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com
Dedication
This book is dedicated to my mom, Elizabeth Henson Young. She always loved the
saying “keep it real.” Over the years, she taught me that hard work is good—but
it’s just not hard work, it’s smart work. It is the tricks we learn over time that make
life easier (and, often, large companies don’t want these secrets out because then
their products are not needed!). Thank you, Mom!

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About the Author

Richard Young is a professional photographer based in Las Vegas, NV, who

specializes in fine-art, fashion, glamour, and portrait photography. His career has
taken him around the country, working on assignment and teaching his methods to
other aspiring professionals. Richard’s images have appeared in Maxim magazine,
USA Today, Gaming Today magazine, and a variety of other print and Internet-
based publications. He has also created commercial images for some of the world’s
most luxurious casinos and resorts—and photographed a variety of celebrities,
including Diana Ross and Mary J. Blige. He is the author of Create Erotic
Photography (Amherst Media, 2013). To see more, visit www.theartoferotica.com.
You can also e-mail Ric at ric@theartoferotica.com.
Copyright © 2015 by Richard Young.
All rights reserved.
All photographs by the author unless otherwise noted.
Published by:
Amherst Media, Inc.
P.O. Box 586
Buffalo, N.Y. 14226
Fax: 716-874-4508
www.AmherstMedia.com
Publisher: Craig Alesse
Senior Editor/Production Manager: Michelle Perkins
Associate Editor: Barbara A. Lynch-Johnt
Associate Publisher: Kate Neaverth
Editorial Assistance from: Carey A. Miller, Sally Jarzab, John S. Loder
Business Manager: Adam Richards
Warehouse and Fulfillment Manager: Roger Singo
ISBN-13: 978-1-60895-841-2
Library of Congress Control Number: 2014944601
10 9 8 7 6 5 4 3 2 1
No part of this publication may be reproduced, stored, or transmitted in any form or by any means, electronic,
mechanical, photocopied, recorded or otherwise, without prior written consent from the publisher.
Notice of Disclaimer: The information contained in this book is based on the authors’ experience and opinions. The
authors and publisher will not be held liable for the use or misuse of the information in this book.
Check out Amherst Media’s blogs at: http://portrait-photographer.blogspot.com/
http://weddingphotographer-amherstmedia.blogspot.com/

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 Contents
Introduction
About This Book
My Promises to You
How to Read or Use This Book
A Note About the Images
Help Me Help You

Working with Models

Overview
1. Start with Your Significant Other
2. Keep It Professional
3. Explain the Plan
4. Minimize Cancellations
5. Understand the Model’s Skills
6. Don’t Get Too Invested in One Model
7. Watch for “Shock and Awe” Approaches
Know When to Let Your Lawyer Handle It
8. Lead by Learning and Doing
9. Photograph the Model’s ID—Always
How I Shoot IDs
Don’t Work with Minors—At All
10. Releases, Releases, and More Releases
US 2257 Legislation
11. How to Pay Your Models
12. Know When It’s Over
13. Ban Drugs and Alcohol
14. Minimize Razor Burn
15. Have Her Shave Everywhere
16. Use Preparation H for Razor Burn
 17. Minimize Redness from Waxing
18. Manicure Suggestions
19. Clean Up with Baby Wipes
20. Skip the Self-Tanning Cream
21. Choose the Right Hair Color
Minimize Hair Washing
22. Contributor Tip: The Right Brow Color
23. Loose Clothing Before the Shoot
24. Hydrate and Rest
25. Be True to Ourselves
26. Ask Questions and Stick to the Plan
27. Bring What You Want to Shoot In
28. Don’t Bring What You Don’t Want to Shoot In
29. Give Her Some Privacy
30. Keep the Conversation Light
31. Allow an Escort
32. Cover Your Bases

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Styling and Idealization
Overview
33. Don’t Get Hung Up on Traditional Beauty
34. Enhance Her Favorite Features
35. Minimize Her Least Favorite Features
36. Ask About Clothing
37. The Clothes Make the Shoot
38. Heels, Heels, and More Heels
39. Found It Cheap? Buy Extras!
40. It Doesn’t Have to Be Nude
41. Hire Hair and Makeup Artists
42. Use Lotion for Great-Looking Skin
43. Ice It

Posing and Props

Overview
44. Start Slowly
45. Print Out Poses and Ideas
46. Start with Semi-Nudes
47. Don’t Rush

48. Don’t Surprise Her

49. Contributor Tip: Never Photograph Straight On
50. Show the Shoulders
51. Watch Your Words
52. Be Flexible with Direction
53. What Feels Strange May Not Look Strange
54. Restrain Your View
55. Assignment: Focus on One Body Part
56. Minimize Cropping

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 58. Ideas for Small Props
59. Ideas for Large Props
60. A Happy Model Makes All the Difference

Shooting Skills
Overview
61. Know Your Camera
62. Shoot RAW (Mostly)
63. Shoot Wide Open
How I Shoot It
64. Try a Wide-Angle Lens
65. Try a Long Lens
66. Contributor Tip: Long Lens, Wide Aperture
67. Shoot in Manual Mode—Almost Always
68. Use Auto Modes on Occasion
69. Drag the Shutter
70. Zoom It Open
71. Shoot a Few Rolls of Film
72. Buy a Color Checker—and Use It!
73. Learn the Zone System
74. Test, Test, and Re-Test
75. Think About How Much to Shoot
76. Assignment: Try Some On-Lens Filters
77. Smart-Phone Shooting Can Be Smart
78. Be Quick and Discreet
79. Try the iPhone’s Pano Mode
80. Use the iPhone for Its Burst Mode
81. Create an Equipment Checklist

Lighting
Overview
 82. Understand Light Functions
83. Watch the Direction of the Light
84. Create a Highlight, Midtone, and Shadow
85. Expose for the Highlights
86. Check the Midtones and Shadows
87. Learn to Shoot with Natural Light
The Sunny 16 Rule
88. Add a Reflector
89. Add a Scrim
90. Shoot at Sunrise
91. Shoot at Sunset
92. Shoot at Midday
93. Explore the Beauty of Window Light
94. Assignment: Change the Window Coverings or Glass
95. Use On-Camera Flash Selectively
96. Invest in Studio Strobes
97. Consider Continuous Studio Light Sources
Shoot Video, Too
98. Invest in Light Modifiers
99. Choose the Right Modifier for Your Image
100. Gel the Main Light
101. Gel the Side Light
102. Gel the Background Light
103. Learn Your Ratios
104. Play with Shadows
105. Control Lens Flare for Drama
106. Add Lights Progressively
107. Test Light A, Test Light B
108. Add a Grid
109. Contributor Tip: Try the Ray Flash
110. Candlelight for Mood

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112. Invest in Long Cables
113. Play with Alternative Light Sources
114. Turn Up the Lights for Nicer Eyes
115. Overpower the Sun
116. Create True High-Key Images
117. Explore Low-Key Photography
118. Assignment: Window Light vs. Strobe
119. Contributor Tip: Personalize the Lighting
120. Contributor Tip: Closer Light, Softer Light

Backgrounds and Sets

Overview
121. Skip the White Paper Background
122. Stop Down to Show the Background
123. Isolate the Subject
124. Clean Up the Scene
125. Let Her Blend In
126. It’s Alive!
127. Encourage Interaction
128. Shoot at Home

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129. Assignment: Add a Foreground Element
130. Assignment: Shoot with a Full-Length Mirror
131. Shoot in Hotels
132. Shoot in Your Backyard
133. Shoot in Parks and on Public Lands
134. Scout the Location
135. Work Quickly and Hire Lookouts

Creativity and Design

Overview
136. Get Inspired
137. Go Your Own Way
138. Contributor Tip: Know Your Purpose
139. Shoot a Theme
140. Determine the Feasibility
141. Get What You Need
142. Use Negative Space
143. Explore Shapes and Forms
144. Use Leading and Framing Lines
145. Use Color to Draw Focus
146. Create Juxtaposition
Complementary Colors
147. Look for Logical Pairings
148. Pairings (On Another Level)
149. Shoot From a High Angle
150. Shoot From a Low Angle
151. Think Seasonally
152. Add Water
Find Your Tenzing Norgay
153. Add Milk to It
154. Add a Big Fan
155. Think in Black & White
156. Assignment: Mix It Up!
157. Assignment: Shoot a Fetish
158. Assignment: Something Sheer
159. Assignment: Get Inspired by a Movie
160. Shoot an Everyday Activity—But Sexier

Postproduction and Technology

Overview
161. Don’t Fall Behind
162. Stay Organized
163. Moore’s Law
164. Gear Does Matter
165. Get a Nice Monitor
166. Skip the Sketchy Software—Get Photoshop
167. Try Focus 2 Pro
Control the Grain
168. Decide When to Crop
169. Get a Backup System
170. Try Alien Skin Exposure
Protect Your Customers’ Images
171. Imagenomic Portraiture: One Plug-in to Rule Them All

Marketing and Public Relations

Overview
172. Organize Your Sample Images
173. Let Her Keep It
Another “Freebie”
174. Share Via Dropbox
175. Get a Great Business Card
176. Try Diverxity
177. Loves Are Better Than Likes

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179. Get Others to Promote You
180. Carry a Reference Book
181. Be Diligent—Even in the Face of Rejection
182. Rethink That Huge Watermark
183. Know Thyself, Know Thy Client
184. Specialize
185. Don’t Focus on the Money
186. Team Up
187. Maximize Your Efforts
188. Own Your Mistakes
189. Don’t Hide
190. Protect Your Reputation
Cheap, Fast, or Good

General Tips
Overview
191. Separate Work and Art
192. Your Style, Your Gear, Your Life
The Rules Vary
193. Protect Your Vision
194. Get a First Aid Kit
195. Have Emergency Funds on Hand
196. Pen and Paper
197. Ask for Advice
Know What Works for You
198. Watch and Learn
199. Trust Professional Feedback

The Most Important Secret of All

200. Do What You Love and Be Happy
Index
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 Introduction
About This Book
After writing my first book, I started getting some feedback and questions. From these
inquiries, it became clear that a lot of people who want to learn photography are self-
taught. While there are advantages and disadvantages to this style of education, it inspired
me to create a collection of tips and ideas that I think will really help all glamour
photographers.
Over the years, I have learned so much about photography—and not all of it was from
books or formal education. Recently, I was hanging out with a group of photographers,
and just by sitting at dinner we learned a lot from each other.
Sometimes, the simplest tips or suggestions can save you hours of headaches later. Just
as it is in life, in photography it’s often the little things that make the biggest differences. I
always thought it would be great to have these valuable tips collected in one place for
reference—and since I could never find what I wanted, I decided to put them all together
on my own in this book!

So, these are the tips and tricks I have learned from years of working as a professional
photographer in the studio, on location, and shooting at my home. Some tips are very
basic; others are more professional. Whatever your skill level, you should find ideas in
this book to help you shoot more easily and with better results.

My Promises to You
1. I make my living as an erotic photographer, not as a teacher and not as a writer. I have
been very successful as a photographer, and these tips are real tips from myself and a
 few others who are also working photographers.
2. I’m not in anyone’s back pocket; I don’t get money from any camera companies or
related businesses. Companies have offered to pay me, but I prefer to create an honest,
straight-forward book that can help you. I use the products that I like and believe in. I
use tools that are of the highest quality. They might not be the most popular or the
biggest names, but they are the tools I choose.
3. I wish I would have had a book like this when I started learning glamour/erotic
photography. It would have made my life a million times easier.

How To Read or Use This Book

This book isn’t designed to be read from start to finish. I would rather you pick up this
book and jump to any section you want. Finding ideas and neat tricks isn’t a point A to
point B process. It is more often a trial and error endeavor. So pick a spot in the book and
start reading. When you are shooting, add some notes to pictures you like and want to try.

Also, this book isn’t for a “specific” level of photography—beginning, intermediate, or

advanced. I tried to stay away from too much technology stuff. This is a tip book, not
really a how-to book, this book is designed to inspire and give insight.

A Note About the Images

Many of the images in this book are ones I wouldn’t submit for publication. If I showed
you only perfect images, what would you learn? In many books, I see perfectly retouched
images—pictures that are so perfect it can be hard to see what the author is talking about.
In this book, I have included test shots, shots with bad lighting, unretouched shots, and
much more. Why? Because you have to see the problem before you can learn how to fix it.
(How would a car mechanic learn anything if they only had perfect new cars to work on?)

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so important to see images that need work or have problems. It’s the only way I can show
you how to address the issues and eliminate the problems.

Help Me Help You

Have questions or comments? Please feel free to shoot me an e-mail (with pictures,
if possible) at ric@theartoferotica.com. I really love hearing from people. If you
have a favorite tip of your own to share, I’d love to hear it, too.
 Working with Models
Overview: Shooting landscapes, you’re involved in a timing and waiting game. Photographing pets
or sports is a timing issue as you strive to get the best shot. Photographing models involves all these factors and
much more.
I have watched great landscape, pet, and sports photographers try to work with models and have no success
at all. They know how to work the camera, they know all the photography “stuff,” but they can’t seem to work
with a model. The pictures they create just don’t feel right. It is challenging on many levels to work with
models because they have emotions that show in the images.
Over the years, I have worked with thousands of models and learned a ton of useful tips. I have shared
these tips with other photographers and they have shared their tips with me. You will find many useful tips in
this book all here for your benefit. The first tips deal with your interaction with models; the latter ones cover
advice you can pass along to models to help them be better prepared for the shoot—and happier with their
images!

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Happy, well-prepared models lead to more productive sessions and better images.

1 Start with Your Significant Other

If your spouse or girlfriend is willing to pose nude for you, that is a great starting place.
There’s a big advantage to having a person in your life who is willing to pose nude for
you: they are always available. You can take it slower with loved ones because you have
the element of time on your side. You can do boudoir for a while, then implied nudes, and
then bodyscapes. You can work on your skills over time, getting better each step of the
way. Even if no one sees these images, it is important to shoot them thoughtfully and to
evaluate the final product carefully.

2 Keep It Professional
When photographing someone you are not dating or engaged with in an intimate
relationship, it is easy to undervalue how profoundly they are revealing themselves. No
matter how explicit or non-explicit the image may be, they are sharing everything with
you. Don’t betray this trust; make sure friends stay friends—and nothing else. If you like a
girl, take her out to a nice dinner—don’t photographer her. You have to think of nude
photography as business. Even if you are not making money or doing it full time,
conducting yourself as if you were running a business will help you stay out of trouble.
Act like a professional. After all, the last thing you want is a bad reputation among
models, because models do talk.

