You can
bend it, shape it, tear it.
However you bend it the
shape will stay in place.
What I have done here is
wrapped a tube of it around
a basic strobe, creating a
sort of snoot. What I
really love about this effect
though is that instead of
getting a conventional
circle of light the edges of
the light are erratic and
random. There is no
equivalent in photoshop at
all.
You can shape the tube to
be roughly circular, oval, a
long slit, a wide slit - all
create different lighting
effects. When composing
the image you want to
include sufficient amount of
the shadow area so the
effect is clear.
In this series I've
positioned it essentially in-
line with the camera,
creating a sort of ring-light
effect to the lighting, but
key points
Cinefoil goes right back to
the days of early movies,
as do so many of our
lighting tricks, reading
books by the old lighting
experts can teach you a lot
for use in modern
photography.
something quite different in
the shadows.
The first image has the
light source moved in
tighter to the subject for a
head and shoulders type
shot. Notice how it's
creating a natural vignette.
The ring-light type lighting
demands a very strong
pose, so I've asked Carla to
adopt this very model-like,
fashion pose and asked her
to give me the "look".

The expression in the face

turns this image from being
a boring shot of someone
standing neutrally to
something much more
assertive and empowered.
As I said before, you have
some control over the
way the shadows break
out, so when I set the
light up and fiddled with
the foil for a little I
noticed it had a caricature
heart shape. So for this
final image I decided to
go for a much softer pose.

This is almost like a 21st

century pin-up style.
Fur Coat
Fur can add a hint of
"sensuality" to an image. I
don't mean in the sexual
way, but in the literal use
of "sense" - in this case the
sense of touch. We can
imagine how the fur feels
against the skin.
Any clothing material
beyond cotton can give you
that sense: a latex skirt or
a leather jacket. So when
you shoot these you want
to light them in a way that
is as sensitive to the needs
of the material as the need
of the model.
key points
Sometimes you need to
light for the clothes as
much as for the model
In this case I've chose a In this first image you can
maximum diffusion high- clearly see all the texture in
key box. The rear of the the fur yet the only hint of
cove is lit in the usual way, a shadow is near Leah's
with two lights above the back - so you can see how
cove shining onto the back even this lighting setup is.
wall.
For Leah, instead of
choosing the usual softbox
for the main light I am
bouncing light into two 8 x
4 foot polyboards to give a
really diffused light wash
back into Leah. This setup
produces an almost shadow
less lighting style.
In the second image I have
cropped in a bit tighter with
a stronger fashion style
pose. Leah is moving
through poses very quickly
and this has given the
lovely flick in the coat on
the left hand side of the
image.
In the final image I have
cropped in even tighter.
I've also brought the
polyboards in tighter to the
model as well. So I am
shooting through a tiny gap
between the two boards.
This is a very classic style
of beauty lighting.

One thing I could have

done is dropped in a beauty
dish directly in front and
above Leah's face. That
would have helped
emphasise the cheek
bones. That would have
completed the classic
beauty light rig.

I really like the way the

detail of the fur coat has
been brought out by the
lighting setup. I also like
the soft catchlights in the
eyes. Normally you want
to avoid two catchlights - it
can be a bit "goat" like -
but here it really brightens
the eyes.
Dance Meltdown
Models can sometimes be
the worst posers, especially
when it comes to being
relaxed and natural. They
become so practiced at the
perfect pose and the
perfect expression that this
can sometimes get in the
way of that more natural
look.
So I've developed this
technique, part ice-
breaker, part pose-breaker
that I call the "Bonkers
Dance".
I crank up the music with a
good beat and just let the
key points
For longer shots you can
pre-focus, but don't
interrupt the model to do
so or she will lose the
sense of being uninhibited
that you are trying to
create.
model go into her own manual focus skills have to
dance space. They are told be lightning quick. This is
they must not stop especially true on the close
dancing, they must not up head and shoulders -
look to camera and they but these are the images I
must not pose. They are generally like most.
allowed to laugh, giggle,
scream, sing, close their When this all comes
eyes, wriggle, groove, together there is an almost
jump, bounce and generally orgasmic look of abandon
throw themselves round. on the girls face and in her
expression.
Focussing on a fast moving
girl swinging around is a
nightmare, auto-focus will
rarely cut it and your
(Left) I don't worry with
these shots that the
framing, composition,
posing might all be slightly
wrong. These are shots
about expression,
expression, expression.

