THE ART OF
BOUDOIR PHOTOGRAPHY HOW TO CREATE STUNNING PHOTOGRAPHS OF WOMEN
CHRISTA MEOLA
THE ART OF BOUDOIR PHOTOGRAPHY: HOW TO CREATE STUNNING PHOTOGRAPHS OF WOMEN CHRISTA MEOLA
New Riders www.newriders.com o repor errors, please send a noe o erraa@peachpi.com erraa@peachpi.com New Riders is an imprin o Peachpi, a division o Pearson Educaion. Copyrigh © 2013 by Chrisa Meola ACQUISITIONS EDITOR: ed Wait PROJECT EDITOR: Susan Rimerman PRODUCTION EDITOR: Lisa Brazieal DEVELOPMENT/COPY EDITOR: Peggy Naus PROOFREADER: Liz Welch INDEXER: Karin Arrigoni COMPOSITION: Kim Scot, Bumpy Design COVER AND INTERIOR DESIGN: Mimi Hef COVER PHOTOGRAPHS: Chrisa Meola
NOTICE OF RIGHTS All righs reserved. No par o his book may be reproduced or ransmited ransmited in any orm by any means, elecronic, mechanical, phoocopying, recording, or oherw ise, wihou he prior w riten permission o he publisher. For inormaion on geting permission or reprins and excerps, conac permissions@peachpi.com.
NOTICE OF LIABILITY Te inormaion in his book is disribued on an “As “As Is” basis, wihou warrany. While every precauion has been aken in he preparaion o he book, neiher he auhor nor Peachpi shall have any liabiliy o any person or eni y wih respec o any loss or damage caused caused or alleged o be caused direcly direcly or indirecly by he insrucions conained in his book or by he compuer sofware and hardware producs described in i.
TRADEMARKS Many o he designaions used by manuacurers and sellers o di singuish heir producs are claimed as rademarks. Where hose designaions appear in his book, and Peachpi was aware aware o a rademark claim, he designaions appear as requesed by he owner o he rademark. A ll oher produc names and serv ices idenified hroughou his book are used in ediorial ashion only and or he benefi o such companies wih no inenion o inringemen o he rademark. No such use, or he use o any rade name, is inended o convey endorsemen or oher affiliaion wih his book. ISBN-10: 0-321-86270-8 ISBN-13: 978-0-321-86270-9 987654321 Prined and bound in he Unied Saes o America
For every woman, with the courage to be vulnerable: You inspire me. For all artists, who expose and celebrate beauty: You strengthen me. And or our lovers, lovers, who adore and appreciate us: You fee us to be real. Here’s to eeling great naked!
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ACKNOWLEDGMENTS I am orunae enough o be blessed wih so many people o be hankul or, who love me, who suppor he work I do, who make my lie and job easier, whom I’m beter beter off or having having known, known, who direcly or indirecly conribued significanly significanly o his his book. Words Words canno canno express he measure measure o my graiude or he ollowing people in my lie, and I can’ possibly cover everyone here who helped birh his book baby baby.. o he Peachpi amily: ed Wait, or being he book’s book’s big daddy and early supporer. supporer. I decided o o say yes o his book-wriing journey because o you. Um, hank you? Edior exraordinaire Susan Rimerman, whose helpul insigh was so key in shaping his book’s conen. I am so graeul or your guidance, deerminaion, and paience. Markeing masermind Scot Cowlin, whose enhusiasm or phoography and his book made me giddy. Tank you or he coninuing suppor, Scot. Copy edior Peggy Naus, who’s as quick wih words as she she is adep a a using hem, and and prooreader prooreader Liz Welch. Tank you or making me sound polished. Producion edior Lisa Brazieal, who kep he book on rack rack and whose smile smile I could eel eel in every email. Tank you, Lisa! Designer Mimi Hef, hank you or puting such lovely atenion o deail ino he book design, leting me uss abou more negaive space, and or sexing up a phoography manual. Tanks o Keely Hild, whose percepion and PR effors really refleced he core message o my goals or his book. And he book’s book’s oher conribuors: conribuors: supermodel, supermodel, muse, and my dear riend Larva. Tanks or your
hones insigh ino a pro model’s inenions and desires. ons more graiude or your above-and beyond abiliy abiliy o shine in ron o my my camera. You You make me look good. Brillian phoographers and generous riends Rober and Kaherine K aherine o Johnson Sarkissian, Sarkissian, who made Chaper 6, “Creaing Ligh ha Flaters,” possible wih heir enhusiasic assisance wih he equipmen and behind-he-scenes work. I hank you, and my back hanks you. Te bes makeup aris I know and close riend Rachel Lund Olsen, you are as beauiul on he inside as you are on he ouside. Tank you or making he world a pretier place and or offering your makeup makeup ips o Chaper Chaper 4, “elling “elling a Sory Sory wih Syling.” Phenomenal designer and grea riend Naasha Lakos, you keep my brand looking good, and he diagrams in his book are no excepion. Tank you or giving so generously o yoursel and your alen. Supercool sylis Grasie Mercedes. Tanks or lending your valuable advice o women on how o dress or heir shape. I appreciae your effors in helping us all look sunning as we are. reasured riend and encyclopedia o equipmen inormaion John Cornicello. Tank you or sharing your insigh insigh during he book’ book’ss early sages. sages. I value your riendship and kindness kindness as much as your sellar sellar advice. Tose who make my work beter and lie brigher: My My sponsors sponsors and parners, parners, whose generosgenerosiy and service serv ice have no only improved my work, lie, and business, bu also my communiy. ons o graiude o Paul Friedman and he Lensproogo eam, Doug Bouwell and his oally oally Rad Acions, Leon
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Sandoval and he eam o reouchers a Colorai, and Nae Grahek, ounder o Sicky Albums. Te bes sudio manager a phoographer could hope or, Phil Ackley, keeps he Chrisa Meola Picures ship sailing smoohly and keeps our eam organized and our cliens happy. You have been invaluable o he creaion o his book. Tank you a housand imes over. Te 20 beauiul and brainy women o Marie Forleo’s masermind group, as well as Marie, he bes suppor eam on he plane. I’m graeul o be a par o such an incredibly posiive, brillian, and loving group. Your suppor and counsel is always wise, warm, and hilarious. hilarious. Tanks o Krisen, Michelle, Michelle, Merick, Dawn, Sarah, Holli, Danielle, Brianna, Jen Len, Elsner, Jenny, Kendrick, Jenna, Nahalie, Nisha, Margaria, Margaria, Jill, Gry, Rachel, Laura, and Louise. My blog readers and online workshop sudens: Tank you or your enhusiasm and curiosiy and or allowing me he honor o supporing you, challenging you, and celebraing your successes wih you. I’m honored o share our passion or phoography, and I deeply appreciae your suppor, kind words, and enhusiasm enhusiasm while joining me on his book-wriing book-wriing journey. journey. My amily: my dad or giving me my firs pro camera as a kid, my firs drawing desk and pencils, and my everlasing love o ar. My mom or always cheering me on, believing in me, and cooking my avorie soup when hings ge ough. My older broher, broher, Chris, or engaging engaging wih me in spiried debae abou ar and lie and or suggesing ha I “do somehing” wih my phoography. My younger broher, broher, Chrisian, or or helping ge ge my business business sared by doing my firs websie.
Love o my lie and parner in crime Cosaki Economopoulos. Te bes eammae a woman could ask or. I would make us boh blush i I were o ruly express here how deeply graeul I am or your presence in my lie and why. Your ever-presen suppor and acs o kindness, undersanding, and love hroughou his book-wriing process gave gave me he power o ge i done. From holding a reflecor and shooing behind-he-scenes behind-he-scenes phoos o your brillian words o advice advice and ongoing ongoing suppor, suppor, no job was oo big or small. You’re such an incredible man, my inspiraion and MVP. Tank you or making me eel beauiul and eminine eminine and or celebraing celebraing my my sensualiy while I work hard o celebrae ohers’. Lasly, Lasly, I give hearel hanks o every woman showcased showcased in his book, who had he srengh and courage o be vulnerable and share hersel inimaely wih me. Tank Tank you or bringing bringing your body body and spiri in ron o my camera and or graning me permission o prin he resuling phoographs in his book.
50mm lens, ISO 400, f/2, 160 sec.