2. Behaving like a professional will help you build a great reputation and attract more models.

3 Explain the Plan

I try to explain everything about the shoot to the model, being totally honest and open. If

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something new—it may work, it may not work, but I want to try it.” Tell the model
straight out if this is a bra-and-panties shoot or a nude shoot. Don’t tread lightly. If she is
willing to do nude modeling, she is willing to talk about it.

4 Minimize Cancellations
If a model has doubts (or if I feel she is unsure), I will suggest meeting at a coffee shop
near her side of town. A model’s discomfort will always show in the images, so if I have
to spend an hour at a coffee shop showing her some sample shots and letting her meet my
wife (or assistant), that’s a good investment of my time. In the end, I know it means she
will be happier and more relaxed at the shoot.
Because I do such rigorous pre-screening, I have a very low no-show or cancellation
rate. Most photographers report that 10 to 20 percent of their nude/figure models fail to
show up for scheduled shoots. I have that number down to 3 percent or less. Not only that,
the models I select are happy to work with me because I spent a little more time in the
planning of the shoot.

5 Understand the Model’s Skills

Think about the project you are working on and model you are working with. If I have a
project that requires a spokesmodel, she must be good at public speaking and interacting
with people. This is a skill that sets her apart from a typical “pretty model.” Too often,
people don’t correctly pair the model with the job they have. A few times a year, I will get
a request to work with a certain model for a video project or some type of ad—a model the
client found on a site like Model Mayhem, where you can see she is pretty but you really
have no idea if she can act or repeat lines. One of the prettiest models I have worked with
the last couple of years looks amazing and full of energy in still photographs. In video,
though, she is just blah—no talking, little movement, not really alive or anything. This is
why it is important to interview a model for a project whenever you can. An open casting
call is a great way to see if the model you are going to hire has the right skills for the job.
5. Different models are suited to different looks and styles. Pick the right model for what you have in mind.

6 Don’t Get Too Invested in One Model

You know that one person you loved more than anyone else? That person who was so
special that when you broke up with them, you knew you would never find anyone else?
When it was over, you cried, time passed, and you cried some more. Then, suddenly, you
found another person—a better person! This is how it is working with models. I have seen
some great models, just perfect in every way, but they all come and go, so I try not to get
to emotionally invested and keep in mind that there are other fish in the sea. Some just
can’t seem to get this concept and end up bending over backwards for a model. Even when
they get burned (often over and over again), they keep trying to work with that model—
wasting way too much time and money. If you find yourself falling into this trap, move on
and find another model. Trust me; you need to make like a surgeon and cut out those bad
models! The sooner you do, the sooner you can find better ones.

7 Watch for “Shock and Awe” Approaches

I have worked with thousands of models over the years. Some models are great, some are
really bad, and some of them use shock and awe—a military strategy used to overwhelm
an adversary with a rapid display of force. Models will tell me all the great photographers
they have worked with or all the crazy fetish images they have shot, or some other crazy
information. They do this for a million different reasons—maybe to show power, or try to
control the shoot, or simply because they enjoy the attention that it gets them. (To be fair,
photographers are guilty of this, too, using shock and awe to appear more successful than
they are.)

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7. Fetish images can be interesting to create—but don’t let shocking stories from other such shoots dominate your
session with the model(s).

“The loudest one in the room is the weakest one in the room.”
—Frank Lucas, American gangster
If you know a model who does this, understand that it most often stems from
insecurity and look at it as an opportunity to be at your most professional and teach her
about the process. I encountered a model like this on a recent shoot; she tried to tell me
some crazy stuff and I just told her, “Okay,” and kept shooting. She tried for a while to
manipulate me by saying shocking stuff, but I just let it roll off me. I kept giving her
direction and shooting as I always do—and, in the end, we got some great images.
 Know When to Let Your Lawyer Handle It
I guess the word “lawyer” scares most people; at least once a year, someone uses it
in attempt to get a reaction out of me. However, as soon as someone says, “I am
going to sue you” or “I’m calling my lawyer” or “Do this or else,” I simply tell
them that we take threats very seriously and then cut off communication. People
who make these threats are usually just trying to stir up some drama—and if you
give in to make them happy this time, they will want more next time. If the
problem keeps happening, we let our lawyers deal with it. Generally a phone call or
letter from our lawyer does the trick.
I have had hundreds of models like this come at me, but after shooting with me a few
times, I often hear from their subsequent photographer (or models who know them) that
they are talking about how great I am, how helpful I was, and how professionally I
behaved.

8 Lead by Learning and Doing

I hate being in front of the camera and having my picture taken. However, I have been in
front of the camera, both nude and clothed, both indoors and outdoors. I have even worn
panties over my jeans and had my picture taken. It is not often I’m in front of the camera
—but if you are going to be a good photographer of people, then you need to know what it
feels like to be photographed. You need to understand firsthand what it is like when
someone is trying to communicate their ideas to you.
I have worked with so many photographers who have never had images of themselves
created, but without that experience you never really know what it feels like. I know it
sounds mad, but trust me: being in front of the camera just a few times really helps a
photographer to communicate with the model.
And, no, selfies don’t count! You can set up the camera, lighting, and everything else,
but someone else (spouse, best friend, etc.) has to be behind the camera and working with
you on poses for you to know what it’s really like.

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8. You can learn a lot from behind the camera—but you can also learn a lot by being in front of it.

9 Photograph the Model’s ID—Always!

I am shocked at the number of photographers who create nude images but never take a
minute to photograph the model’s identification. When I ask photographers why they
don’t do this, they say, “Well, I didn’t know.” Or maybe they insist that there’s no law
saying they have to capture her ID, so they don’t bother. Some photographers say they are
sure the model was over 18, so it wasn’t necessary. Others think they only need ID when
shooting very sexual images (like pornography).
First off, let me say that ignorance of the law is no excuse for not following the law.
Unfortunately, the laws governing nude photography are very poorly written and open to a
lot of interpretation. Therefore, I always take a picture of the model’s ID, even if she is
sixty years old. In my opinion, you’re crazy not to spend a minute doing this. You’re just
as crazy if you take your model’s word for her age (people “knew” Tracey Lords was over
eighteen and look how well that worked out!).
My favorite reason is, “I didn’t shoot anything that looks like pornography.” Trust me:
no matter what you shot, it is porn or a fetish image to someone. Hair brushing, for
example, is a common fetish—so, while most people would not consider an image of a
fully-clothed woman brushing her hair to be pornographic, to someone, someplace it could
be a source of sexual gratification. That makes it an “adult” image and it means you need
a picture of her ID.
Not convinced? Let’s take it a step further. Let’s say this imaginary person who loves
pictures of models brushing their hair is now caught at the local elementary school
touching himself inappropriately—with your images in hand. The police arrest him and
find your watermark on the images of this model brushing her hair. It will not take long
for the authorities to be at your front door. Trust me: you are going to want to have the
model’s ID, signed model release, and anything else you can show them to prove she was
of legal age and put their concerns about you to rest. This is definitely a case where an
ounce of prevention is worth a pound of cure.

9. Photographing the model’s ID is a cheap insurance policy.

How I Shoot IDs

In the past, I photographed the model’s face with her ID. Now, however, I just
shoot the ID on top of the model release. Also, I get a second form of ID (anything
will work—library school, college ID, bank card, etc.). For the last ten years or so,
I have been shooting these IDs in RAW mode, so I can show an unedited version if
need be. Finally I also print the ID out and file it by the model’s name with the
release—mostly because, knowing my luck, the police would knock on the door
just as my computer crashed. So a hard copy is a must.

Don’t Work with Minors—At All

I have been called a worrywart, but I do not work with anyone under eighteen for
any reason—and I don’t book any job where I would have to photograph a minor—
this includes weddings, senior portraits, sports events, children’s birthday parties,
or any other jobs where minors might be present. When I’m asked to photograph
weddings, I simply explain that, since I photograph nude women commercially, I
don’t work with minors for any reason. Here’s the nightmare scenario: I’m at a
wedding, taking pictures, and some irate ex-boyfriend calls the police, saying,
“That pornographer who took nude pictures of my girlfriend is here taking pictures
of little kids!” I know, the police know, and everyone else knows that I did nothing
wrong—but I don’t want to be anywhere near that situation. For me, there are
enough over-eighteen, adults-only jobs to keep me busy.

10 Releases, Releases, and More Releases

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sign. However, I also have property releases, time-for-photos (TFP) agreements, as well as
my 2257 paperwork (see sidebar). Why have so much paperwork with me? I never know
what I will walk into, so it is best to be prepared. I have been on more than one shoot
where the model brings along a friend and then the friend will want to shoot as well. I
have been on shoots were it went from one person to five people in just a few seconds—
but without releases, it is useless to capture the images. Prepare and plan so that you can
be flexible.

10. Everyone signs a release before shooting. Otherwise, there’s no point making the images.

US 2257 Legislation
Since the passage of 18 US 2257 legislation, designed to protect minors from
sexual exploitation, releases are a must. The law is hazy about where and when
2257 paperwork is specifically required, so I err on the side of caution and have
documentation signed by every model I shoot. Even if the images are “just a test
shoot” or “just for your boyfriend,” if I am shooting you, you have to sign a 2257
form. This goes for males and females, clothed or unclothed.

11 How to Pay Your Models

Often people know how to bill clients and how to deal with “their” money, but they make
terrible choices when hiring models or makeup artists. I can’t tell you what is best,
because there is no one right answer; it is difference for each situation. The following are
some options to consider.
Hourly. The nice thing about paying models by the hour is that you can, to some
degree, control the flow or the speed of things. The variable here is the model. For
example, you might decide to pay a model $100/hour for a shoot, with three outfits to be
shot in three hours total—but if she drags her feet and the shoot runs long, it can cost you
money.
Daily (or Half Day). Sometimes we pay by the day or half day. This allows us more
time, but we have also found that some models feel they have all the time in the world and
don’t need to get things done quickly. When paid a day rate, though, models often will
stay a bit longer if needed, which can help to compensate.
 Per Project (Or Outfit). With some models, we just pay them a flat rate per project or
per outfit change. If you have a model who doesn’t tend to rush a job (she will take her
time and do the posing correctly), this is a good option. This option also has the benefit of
focusing on both of us. We know we have three outfit changes to cover today. If we get it
done in three hours, great! If we get it done in six hours, great! This system removes the
time factor, which can be really nice—because sometimes a shoot will take two or three
hours, while other times it will require only twenty minutes.

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11. How long you’ll need your model depends on the concepts you’re shooting. Here, we did a whole sequence around a
glass “privacy” screen.

12 Know When It’s Over

What if you and the model don’t get along? What if the model isn’t who she said she is?
What if the model doesn’t have ID for a nude or topless session? Sometimes you just have
to know when to bow out, calling the shoot off or shortening its duration.
I once hired a model from Model Mayhem whose photos showed her with long, blond
hair. But when she showed up, she had a super-short, shaved hair style! She admitted that
the photos on her profile were a few years old and that she basically didn’t think to
mention that when I was hiring her. What was I to do?
 I know a lot of photographers would simply have sent her home. However, I think it’s
always better to be a gentleman (or lady), so I shot for about four hours and then bowed
out, saying I wasn’t feeling well. I paid her for the full day, though, and spent a good deal
of time talking with her during our time together. Thirteen years later, she still lists my
name on Model Mayhem as one of her best shoots—and she has sent me four or five great
models, so in the end I made up for the loss on her shoot. I also learned some lessons from
this experience; for me, it was a $500 learning experience and I am now much more
detailed when selecting new models.

13 Ban Drugs and Alcohol

I have had models ask me for drugs, bring drugs to the set, etc. My rule is no drugs or
alcohol for any reason. If I even suspect the model is impaired, we do not shoot. My
reason is simple: if the model is drunk or under the influence of drugs, any contract she
signs may be hard to enforce. This is especially true if you knew she was impaired and
appear to have taken advantage of the situation.
The nightmare scenario? Your model is nervous about being naked, so she gets drunk
to lower her inhibitions and goes ahead with the session. You get some great images.
However, when they’re published a few months later, you start getting e-mails from the
model saying that her new boyfriend is angry about the images. She was drunk and feels
like you took advantage of her, so she’s going to sue you.
This is way more drama than I want to deal with, so I take the approach that an ounce
of prevention is worth millions of pounds of cure.

14 Minimize Razor Burn

Photographers invest a great deal of time preparing for their sessions—and that’s
part of what makes for great images. However, there are things that models can
also do to prep for their shoot and help ensure the best possible results. Over the
years, I have asked hundreds of models how they maintain their pubic area. About
20 percent get waxed and have no problems. Many more models use a new razor
for shoots and shave with baby oil or hair conditioner; I’m not sure what the
difference is, but I know they don’t get razor burn or little red marks. It is great to
think that a photographer will retouch the razor burn out, but that is a large
assumption. Pairing a new razor with hair conditioner eliminates any worry about
this.

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14. Beautifully smooth skin (with no razor burn) makes for great photographs.

15 Have Her Shave Everywhere

A photographer should never have to tell models this, but they need to shave everywhere
—and I mean everywhere (including their bottom, upper lip, toes, and belly)! This is true
even if she is not doing nude work (only bra-and-panties or bikini images). Unwanted hair
can be hard to see in person, but in postproduction it is clear as day and it’s extremely
unattractive. If the model is worried that her hair will grow back thicker, it will not. If
shaving an area of your body had the effect of hair growing back thicker, many, many men
would be shaving their heads instead of using Rogaine.

16 Use Preparation H for Razor Burn

Alice Matthews, American Board Certified Haircolorist (ABCH), recommends placing
Preparation H wipes on any area with razor burn or heat rash. This will remove the
redness for a while and make retouching much easier.

17 Minimize Redness from Waxing

If the model wants to get her brows, lips, or bikini area waxed, keep in mind that many
women get very red right after waxing. This irritation can last from a few hours to a few
days, so I suggest the model not do anything too major right before her shoot. As a general
rule, if the model hasn’t waxed before or doesn’t wax often, I tell her to get waxed three to
four days before the shoot.
18 Manicure Suggestions
Some models have never worn false nails; others haven’t had real nails for years. If a
model has natural nails, I simply ask her to arrive with them clean. Models with false nails
should have them filled if they are too grown out.