(Above) I guarantee that in

no other shot of the several
thousand I have taken of
Carla have I ever seen her
pull this pose as a pose.
It's only through this
technique that you can
create the truly original.
Pool
For our American readers
you will be running why on
earth we have set up an
indoor pool in the studio -
well it's cold here in the
UK. And of course it does
give some control over
lighting.
If you want to use strobe
lights in an outdoor pool
then its easily done, you
just wait until it gets dark
and then you have
complete lighting control.
When you model is being
fairly still in water they will
cool down quickly, so you
need to be prepared to This first shot is taken from
shoot quickly. Plan out the top of a ladder with
the shoot in advance. quite an angle to the
model. Within the frame
If your model has their the model is angled to one
head underwater they will corner to fill the frame
not be able to hear you, so better.
you must explain to the
model exactly what you
need them to do for each
shot.
Be prepared to repeat
shots, it is not easy for
your model to control their
body, how they float, how
clothes and props move,
how their hair moves.
For the second shot we've
switched outfits. One of
the pleasures of water
photography is how
materials become see-
through.
For our final image we've
switched to a much more
fashion styled shot.
Pool Side
These shots were taken in
a temporary indoor pool in
the studio, but could have
been as easily done just by
soaking our model in water
first. Although you can
see reflections in the water
in some of the shots it's not
a major part of the image.
However, although these
are lit with a single light
source, don't forget the
water acts as a very good
reflector, so we are getting
a lot of light pushed up into
the models chin from the
water.
key points
Experiment with different
materials and how they
look when wet.
Water often makes they form a strong contrast
materials appear to each other.
transparent to a greater or
lesser extent. Different In our first image (right)
materials will give different we are using a fairly classic
effects. In this case we've fashion pose.
chosen a material that is
almost shear to begin with
and let the water pull the
cloth to the skin.
This creates an interesting
combination of smooth skin
and body shape overlaid
with wrinkles and folds
from the cloth - combined
(Above) In our second
image we are closer to an
art nude, almost portrait
pose.

(Right) And in our final

image we have a more
glamour style pose. You
can see how the pose
effects the overall look of
the image very clearly in
this sequence.
Corridor Perspective
Both models and
photographers have the
bad habit of squaring
everything off to the
camera.
The model tends to turn
her body direct to camera,
although on the whole she
will look better with a turn
to the side.
The photographer tends to
shoot at right-angles to the
backdrop, straight into the
wall or cove.
This is not a good habit and
means we lose a lot of
key points
Try to identify your habits
and break them. You will
become a stronger, more
flexible photographer as a
result.
opportunity and breadth in
our shots.
Working in a corridor is a
good way of preventing
that because it forces you
to think about shooting
sideways and for the model
to pose sideways.
This first image is a classic
of what I am describing.
Fair enough, it is strong.
The central placement and
symmetry adds an inherent
stability and solidity to the
image and we do get some
sense of perspective from
the corridor walls.
(Left) It becomes much
more interesting when we
have to shoot down the
corridor wall. The model
can interact with the wall to
create new poses, postures
and shapes. The
photographer has to work
with new angles in order to
get any kind of shot at all.

(Right) And the shots don't

need to be full length, the
technique works just as
well for headshots and
portraits too, whether
facing into the wall such as
here, or facing out from the
wall.

It is such a simple
technique, but used far less
often than it should be, so
next time you are shooting,
just move to the side and
shoot along the wall as well
as towards it.
Blue Wall
Basic colour theory says
that warm colours
approach and cool, blue
colours recede in an image.
That's why a pale blue or
mottled white and pale blue
background has been a
staple of portrait
photography for years. It
makes the warmer tones of
your subjects skin come
forward in the image and
lets the background recede
away.
I have this really strong
blue in my studio which I
delight in because while it
performs part of that colour
key points
The eyes make a portrait.
Losing direct eye contact is
very commonly used in
fashion and art
photography to prevent the
image being a personalised
portrait.
theory well it is also so rich
and dramatic that it adds a
whole sense of rich depth
all of its own and it makes
a perfect foil for a modern
looking image.
In this first image I've left
quite a lot of negative
space in the image to really
exaggerate the blue. You
can easily see this as a
fashion magazine shot with
plenty of space above the
image for text.
 (Left) In this image I've
come in for a much
tighter crop, this
requires a strong look
from your subject. It's
no good if she looks all
soft and fey because
that would not support
the impact of the
colours.