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ABOUT THE AUTHOR Chrisa Meola is an inernaionally recognized phoographer who ravels he world or porrais, porrais, speaking speaking engagemens, engagemens, and and eaching. eaching. She believes ha honoring our bodies, emoions, choices, and impulses hrough phoography�wheher in ron o or behind he camera�is empowering and prooundly sexy. A sel-declared sel-declared sensualis, sensualis, she has been inauaed inauaed wih visual sory sory elling since childhood. She has enjoyed lie behind he camera since he age o six , when playime included included dressing dressing up wih riends and and aking picures. picures. Chrisa is on a mission o empower women o adore heir bodies. She offers privae one-on-one shoos in New York Ciy and desinaions around he world. She has a penchan or capuring sensual escapades, black and whie bodyscapes, bodyscapes, and adoraion adoraion in moion. Chrisa has augh housands o phoographers he secres o her successul boudoir business. She is he ounder o he Boudoir Workshops, a six-week online course she designed or new and experienced phoographers o ignie heir creaiviy, sharpen heir shooing skills, skil ls, and creae creae a successul successul business. business. She is also he creaor o Te Money Shots , a posing posing and coaching coaching guide o he bes-selling shos. Learn more abou Chrisa on her popular blog a crisameola.com.
Photo by Carla Coulson
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CONTENTS ACKNOWLEDGMENTS
ABOUT THE AUTHOR INTRODUCTION
PART I
v
ix
xviii
BEFORE THE SHOOT
CHAPTER 1
WORKING WITH WOMEN
5
MODELS, MUSES, AND REAL WOMEN
6
Muses: Artists’ Figure Models and Dancers
Professional Models
7
PLANNING THE CREATIVE DIRECTION
Real Women (Nonmodels) and the Girl Next Door 12 CREATING A TRANSFORMATIVE TRANSFORMATIVE EXPERIENCE 15 Take Her on a Journey Make It an Event
x
17
ADDRESSING NERVES, FEARS, AND DOUBTS 18
15
11
Probe a Little Further
22
IMPORTANT POLICIES TO DISCUSS Model Release Forms Copyright Nudity Alcohol
24
25
25 25
Other Policies
25
THE ART OF BOUDOIR PHOTOGRAPHY: HOW TO CREATE STUNNING PHOTOGRAPHS OF WOMEN
24
22
CHAPTER 2
CREATING SENSUAL MOVEMENT 31 SENSUALITY AND HOW TO CULTIVATE SEX APPEAL 33 Be Condent
Have Fun
34
34
Practice, Practice, Practice
35
Know the Innate Power of Attraction Focus on Feeling Take Your Time Flirt!
35
35 35
37
Know the Tricks of the Trade
37
COACHING ACTIONS TO CREATE NATURAL MOVEMENT 38 Keys to Coaching Actions
40
TOP 10 ACTIONS FOR STUNNING RESULTS RESULTS CREATING AUTHENTIC EMOTION Emotion Is in Her Expression
Shoot the In-Between Moments
42
45
45
46
CONTENTS
xi
CHAPTER 3
CHAPTER 4
POSING TO MAKE YOUR SUBJECT SHINE
THE PRINCIPLES OF SENSUAL POSING Great Posture
Extreme Posture
52
52
WORKING WITH PROFESSIONAL STYLISTS The Advantages of Hiring a Pro
53
Eyes and Eye lines Hands
TELLING A STORY WITH STYLING 75
51
Tips for Working with Pros
54
54
55
Closer Is Bigger, Farther Is Smaller
58
8 BIGGEST POSING MISTAKES MISTAKES AND HOW TO AVOID THEM 59
Makeup for Camera
64
96
97
BEFORE AND AFTER: ALISON
MY POSING SYSTEM: PUTTING IT ALL TOGETHER 72
xii
91
94
A Gorgeously Styled Do
82
GETTING GLAM: MAKEUP AND HAIR
Why These Five Poses?
How to Use These Poses
HAVING FUN WITH PROPS
Flattering the Face
63
79
WARDROBE MUST-HAVES
THE FIVE BOUDOIR POSES YOU NEED TO KNOW AND MASTER 63
79
WARDROBE GUIDELINES
Contrapposto and the S-Curve
78
Where to Find Pro Stylists
78
THE ART OF BOUDOIR PHOTOGRAPHY: HOW TO CREATE STUNNING PHOTOGRAPHS OF WOMEN
100
94
78
PART II
ON THE SET
CHAPTER 5
A MINIMALIST’S MINIMALIS T’S APPROACH TO EQUIPMENT 107 GEAR THAT’S RIGHT FOR YOU A COMPARISON OF LENSES Utility
108
111
111
Aesthetics
111
LENSES FOR BOUDOIR 24–70mm f/2.8
113
113
50mm f/1.2
115
85mm f/1.2
115
How I Use These Lenses on a Shoot Other Lenses
Black Muslin Backdrop
121
121
Gray Seamless Background Paper Black Gaffer’s Tape A-Clamps
118
121
MUST-HAVE ACCESSORIES
123
125
125
CONTENTS
xiii
CHAPTER 6
CREATING LIGHT THAT FLATTERS 127 GEAR: LESS IS MORE
128
TAKING ADVANTAGE OF NATURAL LIGHT SHOOTING IN THE STUDIO
132
Controlled, Dependable Light
132
130
EIGHT WAYS TO FLATTER WOMEN USING ONE LIGHT 135 Mix It Up and Make It Your Own
What’s the Story You Want to Tell? No. 1: Gorgeous Backlighting
136
137
138
No. 2: Sultry Low-Contrast Lighting
140
No. 3: Simple, Slimming Short Lighting No. 4: Full-Length Full-Length Flattering Lighting
143 144
No. 5: Sidelighting to Dramatically Enhance or Reduce Curves 146 No. 6: Sexy Noir Lighting
148
No. 7: Universally Flattering Clamshell Lighting No. 8: Seductive Seductive and Flattering Feathering
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THE ART OF BOUDOIR PHOTOGRAPHY: HOW TO CREATE STUNNING PHOTOGRAPHS OF WOMEN
151
149
CHAPTER 7
Use Limitations to Ignite Your Creativity
CAPTURING BEAUTIFUL PHOTOGRAPHS 153
Remain Open
SHOOTING TECHNIQUES TO BRING OUT THE BEST IN WOMEN Begin without Fanfare
154
Start with Easy Setups
154
Shoot This for That Give Her a Peek
Be True to Yourself
161
155
Composition
165
167
168
Depth of Field
170
Shutter Speed
170
CAPTURING VARIETY
158
172
CREATING A NARRATIVE Make It Meaningful
What Is a Photographer’s Vision?
157
158
CULTIVATING YOUR VISION AND REFINING YOUR VOICE
Know the Why
158
Intentional Framing Align the Elements
Provide Constant Positive Feedback Everything Works Great
163
COMMUNICATING COMMUNICATING YOUR VISION WITH A CAMERA 165
154
Be Professional, Condent, and Take Take Control
159
159
162
163
Stay Inspired
175
175
Think Cinema: Master, Details, and Close-Ups Have a Beginning, Middle, and End PUTTING IT ALL TOGETHER
175
175
175
161
BEFORE AND AFTER: CYNTHIA AFTER: CYNTHIA
180
CONTENTS
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PART III
AFTER THE SHOOT
CHAPTER 8
FINISHING WITH A LIGHT TOUCH IN POST-PRODUCTION THE ART OF EDITING What Do You Value?
187 RETOUCHING PHILOSOPHY
188
199
TECHNIQUES IN ADOBE PHOTOSHOP
WORKFLOW IN ADOBE LIGHTROOM
xvi
Consider Your Art a Collaborative Effort
188
190 190
Strategies for Choosing Your Best Photos
Making Adjustments to Light and Color
192
From Lightroom to Photoshop
198
To Retouch or Not to Retouch?