18. For images where the hands will show, a good manicure with he right nail color is important.

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19 Clean Up with Baby Wipes
Sensitive subject alert! Like the rest of us, models generally use toilet paper to wipe after
using the toilet. Unfortunately, some toilet paper will leave behind tiny white specks. This
can be hard to notice with the eye—but when you look at the images in postproduction it
will be very distracting. Most professional models know to use moist towelettes (baby
wipes) before the shoot, but new models may not be aware of the issue. As uncomfortable
as it might seem, it is important to be honest with the model and tell her, “You have a bit
of toilet paper down there,” or request that she use towelettes before the shoot.

20 Skip the Self-Tanning Cream

Unless it is done perfectly (and it almost never is), self-tanned skin looks really bad in
photography. It turns the skin an unnatural color and almost always looks uneven. I have
refused to work with models because their self-tanner looked so bad. So what about a
booth spray tan? Again it is hit and miss. At the moment, I feel booth spray tanning
usually looks 10 to 20 percent better than self-tanning. Even if it looks good in person, on-
camera it tends to look really fake and off-color. If I were a model, I wouldn’t take the
risk. If the model feels she must spray tan, she should have a professional technician apply
the tan by hand (although, I still doubt it will end up looking like a normal skin tone).
20. Naturally bronzed skin also looks beautiful.

20. Naturally fair complexions look beautiful—self-tanners are not needed!

21 Choose the Right Hair Color

What look is the model trying to achieve? For a natural look, it’s best for her to stick with
a hair color that is one or two shades darker or lighter than her natural hair color. If she
stays in this range, her skin color will look normal. Of course, a very light-skinned model
who wants a goth look can opt for black hair. Conversely, some very dark-skinned models
color their hair platinum blond and it looks great. Adding highlights and low-lights can be
very complementary to the skin color, as long as there isn’t a large demarcation line at the
root.

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21. While near-natural colors are usually preferred, sometimes a totally unexpected color can help make a big statement
about the model.

22 Contributor Tip: The Right Brow Color

“For a model, it is ideal to have a similar eyebrow and hair color,” says stylist Alice
Matthews. “In most cases this can be achieved with eye brow powder or pencil.
Blonds will benefit by darkening with a taupe color, brunettes can use a dark
brown, and for redheads a burnt rust color will work well.”

22. A little added color is appropriate for blonds with very light brows.

Minimize Hair Washing

Healthy shiny hair? Less is more. “You do not need to shampoo your hair more
than two times a week—even if you work out,” says stylist Alice Matthews.
“Rinsing your hair after a workout is fine, but shampooing every day is too much.
Think of your hair as a fabric. If you were to wash a pair of jeans every day for a
year, they would fade, have holes in them, and eventually fall apart.”
23 Loose Clothing Before the Shoot
When the model shows up to a shoot in super-tight jeans and a push-up bra, it does no one
any good—it only delays the session. I don’t want to see red marks on the skin, and that’s
exactly what tight clothes create. I have had to wait over an hour for some models’ lines to
go away before we could start the shoot. Even after being cautioned against tight clothing,
many models are shocked when I will not start the shoot until their skin doesn’t show the
red marks from their bra or jeans.

23. The model should wear loose clothing before the shoot so her skin looks smooth—with no red marks or indentations
from a bra or tight jeans.

24 Hydrate and Rest

Professional models know how to take care of themselves, stay hydrated, eat healthy
foods, exercise, and rest to look their best for a shoot. I have flown models into Las Vegas
from all over the United States and the professional ones will not party or drink the night
before the shoot. The amateur models, on the other hand, act as if they are going on
vacation and start drinking the moment they get on the plane. After a night of drinking,
your skin and body look different.
Just as professional photographers invest in tools and additional training to help them
become better photographers, professional models need to invest in caring for their

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photographers do not want to take chances on an amateur models messing up a paid shoot.

24. A well-rested, well-hydrated model looks much better than one who rolls in with a hangover.

25 Be True to Ourselves
Trust me, this is so important—please don’t overlook it. It is hard for each of us to know
ourselves, but in the long run it is one of the most important things we can do. If your
model is a free-spirited hippie girl in love with the ’60s and free love, she might feel
uncomfortable doing a very high-end fashion shoot. If, so, that discomfort will show in the
images. If she is more of a socialite type who loves to be the center of attention, hanging
out at the latest pools and night clubs, she might feel very uncomfortable out in the desert
posing nude. The modeling jobs where a model tends to shine are ones that are almost a
natural extension of her personality. The same thing applies to photographers; we do our
best work when we’re doing things that suit our true personalities and tastes. That is not to
say that we should never experiment with different shoots or styles (it is always a learning
experience), but it’s worth considering seriously whether or not a job suits your style
before accepting a critical booking.
25. Are you more playful? Chic? Avant garde? Choose assignments that suit your spirit and style.

26 Ask Questions and Stick to the Plan

The model should work with the photographer to understand the shoot. Sounds simple,
right? But all too often it doesn’t work out that way. Many times, I explain to the model
what I want and then she explains what she is looking for. Together, we come to an
agreement for the shoot. But if she’s a new model, despite all our planning, there’s a good
chance one of two things will happen: she will bring next to nothing for the shoot or she
will bring every stitch of clothing she owns. I think some models just get really nervous or
overwhelmed.

27 Bring What You Want to Shoot In

I tell models, “Please, please, please bring what you want to shoot in. What do you want to
wear? What is the concept for the shoot?” If she is doing nude images, she won’t need
much clothing. If it is a pinup shoot, she’ll need to bring the clothing and props that were
agreed on.
We have had models come over to shoot bra-and-panties images or some type of sexy
glamour pictures and they show up with no clothes. I ask them if they got my e-mail about
bringing some lingerie and they will say, “Yes, but I just figured we would just wing it.”
The dialogue goes something like this:

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27. The model should come prepared with clothing to suit the ideas on which she and the photographer have agreed.

PHOTOGRAPHER: “What did you bring to wear?”

MODEL: “Nothing.”
PHOTOGRAPHER: “So you want to shoot nudes?”
MODEL: “No, not really”
PHOTOGRAPHER: “Okay, so what do you want to wear?”
MODEL: “Hmm, I’m not sure. Maybe your wife has something?”
PHOTOGRAPHER: “We have some clothes for models, but generally we don’t
have bras.”
MODEL: “Well, I don’t want to be topless.” PHOTOGRAPHER: “Okay, then,
back to my original question: What did you bring to model in?”
And from there, it is pointless to shoot; I am upset and she is upset. Here is another
good one—a favorite of mine:
MODEL: “I want to be a fashion model!”
PHOTOGRAPHER: “Great, do you have some high fashion outfits to model
in?”
MODEL: “Uh, no. Not really”
PHOTOGRAPHER: “How can I shoot you in high fashion clothes if you don’t
 have any?”

28 Don’t Bring What You Don’t Want to Shoot In

Conversely, I ask models to leave at home anything they don’t want to shoot in. I once
photographed a model who wanted some sexy tease photos for her boyfriend. She wore
one of his shirts with a tiny thong—and both she and her boyfriend loved the images. A
few years went by, and the model’s coworker came across the photos on Model Mayhem.
The model freaked out and contacted me, complaining how she looked like a slut. I
reminded her that our agreement was a TFP (time for photos) shoot—and that she selected
the theme and outfit. All I did was provide her with amazing images. If a model doesn’t
want to be seen in a bra and panties, she should not select those items and bring them to
shoot in.

29 Give Her Some Privacy

On a related note, I have heard from my models more than once that they hate it when
they have to change in front of the photographer. So, make sure your model has a private
place to change—a guest bathroom works just fine. Just because you have seen and
photographed her naked doesn’t give you the right to see her naked all the time.

30 Keep the Conversation Light

Keep the discussion of off-topic issues to a bare minimum. Asking about a model’s
personal life will make her feel uneasy. It’s none of your business who she’s dating.
There are a million great, non-sexual, non-personal things two people can talk
about, so find them and stick to those. (Even if you are a naturally shy person, keep
in mind that it’s bad to avoid talking completely. If the model is going to get naked
and pose for you, then you need to step up to the plate and be professional by
talking to her.)

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30. Being professional and respectful when talking with models puts them at ease and leads to better images.

31 Allow an Escort
If the model wants to, let her bring a friend to the shoot. Some photographers have “rules”
about not allowing escorts—and I can understand some of the logic. However, when
working with a less experienced model (especially a new nude model), having a friend
nearby can make the model feel safer and more relaxed. From my experience, models may
show up for the first couple of sessions with a friend. After that, they get comfortable with
you and no longer bring the escort.

32 Cover Your Bases

Working with models can be complicated, so it’s helpful to have a checklist—just to
ensure you don’t overlook any topics you should have discussed. The list below is just a
starting point. You should create a list that suits your process and the types of shoots
you’re doing.
Does the model understand what and why I am shooting?
Does she understand the risks of this shoot (if there are any)?
Have I answered all of her questions?
If the location is remote, are we driving together or meeting there?
Does the model have special dietary needs?
 Have I worked with this model enough?
How long do I plan the shoot to be?
Do I have the model releases and any other paperwork?

32. Doing a shoot on location? Use a checklist to ensure you aren’t held up by missing gear or props.

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 Styling and Idealization
Overview: I always thought writers and painters had it easy because they can lie with no regard for
(or obligation to) reality. What do I mean by “lie”? Well, writers and painters can depict their subjects
absolutely any way they want to. Photographers have to create something of a lie, too, of course—but we have
to somehow build it using the truth. This is much harder. In some ways, our job is a lot like that of a politician
because we have to make the viewer believe what we are showing them. Even a few unplanned elements can
destroy a great image, so it’s important when styling any shoot to remember your viewer (your market) and the
illusion you are trying to create. If you photograph a tattoo-covered model for a pinup calendar targeted at
WWII vets, it might not be super popular—but the same image might be a big hit in a tattoo magazine or on a
body-art website.

33 Don’t Get Hung Up on Traditional Beauty

I know it’s not nice to say this, but some models are more attractive than others. We all
know this. However, many photographers decline to work with a model because she is not
“their type”—meaning she isn’t cute enough or pretty enough or up to the photographer’s
standard of beauty. This is a missed opportunity. It takes less work to make an already cute
model look good. A less attractive model is more of a challenge; it takes skill, but the
challenge is worth it. When I photograph a model who isn’t traditionally beautiful and I
use my skills and experience to make her look amazing, other models and photographers
notice this—even if it’s on a subconscious level. If you can make everyone look really
beautiful, everyone will want to work with you—and that includes models who are already
extremely beautiful.
33. Your ability to make every model look beautiful is what will attract people to you as a photographer.

34 Enhance Her Favorite Features

Professional models spend a lot of time and money making sure they look good, so why
not make those efforts work for you? Ask the model what she considers her best feature. If
she had to pick, what does she like the best about herself? Her breasts? Butt? Eyes? Lips?
If your model has a hard time answering an open-ended question, give her a choice:
“What do you like better, your lips or your eyes? Your bust or your bottom?” Often, she
will be able to think about it and visualize it, then give you a better answer. This will help
ensure you emphasize the things she wants to see (and minimize any features she isn’t as
confident about).

35 Minimize Her Least Favorite Features

In glamour, boudoir, and art photography, the model doesn’t want to see what she really
looks like. If strict reality is what you show her, she will probably hate the images. The
model also doesn’t care what you see in her and think of as her best features. What she
cares about is what she thinks she looks like—or what she should look like. Older models
usually want to look younger; blonds usually want to look blonder; and short models want
to look taller. This list could go on and on. Figuring out what an individual model expects
takes a bit of mind reading and a lot of experience that only comes with time.

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35. Puma works with a ton of different photographers. Most of them, however, focus on her breasts. After talking with
her, I chose to focus on her eyes and let her chest fall toward the far edge of the frame.

36 Ask About Clothing

You can use the same process when picking out clothing. (“What do you think you look
better in, jeans or a dress? Tank tops or a button-down shirt?”) Virtually all of the models I
work with do images in panties—but should they wear thong panties, boy shorts, or a G-
string? Again, when I am planning a shoot I will ask the model, “What do you think looks
best on you—thongs, boy shorts, or …?” Each of them has a preference and will tell me
something like, “I look best in X because …” Asking some simple questions cuts down on
a ton of work and puts you on track to create images you both feel great about. Now that
you know she looks best in X, you just have to select something and start shooting.

37 The Clothes Make the Shoot

This is one of the harder tips for people to comprehend—but, in a nutshell, it goes
something like this: If the model only has clothes from Wal-Mart, producing a very high-
end, fashionable glamour shoot is going to be really hard—if not impossible. The clothes
need to match the style of the shoot. If you want to shoot style X but only have the clothes
for style Y, it will never work.
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makes any sense—nor would a “Snow White” character in a camouflage-print bathing suit. The clothes make the shoot!
vintage pinup images but don’t own anything vintage or pinup.

I have seen hundreds of examples of mismatched shoots over the years. I often
photograph women in their thirties who want to look very sophisticated and glamorous—
yet the lingerie they bring to the shoot is Victoria’s Secret “Pink” panties and items from
Fredrick’s of Hollywood. No woman looks sophisticated in this lingerie (this look is more
like “college sorority girl” or “trashy housewife”). Another common example is models
who want to shoot
Take some time to explain to your models that clothes make the shoot; if they want a
sophisticated lingerie images, they need to purchase some high-end lingerie. I find that the
models who take my advice always get great images. If a shoot has a cohesive theme—
from the clothing and location, to the props and the look of the models—then the images
will look amazing and be believable.

38 Heels, Heels, and More Heels

I have seen or heard of all types of “perfect” height and weight charts that people use. I
never really trust those figures, however, because I honestly don’t know what a person
will look like until she is in front of my camera. There’s one thing that is almost always
true, though: taller heels make women look slimmer—which is good for most models. A
model who is 5′6″ and 130 pounds is probably just right or maybe even a bit underweight.
A model of the same weight who is 5′1″ might be a bit too heavy for most photographers,
but if she’s wearing 5-inch heels she will appear much thinner. Whether she is lying down
on a bed or standing on her feet, heels lengthen the leg line.
38. Whether the model is standing or lying down, high heels lengthen her leg line.