For this reason the

shades have to come off
the face, otherwise the
eyes would be lost.
While they are useful in
creating a more
anonymous image (and
hence one the viewer
can place themselves
in) that would not work
here.

(Right) And in this image with the light skimming across the
body doesn't it look warm? You can almost see this as Carla
sunning herself in some hot Mediterranean country.

Even though her skin tones are captured as a neutral, English

pale flesh tone, the contrast against the strong blue makes the
skin tones appear much warmer.
It is such a simple technique, but used far less often than it
should be, so next time you are shooting, just move to the
side and shoot along the wall as well as towards it.
Chains
Anything that the model
can hang on can give you
great new poses to explore.
These chains are hanging
from my studio's ceiling - 6
metres above the floor - so
despite the crop which
makes them look short
they are actually very long.
In this shoot I've kept the
chain ends fairly high off
the ground since this
encourages poses which
are heightened vertically.
You could of course let the
chains run much lower so
the model can twist herself
into them and do floor work
poses too.
The combination of the
metal chain, the tutu style
petticoats and the extra tall
heels give a really strong
fashion look.
The whole piece is lit with a
single main side light and I
have let the white cove dim
to a light grey. There is a
second light at the back
and to the left with barn
doors - this creates a rim
light on the left of the
model and maintains
separation from the cove.
key points
Fixing the ends outside of
the camera view with
"bungy" elasticated straps
can help keep the chains
taught and give the model
more flexibility.
This gives a very dramatic
effect to the lighting.
In the first image you can
see how Kirsty is using the
chains to provide balance
in the outrageously high
heels - a pose that would
be impossible to hold
otherwise, there are lots of
other variations on this
style of hanging to
maintain a pose that can
be used.
(Left) In this second
image I've gone for a
very strong vertical
look. The chains are
helping the model to
give a tilt to the
whole pose,
especially in the legs.
Notice how the raised
body makes the legs
look very long.

(Right) It's so easy to

forget to shoot the
backs of things in the
studio, yet often the
rear view can be very
interesting. I
particularly like the
hint of bum just
below the petticoats.

I also really like the

way the shadows fall
across the back, with
the arms raised and
tensed it has created
some really
interesting flexes in
the shoulders.
What is Modern Art Nude?
Very simply modern art nude images are
the continuation of classical nude studies
but with modern sensibilities. Now I realise
that’s a bit of circular definition, so let me
try and flesh that out a little.
In a classical, painted art nude, the female
is typically represented as passive, gentle,
asexual, and submissive. In a modern art
nude the female is typically represented as
active, energetic, sexual and empowered.
It’s partly recognition of how feminism has
changed the way women feel about
themselves, and (since the camera points
both ways) also about how men see
women in these modern times.
Of course "modern" here means sometime
from the late 1800's. In the first half of
the century we start to see photography
develop along with the new role and
position of women and we get hints of the
more independent female. But it really
comes in very strongly after the Second
World War where there is a growing
recognition of the power of women until in
1980’s we really see the big shift to a very
common portrayal of women as complete
human beings.
Of course now, in the 21st century, both
women and men have a completely
different sense of feminism and femininity
having grown up through these more
enlightened times.
So if we are looking at contemporary
photographic works we are basically
looking at women in charge of themselves,
strong and assertive in their presentation,
happy and controlling of their own
sexuality.

Within that larger picture, there is also the

fact that women are no longer shown as
dismissive, inactive subjects but are
instead revealed as their true vibrant,
passionate and vigorous selves.