188
Choose the Cream of the Crop Realistic Expectations
198
190
The Top Photoshop Tools
203
THE FINAL PRESENTATION
213
BEFORE AND AFTER: MRS. AFTER: MRS. C
214
THE ART OF BOUDOIR PHOTOGRAPHY: HOW TO CREATE STUNNING PHOTOGRAPHS OF WOMEN
202 203
PART IV IV
ONE
BOUDOIR SESSION CHAPTER 9
BEHIND THE SCENES WITH ONE SUBJECT 221 BEFORE THE SHOOT
Creating the Experience
222
222
Planning the Creative Direction DURING THE SHOOT Styling
Photography Gear
225
230
230
Lenses and Camera Settings
Sensual Movement and Posing Bringing Out Karen’s Best AFTER THE SHOOT
Choosing Final Selects
Karen’s Reaction
233
235
237
239
239
Finishing with Post-Production Post-Production
INDEX
225
225
Lighting
240
242
244
CONTENTS
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INTRODUCTION Hey you. I you’re reading his book, you’re ready. You know wha I’m alking abou. You’ve You’ve been considering considering eiher having having a boudoir phoo phoo shoo or or phoographing phoographing one. one. Eiher way, you’re in he righ place. I’ve been phoographing women or years. I received my firs Canon film camera as a Chrismas gif when w hen I was a litle l itle kid. My riends and I would play dress-up and I’d ake picures. Considering my curren career specializing in phoographing women, hose hose memories make make me giggle, and and hose early early phoographs phoographs make me laugh even harder. In Chaper 1, “Working wih Women,” I share wih you he process I use or discovering how my subjec eels abou her body and sensualiy. Hundreds o shoos have augh me a ew hings or cerain abou how women hink and eel abou heir bodies. I’ve been moved o ears, audible awws , and cheers cheers by heir sories. sories. I’ve been inspired and moved by each one o hem. Te women who are ineresed in being phoographed phoographed are no jus proessional proessional models, bu also he everyday girls nex door, he housewives, soccer moms, enrepreneurs, and business owners. Many o hem have eelings o inadequacy, grie, and even sorrow regarding heir body and heir sensualiy. Bu he overriding emoion I ge rom each woman I shoo is ha she is ready. So ready. o make a lie change, o celebrae her sexiness and being a woman�alive and joyul and happy happy wih hersel and her body. body. o o ge in ouch ouch wih her core desires and bring back back inimacy wih hersel hersel or her parner parner where i’s i’s been missing, missing, and o move move on in a big badass way! Mos women will pu heir ull hear and soul ino his endeavor, endeavor, and so should each phoographer who’s orunae enough o have a beauiul woman in ron o her camera�a woman who may jus need a litle coaxing and direcion along wih a ew ips and ricks o uncover and capure he genuine, unique, sensual woman inside. Ta’s where you, he phoographers, sep in. Boudoir phoography phoography is a ulfilling aciviy wheher i’s a rewarding hobby or lucraive career. Tere isn’ anyhing really complicaed abou wha I do or how I do i, and you can do i, oo. oo. My mission as a eacher is o creae a brigade o boudoir phoographers whose primary goal is o help make women look and eel confiden, beauiul, and downrigh sexy! Ta’s why I creaed he Online Boudoir Workshop, and i’s why I coninue o each. I wan each woman o have he eeling o being seen, el, appreciaed, and glorified. As well as eeling like a sexpo who can sru ino a room and urn heads.
xviii
T H E A R T O F B O U D O I R P H O TO TO G R A P H Y :
HOW TO CREATE STUNNING PHOTOGRAPHS OF WOMEN
I’s my goal or you o be able o phoograph women more beauiully and easily. o have confidence confidence in your skills, joy in your work, and creaiviy creaiviy on all your shoos. Recenly, I pu up a pos on my blog ha invied women o wrie o me or an opporuniy o have a boudoir phoo shoo wih me and share heir sory in his his book. I waned o show he ransormaive power o boudoir phoography. You’ll see our women’ women’s sories highlighing highlighing heir experience experience and how he shoo shoo has ransormed ransormed heir lives. I’m graeul o each o hem, as well as all he women who reached ou o share heir sories, or allowing me ino heir lives and ex posing heir bodies, hear, and soul. Wriing Wriing a book abou abou boudoir phoograph phoographyy has reminded reminded me why I do wha I do, do, and how much I love i. Wih los o love love and graiude, graiude, Chrisa
INTRODUCTION
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50mm lens, ISO 200, f/2, 500 sec.
2
CREATING SENSUAL MOVEMENT
ensual movemen is he disinc acor ha
Sakes a boudoir momen rom good o
grea. Beore we ge o equipmen, lighing, and shooing, i’ i’ss vial o ake a sep back and discuss how o creae auhenic momens wih sensual movemen. o me, his is he mos imporan aspec o boudoir phoograph phoographyy. You Y ou can learn simple lighing easily, easily, bu or many phoographers, creaing gorgeous movemens ha have sensualiy, emoion, mood, eeling, and auheniciy remains elusive. Gesures such as he ones in his figure are all ha’s needed o creae movemen, which gives phoographs emoion and lie. Likewise, or he real woman who is ineresed in doing a phoo shoo, choosing her wardrobe may may be easy, easy, bu moving naurally
in ron o he camera and communicaing sex appeal may be her bigges sruggle (Figure 2.1). So le’s ake a ew pages o discuss he ar o sensualiy and sex appeal or any woman who wans o look and be sunning. Te ollowing secion can serve as a grea primer or all women on how o eel comorable wih heir bodies and culivae sex appeal, wheher a a phoo phoo shoo or in daily lie. For phoographers, phoographe rs, make sure o share his secion wih he woman who plans on sepping in ron o your camera, and eel ree o pass i along o all he women in your lie. We We could all sand o benefi rom eeling grea abou our bodies.
31
Figure 2.1 Shot in Los Los
Angeles with a 40-year-old nonmodel mother of two. I directed the fan toward her and coached her to “close your eyes, run your hands along your body, and make yourself feel good”—a good”—a simple yet powerful step toward creating sensuality. 50mm lens, ISO 250, f/2.5, 250 sec.
32
THE ART OF BOUDOIR PHOTOGRAPHY: HOW TO CREATE STUNNING PHOTOGRAPHS OF WOMEN
Shot in downtown Los Angeles Angeles with a 30-something self-described self-described shy girl. She told me things about herself that I hear often before a shoot: very nervous about the shoot, doesn’t even get naked with the lights on, has no idea how to ”be sexy.”
FIGURE 2.2
28–135mm lns, iSO 1600, f/3.5, 80 sc.
SENSUALITY AND HOW TO CULTIVATE SEX APPEAL Sensualiy is in a woman’s atiude. She may be a beauy on he surace, bu no amoun o visual perecion can creae sensualiy and sex appeal. Wheher W heher you are a phoographer sriving o creae sunning phoographs o women or you are a woman who wans o look and be sunning, he oundaion is a woman enjoying hersel and her body (FIGURE 2.2). Ta begins wih ocusing on he unique body pars each woman loves and addressing her ears and doubs, which earns rus, as we’ve discussed in Chaper 1. For he image in Figure 2.2, I gave he subjec he same ips I’m giving g iving you here, and made sure our ocus was on having un.
CHAPTER 2: CREATING SENSUAL MOVEMENT
33
PROJECTING CONFIDENCE i know bn condnt s as sad than don. As yo
A sfl tp that has always wokd fo m s, f yo don’t
mov thoh th st of ths tps and tchnqs, bn
fl 100 pcnt condnt, thn fak t. Mly ptndn
condnt bcoms as. it’s a sfl and ffctv habt to
to b condnt wll oftn b jst what yo nd to manfst
dvlop n all aas of lf, whth yo’ th photoaph
th al dal. Fakn condnc bns wth laxd bath-
o th on bn photoaphd. in tth, no on fls 100
n, st sholds, and a sml.
pcnt condnt, v. v. W all hav nscts and fas.
Now le’s le’s ake he nex n ex seps in culivaing sex appeal. In he process, respec your subjec’s subjec’s individual comor level and ase (and your own). own). Remem ber ha each each person is differen. differen. Here are some o my avorie ips or he women I phoograph. I’s bes o alk abou hem well in advance o he shoo so your subjec has ime o r y some o hem ou.
BE CONFIDENT Sep one in creaing allure is o brim wih confidence. In ac, confidence is he sexies hing a woman can wear (Figure 2.3). Confidence in how you move, how you look, how you eel, and wha you do. I you eel like a ool, you’ll look like li ke one. Remember o say ocused on your posiive atribues and know ha you can pull off nearly anyhing i you do i wih w ih sel-assurance.