38 For a barefoot model, pointing the toes has the same leg-lengthening effect as wearing high heels.

39 Found It Cheap? Buy Extras!

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having some basic, inexpensive supplies on hand is a good way to hedge your bet. If you
notice a great deal on props or clothing you might find useful, drop $20 and buy them—
you never know when they’ll come in handy. At a discount department store, I recently
found panties for a dollar each. I grabbed a few handfuls of the styles I liked. I wasn’t
worried about size because I didn’t buy them for any particular model. In the future, if a
model needs an extra pair of panties, or if she brings a friend at the last minute, or if
anything strange happens, I have tons of extra panties—for just a few dollars. A few
months ago, I found high-heeled shoes for my models; they were $5 dollars, so I bought
three or four different pairs in different sizes. Check on Craigslist for moving sales and
garage sales, a great source of props. Scour the clearance racks and watch for going-out-
of-business sales. Even older or broken items can sometimes work perfectly as photo
props.

39. When you find a great price on something that could help make your sessions more interesting and successful–grab
it!

40 It Doesn’t Have to Be Nude

This one sounds simple, right? A model you’ve hired wants to shoot naked—so, do you
shoot nudes? Short answer: not necessarily. Even when a model is willing to shoot nude,
there are a lot of reasons you might choose not to do so. First, she might have scars,
marks, tan lines, or some other aspect of her appearance that you feel will not fit the shoot.
Second, even when a model wants to shoot nude, some subjects just don’t look relaxed or
happy when unclothed. The third (and possibly the best) reason not so shoot nude is when
your model simply doesn’t look good naked. Often, it is easier to create flattering images
when the model has more clothes on to conceal any problem areas. The first really large
amounts of money I made in photography were not from nude images but from classic
glamour photography—sexy boudoir-style shots or bra-and-panties images. Remember,
you can always dress up a “nude” model in clothes.

40. Even when a model looks great nude and is willing to pose that way, it doesn’t mean that every image you create of
her has to be a nude one. Adding the right clothing can help tell a different story and provide greater variety.

41 Hire Hair and Makeup Artists

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high dollar model, and nice lingerie but skip the makeup artist! If you are only going to go
halfway, you will not get the shot you were hoping to create.
Hiring someone that knows how to do makeup for photography is important. Great
makeup will really bring out the best in your model, but bad makeup can destroy
everything you have worked on. Here in Las Vegas, most of the makeup artists are trained
to work with brides, bridesmaids, and strippers—all of whom require much more makeup
than my models do (I like my models to look natural; I do not care for heavy makeup and
dark lined eyes). Likewise, if the model simply goes to the MAC makeup store and has
her makeup done, it will look good as she walks down the street, but it usually won’t look
good in photography. So find a professional, reliable artist who works with photographers
and knows how to do hair and makeup for photography. It will make a world of difference
in your images.
Hiring a hair and makeup artist will save you a lot of time in postproduction—and the
less work you have to do in postproduction, the more time you can spend shooting (or
doing whatever else you like to do). One of the biggest ways to save time is to make sure
what you are shooting is as close to perfect as possible.

42 Use Lotion for Great-Looking Skin

Maybe it’s because I live in a place that has a 15 percent humidity level most of the year,
but I think that skin needs lotion. Often, models show up looking great—but after I do a
few sets with them, their skin starts to dry out and look ashy. This is not something that
can be quickly or easily fixed in Photoshop, so bring some lotion to the set to keep the
model’s skin looking great. Coconut oil, baby oil, or lotion with glitter in it can also look
nice on some shoots. It all looks better than ashy skin—and, yes, even models with light
skin can look ashy without lotion.

43 Ice It
Need to reduce swelling? Need to get hard nipples? Need to make sure the model
looks firm? You can turn down the air conditioning or have the model just ice her
nipples. The thought of this makes me cringe a little, but I have seen hundreds of
models do it without any problems. It is not just about the nipple; it makes the
whole breast look firmer and better in images. (Tip: It doesn’t have to be an ice
cube; I have seen models touch their chests to a cold tile floor, a wet paper towel, a
bottle of water, and just about anything else that is cooler than room temperature.)
43. To firm the breasts and harden the nipples, an ice-pack does the trick.

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 Posing and Props
Overview: So you found a model, booked her for the session, and gave her all the information she
needs to prepare for the kinds of shots you have in mind. Now what? Your ability to navigate the session and
give direction will be a key factor in your success. Focus on what you know and communicate your confidence
to the model. Even if you’re feeling nervous, relaxing and focusing on the now will help everything fall into
place. In the end, it’s just about talking to another human being—at least that’s the way I’ve always thought
about it. The lights and camera are almost secondary to the two people who are engaging in this creative
conversation.

44 Start Slowly
When the model arrives, make her feel at home. The first time I shoot with a model at my
house or at the studio, I introduce her to my wife and our animals (our dogs Lola and
Butters, and our cat Lucy). We spend a few minutes talking about the animals and getting
to know each other. Then, I show her around the place, making sure to point out her
changing area and to show her where the restroom is. Don’t jump right in and start
shooting. Imagine going over to another person’s house and getting naked (or semi-
naked). It could be scary.
From there (assuming she is wearing loose-fitting clothes so we don’t have to worry
about allowing time for any indentations to disappear), I spend a few minutes showing her
some sample images (see next tip). Then, I cover the plan of action and the paperwork. I
ask her to read through everything and let me know if she has any questions. This process
can take thirty minutes to an hour, so plan ahead.

45 Print Out Poses and Ideas

I have a web site and a folder of images and pictures I like and that I share with new
models—however, when they show up for their session I don’t want to whip out a phone
or laptop to review these. For some reason, doing that always seems to slow things down
—and the longer the model is looking at photos, the less we can get done. Instead, I just
have 4x6-inch cards or a three-ring binder of images we can flip through. Looking through
this gives us a few good ideas to start the session and allows for a quick break (like 30
seconds) when I or the model is looking for a pose. I really listen to her feedback and try
to see what she likes and what she doesn’t comment on.
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45. Glamour photography encompasses a huge range of looks. Having some samples to view can get you and the model
on the same page—quickly!

46 Start with Semi-Nudes

When you talk to a prospective model about nude photography, most of the time her mind
will jump to close-up porn shots in a sleazy hotel with dim lights and cheesy ’70s music
playing in the background. Like it or not, pornography is part of the modern world and
we’ve all seen a lot of it. As a result, moving past the preconception that all nude
photography is porn is a very hard thing to do. I would love to tell a model, “Hey, I want
to shoot nude images of you,” and hear her reply, “Great! Maybe something like Venus in
the The Birth of Venus by Botticelli?”—but it hasn’t happened yet. So start slowly. Begin
by working with models on semi-nude or implied-nude images. It’s a great way to show
them that this is not porn.
46. Semi-nudes and implied nudes are a good place to begin your session.

47 Don’t Rush
Don’t rush the model. Let her set the pace and find her place. As appropriate, take a break.
Sometimes just ten minutes will be all she needs to recharge. Many models smoke and
will be in need of a cigarette break after a few hours of shooting.

48 Don’t Surprise Her

Don’t change plans at the last minute or ask the model to try a more explicit pose unless
that type of imagery has been discussed prior to the session. Likewise, don’t force your

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respect them.

49 Contributor Tip: Never Photograph Straight-On

Here’s a tip from model photographer Billy Pegram (www.redcometstudios.com):
“It is very rare that people are symmetrical and look good photographed straight
on, so even just a few degrees off dead center will make the person look much
better. Having the model stand at a 45 degree angle and rotate a bit towards the
camera will often slim the model’s body and prevent her from looking dead at the
camera.

49. A side view of the model’s body makes her look slim and shows off her curves.

50 Show the Shoulders

In the 1997 film The Devil’s Advocate, the John Milton character says, “A woman’s
shoulders are the front lines of her mystique, and her neck, if she’s alive, has all the
mystery of a border town. A no-man’s land in that battle between the mind and the body.”
When I photograph a model with her shoulders exposed, I always think of that quote.
Shoulders can be very sexy. Consider a rear view of the model, from her head (maybe
partially cropped out) down to where her bottom just begins to curve. While a very
sensual shot like this can actually be nude, it doesn’t show anything private.
50. A shot like this is sexy—and even though it’s nude, nothing sensitive is shown.

51 Watch Your Words

Give gentle suggestions about posing in a positive, educational way. (Saying, “Twisting to
your side a bit will make you look more elegant,” rather than, “Turn to the side because it
will make you look less fat.”) It’s also nice to compliment her on things she’s doing well
—but make sure it never sounds lewd. Never belittle her ideas or make sexual comments.

52 Be Flexible with Direction

Everyone has a different idea of how much directing is too much (or too little). You will
have to find what level of direction you like and how much your models need or want.
With nude modeling, there are fewer rules than with other types of posing, so one of the
best things to do is shoot more than you planned and go over the images after the shoot
with the model. Together, you can figure out what works and what doesn’t. I try to gauge
the model’s comfort with direction and keep my shoot flowing.

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52. Be flexible and try a lot of variations to see what looks and feels best with your model.

53 What Feels Strange May Not Look Strange

If the model wants to start in a certain pose, I suggest ways to make that pose look better,
then I keep suggesting refinements until I get what I want. Sometimes it works, sometimes
not so much. If a model doesn’t want to listen to me, one of two things will happen: 1) I
will just stop shooting this set, or 2) she will see the images and know I was right. I have
told models, clear as day, to do something (“turn your head,” or “raise your hands”) and
been flat-out ignored. Later, when they see the images, they often comment, “I didn’t
think it would look good if I did that—I should have listened to you.” I find I often need to
explain to the model that a strange-feeling pose doesn’t equate to a strange-looking pose.

54 Restrain Your View

Many people have a difficult time breaking the “gestaltist” mind-set. When working with
a model, make a point to take twenty images of something other than her whole figure,
maybe her hands or her eyes—whatever seems to catch your eye. Move around her body
and see how the lines and forms of her figure change with simple movements. When
focusing on limited body parts, sometimes the smallest movement can make a huge
difference.

55 Assignment: Focus on One Body Part

Challenge yourself to slow down and really concentrate on one body part. Light it
and work on shooting just that one part. There are some great bodyscape images
that do this, so see what can be done. Before your session, do some research and
get inspired by some of the great pictures. You can also add props to mix it up.
Here are some ideas to get you started:
Lips and eyes
Feet and shoes

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 Chest and pearls
Hair and shoulder
Hands and a pen

55. Study the model’s body from different angles and look for details of her appearance that can stand alone as images.

56 Minimize Cropping
Selective framing (see tip 54) should be done when shooting. I don’t advise cropping a
full-figure image down to make a small part of the model’s body appear larger. Cropping
should be about making the current image stronger, not making a completely new image
from something that isn’t otherwise working. A general rule I use is to try not to crop out
more than 10 percent of the whole image, but anything less than 20 percent is still
acceptable.

57 Add a Prop for Better Posing

Posing can be one of the biggest challenges in nude photography. Even if you have a clear
idea in your head, getting the model into the correct pose is often harder than it sounds.
However, a great pose can make an image come alive and stand out from every other
image in the world. In my experience, one of the best ways to approach posing is through
the use of props. This is especially true if the model is inexperienced.
58 Ideas for Small Props
Giving the model a small prop to keep in her hands and move around with gives her some
direction and helps her relax. When I give such a prop to a model, I begin by letting her
move around freely with it. When I see something I love, I tell her, “Remember this pose
—you look great in this pose.” I will also try to remember this pose, so that (even if I
remove the prop) she can go back to that position. Here are ideas for small, hand-held
props that models can play with:

58. Props can help models pose more naturally.

Unloaded gun or rifle

Whip or paddle
Flower
Pearls
Panties, bra, or other clothing
Tulle or sheer material
Broom or cleaning materials
Knife or old-school razor
Hat
Cigarette

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59 Ideas for Large Props
Another option is to add a larger prop—something the model can move her entire body
around. These props give the model something to interact with and can encourage her to
move her body in ways she otherwise wouldn’t. Familiar props, things that people are
comfortable with from being around on a daily basis, can help make posing natural.
Chair Sofa

Pillow Car

Desk Bed

60 A Happy Model Makes All the Difference

The most important thing is to make sure the shoot goes as smoothly as possible
and that the model leaves as happy as possible. If a model is happy when she leaves
the session, I know I will work with her more in the future. Best of all, the more I
work with a model, the better the images get. With each session, the images
improve because the model learns what poses looks good, and I learn what lighting
looks best on her. I can clearly see the images get better each time—and so can she.
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60. Developing a great working relationship with your model is critical. The images will get better and better as you
work together.
 Shooting Skills
Overview: There are tons of books about different cameras. I assume you have a basic understanding
of your camera and lighting. In this chapter, we’ll look at ways to develop and expand your style—and also to
get more from your camera than you can when setting it on automatic and letting it go.

61 Know Your Camera

At a recent shoot, I watched a photographer working with three cameras—one for video,
another to shoot with a long lens, and one to do pictures with a short lens. I have used and
owned some of the same cameras he was using, and he picked the one that takes great
pictures to do video and the one that does great video to do pictures. My first thought was
that he just bought these cameras or rented them—it seemed like he didn’t really
understand them.
It takes me months to understand a new lens, new lights, or a new camera. I can shoot
perfectly well with them, but each one has a certain feel and a unique sweet spot that
makes it different. When I find that sweet spot, I love to shoot in it—and put to best use all
the other properties that make each of them different.
When you get any tool, it’s important to take some time to play with it. Break out of
your normal routine and write your test shots down. Keep doing it, again and again, until
you really know that gear. Every photographer should know their gear well enough to
answer questions like:
1. On this camera—the one you are using right now—at what ISO do you start
getting a small amount of grain?
2. How does this camera focus when you use a different lens? In bright
sunshine? In a dark room? Does it back-focus or forward-focus?
3. Does this camera feature X, Y, or Z (like second-shutter sync)? How does it
shoot in high heat (important here in the desert) or extreme cold?
4. How does this lens flare? What does the flare look like?
5. How does this lens handle colors? Does it like certain colors better? Is it
warmer in color tones or cooler?
6. How does this light modifier change the color of the light?
7. Does this light modifier provide even coverage or does it have hot spots?
8. How does changing the power of this light source change the color balance?

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61. Put your gear through its paces and learn to use it as effectively as possible.