Put simply where once the woman lay back

delicately she now stands proud and
forward.
Falling Cloth
I love using the power of
the flash to suspend
objects in time and space.
Particularly with drapes and
cloths freezing them in
motion lets you see
materials in a completely
new light.
Light materials such as this
organza are a gorgeous foil
to the nude form. The
graceful folds and curves of
the material counterpoint
the smooth shapes of the
naked figure.
In this first image the cloth
is being thrown behind the
model by my assistant.
Light weights in the bottom
of the cloth allow sufficient
heft to throw the cloth but
not make it plummet to the
ground in heap. That gives
us this lovely elongated
form of cloth behind the
subject.
I have chosen a material
colour which will work as
either a colour or
monochrome image. I
have a large box of similar
key points
Thrown or dropped
material can be "random" -
nobody can predict how the
material will flow and fall,
so be prepared to make
many shots.
materials in colours ranging
from yellow through reds to
blues and purples.
Experience teaches you
how each image will show
in monochrome.
(Left) Composing so the
cloth is cut at the
boundaries of the image
creates a stronger, more
dynamic image and
reduces the empty,
negative space in the
image.

(Right) In this image Carla

is throwing the cloth up
behind her then quickly
moving to a pose position.
Some models and
photographers like to count
down to these kinds of
moves, but I recommend
that you do not do this.
Just let the model throw
and move and you will be
able to anticipate the
moment for the shutter
press.
Shadows on the wall
To create a good shadow of
your model on a wall you
need to get the main light
as far from the model as
possible and keep the light
source as small as possible.
The further the light source
from the model the crisper
the shadow will be -
technically it will have a
"narrow transition" - the
transition is the penumbra
between the light and dark
areas.
You obviously don't want to
use a softbox as this will
give a dispersed light which
will ruin the effect of the
shadow. In this shoot I
have used a snoot - this is
a short tube which gives a
pseudo-spotlight effect.
This not only provides a
very small source of light,
but also gives a nice
natural shadow vignette to
the images.
You need to choose your
camera angle and poses so
that the live model and her
shadow are not merged
together, confused or
overlapped.
key points
Move the camera position
to stop the model and her
shadow from overlapping.
Typically you are looking
for echoes of the models
pose in the shadow, but the
shadow may introduce new
shapes of their own.
In most of these I am
shooting so that we can
largely see the front of our
model, but the shadow
created is a profile.
In the first image we have a classic
example of the echo pose, the shape
of the live model and the shadow are
very similar. In this case I have
allowed them to overlap because I
like the way the model appears to be
holding the arm of her shadow.
In the second picture I
have asked Kirsty to touch
her own shadow on the
wall. This is a simple but
effective way of creating a
link between the two and
almost making the shadow
another person.
Notice how in this image
there are two completely
different shapes and poses.
Kirsty is facing the camera
in a very contemporary
pose - very direct.
Meanwhile the shadow is
turned away, almost
ignoring the camera.

In particular look at how

the shadow of the arm has
been used to create a
frame around the bust, this
has created a body profile
shot in the shadow.
Hanging Drapes
These sheer organza's are
simply hung from the
ceiling, secure enough that
the model can swing on
them safely (in fact could
probably climb them!)
You can either use
complimentary or
contrasting colours for the
drapes. In this case I've
used a see-through sheer
material, but solid
materials also work well.
Ropes and chains can also
be used - and if anyone can
secure me 20 feet of ship
anchor rope I'll be your
friend for life.
The drapes really let your
model work with and
against the prop. Giving
something for your model
to pose around, pull
against, wrap themselves
in and so on will really liven
up your model and give
them new posing positions
and some exciting shots for
you.
Suzanne has created a
perfect pose in the first
image. From bottom to
top: her grounded foot is
perfectly pointed, her front
leg is raised perfectly and
key points
Keep ropes, drapes or
chains simple in the picture
to avoid detracting from
the model.
the downward pointing foot
follows the line of the
drape. The sweep back of
the free arm is clear of the
body and drape with a soft
curl in the fingers. The
head is tilted right back so
the light is shining upon
the face. The gripping
arm has a good bend in it
which really highlights the
musculature across the arm
and shoulders.
(Above) This second image has a much
more delicate pose, but because we have
the drapes and arms running diagonally
across the image it still has a strong
impact, rather than being over gentle.
(Above) The colours also work really well in
monochrome. A powerful, assertive pose
in monochrome creates an image of a very
strong woman.
Boxed In
This setup creates a big hi-
key box for the model to
work in. The box serves
two purposes.
Firstly, the lighting part.
By surrounding the model
by white reflectors and
pushing light into both
ends of the box we create a
very soft wrap-around light
with almost no shadows.
Secondly, and more
importantly, the space
gives the model something
to work in. The box is
deliberately claustrophobic.
I've used this setup many
times and it always puts
the models into a similar
state of mind.
They want to curl up in it,
somehow it makes them
feel a little vulnerable. I
have to coax them into
pulling bigger shapes.
Of course in the shoot both
emotions work, but when
working those larger, space
-filling shapes you want the
model typically reaching to
the corners or centres of
the wall - this helps
exaggerate the sense of
the box.
key points
The posing environment
you give the model often
influences the way the
model poses - you should
work with it, let the model
"act" into the space.
Post processing for this
includes using the
transform tool to make
sure the box "entrance" is
properly square - if it is
slightly out this becomes
very obvious in the final
image.
Once you have setup a
working space, don't be
afraid to explore different
ways of using the space. By
moving Carla to a lying
down pose, where she is
bathed in that lovely soft
light it is possible to make
some gorgeous hi-key
pastel toned portraits and
figure work that ignores the
"box" aspect entirely.
Hanging Pole