HAVE FUN Men (and women) are atraced o women who are genuinely enjoying hemselves; ha qualiy maers more han any individual physical atribue. Alhough his seems simple, simple, i’s i’s ofen negleced. negleced. Have un! Enjoy being a woman. Enjoy being admired. Be playul. Have Have un while sruting around.
who loves her curves. Figure 2.3 Shot in Seattle with a gal who She’s absolutely brimming with condence, so we’re drawn to her expression and she looks stunning!
24–70mm lns, iSO 100 , f/2.8, 200 sc.
34
THE ART OF BOUDOIR PHOTOGRAPHY: HOW TO CREATE STUNNING PHOTOGRAPHS OF WOMEN
Especially during a phoo shoo, i’s imporan o remember o no ake ourselves oo seriously. Afer all, we’re posing in our underwear. Make sure any doubs or concerns ake a backsea o having a good ime. Once again, someimes a shorcu o having un is simply smiling. Tis woman’s inner beauy radiaes hrough her brillian smile and he sparkle in her eyes (Figure 2.4). Yes, she has cerain body pars ha she eels aren’ compleely gorgeous due o childbearing, bu you can eel here ha she’s she’s playul and enjoys being a woman, and we’re we’re boh ocused on wha she loves.
PRACTICE, PRACTICE, PRACTICE Comor wih your body akes pracice. Ge very amiliar wih your body, body, paying paricular atenion o he pars you love. Pracice Pracice being naked. Walk around your home naked. ry posing in he mirror naked. Appreciae and admire your body rom all angles. Make sure you ocus on he good suff, and be graeul or he gif g if o your body.
KNOW THE INNATE POWER OF ATTRACTION Men and women have enjoyed enjoyed looking a women since he dawn o ime, cerainly well beore Phooshop Phooshop.. Srech marks, cellulie, or some some exra pounds are no going o change ha. A woman’ woman’s atiude is he mos imporan aspec o eeling and looking ruly beauiul and appealing, no physical beauy. beauy. rus rus ha your viewer v iewer loves i all. Know ha any boldness, playulness, and enjoymen o your body will be appreciaed appreciaed and enjoyed.
FOCUS ON FEELING When a woman eels sexy, sexy, she looks sexy. sexy. When culivaing sex appeal, appeal, make sure o o ocus on pleasure and eeling good. How you move and how you flir, dress, undress, and ouch yoursel�even how you breahe�should be guided by w ha eels good o you. Someimes puting puting on your avorie avorie music or closing closing your eyes or or a momen can help you ocus on eeling good.
TAKE YOUR TIME I was phoographing a world-amous burlesque dancer in Los Angeles, and when I asked her o perorm a ew dance movemens aser or me, she reused. Slower is sexier, she said. She’s righ. Sensualiy has a slow empo. ake your own swee ime wih your movemens and gesures. Walk slowly and deliberaely. Move your hands along your body languidly. languidly.
TIP: TAKING OFF CLOTHES
Tease! Do it slowly, and take your time in between each piece. Hint at removing the item before removing it. Enjoy yourself! Teasing out your movements is not only more sensual, but also gives the photographer more time to catch a movement she loves.
CHAPTER 2: CREATING SENSUAL MOVEMENT
35
FLIRT! Move like you can barely conain your desire. Be playul and allow a bi o shyness o come ou now and again. Look a your viewer or he camera wih a easing glin in your eye. Le your inner good girl and naughy girl come ou o play ( FIGURE 2.5).
KNOW THE TRICKS OF THE TRADE Finally, culivaing sex appeal is no abou a crash die or Phooshop. I’s abou working wha you’ve go and knowing a ew ricks o he rade o o enhance wha’s wha’s already already here. here. We’ll We’ll cover hese ips and and ricks on how o find flatering flatering wardrobe, wardrobe, poses, poses, and lighing in upcoming secions ha enhance a woman’s sex appeal even urher.
Shot in New New Orleans with a 20-something nonmodel mother of two. My direction was to cross her arms in her lap to create a bit of appealing cleavage, and when I playfully coached her to squeeze her arms in tighter for even more cleavage, she let out a laugh (opposite). FIGURE 2.4
85mm lens, ISO 400, f/2,
250 sc.
Shot in New Orleans with a 30-something 30-something nonmodel and friend of mine, who truly truly enjoys the art of irtation. My direction to her was simply to let her naughty girl out to play a bit and irt with the camera. FIGURE 2.5
50mm lns, iSO 800, f/2, 160 sc.
CHAPTER 2: CREATING SENSUAL MOVEMENT
37
COACHING ACTIONS TO CREATE NATURAL MOVEMENT
Figure 2.6 The action I coached coached here was, “Close “Close your
eyes and slowly pull down your strap, enjoying every moment of it.” 50mm lns, iSO 400 , f/2.0 , 160 sc.
38
“Moion creaes emoion,” according o ony Robbins. I agree. I’m a big believer in he noion ha how you move is how you eel. I would like o borrow ha ha idea and apply apply i o phoograph phoographyy. MoveMovemen goes a long way in communicaing auhenic emoion. Ta’s one o he reasons I enjoy coaching acions: big or small movemens and asks ha I direc my subjec o perorm during he shoo (FigureS 2.6). Wih real women women who have have never proessionproessionally modeled beore, offering an acion o perorm insead o asking or a pose makes i easier or hem o be real and look naural. A nonmodel’s bigges challenge is mos ofen her sel-consciousness s el-consciousness and he ac ha she doesn’ doesn’ know go-o poses ha boh flater and look naural. In ac, many phoographers also sruggle wih he ear o no knowing how o pose a subjec. You can overcome all o hese hesiaions by simply giving your subjec easy acionable direcions, such as “oss your hair,” “shake your booy, booy,” or “wirl” (FIGURE 2.7). Te resuls look more emoive and auhenic han when your subjec is jus sanding here wondering wha o do or sriking a saic pose where she seems disconneced di sconneced rom hersel and he momen. For his image, he direcion I gave her was o simply run across camera rom poin A o poin B several several imes unil I nailed nailed he sho ha creaed mood, mysery, and movemen. Tere are urher benefis o coaching acions as well, which all go a long way in bringing ou he bes in any woman woman who seps seps in ron o your your camera.
THE ART OF BOUDOIR PHOTOGRAPHY: HOW TO CREATE STUNNING PHOTOGRAPHS OF WOMEN
FIGURE 2.7 The lovely swirl of her red dress helps helps illustrate movement.
24–70mm lns, iSO 100, f/2.8 , 100 sc.
CHAPTER 2: CREATING SENSUAL MOVEMENT
39
Firs, you disable any sel-consciousness by ranserring ranserring her ocus o perorming he acion insead o rying o look good. Second, you creae naural movemen o capure insead o a lieless pose. Tird, you begin o exhaus her nervous ension by keeping her in moion and repeaing repeaing he acion. Tis ges her blood flowing and revives her expressions when her energy has waned. Te ollowing are our essenial echniques o max imize he effeciveness o coaching acions:
KEYS TO COACHING ACTIONS 1. Demonstrate the move
I your subjec is unsure o how o perorm he acion you’re you’re coaching, always pro vide her wih a quick demonsraion. demonsraion. While you’re you’re shooing, wihou puting your camera aside, briefly demonsrae he acion you’re you’re asking her o do. By seeing s eeing you perorm i firs, she’ll eel less silly doing i hersel and will be more likely o commi 100 percen o i. 2. Repeat as needed
When you ask your subjec o repea repea an acion over over and over again, i gives gives you muliple opporuniies o capure somehing gorgeous ( FIGURE 2.8). Te acion I coached or his image was o hold he scar au over her head and shimmy i back and orh. I had her do his muliple imes imes unil I lucked ou when w hen all he pieces came ogeher: her breas, lips, and eye were visible, v isible, he scar ’s ringe showed movemen, and her legs were crossed, orming a nice curve a he end o rame. By doing an acion several imes, your subjec will embrace i more, relax and ge ino i, and laugh when she messes up. Each o hose are unique and awesome capures. Repeiion is also a secre ploy o consume her nervous ner vous energy. energy. I’s hard or someone o be nervous ner vous when she’s ired ou. 3. Commit fully
Ask your subjec o commi commi 100 percen o o he acion. Leap high, laugh big, sigh deeply. Ten coach her o push he acion o he exreme. Coach her o “kick your leg higher” or “oss your hair wih more abandon.” 4. Use in tandem tandem with posing guidelines
Shot in Big Sur at Edward Weston’s estate, Wildcat Hill, with one of my favorite nude models (opposite). FIGURE 2.8
Coaching Coaching acions guaranees ha you crea c reaee naural, auhenic movemen, even wihou knowing addiional posing posing guidelines and even even wih a woman who has has never sepped in ron o a pro’s camera beore. In he nex chaper, we’ll discuss how o incorporae posing guidelines ino coaching acions, a powerul combinaion o echniques.