Owning gear is one thing; getting the most of it and really knowing the gear is
something else. It always takes me a while to really know the gear—not just from a
technical aspect but from an artistic and creative aspect.

62 Shoot RAW (Mostly)

It’s nearly impossible to compare JPEG and RAW files. It is like comparing home-cooked
food to restaurant food. There are some killer dishes at restaurants and sometimes you
need to eat out. However, if you want the most control over your meal, you will cook at
home. In most cases, I want that “home cooking” level of control over my images; I want
to be able to make small adjustments and get the most out of my pictures. That means
shooting in RAW for the vast majority of my work.
However, I shot JPEG files for many years—and I created a ton of great images. I still
opt to shoot JPEGs for some types of assignments. For example, sometimes I’m hired to
shoot something that doesn’t especially interest me; I know I won’t be spending a lot of
time on the images and JPEG files will more than meet the client’s needs. For example, I
was hired to document a party and create some shots of the CEO giving a speech at the
same event. While I normally do not shoot parties, I wanted the contract and the company
preferred to hire one photographer. So for the party, I shot JPEGs; for the more critical
keynote speech images, I shot RAW files.

63 Shoot Wide Open

Sometimes the model isn’t perfect. Sometimes the background is ugly. Sometimes you just
want to control what the viewer sees—drawing them to just one thing or limiting the detail
in what is visible. When that happens, try setting your camera for the widest aperture the
lens offers (usually between f/1.8 and f/4.0). Then get close to the subject and watch the
background fall out of focus. For the most dramatic effect, put a little distance between the
model and the background.

63. Shooting wide open lets you put the emphasis exactly where you want it.

How I Shoot It
I’m not a big fan of using a tripod, because it limits your movements and your
freedom. However, when shooting wide open it helps to mount your camera on a
tripod for stability. I also manually focus the camera, then take about five shots (at
the most). Then I manually refocus and take another five shots. I keep repeating
this focusing and shooting process. Sometimes, I take a gamble on the autofocus
when shooting wide open, but I am usually disappointed by the outcome.

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of focus. When I shoot wide open, I only get a few inches of movement. If the model
moves or I move even a little, then something will be out of focus. I can’t express this
enough: shoot way more than you think you need to if you are working at f/1.2 to about
f/2.8. Just a deep breath will shift the focus enough to destroy the image.

64 Try a Wide-Angle Lens

Want something more close-up and funky? The perspective changes can be quite dramatic
when you switch from a telephoto lens to a wide-angle one. Of course you can capture
more of the background with a wide angle (and that’s very useful for storytelling), but
when you use it close to your subject you can also create some interesting distortion—
which can either help or destroy an image.

64. Wide-angle distortion can give your images a really different look—but use it selectively, because it’s not always a
good look.

65 Try a Long Lens

I’m surprised at the number of photographers who haven’t tested the difference between
shooting with a long lens from further away and shooting with a wide-angle lens up close
(and at different f-stops). It makes a huge difference in how the image will look and the
feel of the image. If you have the equipment, why not see just what it can do? You might
hear people talking about compression; basically, that deals with how much of the
background is captured. With a telephoto lens you are capturing less background and less
environment so your model will appear to stand out more.
65. Are you trying to create a Playboy or glamour look? Try using a longer lens (over 135mm) and a relatively wide
open aperture and you will be well on your way.

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 66 Contributor Tip: Long Lens, Wide Aperture
Charles Lightfoot (www.lightfootpics.com) offers this tip. “A simple way to get
more professional looking images is to select a longer lens than what is commonly
used. I often use a 70–200mm lens or longer. This allows me to direct the viewer to
look at what I select. It also makes me think about the crop in-camera, saving me
time later. Simply adding a long lens isn’t always enough, though. I also set my
ISO to the higher end of what my camera will allow without sacrificing image
quality (400–2500 depending on the quality of the camera’s sensor). Then I switch
to Av (aperture priority) mode and choose the largest aperture available on my lens
(usually f/1.8 or f/2.8). I also select to shoot in autofocus. That’s it. The longer
focal length forces you to isolate your subject in the frame while also reducing your
depth of field. Choosing your largest aperture will further reduce your depth of
field and reduce background clutter. Choosing a high ISO will give you faster
shutter speeds, helping to eliminate camera shake. It also adds a tiny bit of grain for
texture to the image. The autofocus is handy in this situation because you need to
have your focus dead on with such narrow depth of field. Once you get your
camera set up this way, I would suggest spending a few days just taking pictures
without changing these settings and I guarantee you will notice an improvement in
your images.”

67 Shoot in Manual Mode—Almost Always

While there are times when the automated exposure modes work well (see tip 68), a lot of
seasoned professionals wish they had started shooting in the manual mode sooner. The
manual mode allows you to control and capture what you want, rather than what the
camera wants. About 10 percent of my work is shot on something other than manual
mode; the other 90 percent of my work is shot in manual mode.
An important reason for shooting in manual mode is that it’s easier to do
postproduction on a whole group of images that are all exposed identically—and that’s
what you get in the manual mode. When you shoot in an automatic mode, on the other
hand, each frame’s exposure is calculated individually, so some of them will be ⅓ stop too
dark, some will be ½ stop too bright, and others will be just right. If I shoot a thousand
frames and they are all differently exposed, I will have to review and standardize the
exposure on each image! That’s way too much work. If I shoot everything on manual and
everything is consistently ½ stop too bright (or too dark), I can do one correction and
apply it to a thousand frames in about 10 seconds using Camera Raw.

68 Use Auto Modes on Occasion

So what about that 10 percent of the time I do choose to shoot in an automatic mode? That
usually happens when I’m shooting without strobes. When shooting with natural light and
reflectors, the aperture-priority or shutter-priority mode can make a lot of sense because
the camera’s software will help correct for the changing light levels as the sun pops in and
out of clouds. If you are shooting in some type of controlled lighting situation, though, it
makes sense to control both the camera and the lighting. Set the camera to manual mode.

68. When shooting outdoors in shifting light, automatic (or semi-automatic) modes can help compensate for the
changing light levels.

69 Drag the Shutter

Most of the time when we are using strobes or electronic flash we tend to set the shutter to
the shortest time we can, usually or second, and leave it there. Well, what about
setting it to a second and letting some ambient light into the picture? What about a 1
second exposure where you might get a small amount of movement from the model (or the
camera) in the frame? This technique, called “dragging the shutter,” isn’t for everyday
general glamour photography—but if you are looking for something new and creative to
try, this is a great way to add something to your image. It will look like a ghost effect, soft
and ethereal. Even without camera or model movement, dragging the shutter when using
flash to light your model will allow the lower ambient light levels in a scene to register
more naturally, so it doesn’t look like the model is posing in an unlit cave.

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69. For these images, a pop of flash froze the model. Jiggling the camera while the shutter remained open recorded the
continuous light sources in the scene as blurs of light around and over her.

70 Zoom It Open
When shooting the wedding of a friend who is also a professional photographer, one of the
things I did at the reception was drag the shutter and zoom in a bit while the shutter was
open. This little technique creates a simple and yet really cool effect. However, you don’t
have to limit it to just weddings. Try getting a model outside on a night when there are
fireworks and shooting long exposures to capture the fireworks. Light her with a strobe—
but then when you are in the middle of the long exposure, zoom in a bit. Night time and
neon-light images can also be spiced up simply zooming in while the shutter is open.

70. Zooming while you drag the shutter produces radial lines around your central subject.

71 Shoot a Few Rolls of Film

For several years now, I have been threatening to teach a class where I tape over the
students’ LCD screens or require them to use good old-fashioned film. I am not suggesting
that you move your production to film, but I do think that shooting film once in a while is

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 Shooting film forces you to learn to control the lighting in your head. Too many
photographers use the LCD like a crutch, constantly checking it. With film, you are forced
to teach yourself to see better and plan more carefully. There is no instant feedback and
film is pretty expensive; if you mess up a few times, you will find you quickly become
very motivated to learn how not to mess up. With film, you become much better at
envisioning an image and executing it with good lighting and composition.

71. Challenge yourself to go out and shoot a few rolls of film (film cameras are cheap now; check Craigslist). Can you
bring your images to life without relying on the LCD screen for instant feedback?

If you want to become a truly proficient and creative photographer, you can’t spend all
your time checking and re-checking the LCD as you shoot. You should know how to
compose a shot and light it before you look at the LCD—and shooting film can help you
nail down those skills. Once you can build the image you’ve envisioned, the LCD or
viewfinder on the camera will simply become tools that let you periodically verify your
results and maybe refine your setup to make it even better.

72 Buy a Color Checker—and Use It

Visible light contains wavelengths of three colors: red, green, and blue. When these are in
perfect balance, the light appears to be neutral white. When they’re not, the light has a
color cast that can be recorded in your images. The human eye has evolved to neutralize
these imbalances (cool, I know) so that colors look consistent no matter what light sources
illuminate them. Using automatic white balance adjustments, today’s digital cameras can
do the same thing—but they’re not as good at it.
The best way to ensure consistent color is with a color checker. Capturing a frame of
the model (with all the lighting in place) holding a color checker chart gives you an easy
point of reference for postproduction color-balancing of all the images created with that
setup.
There are a few products on the market that I use each and every time I shoot. One of
them is an X-Rite ColorChecker Passport and the other is a WhiBal white balance card. I
love them—and can pretty much guarantee that the addition of just this one tool on every
shoot will improve your photography. As a professional using a color checker on every
shoot, I create new custom color profiles about once a month for each lighting style I do—
one profile for LED lighting, one for indoor strobes, one for window light, etc.

72. Starting out with a photo of the model holding the color checker chart gives you an objective color reference for
corrections that can be applied to all the images in the series for consistent color results.

73 Learn the Zone System

The zone system was created in the 1940s by Ansel Adams and Fred Archer. It was a way
to determine optimal shooting and processing to ensure they got what they wanted in
terms of dynamic range. Now, I am not saying you need to go and learn the old-school
zone system, but you should know how your camera’s settings affect the dynamic range of
your images—the maximum (white) and minimum (black) light intensities your camera
will capture.
For example, if you shoot at ISO 100 rather than ISO 6400, how will that affect the
range of tones in the image? How does the dynamic range change if you shoot RAW files

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that going to affect the color range? How does using different software to process your
RAW images affect the dynamic range? If you have no clue, grab your camera and a sheet
of paper with different colors or levels of gray on it and start testing!
Shooting at random settings and trying to correct the images in Camera Raw “sort of”
works—but it does not allow you to capture the full amount of information available to
you. A more structured exposure and processing approach like the zone system (or a
modified version that fits your digital workflow) will help you make the most of your
equipment.

73. Take control of the tones and dynamic range of your images by using a tested, structured approach to exposure and
postproduction.

74 Test, Test, and Re-Test

When I was back in college and stressing over whether my images would turn out
correctly, I learned the best way to lower my stress level: a test shoot. Since I was shooting
with film, it cost a few dollars—but in the long run it saved me a ton of money and time.
In today’s world, I think a lot of photographers skip this step to their detriment. I still
test things so I know to how the image I’ve envisioned will turn out with my gear and my
lights. Sometimes, I’ll grab a mannequin head and test the lighting on it, moving a light
closer, adding a gel, or just experimenting and watching what happens in my image. This
saves me a lot of time when I’m working with a live model.
Here is a great example of testing something. A good friend suggested I test my
skylight filter because he thought it was making my images a little less sharp than they
should be. I didn’t think they were blurry, but one day I set up a little test. I shot a few
frames on autofocus with the skylight UV filter on all my lenses. Then I shot a few more
frames on manual focus with the skylight UV filter on all my lenses.
When I repeated the same sequences without the filter, I could clearly see the
difference! So, I put all four images from the same lens onto one JPG image and asked
some non-professionals to select the sharpest image. About 70 percent of the time, they
selected the image with no UV filter as the sharpest image.
Testing doesn’t need to be just about testing your gear. Does it make sense to hire a
model to shoot at sunset and pray it works? It might be a better investment of your time to
go out a few times and shoot at sunset and evaluate your results. Get the lighting and
camera settings down before you pay for the model’s time—because you can’t stop the
sun from setting, so you have to be quick. After you have tested, you will also feel a lot
better about working with a model, so the whole process will move along more quickly
and you will get much better images.

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74. To boost your productivity, test your ideas before you bring in a model to shoot.

75 Think About How Much to Shoot

Think about how many frames it makes sense to shoot for a given assignment. It
definitely differs from job to job. Last year, I shot a background image for a very
popular modeling web site. Although I didn’t really change the pose or lighting too
much, I took over six-hundred images—simply because we were looking for
perfection. The same is true when I am shooting for a fine-art print. On a recent
high-end shoot I did, I shot all day and captured between two- and three-thousand
images. All I needed was one picture—but that one picture was going to hang in a
$5,000 dollar frame in a multi-million-dollar location, so every detail mattered.
Even the smallest variations in the model’s hair, smile, and pose were taken in to
account.
Conversely, when I shoot production stuff I will have a target of between 50
and 150 publishable images. Depending on the model, I will shoot 20 percent more
than I need—but I want the model to move around so we have a variety of different
poses at our location. Images like this are what I use on Zivity, Diverxity, and other
web sites.
Then there are other times when I need to produce five-hundred or more images
to develop a more complex story line. Often, shoots for these types of assignments
will include multiple locations, multiple models, and much more.
So, when you shoot. What do you need to have when your done. Really think
about it. Do you need one image for Model Mayhem or One Model Place? Do you
need one absolutely perfect image? Or one very good image? Do you need to have
a set of images for some type of production? If you have a clear goal, then you can
work backwards from that objective and determine how much to shoot.

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75. Setting a clear goal for the session will improve your productivity.

76 Assignment: Try Some On-Lens Filters

Check eBay or Craigslist for some cheap filters that can go over the front of your
camera’s lens. Play with them and see what they can do—test and test. You can do
this before a shoot with a live model, or you can test it on a fake setup. I rarely use
filters, but I do have them and I understand how to use them. A glass filter
produces a certain look that is different from any Photoshop filter.