key points

You cannot use a pole

dancing pole for this work,
it's too shiny. Similarly you
cannot use a scaffold pole
for pole dancing because
it's too rough.

left of the stage to provide hanging, rather than just

This sequence of images is
a rim light on the left edge kneeling on the floor.
shot around a scaffold pole
of the image. The white
hanging horizontally from a
cove is left to go grey and The height of the pole is
ceiling fitting. The fitting
has no light falling on it. just at arm's reach when
is very secure to allow the
Kirsty is standing, this
model to really hang from
In the first image with the means it is easy to hold
the pole. A lighting stand
feet up looks really strong and lift from but as you can
would not provide the level
yet is pretty easy to pull off see is more than enough
of support needed for this
even for a non-ballet for the feet to be well clear
kind of pose.
trained model. Kirsty is of the ground.
ballet trained and so has a
The basic lighting setup is
stronger sense of body
with a single softbox main
control than some models.
light very hard to the right
Notice the shadows on the
hand side of the image.
floor; these really need to
There is also a second light
be there so you have a true
with barn doors to the rear
indication that the model is
In the second image Kirsty is now hanging completely on
the pole. This is definitely a pose for a more trained and
toned model. Many girls will not have the strength to pull
this image off.

Despite wanting to shoot quickly while the model holds the

pose you still need to look for tuning and corrections. In
this case I asked Kirsty to arch further so her head was
looking downwards as much as possible.
In this third image I have
turned off the main key light
and instead I am using the
rim light as the main light
source. There is still
ambient light in the room as
well but most of what you see
is the rim light being
reflected within the white
cove area to give varying
shades of grey.

This pose shows very clear

the possibilities that having a
pole to work from can give
you.
Isis Wings
These golden wings are
known as Isis Wings and
are used by belly dancers.
These I purchased from
eBay. They are a large
pleated circle of cloth with
two sticks, one for each of
the models hands. They
come in a variety of colours
and range from opaque to
almost gossamer
transparent.
While you can create static
poses with the wings they
work best when they are in
motion. When the model
sweeps her arms up, down
and around they create
lovely spirals and curves -
almost mathematical in
their shape.
I've chosen to shoot these
very solid gold colours
against a dark background
to really make the gold
shine out. With more
gentle, translucent wings
you can shoot on grey or
even white for a look not
unlike dragonfly wings.
You need quite a large
backdrop; your models
wing span will be getting
on for 10 feet as will their
height when the poles are
key points
Look out on the web for all
sorts costume props. They
can often be cheap but
very effective add-ons for
your images.
held vertically above the
head.
The model needs to keep
moving, so definitely pre-
focus on the model from a
fixed position; otherwise
you will find your auto-
focus is continually hunting
for a focus lock.
(Left) There are almost
echoes of Marilyn Monroe's
famous wind in skirt shot
here. With the wings in the
right place you can create a
number of different
"dresses" and "skirts" - it
has quite a haute couture
look if done right.