24–70mm lns, iSO 400, f/3.2, 60 sc.
40
THE ART OF BOUDOIR PHOTOGRAPHY: HOW TO CREATE STUNNING PHOTOGRAPHS OF WOMEN
TOP 10 ACTIONS FOR STUNNING RESULTS 1. Brush your hair out of your your eyes
Tis is a grea one o sar wih. w ih. Even hough i’s i’s a naural, everyday acion ha will be supereasy or your subjec o perorm over and over again, some nonmodels are hesian o do somehing as simple as brushing heir hair ou o heir eyes wihou he phoographer’ phoographer’ss permission. So go go ahead and give her his litle direcion rom he beginning. In ac, ac, i will be a necessiy when you direc he an a her, ask her o oss her hair, or have her moving a bunch. 2. Shake out your hair
Tis is he easies direcion o shake he nerves loose and have some un, so s o i’s anoher grea acion o begin wih. I like li ke o ask my subjec o shake her head side o side wih her eyes closed and a sligh smile (FIGURE 2.9). An alernaive is o have her look direcly a he camera and mess up her hair wih her hands. 3. Jump, run, skip, or bounce
Any o hese acions acions will help deplee her her ner vous energy when she’ she’s asked o repea repea i over over and over again, helping her relax. So hese hese are acions ha I like o coach early in he session. Depending on he locaion and wardrobe, I have my subjec eiher jump ( Figure 2.10), run oward or away rom he camera, skip oward me, or bounce playully on he bed. Here, Here, I asked he model o do a silly cheerleader jump. We repeaed repeaed i a ew imes, imes, and I was hrilled ha we capured a genuine and joyul emoion. 4. Play with your clothing
Sugges o your subjec ha she simply play wih an iem o clohing ha she’s wearing, wheher i’s a bra srap, garers, shir collar, or a ha. Tis is
42
FIGURE 2.9 The simple instruction instruction “Shake your your hair and head side to side with your eyes closed and a slight smile” works with every woman I’ve shot. It’s a brilliant tool for easing nerves while creating authentic emotion and sensual movement that looks stunning.
24–70mm lns, iSO 100, f/2.8, 200 sc.
easy, easy, fliraious, and a grea way o ge parially dressed shos wih some naural movemen. Direcions could include: Pull down your srap a bi (Figure 2.11), flir over your collar, peek ou a me rom under your ha, unzip your dress, and so on.
THE ART OF BOUDOIR PHOTOGRAPHY: HOW TO CREATE STUNNING PHOTOGRAPHS OF WOMEN
Figure 2.10 Shot in in Florence Florence
with a young model, who was struggling to give an authentically joyful expression. I wanted to loosen her up a bit and create a happy mood that matched the irty and fun dress. 50mm lns, iSO 200, f/1.8, 2000 sec.
CHAPTER 2: CREATING SENSUAL MOVEMENT
43
someimes showcasing a gorgeous pair o high heels or a sexy peek o high and bum. Plus, his is anoher un acion or your subjec o perorm and anoher nervous energy buser. 7. Yell “Hey!”
Ask your subjec o vocalize vocalize and really really le i ou. She’ll release some ension and probably laugher along wih i. I’s a grea way o loosen her up, ge he blood flowing, and keep her presen on he shoo. I also migh direc his acion i I see my subjec’s subjec’s energy is waning in order o wake her up a bi. 8. One, two, buckle your shoe
Mos women love shoes, and any acion involving women’s shoes is generally a good idea. aking one off, buckling he sides, running her hands along hem�hese are all acionable direcions ha are easy or a nonmodel o perorm and ha elici un shos. Figure 2.11 Shot in New York York City with a young aspiring aspiring
model. I coached her to lift her shoulders a bit and slowly pull down both straps while looking down her body. I coached my subject to continue pulling down the straps of her dress (or lingerie), revealing as much or as little as she likes depending on her comfort level. 85mm lns, iSO 100, f/2.8, 160 sc.
5. Shake it
urn on some music and ask your subjec o jam. Tis is mosly o loosen hings up u p and have some silly un. I like o coach my subjecs o shake i i hey’ve go i because i usually creaes a un amosphere and some laugher and lighens everyone up. I also leaves i up o your subjec how creaive creaive or daring she ges wih i. 6. Twirl around
Tis acion can be useul, useul , depending on your subjec’s wardrobe. Wheher she’s wearing a dress, skir, nighie, n ighie, or silk robe, i’s easy o ge a sho o movemen and a wirl o abric,
44
9. Run your hands along along your your body
Tis acion is my avorie, and I direc his one on every shoo wheher i’s wih a model, a muse, or a real woman. Since i’s a litle more inimae, you may wan o do his one once he shoo has progressed progressed a bi. Direc your subjec o use an elegan ouch wih her fingers barely ouching her skin and o keep her hands moving slowly. I also ofen coach her o no move her hands parallel o each oher, bu o have one up and one down. I’s imporan o noe ha wherever he model places her hands is where he viewer’s eyes will go. So be specific abou where you ask her o place and move her hands. 10. Close your eyes and…
I le his direcion be more o a suggesion ha rails off so she can fill in he blank. blank . Usually, Usually, his acion provokes eiher a blush, a sigh, a smile, or some oher genuine expression unique o your subjec.
THE ART OF BOUDOIR PHOTOGRAPHY: HOW TO CREATE STUNNING PHOTOGRAPHS OF WOMEN
CREATING AUTHENTIC EMOTION Phoographs ha depic emoion have become my rademark. Beore we ge ino flatering lighing and composiion, le’s le’s ocus on nailing a wonderul expression. Culivaing sensualiy and sex appeal, as discussed earlier, is he firs sep in creaing sensual movemen. Coaching acions, he second sep covered, is geared oward generaing naural movemen regardless o a woman’s experience in ron o a pro’s camera. Now, he hird sep pus he icing on he cake. Tis is how you ensure ha each movemen and emoion capured is auhenic.
EMOTION IS IN HER EXPRESSION Sep one in creaing auhenic emoions is recognizing he real deal when you see i. You can always ell an auhenic smile i i rings rue in her eyes, as in r ickier Figure 2.12. Oher emoions could ge a bi rickier o suss ou, bu more ofen han no, you can eel auheniciy by looking a her expression. Ask yoursel: Is your subjec conneced o he momen and wha’s wha’s happening? More More ofen ofen han no, I eel more auhenic emoion when a subjec is looking down a her body, a he ligh source, or has her eyes closed raher han direcly a he camera ( FigureS 2.13 , 2.14 , and 2.15). Alhough his is a mater o personal ase, ase, I eel ha eyes looking direcly a he camera ake he viewer ou o he voyeurisic eel.
Figure 2.12 Shot in my Los Los Angeles studio with with a young
and curvy nonmodel. You can always tell real laughter when you see it. The curl over her face adds to the impromptu little giggle from a nervous subject whom I was just warming up. 24–70mm lns, iSO 100, f/2.8, 200 sc.
CHAPTER 2: CREATING SENSUAL MOVEMENT
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FigureS 2.13–15 Shot with a nonmodel in New York. This woman was a bit nervous, so I started by asking her to let her hair
down and mess it up, which prompted some real giggles, as in 2.13. Then I coached her to irt over her shoulder, imagining her biggest crush (2.14). Well that provoked genuine laughter and blushing (2.15). It’s up to you to direct, evoke, and select the genuine moments.
85mm lns, iSO 160, f/2, 100 sc.
TIP: CAPTURE REAL LAUGHTER
The more you laugh and crack yourself up, the more she laughs. Use her nervous energy to work for you. Tease your subject. Ask for fake laughter and it usually ends up in real laughter. laughter. Nobody can fake laugh without feeling like a total ass, so it always provokes real laughter from both of you. Just make sure you press the shutter while you’re doubling over.