77 Smart-Phone Shooting Can Be Smart

I’m going to use the word “iPhone” in this section, but it doesn’t especially matter what
device you use; if it’s a smart phone with a good camera, the brand is not important. I have
seen software and lens adapters for the iPhone that try to make it work more like a DSLR
or more like a point-and-shoot camera. That is all well and good—but why not just use the
iPhone where it is strong and not worry about where it is weak? Both chefs and surgeons
have cutting skills, but I wouldn’t ask a famous chef to do open-heart surgery on me! One
thing the iPhone is great for is “behind the scenes” images the models can post on Twitter
or Instagram. Having these images on the phone makes it a snap to share them. Tips 78
through 80 detail some other features that make the iPhone a valuable tool.
77. Shooting with a smart phone can make a lot of sense in some circumstances!

78 Be Quick and Discreet

The iPhone is not a professional camera—let’s state that right away. However, it offers
some meaningful advantages that make it a useful tool for some professional photography
tasks. First of all, unlike a professional DSLR it is small, fast and discreet. In the past,
when I had to shoot in public and do gonzo-style photography, I hated it. I was always
worried about getting in trouble. Cops aren’t stupid. If they see a middle-aged male with a
twenty-year-old model and a $10,000 camera taking nude images in public, someone is
getting a ticket. With an iPhone, the model and I can be a lot more stealthy. I can get a
friend to hold a small reflector and grab my phone to capture some head shots in under
three minutes. Honestly, no one will think anything of it—and even if we’re spotted, most
cops will just tell me to stop it and move on.

78. Photography in public locations is a lot less likely to draw unwanted attention when you do it with an iPhone.

79 Try the iPhone’s Pano Mode

I am madly in love with the pano mode on the iPhone, which lets you take a really long

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can do it instantly. I can just switch to Pano mode and start taking pictures. If I wanted to
try a panoramic with a nude model at sunset, I would mostly likely do a concept shoot
with my iPhone and then, if time permitted, use my DSLR to shoot the image sequence
required to stitch together a panoramic image in Photoshop.

80 Use the iPhone for Its Burst Mode

Some of my first digital cameras shot 3fps (frames per second)—and I thought that was so
fast! A few camera models later, we were up to 8fps. Currently, my fastest DSLR is
around 8.3fps, which is fast. However, my iPhone 5s is even faster. It shoots at 10fps and
it can do it for a long time. I use this option maybe once in every ten to fifteen shoots, but
I have gotten some really cool effects with the iPhone’s burst mode. The 10fps burst speed
really helps with popular glamour images such as: pictures of models sling-shotting their
panties at the camera; shots where the model bends forward and then whips her head up to
toss her hair all over; and images of models jumping or doing cartwheels.

80. Shooting with the iPhone’s high burst rate.

81 Create an Equipment Checklist

Planning a shoot is complicated, so it’s helpful to have a checklist—just to ensure
you don’t overlook anything. What I’ve provided here is just a starting point. There
may be other things you want or need to add, depending on your own creative
process or the image you’re trying to create.
Do I have the gear I need?
Have I double-checked everything to make sure it’s in working order?
Do I need more batteries?
Did I pack any chargers I might need?
Are all my strobes packed and ready to go?
Do I need a longer power cable?
Do I have a basic backup in case something breaks (even a point-and-shoot)?
Did I pack any outfits I’m responsible for supplying?
Do I have the model releases, maps, and any other paperwork?

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 Lighting
Overview: Just as anyone can “paint” a canvas, anyone can “light” a model. However, in each case it
takes a master to really create a compelling work of art. Learning lighting will take some time, but it will make
you stand out from all the other photographers—especially in the eyes of art curators, artistic directors, and
other professionals who can immediately spot great lighting (even if your Facebook friends can’t). There are a
lot of comprehensive books that provide a complete course in lighting; some of them are listed at the back of
this book. For our purposes in this book, however, I wanted to create more of a “look book”—something that
you can pick up, and say, “Hey, I want to try that!”

82 Understand Light Functions

When lighting people, there are two primary light positions to consider—and these remain
constant whether you are shooting with sunlight, window light, flash, studio strobes, or
any other light source. The first light function to consider is the main light. This is the
light that creates the visible pattern of highlights and shadows on your subject. The quality
of this light source, whether it’s hard or soft, and its direction relative to the subject (more
on this in the next section) will have a profound impact on the look of your portrait. Once
you have found/placed your main light source, you can consider adding a secondary light
source for fill. A fill source is added to reduce the darkness of the shadowing on the
model. This creates a softer look and is often required to keep the overall tonal range on
the subject within the limits of what can be captured by the camera.
82. The main light, here a window to camera right, created the pattern of light and shadow on the model.

83 Watch the Direction of the Light

The direction of the main light is an important consideration. How is the light hitting the
model? When shooting with natural/available light, adjusting the model’s position in
relation to the direction of the light will be our means of controlling how the light falls on
her. In the studio, you can position the light sources at whatever angle you decide—but it
should be a conscious decision designed to create the look you desire. Front lighting is
often used in glamour photography, but with bright sunlight it can be uncomfortable for a
model to look directly into the sun. Side lighting skims across the model from an angle—
up to 90 degrees from the model. Using this style of lighting is very dramatic. While it
doesn’t always look good on the face, it usually looks great on the body, creating
highlights and shadows that reveal contours.

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83. Watch the direction of the light on your model. Different light positions produce different looks.

84 Create a Highlight, Midtone, and Shadow

The visual emphasis of the lighting should be on the model, not the ground or the
background. This aspect of lighting is so overlooked in glamour photography. The focus is
on the model. Nothing else matters. To show the model’s contours, the light on the subject
should produce a highlight area, a midtone area, and a shadow area. (Note: If you don’t
have a highlight or shadow area on the subject, you have very flat lighting. Flat lighting is
fine—but it is important to know when to use flat lighting and choose to use it
intentionally rather than settling for it accidentally.)

84. In general, well-lit images show highlight, midtone, and shadow areas.

85 Expose for the Highlights

Have a look at your light meter or take a picture to check your lighting. If possible, take a
look at it on an iPad or computer—and really use the histogram. Particularly in digital
photography, that highlight area needs to be correctly exposed. It should be brighter than
the midtone, but not overexposed to the point where it loses detail and looks unnaturally
flat. If your highlights are too bright, then you need to change your exposure or reduce the
lighting on the highlight area.

86 Check the Midtones and Shadows

Once you get the highlight correct, move to the midtones. If the midtones aren’t correctly
exposed, you will need to add light. If you change your exposure, you will mess up the
highlight. Once you have added the correct amount of light to the midtone, move to the
shadow. This is where I see a lot of problems in photography. On the shadow side of the
body, you don’t want to see the color go death black with no detail or definition. If you’re
shooting a model with darker hair on a dark background, you also don’t want the model’s
hair to blend into the area behind her.

86. Learning to control the highlights, midtones, and shadows is the key to great lighting—whether in the studio or on
location.

87 Learn to Shoot with Natural Light

For thousands of years, artists have been using natural light to create art. It is what we are

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which is great. Best of all, most models love to be naked in the sun. It feels good and
natural on the skin, which can help set the mood for a shoot. There are, however, a few
things to keep in mind.
1. Color Temperature. The sunlight can change color based on any number of things.
For example, if the sun goes behind a cloud, then the color of the light changes. If the
model walks into the shade, the color of the light changes. Use your gray card regularly
to balance for these shifts.
2. Intensity. One of the great things about using the sun as a source of light is that, on a
clear, sunny day, the intensity of the light is always about the same. Whether you’re at
the top of a mountain or deep in a valley, if the light from the sun in unobstructed, it
will be at a consistent intensity. This makes shooting much easier, because the exposure
is generally the same. (See the “Sunny 16 Rule” sidebar for more on this.)
3. Direction. You can’t move the sun relative to the model. To get the light direction you
want, you need to position the model relative to the sun. Because this will also, to at
least some degree, dictate your shooting position, be sure to consider the lighting when
selecting your scene and composing your image.

87. Learning to shoot in natural light is the first step to mastering lighting.

The Sunny 16 Rule

The Sunny 16 rule is a method of estimating correct sunlight exposure. According
to this rule, when your aperture is set at f/16, the correct shutter speed will be the
closest inverse of the ISO. So if your ISO was set at 100, choosing a shutter speed
of second at f/16 would give you an accurate exposure under bright sunlight.
(Note: You don’t have to shoot at f/16 for this to work. There is a reciprocal
relationship between apertures and shutter speeds. So, if you choose a 1-stop wider
aperture, you can compensate with a shutter speed that is 1 stop faster and maintain
 the same exposure level.)

88 Add a Reflector
When using natural light—especially during the middle of the day or when the sun is high
in the sky—it is often necessary to reduce the contrast of the images you are creating. If
you don’t, you will have highlights that are too bright and shadows that are too dark. One
of the cheapest and easiest ways to fix this is by using a reflector to bounce light onto the
subject.

88. I added a reflector to camera left. This was a quick shot to set up and execute—no flash needed!

Reflectors come in several different colors, with white, gold, and silver being the most
popular. White reflectors are used to create a soft, diffused, and gentle look in the
shadows. Silver reflectors provide more bounce light than white ones, but the light is also
more focused and harder. Like silver reflectors, gold reflectors provide more bounce light
than white—but they also add a warm coloration that makes the model’s skin look more
tan.

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the shadow of the model falls. As you move it closer to the model, you’ll see the level of
fill light increase (making the shadows less dark); if you take a few steps back with the
reflector, you’ll see the level of fill light decrease (making the shadows darker).

89 Add a Scrim
A scrim is a piece of translucent fabric (usually on a frame) that is placed between the
light and the subject. As it passes through the fabric, the light becomes softer. This reduces
the exposure ratio between the highlights and shadows, producing a more balanced image.
It also causes the light to wrap around the subject more, which gives your images a better
sense of depth. Positioning a scrim between the model and a too-harsh light source greatly
improves the look of the lighting—and it is just as simple and cost-effective as adding a
reflector.

89. Adding a scrim diffused the harsh daylight for soft, flattering light on the model.

90 Shoot at Sunrise
Sunrises are not only for landscape photographers—grab a model and wait for a killer
sunrise. You will capture some amazing images. When shooting at sunrise, I use a flash or
strobe to light the model, then underexpose the background (letting the flash overpower
the sun by about 1 stop). This creates very rich, saturated color in the sky as the sun comes
up. You can also shoot just as the sun peeks up over the horizon line and use a reflector for
fill.

91 Shoot at Sunset
How many times have you seen a pretty sunset and wished you could take a few pictures?
Try planning a shoot around sunset. Sometimes you will get bad images—but practice
makes perfect and when you get it working, the images will be unforgettable! Sunset
images are often so pretty you won’t need an electronic flash; you can just use a reflector.
However, if you like, you can add flash on the subject and underexpose the ambient light
for even more vibrant colors in the sky.

91. Adding flash on the model in a sunset scene makes the sky and background look all the more dramatic.

92 Shoot at Midday
When the sun is high in the sky, the light has deep shadows and very bright highlights. As
a result, many photographers will not shoot at this time of day. I don’t follow them in their
thinking, however. I know what sunlight looks like at noon, and I plan certain styles or
looks that fit this lighting. Midday lighting can be used to your advantage if you plan
carefully.

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92. While many photographers avoid shooting at midday, the sunlight from high in the sky can be used effectively.

93 Explore the Beauty of Window Light

Window light is a nice, easy way to shoot—and models love the soft, angelic, even
romantic look it produces. When the model and I just want to relax, window light is
perfect. I love the way the window light wraps around the model. It’s unfortunate that so
many photographers overlook this simple, flattering light source.
I know all the best spots in my house for shooting window light at any given time of
day—and how it changes throughout the year. I know how to use window light all by
itself, with a reflector if needed, and with a strobe to either add or take away from the
feeling of window light. All of these lighting approaches can be done harmoniously with
window light.

94 Assignment: Change the Window Coverings or

Glass
The light from bare or open windows, with no blinds or no shades, is often too hard
for glamour photography. However, it can be great for fine-art nude images where
you want a strong lighting effect. You can also add a reflector to the harder light for
some really nice bodyscapes.
I love windows with blinds because they cast nice shadows on the body and
give depth to the image. If your window has blinds, use them to your advantage.
Figure out what time of day the sun directly hits that window and then do some test
shooting.
Also, keep in mind that a clean window is not always a good window. If you
want more diffused light that wraps around the model, leave the glass dirty. The
dirt will scatter the light, making it much softer. If you are shooting into the
window, however, it really should be super clean. Wash it the morning of the shoot
if you can.
94. Window blinds create bands of light that wrap around your model.

95 Use On-Camera Flash Selectively

Most point-and-shoot cameras (and some DSLRs) have a built-in flash. If used correctly,
these flashes are great. They work, they don’t require additional batteries, and you don’t
have to invest any extra money. Plus, the flash is attached to the camera, so there’s nothing
extra to carry (or to forget to pack).
But what do I mean by “correct use”? That is really the million-dollar question. I often
see photographers using flashes instead of studio strobes to save money. Sometimes it
works, but more often it produces more problems than it solves. Flashes have a purpose
and studio strobes have a purpose; sometimes they overlap and other times they don’t.
That is why it’s important to select the correct tool from the start.
In most of my nude photography, I avoid small flash units. However, when I’m
shooting outdoors (or where I don’t have access to power), these sources can provide good
fill on a subject with strong backlighting or side lighting. However, I know the limitations
—especially in terms of working distance—and I plan my composition so the flash works
perfectly.

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96 Invest in Studio Strobes
I am a big fan of studio strobes. However, many photographers struggle with them. After
learning to use natural light, I think learning to use strobes is the second most important
thing you can learn do as a photographer. But what kind should you choose? In my
experience, strobes from the lower end of the price spectrum will work well on 80 percent
of the jobs you’ll encounter. Personally, I upgraded to a higher-end system because I
wanted that extra 20 percent. That said, an inexpensive strobe is better than no strobe.
Additionally, if you blow your lighting budget on the strobes themselves, you won’t be
able to invest in good light modifiers (see section 98).

96. Studio-quality images require professional light sources.

Types of Strobes. The two main classes of studio strobes are monolights and power-
pack systems. Monolights are basically complete lighting units all in one package. Each
light has its own power source and controls. With power-pack systems, the individual
heads (lights) are each connected to a centralized device that powers and controls them.
Each power pack can support two to eight heads. Because they contain fewer electronic
components, the individual heads for these systems are less expensive. Also, when a
battery-powered lighting system is required, power-pack systems are the standard.
Invest in a System. With studio strobes, you are buying into a system—just like
buying a Canon camera means you need to buy a Canon lens (or at least a Canon-
compatible lens). Think about what lighting system you’d ultimately like to be using. If
you can’t afford brand new lights, look at older, cheaper, and perhaps less powerful units
in the line. Then buy into the system and upgrade as needed. This approach will save
money over the long run.
Comparing Systems. The best way to measure the output of a strobe is by the guide
number (GN). This tells you the value of the light (in f-stops) at a certain distance and ISO
setting; it is a more “real life” evaluation of a light’s power than the Watt-second rating.