(Right) You can also use

close-up shots. While the
wings are majestic and
seem to demand wider,
complete images getting in
close can be exciting too.
Back Light
Rim lighting of the nude is
a very simple lighting
arrangement but one which
is very powerful.
The reason it works so well
is that it really pulls out
both the physical form, the
shape of the subject and
also reveals tone and
texture in the figure too.
With the face turned away
from the light, it also helps
to make the image more
anonymous, which is often
a strong part of fine art
nude photography.
key points
Always look for a sweet
spot of rim light falling
across the body, small
twists and turns from your
model can produce
dramatically different
images.
You can range from a full
length study all the way
into tight close-up and
abstracts of the body.
In this first image I've left
the light source in the shot.
This breaks the image out
of being classical fine art
into a much more modern
style of art nude.
(Right) People's backs are fascinating, full of hills and hollows. The trick with this shot is
to keep moving the model within the light. You may need to turn them and move them
within the lit area.

You are looking for the moment that the light breaks across the body.

In this image looking across the central torso you can see the model's left edge, then
shadow into the spine, then the models right edge. But that same light is also giving a
lovely "peach" effect to Carla's bum. Then look up to the shoulders and arms - the way all
the form - indeed anatomy - of the shoulders is revealed is wonderful. Look for abstract
shapes within an image as well.
Scaffold Pyramid
I love scaffold poles for
props. They are really easy
to configure into different
shapes. They are sturdy
enough to take weight. I
also like the combination of
hard steel against soft skin
- I think they create a good
contrast of strong lines
against soft curves.
I've built a simple three
sided pyramid from the
poles and it is strong
enough for our model to
climb on, balance on, swing
off or just stand against.
Lighting is a large softbox
to the right hand side of
key points
Scaffold poles and a few
fittings are very cheap but
very useful props and
equipment to have in the
studio.
the image and two big 8ft x
4ft while polyboards on the
left hand side to reflect
light back in.
In this first image Kirsty is
thrusting upwards,
supporting herself on her
arms while her legs swing
free.
In variations of this pose I
am always looking for arms
and legs to echo the angles
of the poles - so the lines
are always in consistent
directions - this stops the
image looking confusing.
(Above) In this second image Kirsty is reflecting the pyramid shape
in her posing. So we have two triangles in the image: the triangle
made by the poles and the triangle made by Kirsty's shape.

Note also the arms are running in parallel to the line of the poles.

Finally, the rectangle created between the poles and the arms acts
as a strong frame for the face. Keep an eye out for these sorts of
frames within frame combinations.

(Right) Our final image is a close up, ignoring the larger frame
structure. I really like the way the pole cuts across the image at an
angle. This gives a very strong dynamic to the image, echoed in
Kirsty's fingers, but with a delicate softness in the leg and bust
around the pole.
Window Frame Silhouette
Backlighting through a
diffusion screen is such a
powerful tool. I use it all
the time, but usually with a
main light on the subject as
well. In this sequence of
shoots though I am just
using the backlight and
shooting directly into it.
This method does not
create a hard silhouette
because the light source is
large and diffuse. Instead
it gives lovely soft shadows
that wrap around the
model's body.
key points
Windows are great light
sources, but try and avoid
direct sunlight.
You could use any window I've started this series with
for this - preferably full length shots, giving
northern facing so there is Suzanne the opportunity to
no direct sunshine. As really work inside the
long as you diffuse the light space. I am directing her
with any simple cloth or to keep in contact with one
photographic diffusion or both edges of the frame
screen. In my case I am all the way through.
using simple window blinds
in our studio window.
It is important that the
model keeps everything
inside the frame of window
area, otherwise it will work
like a crop. It is very easy
to crop fingers and feet
accidentally.
By coming in closer we are
able to explore the
gorgeous light that falls
across Suzanne's body. It
is important to get the
body positioned correctly
so that you get mixtures of
light and shade across the
body. A flat light into the
body will kill any interest.
I've deliberately created
some out of focus images
as well. I love the way
this creates mysterious
impressions of the human
form. Just switch to
manual and select a focus
point that is most blurred.