46
SHOOT THE IN-BETWEEN MOMENTS Unplanned outakes are awesome ( Figure 2.16). Ta’s Ta’s he good suff. W hen your clien alls over or cracks up, make sure o capure i ( Figure 2.17). Tose are ofen he mos beauiul, hones, and emoionally rue momens. You can even ry elling her ha you’re you’re jus shooing a ligh es so she drops her guard and can move and eel more ruhully. Culivaing sex appeal, coaching naural movemen, and creaing auhenic emoion is he essence o wha boudoir is all abou. Wihou hese essenial ingrediens, your phoographs phoographs will lack he he sensualiy ha is he oundaion o his genre. By sharing wih your subjecs he keys keys o sensual movemen, movemen, you will no only bring ou heir heir bes, bu you’ll bring ou your bes as well. well. I’s I’s so exciing and rewarding rewarding or boh phoographer phoographer and subjec o experience a woman really opening up and enjoying hersel and her body, body, as well as he shoo and resuling picures.
THE ART OF BOUDOIR PHOTOGRAPHY: HOW TO CREATE STUNNING PHOTOGRAPHS OF WOMEN
ower kept kept Figure 2.16 The ower falling out of this woman’s hair. Even though she was still prepping and wasn’t ready, I grabbed this in between moment because of her joyfulness and authenticity.
50mm lns, iSO 400, f/3.2, 100 sc.
CHAPTER 2: CREATING SENSUAL MOVEMENT
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Figure 2.17 In a 30-minute
mini-session shot in Italy with a 40-year-old nonmodel, I directed her to shake her hair from side to side. I asked her to do it again and again until she busted out laughing. Is the composition perfect? No. Do I love the emotion, spirit, and beauty in her and this picture despite that? Yes! 85mm lens, ISO 200, f/2.0,
160 sc.
48
THE ART OF BOUDOIR PHOTOGRAPHY: HOW TO CREATE STUNNING PHOTOGRAPHS OF WOMEN
ACTION PLAN: A CHEAT SHEET TO CREATE EMOTION if yo clnt s ovwhlmd by nvs, can’t lax, and s thfo nabl to povd dffnt motons, h s an acton plan: 1. Ask her to regroup regroup and reconnect
Ask h, “Clos yo ys, lax, bath, and connct wth yoslf. rn yo hands alon yo body and lt t fl ood.” ood.” Ths acton alon povoks loads of df fnt motons and at shots. 2. Get her moving a ton
Coach a ss of actons to xhast and annhlat h nvos ny. Hav h jmp p and down on th bd, twl h skt, p h ha, and mo ntl sh lahs, whch happns somtms aft only a fw mnts. 3. Give her a prop
Ths wll t h to mmdatly tansf h focs fom hslf to th pop. Oftn, womn fl saf “hdn” bhnd a pop. Pls, playn wth t s fn and can b slly, whch s jst what s ndd to tak th tnson ot of a staton. 4. Turn on some tunes
5. Change up the energy
Somtms, th ny n th oom jst nds to chan n od to ffct a chan n yo modl. i wll somtms hav somon th nt o lav th oom. Fo nstanc, i’ll ask th makp atst to com to th st to do a toch-p. O convsly, f fnds o assstants a psnt, hav on xt to ab a cp of coff so th ny n th oom chans. Oftn, ths s all that’s ndd to t th sbjct to lax. 6. Add the fan!
Th fan s an absolt mst-hav on st. Okay, i admt ths on s th bst chat. it’s th most foolpoof way to add moton whn all ls fals. Tn a fan on, blow t towad yo clnt, and watch th moton po ot of h—o jst look lk t s. Ty t. Th fan cats moton and snsalty, vn whn somtms t’s not th. 7. Shoot body shots
if nothn yo ty s wokn, and yo sbjct stll won’t v yo anythn bt a stff pos, ty focsn on shootn body shots and dtals fo a pod of tm. Wat ntl sh ts mo
Msc can mak som womn fl sxy n an nstant. Th typ
comfotabl wth yo o yo can show h a ood shot on th
of msc s p to h ndvdal tast. Som womn pf
back of yo cama so sh can bath a sh of lf and
slow and slty, whas oths o fo fast and fnky. Ty
phaps lax a bt mo.
both, and choos th sons that wll vok th mood yo a on fo. evy woman shold hav a playlst of sons that mak h fl nstantly hot. Ask h to bn h tns, and f sh dosn’t hav any, v h th assnmnt of ndn som. My cnt favot playlsts and commndatons a on my wbst, www.ChstaMola.com/ www.ChstaMola.com/socs. socs.
CHAPTER 2: CREATING SENSUAL MOVEMENT
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INDEX
A
accessories. See also equipmen A-clamps, 121, 125 backdrops, 121–122 body oil, 125 ans, 49, 120 gaffer’s ape, 121, 125 gray background paper, 123–125 A-clamps, 121, 125 acions, Phooshop, 210–212 Adobe Lighroom, 190–198 Adobe Phooshop, Phooshop, 21, 198, 203–212 alcoholic beverages, beverages, 25, 92 alignmen, 167–168 amaeur models, 8–9 aperure, 134–135, 170 aperure setings, 135 arms, 62, 65, 199, 201 ariss’ figure models, 11–14 aris’s muse pose, 65 available ligh, 132, 137 B
background backdrops, 121–122 deph o field and, 170 eahering and, 151 ocal lengh and, 112, 113 gray paper or, 123–125 removing disracions rom, 201, 208, 241 reouching, 201 backlighing, 130, 138–139, 230–231
244
“beore-and-afer” examples Alison, 100–103 Cynhia, 180–183 Mrs. C, 214–215 beverages, beverages, alcoholic, 25, 92 black muslin backdrop, backdrop, 121–122 black reflecor, reflecor, 133 black-and-whie black-and-whie images, images, 129, 189, 197 Blacks slider, Lighroom, 195 blown-ou highlighs, 195 blurring, 170 body image, image, 16 body oil, 125 body shapes/sizes, shapes/sizes, 83 body shos, 155 Boox injecions, 27–28 boudoir phoography phoography.. See also phoography good habis or, 110 male phoographers, phoographers, 13, 18, 22, 158 policies, 24–25 soryelling wih, 76, 137, 175, 178 echniques, 154–159 ransormaive ransormaive qualiy o, 15–18 weigh issues, 20–21 boudoir session example, example, 221–243 boudoir shoos. See phoo shoos bra insers, 83 bras, 82, 83, 229 breass bra insers, 83 bras, 82, 83, 229 cleavage, 37, 73, 83 enhancing, 73, 83, 201 nipple covers, 88 reouching, 201
THE ART OF BOUDOIR PHOTOGRAPHY: HOW TO CREATE STUNNING PHOTOGRAPHS OF WOMEN
brighness, 194 bum curvy, 59, 89 fla, 83 reouching, 201 “wedgies,” 59 busiers, 78, 81 C
camera communicaing your vision, 165–171 consideraions, 109 lenses. See camera lenses makeup and, 94–96 manual, 121 rening, 109 setings, 233–235 camera bag, 110 camera body, 109 camera lenses, 111–121 aesheics, 111–112 or boudoir, 113–121 comparison o, 111–113 ocal lenghs, 111–113 primes, 111 ypes o, 113–117 using on shoos, 118–119, 233–235 uiliy, 111 zoom, 111 camera raw files, 195 calike pose, 66–67 ChrisaMeola.com, ChrisaMeola.com, 14 clamshell lighing, 149–150