97 Consider Continuous Studio Light Sources

While strobes have been the workhorses of professional photographers for years, today
we’re in the midst of a paradigm shift where some of the more progressive photographers
are using continuous lighting. This refers to any type of light source that emits a constant
beam of light (it doesn’t pop or flash like a strobe). A big advantage of shooting with
continuous light sources—like LED, compact florescent, HMI, tungsten, or incandescent
—is that you see what you are capturing before you shoot. Studio strobes have modeling
lights that simulate how the strobe light will look, but they’re not perfect. With continuous
light, you know exactly what you’re getting because you see it on the subject.

97. I shot this image using two Kino Flo continuous light kits.

Shoot Video, Too

Another huge advantage of continuous light is that it can be used when shooting
video. In the past, photographers took pictures and videographers took videos. With
all the advances in camera technology, many photographers are now doing double-
duty as videographers. And when you shoot video, strobes simply don’t work; for
continuous video footage, you need continuous lighting sources.

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98 Invest in Light Modifiers
Light modifiers to soften, focus, direct, or restrict the light are the key to controlling the
light from your studio lights. Here are some common ones to consider:
Standard Reflectors. Reflectors, sometimes called “pans,” are the shiny, bowl-
shaped, silver devices that usually come standard with your strobes. These are used to
create a hard shadow or a narrow beam of light.
Grids. Adding a grid to the standard reflector allows you to further narrow (focus) the
beam of light, constraining it from spreading out at the edges. Grids act much like snoots
(see below) but are still a bit less focused.
Snoots. Snoots take the light from a strobe and push it though a long tube, tightly
focusing the light—much like a cheerleader uses a megaphone to direct her voice.

98. A beauty dish (top) and a snoot (bottom) from Elinchrom. Images courtesy of Elinchrom.

Beauty Dishes. A beauty dish is essentially a modified version of the standard

reflector. It is larger in size and features a central reflector that pushes the direct light from
the strobe out onto the concave surface of the dish. From that surface, it is reflected onto
the subject. This produces light with a directional look, but without the harsh shadows
seen with reflectors and grids.
Umbrellas. Umbrellas are lightweight, quick to set up, and provide a soft look.
However, I don’t like that they throw light everywhere (and are often overused by new
photographers).
Softboxes. Softboxes are the most common modifiers used in modern photographic
lighting. They come in a vast assortment of sizes and shapes, but generally consist of a
fabric box that is black on the exterior (to prevent unwanted light spill) with a translucent
panel on the front. As it passes through this front panel, the light from the strobe is
diffused for a soft look. Some softboxes have internal diffusion material, grids, or other
specialized features to further adjust the quality of the light.

99 Choose the Right Modifier for Your Image

Learning to use light modifiers will help establish your style, defining what makes you
different from all of the other photographers. That said, it is sometimes hard to envision
how the light will hit the model. So, let’s use water as an example. A standard reflector on
a strobe is akin to a garden hose with no attachment—the water is focused but not overly
focused. Adding a grid to that reflector is like placing your thumb over the end of the
hose; the stream becomes somewhat more focused. If you add a jet water attachment to it,
you’ll get a very focused stream—pretty much like adding a snoot to your strobe. Working
with a beauty dish is more like the shower setting on the garden hose, giving you a gently
diffused spray of water. With an umbrella, the effect is similar to rain; water goes
everywhere. There is some direction, but not as much as with any of the modifiers noted
above. Finally, a softbox is closer to a bucket of water being thrown on the model; the
light hits the subject (and the background) in a way that is often more closely targeted than
with an umbrella.

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99. This image was created with a strip softbox mounted above the model for simple, clean lighting.

100 Gel the Main Light

When I want to create a shadow-like image, but with more color, I add a gel to a main
light and shoot without fill or accent lights to produce low-key, colored images. These
images are very popular because they have an erotic look without showing too much skin.
They are also very easy to create.
Earlier, we discussed finding the model’s best attributes. Sometimes, I spot
imperfections or issues with a model that she may not see. For example, imagine I’m
trying to capture something more artistic, maybe a bust shoot, and she has a large scar or a
tattoo of her ex-boyfriend’s name on her chest. If I gel the main light and only use one
light, I can hide those flaws or focus on a small part of the model.

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100. For a dramatic look, try gelling the main light and using it to light the model—either completely or selectively.

To further the effect, I often grid the main light. This focuses the lighting tightly on the
area of the model I want to accentuate. It helps keep the focus where I want it and direct
the viewer’s eyes. This is a super-simple approach—be sure to give it a try.

101 Gel the Side Light

Want to know a secret that Playboy shooters and many other glamour photographers use?
Here’s the million dollar answer! They use an amber/yellow gel to warm the side light on
the model. This type of lighting adds a beautiful warm glow around her—it’s a very
Playboy-style look.
Start by setting the main light for the model, lighting the front side of her face and
body. On her other side, add a focused light—a grid or a strip softbox works well—with
an amber-colored gel. Set it about 1 stop brighter than the main light to produce a more
glamorous and dimensional look on the model.
Now, if this is all you shoot, that could be very limiting. However, if you shoot a few
different looks and then you add this to your style, blending it with your own style, it can
be a very powerful tool.

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101. An amber-gelled light to the side of the model creates a more dimensional look.

102 Gel the Background Light

Sometimes, gelling the background light will give you a 1980s style—which is great, if
that’s what you want. More often, I use it to warm up or cool down an image. It can also
add some interest to an other wise “blah” background. If you are shooting at your house
and only have a boring wall to shoot on, why not add a gel? If possible, move your model
10 or more feet from the wall and light her with a main light—then see what happens. You
will have some images that are a really bright color and a great look as well. You can light
any color wall or paper—white or black, it doesn’t matter; it just changes how much light
you will have to use.
102. A green gel brought to life the plain walls behind the model.

103 Learn Your Ratios

Ratios are really important. If you don’t know what light ratios are or how to measure and
control them, do some research and spend a few hours learning about them (and then
practicing with them). Once you understand ratios, you will be able to control the shadows
on your subjects and create a stronger, more moody style of photography. One way I teach
people to think about ratios and lighting is pornography vs. art images. Ninety percent of
pornographic images, erotic self pics, and general “trashy”-type images are shot with flat
lighting (lighting with a 1:1 ratio). As you add more contrast or increase the lighting ratio,
you gravitate more toward the artist side of photography and away from the “pornish”
images. This is good—up to a point. When you get the lighting ratio up to something like
1:5 or 1:6, it is too much art; so much detail is compromised that the image loses value.

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103. Controlled shadows add to the artistic appeal of your images.

104 Play with Shadows

Out-of-control shadows can be a problem—but well-placed ones can be a photographer’s
best friend. Sometimes a model wants to do nude work but she might not want her face to
be recognizable—possibly to create a bit of mystery. One of the best ways to accomplish
this is to backlight the model. This means turning the main light to face the camera and
positioning the model in between the light and the camera so she is illuminated from
behind. Try placing the light source higher in the frame so it is visible to the lens and
creates some lens flare. Or, position it lower so it is completely obscured by the model’s
body.
The look you’ll get is one that’s often seen in nightclubs where models are backlit
while dancing on podiums, so you really see only the outline of their bodies. Accordingly,
it’s a look that’s popular with a lot of models who love going to nightclubs.
104. Backlighting leaves your subject’s identity a mystery by showing only the outline of her body.

105 Control Lens Flare for Drama

I have never been a big fan of lens flare, but I will use it once in a while to create a pop or
a trendy fashion look. Many lifestyle shots have also employed flare to captivate the
viewer.

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105. Controlled lens flare can be used effectively in your compositions.

The quickest way to create controlled flare is to position a light (or the sun) opposite
the lens and shoot into it, with the model between the light source and the lens. As the
model moves, any light that directly hits the lens from the light will produce flare. By
adjusting the model’s position to conceal/reveal the light, you can control the look of the
flare.
Here’s the caveat: Remember that any time your lens can directly see the light source,
you will get flare. Even if it doesn’t show up as a light circle, it will reduce the image
contrast. Too many photographers accidentally shoot with a small amount of flare, and it
just destroys their images. Frequently, this happens in the studio when shooting on white
paper. When the white backdrop is excessively overexposed, the white paper reflects so
much light that it becomes a light source—and so now you are shooting directly into the
light source, creating flare, and reducing the contrast range you are capturing. Unintended
flare is just amateur; use it on purpose and for effect.

106 Add Lights Progressively

A year or two ago, a photographer friend of mine went out and bought a four-light setup.
The problem is that he went from zero lights to four lights in no time at all. He had more
lights, but no idea how to use them—and since he now owned four lights, he wanted to use
all four lights, even when there was no need to do so.
When people reach out to me with questions about buying lighting, I almost always
tell them the same thing: start with the sun, outdoors or inside with window light, because
it is free. Get really good doing that style of lighting and then add a reflector. Once you
master these forms of free lighting and you are still in love with photography, buy one or
two lights and get to be really good at lighting with them. Learn how to create 90 percent
of what you envision using just one or two lights. Keep it simple and really master it.
Then, continue to grow. Purchase new lights when you understand why you need more
lights, not just because it seems like a good idea or because you got a great deal.

106. Start with one-light setups.

106. When you’ve mastered one light, expand to two lights (and more).

107 Test Light A, Test Light B

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a white wall, then set up a light or two and some different light modifiers (softboxes,
reflectors, grids, etc.) and start playing around.
A simple thing to do is point a softbox at a wall and look at the highlights, midtones,
and shadows it creates—then change the light modifier (from a large softbox to a small
softbox, for example). Does it change the exposure? Does it change the falloff of the gray
area from the highlight to the shadow? Can you see more detail in the wall?
When I get something new, it takes me about six months to really learn it—and I have
been doing photography for over twenty years. Yeah, it is great fun to go out and just take
pictures, but by testing we can truly understand how our gear performs. It doesn’t matter if
it is a new state-of-the-art LED light or a vintage spotlight, knowing how it performs is
vital.
107. Testing your lights (and all your other gear, for that matter) is critical to success.

108 Add a Grid

I have been to over a hundred different studios, and one way I can instantly tell that
a photographer really knows how to light a subject is when I see grids.
When you’re new to lighting, it makes sense to start with very soft light
sources, like window light or a softbox, because they are very forgiving. Adding a
grid makes the light harder, creating harder shadows and more contrast—and a
more dynamic lighting look. With grids, you can focus light onto a specific area of
the image. While the sharper light is much less forgiving (if the model has any skin
problems or pimples, this light will show them all), used with care it can create a
real “wow” look.
Think of it this way. If you don’t know how to cook, you can buy a frozen
dinner to reheat. You’ll have a meal, but you’ll have very little control over tastes.
The same is true with a softbox; it gives you the light you need, but very little
control over the “flavor” of the portrait. If you’re someone who loves to cook,
chances are you cook your meals, selecting each ingredient and preparing each dish
with care for a mouthwatering feast. This is more like lighting with a grid; it
requires more skill and attention to detail, but the results can be delicious!

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108. Lighting with a grid requires precise control but can produce dramatic results.

109 Contributor Tip: Try the Ray Flash

Here’s a tip from photographer Dave Daphoz (www.modelmayhem.com/2393724):
“Ring flash was invented in the early 1950s for use in dental photography, but
fashion photographers started using it in the late 1970s. In glamour/nude
photography, this highly stylized lighting has become really popular in the last five
years. Ring light is normally generated by expensive and heavy power packs such
as Broncolor, Elinchrom, Profoto, etc.—but I’ve found an interesting and cheap
solution: the Ray Flash. It’s a plastic device you attach to your in-camera flash to
 drive the lights from the flash into a transparent circular ring. This makes for a
portable and very lightweight way to get started using ring light.”

109. Image created with the Ray Flash (photograph by Dave Daphoz).

110 Candlelight for Mood

Adding candles to a set can relax the model and change the mood of the shoot. (It can also
start a small fire, so be careful!) And don’t worry about breaking the bank; cheap jar
candles from the dollar store will be just fine. You can also use candles as religious icons,
as a bondage prop, or for a lot of other looks.
For a romantic boudoir image, all I need is a model, a nice bed, some candlelight, and
a modern digital camera that can handle a higher ISO. For these shots, I don’t light with
just a candle; I will have some other light in the room, but I will make sure it doesn’t
overwhelm the light from the candle, which I want to be visible in the image. Even at a
higher ISO, you’ll be using slower shutter speeds to capture the light from the candle—but
this can cause blur from camera movement, so consider using a tripod.

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110. Adding candles set the mood.

111 Try Twinkle Lights

Almost everyone has strings of Christmas lights around the house, so why not try them as
a light source? See what they look like, see how they glow on the model’s skin, and see
how they create dark and moody images. They are easy and fun to play with—just make
sure they don’t burn the model’s skin when she is posing with them. The newer LED
lights will solve this problem because they are much cooler to the touch than the older
lights.
111. Strings of lights make a nice addition to the set or can be used as a prop.

112 Invest in Long Cables

When you buy a strobe from most companies, you get a 5-foot cable. This is good for
around your house, but once you start shooting in new locations, having a longer cable is
priceless. I can’t stress this enough. Generally, I pack two or more extension cables plus
power strips for location shoots.
Over the last couple of years, I’ve started just buying longer power cables. These are
cheap and save me a ton of problems and time. Amazon has a 25-foot cable that plugs
directly in to my strobes or computer for $10. Having these long cables on hand solves 90
percent of my cabling problems. Since I have purchased them, I hardly ever have to use
the extension cables.

113 Play with Alternative Light Sources

I am a fan of professional light sources, but that doesn’t mean you can’t experiment or try
something new and different. When I shoot, I typically do the “work” stuff first, then (if I
have extra time) I’ll shoot the fun, experimental stuff. Each time, I try something a bit
different until I find something I like—then I write it down on a 4x6-inch card. Since I do
this all during my “extra” time (maybe an hour or two a week), it might take me six
months or a year before I find something I like. Once I create a style I like, though, I

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shoot it.