What this does is make the

lighter parts of the image
spread into the darker
areas, creating this weird,
almost alien, thin figure
study.
Ropes
For art nude work I believe
that less is more as far as
props are concerned.
I like to keep my shots
simple and to use props
sparingly.
There are really two kinds
of props; what I call the
"Old Masters" and then the
"Graphical".
"Old Masters" are props
which are symbolic. What
I'm referring to are the old
classical painters where
every object in the frame
was a symbol for some
key points
Props should serve a
purpose and not just be
gratuitous distractions in
the image.
aspect of the subject. The The ropes suggest being
symbol might be religious, tied, restrained, held back
political, indicating and my favourite image of
learning, referencing the set shows the model
biblical or classical works. distressed and trying to
But whatever the prop it pull away.
served double duty as an
item in the picture and a
symbol of significance.
"Graphical" props are items
like the ropes in this
picture. They are simple,
not distracting in their own
right and add something to
the both the image and to
the models posing.
Rotating the model in the
same place can give a
completely different look.
There is also a dance of
orbits, the model can
move, the light can move
and the camera can move.
All three parts orbit around
each other creating
different images as the
placement of each changes.

In this case the model has

moved from a sideways
position to the camera to
pulling more directly
towards the camera. This
has changed the camera's
view of the subject. It has
also changed the models
relationship to the light -
creating a stronger
sidelight.
Acknowledgements

Thanks to our special models:

Carla - Carla Monaco

Suzanne - Suzanne M

Kirsty - Autumn Sapphire

Leah - Leah Axl

Our original video was shot by

Petra Sneddon.

Studio assistance was provided

by: Steve Watkins

Download Your Free PDF

To download your free PDF copy of this book please follow this link

http://www.FilmPhotoAcademy.com/freepdf/concept.html
 Simon Q. Walden is a freelance
photographer. He runs a studio in
Cheltenham, England.

His art works have been exhibited around

the world. His work has appeared in print
in both art and commercial magazines.

Walden’s expertise is photographing

people. He is sought after to shoot
portraits, portfolios and weddings.

Walden started FIlmPhotoAcademy.com in

2007 to provide training, workshops, books
and DVD’s to photographers, models and
visual creatives.

For further information

www.FilmPhotoAcademy.com

Or email

sqw@FilmPhotoAcademy.com
Other Resources You May Find
Useful

FilmPhotoAcademy.com produces materials for photographers, models and creative artists

working in the visual fields.

DVD Programs

DVD programs are available which cover a range of photographic techniques for shooting
the female form.

Each program is over 2 hours long and includes extensive material covering shoot
planning, working with models, posing and direction, lighting and lighting recipes, post
production and image critiques.

Glamour and Boudoir:

How to Photograph New Glamour

How to Photograph Creative Glamour
How to Photograph Boudoir

Art Nudes:

How to Photograph Fashion Nudes

How to Photograph Fine Art Nudes
How to Photograph Creative Nudes
How to Photograph Modern Art Nudes
How to Photograph Concept Art Nudes

Order Now on my online store: www.FilmPhotoAcademy.com/shop.html

Reference Books

600 Nude Pose's - a guide to posing the naked female form

1,000+ Fashion Poses for photographers
600+ Glamour photos: posing, lighting and styling for photographers
Inspirational Image Books

Leah Axl
Autumn Sapphire
Gina H: Erotica

Photographic Novels

Dangerous Liaisons - a graphic novel

Twisted Tales - Short Stories and Photography

Order Now on my online store: www.FilmPhotoAcademy.com/shop.html

FilmPhotoAcademy.com Website

The web site www.FilmPhotoAcademy.com is regularly updated with ongoing projects, new
ideas and additional resources and is ever-expanding.
On the website you will find blogs, books, photoshoots, free videos and podcasts with
frequent updates.
 Takes photographers
through live photo shoots,
showing you how to
recreate each setup, from
lighting, posing and
thinking.

We explore the variety of

approaches to a very
familiar subject.

For every featured

photograph the lighting
setup is illustrated so you
can use the same lighting
techniques.

Written and photographed

by Simon Q. Walden
of FilmPhotoAcademy.com