cleavage, 37, 73, 83 Clone Samp ool, Phooshop, 206–207, 240 close-up shos, 175 closing shos, 179 clohing backups, 81 bras, 82, 83, 229 busiers, 78, 81 classics, 81 corses, 83 figure ypes, 83 flatering, 81 garer bels, 88, 89 jewelry, jewelry, 86, 87 men’s shir, 82 modes oufis, 154 mus-haves, mus-haves, 82–91 82–9 1 panies, 59, 83, 86 or phoo shoos, 26, 225–226 playing wih, 42–44 removing, 35 reouching, 201 robes, 83 scarves/shawls, 84–85, 86 sheer abric, 86, 87, 139 sheer eddy, 82 shoes, 44, 83, 86, 88, 201 high-high sockings, 88 ips or, 81 wardrobe wardrobe changes, 80 wardrobe wardrobe guidelines, 79–81 wardrobe wardrobe opions, 26 wrinkled, 81 collaboraion, 202–203
INDEX
245
collagen injecions, 27–28 color adjusing, 192–198 brigh, 196 mued, 196 in, 194 whie balance, balance, 193 comor zone, 15, 19 composiion, 168–170 confidence, 34–37, 61, 155 confidence-building shos, 157 conrapposo, 56, 57 conras, 196, 210, 240 Conras slider, Lighroom, 196 copyrighs, 25 corses, 83 cosmeic surgery, 27–28 counerpose, 57 Couresan pose, 71, 236 creaive direcion, 22–24, 225 Crop slider, Lighroom, 196 cropping images, 167, 168, 196 curves accenuaing by posing, 255 breass, 37, 73, 83 creaing curvy bum, 59, 89 enhancing wih lighing, 127, 146–148 S-curve, 57 wardrobe and, 82, 83 D
dancers, 11–14 dancing, 44 deph o field, 170 derrière, curvy, 59, 89 deail shos, 175, 177 diffusion screen, 133 E
ediing, 188–190. See also pos-producion emoion, 45–49, 54, 170 equipmen, 107–125. See also accessories
246
backdrops, 121–122 camera. See camera camera bag, 110 consideraions, 127 ans, 49, 97, 120 gray background paper, 123–125 guidelines, 109–110 learning abou, 109 lighing. See lighing equipmen manuals, 109 on-locaion, 230 pracicing wih, 109–110 rening, 109 esablishing shos, 175, 177 exposure, 139, 158, 188, 194 Exposure slider, Lighroom, 194 eye lines, 54, 59–60 eyes, 54, 59–60, 201 F
ace enhancing, 96 reouching, 201 alse eyelashes, 96 ans, 49, 97, 120 anasy phoo shoos, 23 eahering, 134, 151 eedback, 157 ee pedicures, 26 posing, 62, 68 reouching, 201 figure drawing, 129 figure models, 11–14 fill ligh, 232 flashes, 132 fliraion, 37 flowers, 92, 93 ocal lenghs, 111–113 raming, 165–166 ull-lengh lighing, 144–145 un, 17, 27, 34–35
THE ART OF BOUDOIR PHOTOGRAPHY: HOW TO CREATE STUNNING PHOTOGRAPHS OF WOMEN
G
gaffer’s ape, 121, 125 garer bels, 88, 89 gear, gear, 107–125. 107– 125. See also accessories backdrops, 121–122 camera. See camera camera bag, 110 consideraions, 127 ans, 49, 97, 120 gray background paper, 123–125 guidelines, 109–110 learning abou, 109 lenses. See lenses lighing. See lighing equipmen manuals, 109 on-locaion, 230 pracicing wih, 109–110 rening, 109 “girl nex door,” 12–14, 227 gold reflecor, 133 Graduaed Filer, Lighroom, 197 gray background paper, 123–125 H
hair diry, 98 movemen, 42 reouching, 201 syling, 97–99 windblown, 97 hair syliss, 97–99 haircus, 27 hands placemen o, 54–56 posing, 61, 68, 73 reouching, 201, 204 ension in, 61 high heels, 83, 86, 88 highlighs, 148, 195 Highlighs slider, Lighroom, 195
hips posing, 57, 58, 89 reouching, 201 Hisory brush, Phooshop, 209 Hisory seting, Phooshop, Phooshop, 203 “horror lighing,” 140 I
images aligning elemens, 167–168 black-and-whie, black-and-whie, 129, 189, 197 body shos, 155 choosing bes, 188–192 choosing final selecs, 213, 239 close-up shos, 175 closing shos, 179 confidence-building shos, 157 copyrighs, 25 cropping, 167, 168, 196 depicing emoion, 45–49, 54, 170 deail shos, 175, 177 esablishing shos, 175, 177 final presenaion o, 213 raming, 165–166 in-beween momens, 46–48 maser shos, 175 nudiy. See nudiy pos-producion. See pos-producion prop shos, 154 realisic expecaions, 190 reouching. See reouching phoos selecing avories, 188–190 shooing. See phoo shoos vigneting, 197 inspiraion, 18, 76, 163–164 inenional raming, 165–166 inersecion poins, 168–169 ISO, 134 J
jewelry, jewelry, 86, 87 JPEG files, 195
INDEX
247
L
Lasso ool, Phooshop, 208, 240 laugher, 46, 48 legs posing, 62 reouching, 201 “sumpy,” 62 wardrobe and, 83 lenses, 111–121 aesheics, 111–112 or boudoir, 113–121 comparison o, 111–113 ocal lenghs, 111–113 primes, 111 ypes o, 113–117 using on shoos, 118–119, 233–235 uiliy, 111 zoom, 111 ligh sand, 135, 136 lighing, 127–151 adjusing ligh, 192–198 available ligh, 132, 137 backlighing, 130, 138–139, 230–231 clamshell, 149–150 consideraions, 127 diffused ligh, 130 example session, 230–233 eahering, 134, 151 fill ligh, 232 flashes, 132 flatering echniques, 136–151 ull-lengh, 144–145 “horror,” 140 low-conras, 140–142 misakes, 140 monolighs, 135 naural ligh, 130–132 noir, 148 overexposure, overexposure, 139, 158 1 58 porrais, 129 reflecors, 132, 133, 233 shooing in sudio, 132–136
248
shor, 143 sidelighing, 146–148 silhouetes, 130 sofboxes, 135–136, 148 srobes, 128, 132, 133–134, 137 sunligh, 136 lighing equipmen diffusion screen, 133 monolighs, 133, 135 reflecors, 132, 133, 233 sofboxes, 135–136, 148 srobes, 128, 132, 133–134, 137 lighing ki, 135 Lighroom, 190–198 lip liner, 96 lipsick, 96, 170 Liquiy ool, Phooshop, 204–205, 240 look-books, look-books, 72, 94 low-conras low-conras lighing, 140–142 140–14 2 M
makeup, 94–96 makeup ariss, 96 male phoographers, phoographers, 13, 18, 22, 158 manicures, 26 manuals, 109 masks, 90–91, 92 maser shos, 175 men’s shir, 82 mermaid pose, 68 model agencies, 8 model communiies, 8–9 model releases, 24–25 modelmayhem.com, 7 models, 6–14. See also “real women”; subjecs amaeur, 8–9 comor zone, 15, 19 finding, 221 hiring, 8–9 modesy, modesy, 61, 68, 69, 139, 181 muses, 11–14 nudiy. See nudiy
THE ART OF BOUDOIR PHOTOGRAPHY: HOW TO CREATE STUNNING PHOTOGRAPHS OF WOMEN
preparaion preparaion or shoos, 26 proessional, 7–11 ips or, 11 wardrobe opions, 26 working wih, 9 modes oufi, 154 modesy, modesy, 61, 68, 69, 139, 181 monolighs, 133, 135 moion. See movemen movemen coaching acions, 38–41, 72, 154 dancing, 44 naural, 38–41 removing clohes, 35 sensual, 31–49, 235–237 slow, 35 op 10 acions, 42–44 MUA (pro makeup aris), 96 muses, 11–14, 65 music, 27, 35, 44, 49 N
narraive, narraive, 76, 175, 178 naural ligh, 130–132 neck, 64, 199, 201 negaive sel-alk, 28 negaive space, 168–170 nervousness, 19, 237 nipple covers, 88 noir lighing, 148 nonmodels, 12–14. See also models; subjecs nudiy consideraions, 21 degrees o, 21 model comor level, 25 model releases and, 25 modesy, modesy, 61, 68, 69, 139, 181 permissions, 25 variaions in, 20
O
Ocabox, 135–136 oil, body, 125 ousourcing, 202 overexposure, overexposure, 139, 158 15 8 P
panies, 59, 83, 86 paper, gray, 123–125 pedicures, 26 personaliy qualiies, 16–17 phoo shoos, 153–179 afer he shoo, 239–243 alcohol use, 25 beore/afer. beore/afer. See “beore-and-afer” examples beginning o, 154 behind he scenes, 221–243 clohing. See clohing creaive direcion, direcion, 22–24, 225 dos and don’s, 26–28 easy seups, 154–155 energy, 49 ans, 49, 120 anasy, 23 avorie hings, 23–24 having un, 17, 27, 34–35 limiaions, 162–163 locaion, 225 male phoographers, phoographers, 13, 18, 22, 158 music during, 27, 35, 44, 49 negaive sel-alk, 28 nervousness, 19, 237 nudiy in. See nudiy pampering aspec o, 18 posiive eedback, 157 preparaion or, 26, 222–225 props, 49, 91–93 realisic expecaions, 190 during he shoo, 225–239 “shooing his or ha,” 158 as special occasion, 17–18
INDEX
249
phoo shoos (continued) ardiness and, 27 echniques, 154–159 variey, variey, 172–174 visualizing resuls, 17 wardrobe opions, 26 phoographers collaboraion, 202–203 confidence, 155 decision making, 161 energy, 155 emale, 13, 22 inspiraion, 163–164 male, 13, 18, 22, 158 policies, 24–25 porolio, 13–14 unique voice o, 161 vision, 159–161 phoographs aligning elemens, 167–168 black-and-whie, black-and-whie, 129, 189, 197 body shos, 155 choosing bes, 188–192 choosing final selecs, 213, 239 close-up shos, 175 closing shos, 179 confidence-building shos, 157 copyrighs, 25 cropping, 167, 168, 196 depicing emoion, 45–49, 54, 170 deail shos, 175, 177 esablishing shos, 175, 177 final presenaion o, 213 raming, 165–166 in-beween momens, 46–48 maser shos, 175 nudiy. See nudiy pos-producion. See pos-producion prop shos, 154 realisic expecaions, 190 reouching. See reouching phoos
250
selecing avories, 188–190 shooing. See phoo shoos vigneting, 197 phoography. See also boudoir phoography phoography capuring variey, 172–174 composiion, 168–170 deph o field, 170 shuter speed, 170–171 Phooshop, Phooshop, 21, 198, 203–212 poin o view, 173 policies, 24–25 porolio, 13–14 porrai lighing paterns, 129 posing, 51–73 awkward limb placemen, 62 bes poses, 64–71 breas enhancemen, enhancemen, 37, 73 calike pose, 66–67 common misakes, 59–63 consideraions, 51 conrapposo, 56, 57 Couresan pose, 71, 236 direcions or, 20 disance rom camera, 58 easy pose, 154 eyes/eye lines, 54, 59–60 hands, 54–56, 61 inusing sensualiy ino, 61 look-books, look-books, 72, 94 loss o sponaneiy, sponaneiy, 63 mermaid pose, 68 muses, 11–12 posure, 52–53 principles o, 52–59 proessional proessional models, 7–8 proporion and, 62 sensual, 52–59 serpen pose, 69–70 sponaneiy, 63 sereoyped, 63 “sump effec,” 62 sysem or, 72–73
THE ART OF BOUDOIR PHOTOGRAPHY: HOW TO CREATE STUNNING PHOTOGRAPHS OF WOMEN
pos-producion, 187–213. See also reouching phoos adusing ligh/color, 192–198 ar o ediing, 188–190 choosing phoos, 188–192 consideraions, 187 example session, 240–242 Lighroom, 190–198 Phooshop, Phooshop, 21, 198, 203–212 posure, 52–53 pro makeup aris (MUA), 96 proessional models, 7–11 proessional syliss. See syliss prop shos, 154 props, 49, 91–93, 155 R
raw files, 195 “real women,” 12–14. See also models; women body image, image, 16 comor zone, 15, 19 confidence, 34–37, 61 curvy, 83 definiion o sexy, 18, 19 emoion, 45–49, 54, 170 flatering figures, 83 “girl nex door,” 12–14, 227 modesy, modesy, 61, 68, 69, 139, 181 negaive sel-alk, 28 nervousness, 19, 237 nudiy. See nudiy personaliy qualiies, 16–17 sel-discovery, sel-discovery, 15 sel-eseem, 17 sensualiy, sensualiy, 33–37, 61 61 sex appeal, 33–37, 46 sexiness, 18, 19 hin, 83 ransormaive experience or, 15–18 vinage looks, 227 vocalizing, 44
weigh issues, 20–21 working wih, 5–28 reflecors, 132, 133, 233 rening equipmen, 109 reouching phoos. See also pos-producion checklis or, 200–201 consideraions, 21, 198–203 example session, 240–242 Lighroom, 190–198 limiing ime or, 202 minimal amoun o, 202 ousourcing or, 202 Phooshop, Phooshop, 21, 198, 203–212 removing disracions, 199, 201, 241 rero look, 167 robes, 83 rule o hirds, 168 S
scarves, 84–85, 86 S-curve, 57 sel-discovery, sel-discovery, 15 sel-eseem, 17 sensual movemen, 31–49, 235–237 sensual posing, 52–59 sensualiy, sensualiy, 33–37, 61 serpen pose, 69–70 sesame body oil, 125 sex appeal, 33–37, 46 sexiness, 18, 19 shadows, 140, 195 Shadows slider, Lighroom, 195 shawls, 86 sheer abric, 86, 87, 139 sheer eddy, 82 shoes, 44, 83, 86, 88, 201 shooing phoos. See phoo shoos “shooing his or ha,” 158 shor lighing, 143 shoulders, 44, 61, 65, 201 shuter speed, 134, 170–171
INDEX
251
sidelighing, 146–148 signs, 92 silhouetes, 130 silver reflecor, 133 smiling, 35, 45, 54, 81 sofboxes, 135–136, 148 sponaneiy, 63 sockings, 88 somach, 52, 201 soryelling, 76, 137, 175, 178 srobes, 128, 132, 133–134, 137 sudio, shooing in, 132–136 syling, 75–99, 225–229 syliss, 78–79, 81 subjecs, 12–14. See also models; women body image, image, 16 comor zone, 15, 19 confidence, 34–37, 61 curvy, 83 definiion o sexy, 18, 19 emoion, 45–49, 54, 170 flatering figures, 83 “girl nex door,” 12–14, 227 modesy, modesy, 61, 68, 69, 139, 181 negaive sel-alk, 28 nervousness, 19, 237 nudiy. See nudiy personaliy qualiies, 16–17 sel-discovery, sel-discovery, 15 sel-eseem, 17 sensualiy, sensualiy, 33–37, 61 61 sex appeal, 33–37, 46 sexiness, 18, 19 hin, 83 ransormaive experience or, 15–18 vinage looks, 227 vocalizing, 44 weigh issues, 20–21 working wih, 5–28 sunligh, 136 surgery, surgery, cosmeic, 27–28 sync cords, 134 Sync ool, Lighroom, 197
252
T
ank op, 88 anning, ake, 27 eddy, sheer, 82 Temp slider, Lighroom, 193 TFCD (Trade For CD), 9 TFP (Trade For Prin), 9 high-high sockings, 88 Tin slider, Lighroom, 194 Trade For CD (TFCD), 9 Trade For Prin (TFP), 9 rus, 18–19 T-shir, 88 V
Vibrance slider, slider, Lighroom, 196 vigneting, 197 vinage looks, 227 vision, phoographer’ phoographer’s, s, 159–161 visualizaion, 17 vocalizaion, 44 voyeurism, 45, 165 W
wardrobe wardrobe bras, 82, 83, 229 busiers, 78, 81 classic pieces, 81 clohing backups, 81 clohing changes, 80 corses, 83 figure ypes, 83 flatering clohing, 81 garer bels, 88, 89 guidelines, 79–81 jewelry, jewelry, 86, 87 men’s shir, 82 modes oufis, 154 mus-have mus-have pieces, 82–91 opions or, 26 panies, 59, 83, 86
THE ART OF BOUDOIR PHOTOGRAPHY: HOW TO CREATE STUNNING PHOTOGRAPHS OF WOMEN
or phoo shoos, 26, 225–226 playing wih clohing, 42–44 removing clohing, 35 reouching clohing, 201 robes, 83 scarves/shawls, 84–85, 86 sheer abric, 86, 87, 139 sheer eddy, 82 shoes, 44, 83, 86, 88, 201 high-high sockings, 88 ips or, 81 wrinkled clohing, 81 wardrobe syliss, 81 websies ChrisaMeola.com, ChrisaMeola.com, 14 modelmayhem.com, 7 “wedgies,” 59 weigh issues, 20–21 whie balance, balance, 193 whie side, 133 wireless ransmiter, ransmiter, 134 women. See also models; subjecs nudiy. See nudiy posing. See posing “real.” See “real women” weigh issues, 20–21 working wih, 5–28 wrinkles, 199, 201, 206, 207 Z
zoom lenses, 111
INDEX
253
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