113. Shooting with alternative light sources can take your images in interesting directions.

114 Turn Up the Lights for Nicer Eyes

Here’s one of the best tips for lighting: turn the lights up! Turning the lights up will stop
the model’s pupils from being dilated. It just looks better when you can see more of the
iris of the eye (the colored part) and less of the black pupil—and, honestly, it is easy to do.
Just add some lights to the scene—problem solved!

114. When the room is brighter (right), the pupils contract and allow the eye color to become more visible.

115 Overpower the Sun

The first day a photography teacher showed me the day-for-night technique, I fell in love.
In a nutshell, what you will be doing is overpowering the sunlight with a flash or a strobe
light, creating a dark-looking sky in the middle of the day. This works best with a camera
that has a higher flash sync speed (like second or faster) or with more powerful strobe
units. The general idea is to make the subject brighter than the sunlight (see the “Sunny 16
Rule” sidebar on page 58 for more on this) and expose her correctly. The brighter you
make the subject, the darker the background record in comparison to her. The effects you
create with this basic technique can run from subtle to dramatic, depending on the
difference in exposure level between the strobe on the model and the ambient light on the
scene.

115. Underexposing the background relative to the model (top) then adding flash (bottom) can make a midday shoot
look like it was created later in the day.

116 Create True High-Key Images

Very often, I see overexposed images called “high key”; they are not. Don’t lie to yourself
or be lied to. A high-key image is a correctly exposed image with mostly light tones in the
scene and very flat lighting (usually a 1:1 or 1:1.5 lighting ratio) on the subject. To create
this look, the main light and fill light are almost at the same power level on the subject.
If I were to take a picture of a person wearing a white snowsuit and surrounded by
snow where the snow reflected the light and created a lot of fill, that would be a high-key
image. A high-key image, if lit and photographed correctly, will have detail in the
highlights and the (minimal) shadows. Conversely, a picture of a model in a white bikini
against a white background shot with a single light that is 2 (or more) stops overexposed is
just a bad image, not a high-key image. In this overexposed image, you will have a
reduced tonal range; you will lose detail.

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116. True high-key images have detail throughout the tonal range, low light ratios, and overall light tones in the scene
and subject.

117 Explore Low-Key Photography

A low-key image is a correctly exposed image with mostly dark tones in the scene.
Depending on your camera and how it captures details in the shadows, low-key images
can have lighting ratios as high as 1:6 or 1:8 on the subject. Unlike typical glamour
images, in which at least two or three lights are used to control the contrast range, low-key
images can be created with a single light source and a reflector to fill in the shadows—
because you want a high ratio, less fill is needed.
Low-key images are some of my favorite images—they can be just breathtaking. But
remember: just taking a shot and underexposing it will not get you a low-key image; it will
only get you an underexposed image.
117. Low-key images make use of strong shadows and dark tones for a dramatic effect.

118 Assignment: Window Light vs. Strobe Light

Photograph a model using window light. Make sure the exposure and time of day is
perfect. After the sun goes down, grab a strobe and try to create the same look as
you did with the sun. Try adding a gel to the strobe to match the coloration. Review
the images. Ask yourself: What is similar about the strobe light and the sunlight?
What is different? How is the overall feeling of the images different?

119 Contributor Tip: Personalize the Lighting

Mark Lit (www.modelmayhem.com/1451817) says, “I approach each model as an
individual when lighting her. When I meet a model on the day of the shoot, I walk
with her around our property and observe how she looks in ten different types of
daylight. What are her strong points? What are her weak points? I try to plan the
lighting based on what I feel she would look best in. For example, I could try
backlight with fill in front, direct light through a scrim, open shade, or sun
bouncing off a wall. It’s tough to know how to shoot someone you have never
worked with before; everyone is different. Try a few styles of lighting. How does
the model look different with this or that light? What is different about her eyes,
her hair, her skin? After time, you will know what looks good and what works.”

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120 Contributor Tip: Closer Light, Softer Light
Billy Pegram (www.redcometstudios.com) asks, “Have you played with the
distance of your lights in relation to the model? What happens when the lights are
10 inches away rather than 10 feet away, using the same gear and same model?
How does it change the light and sharpness of the model? This is one of those tips
about which I can only say: try it. Learn when it is important to have the light
really close to the model and when it is important to have the light farther away
from the model. I will give you a hint, though: the closer the light is to the model,
the softer the image will be.”
 Backgrounds and Sets
Overview: You’ve made a plan, mastered your camera, chosen the perfect model, and know how to
execute the lighting look you want. Adding the right background can pull all of those elements together and
fully support the theme you’re working to develop. Don’t settle for the same set or location shoot after shoot;
get out there and mix it up! I have been very lucky to meet great photographers from all over the world, and
they almost all tell me I am lucky to live in Las Vegas because of the great locations I have to work with.
Granted, this part of the country has some fantastic locations, and I have shot in most of them. But there are
great locations everywhere! I would love to spend six months shooting in a deep, dark forest or along a nice
beach. Las Vegas doesn’t have any of those locations. I do what I can with what I have, and that’s what you
should do, too.

121 Skip the White Paper Background

One thing I look at when I am evaluating another photographer’s work is the background
—or the background control. When I see a lot of shots against white seamless paper, I just
move on. I really don’t even look at their work; for me, it shows that they don’t know
what they are doing or they can’t control the subject and/or the background. (Note: Paper
backgrounds are a good learning tool, but try to limit how much you shoot on them. After
a while, your work will look like every other photographer’s work and become boring.)

121. There are great locations for models all over the world. Take advantage of whatever beautiful scenes are available
to you.

122 Stop Down to Show the Background

Once you’ve found a killer location—an amazing home, beach, forest, desert, or other
scene that just complements the model—show the whole thing! The easy way to ensure
you capture everything sharply is to stop down your aperture all the way, using the
narrowest available aperture (f/16 or higher). This will ensure that most of what you see is
in focus. Don’t worry if it doesn’t look in focus in the viewfinder; take a test shot and
view it on the camera’s LCD and everything should be in focus.

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123 Isolate the Subject
Many photographers think isolation means shooting on seamless paper. While that does
isolate the model, it’s a bit overdone. So how about shooting the model on a bed? Or just
against a textured or colored wall? Or in a bathtub? Simple but interesting scenes are all
around you if you look for them.

123. Photographing a model in a bathtub isolates her in the scene, but the background is still interesting.

124 Clean Up the Scene

Look at the background. What can be physically removed? What can be removed by
cropping in-camera? How about in postproduction cropping? What will have to be
Photoshopped out later? When shooting in a bathtub, did you remove all the soap and
shampoo bottles? When shooting on a bed, prepare it with simple sheets—that’s all you
need. Keep these scenes clean and focused, limiting the distractions. I know it sounds like
a ton of work—but, honestly, it takes just a few minutes to de-clutter the shooting area as
you’re setting up your lights and doing your test images.
124. Shooting in a bathroom? Clear away any clutter before you start.

125 Let Her Blend In

Sometimes isolation isn’t the answer. Sometimes you can let the model blend in and ask
the viewer to hunt for your subject through the elements in the scene. This can be good if,
when the viewer finds the model, they feel rewarded; it can be bad if the viewer feels let
down. This “blending in” approach can work with complex scenes, but it’s also effective
with high-key and low-key images. Imagine a dark-skinned model against dark paper with
very few lighter tones in the shot. The model and the background would kind of melt
together and create a blended-in look that makes the view concentrate to make sense of the
shot.

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125. Letting the model blend into the background can reward the viewer who spends a moment deciphering the image.

126 It’s Alive!

It drives me over the edge when I see images with zero definition between the model and
the background. Who or what is the subject of these images? Are you shooting a half-alive
wall or is there a model in there somewhere? To create an image that looks real, it must
have depth; the subject needs to be defined against the background. What do I mean by
this? Well, if you have a dark shadow on the model and the background is dark, they will
run together. It will look as if the wall and model are the same. Adding a single light can
make all the difference in these shots! Place the model in front of the background and add
the light to provide depth to the whole image.

127 Encourage Interaction

Want to overcome the fake look of some sets? Have the model move and interact with the
environment. I have seen hundreds of shots done in kitchens, but very few where the
model is opening the oven, or grabbing a knife, or doing something else to make the
viewer connect with the fact that she is doing something in a kitchen (besides getting
naked). Some kind of logical interaction between the model and the environment produces
more realistic images.

128 Shoot at Home

The easiest place to start photographing models is in your home. You have ready access to
restrooms, private changing areas, food, and water—things that can be challenging to
obtain in remote locations. A common practice is to convert the garage into a small studio.
When learning, a controlled environment where you can shoot repeatedly without much
change is extremely important. If you can shoot in one location over and over again,
continually challenging yourself to be better, you will quickly learn how to achieve good,
consistent results.

Shoot Everywhere!
A garage studio is just one place you can shoot at home. There are plenty of
locations—I use every square inch of my house! Possible background elements to
consider are: doors, windows, walls, couches, televisions, kitchens, beds, hallways,
showers and bathtubs, computer desks and office areas, floors, and countertops.

129 Assignment: Add a Foreground Element

A mistake I often see made by new photographers is a lack of depth in their images.
“Here is a model,” they seem to think, “and I will just place her against a wall.”
When you add those two things together, the whole isn’t greater than the sum of the
parts. Adding a front element can solve this problem. It can be cheesy if done
incorrectly, but—executed properly—it will add depth and a sense of distance to
the image. You have to use the element as an anchor to the image. In magazine
print ads, you will often see a small object in front of the subject that is slightly out
of focus; that is a front element. Experiment with placing things in the foreground
of your images and see what effects you can produce.

130 Assignment: Shoot with a Full-Length Mirror

Mirrors can be a lot of fun. They add a new element to your scene, but also some
new challenges for shooting. Find a full-length mirror, have a model look at you in
the mirror, then take some pictures. Try to stay out of the reflection of the mirror—
and watch for lens flare. If you add lights, experiment with what position and light
angles look best. The model will have fun and so will you. If you can find a room
that has two or three mirrored walls, that’s even better!

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131 Shoot in Hotels
It’s important to note that shooting for commercial purposes (even TFP) in a hotel, motel,
or other location without the owner’s or manager’s permission is illegal. I’m not
encouraging you or even suggesting you ever shoot in a hotel without obtaining the
correct permission and meeting the insurance requirements. Despite all of that, it would be
unreasonable not to talk about shooting in hotels, since it is a relatively common practice.
If you decide to do a hotel-room shoot, choosing a high-end room will set the right mood
for the shoot and put your models at ease. If you plan to spend a day shooting in a hotel
room, book more than one model; I would suggest scheduling sessions with four or five
models.

132 Shoot in Your Backyard

In Las Vegas, the houses are right on top of each other. However, I still love shooting in
my own backyard or in friends’ backyards. If you have a private backyard, use it to full
effect. If you need to, buy some 100-foot power cords and drag a light with a softbox a
few hundred feet away from you house. Shoot on your knees. Shoot up at the sky. Place a
model in front of a tree (most trees look great with a nude model in front of them).
Outdoor images, to me, look much less contrived than indoor ones—and these shoots tend
to be a lot of fun for the model. Don’t worry if your backyard isn’t perfect; often, it is the
simpler, more natural backgrounds that work best. Just shoot at different times of the day
and see how the light hits the landscape, the trees, the plants, the models, etc.

132. If you have sufficient privacy, backyard shoots can yield wonderful results.

133 Shoot in Parks and on Public Lands

Shooting nudes in public is almost always illegal. It doesn’t matter if it is just a topless
picture of your wife or some great landscape with a professional model—it’s illegal.
Whether or not the risks are too high at a given location is just something you and your
model will have to determine for yourselves.
Let’s assume you find some safe, private place you and the model feel it’s safe to
shoot. How do you do it? Once I find a location and lighting I like, I get everything in
order, making sure the model is ready. With the model still clothed, I do a few test shots,
making sure my exposure is right and that the person working the reflector (and providing
an extra set of eyes as a lookout) is in the correct position. Then, if needed, I go over some
basic poses with the model.
Finally, I will have the model remove her clothing and tuck it in a safe place for her.

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images I like (or if we sense that people are getting too close), I have the model get
dressed and we move on to the next location.

134 Scout the Location

Before using a location, you should do some scouting without the model. How busy is it?
How dangerous is it? Do you need a permit to shoot there? You may also want to try doing
a non-nude shoot at the location first. If you don’t have any problems, then you can try a
nude shoot there.
You have to balance the risk against the reward. How great is the image going to be?
How much risk is there? I have been asked by many different companies to shoot their
model naked in front of the famous “Welcome to Las Vegas” sign—but the sign is a block
away from a police station and busy with tourists, so the risk is very high. For me, the risk
isn’t worth the reward, so I pass on these jobs. Fortunately, there are many locations in my
area with much lower risk factors.

135 Work Quickly and Hire Lookouts

If you can’t test the location first, set everything up, shoot, and leave—quickly. The longer
you are there (setting up, talking, or goofing off), the greater the chance you will get into
trouble. It’s also a good idea to station friends nearby as lookouts (and they can be called
in to do double-duty holding a reflector). On a shoot in Mexico, we hired the hotel
security guards to look out for the local beach police. We paid them $10 or $20 for a few
hours of work, and they got to see naked girls. It worked great!

135. When shooting in public areas, work quickly!

135. There are definite risks to shooting nude models in public—but you may decide the results are worth it.

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 Creativity and Design
Overview: Because shooting nudes can be inherently nerve-wracking for both the model and the
photographer, I believe that pre-shoot planning is especially critical. If everyone is on the same page and
understands the goal, the creative decisions and design process become easier and the images will fall into
place like magic.

136 Get Inspired

No great artist stands alone; all artists build on someone else’s ideas, education, and time.
Art is not made in a vacuum; it is made by looking, listening, and then doing. When I have
some extra time to research image concepts, I head to Flick (www.flickr.com) and look at
groups devoted to fine-art nude photography or even medium-format nude photography. I
also look around on www.500px.com, identifying things I like. Sites like Zivity
(www.zivity.com) and Diverxity (www.diverxity.com) also produce some good
inspiration.
When I see something that intrigues me, I take a screen shot of it. I then save it to the
“ideas” folder on my hard drive. Models frequently send me creative ideas they want to
shoot, too, and I file these in the same place. My “ideas” folder can have anywhere from a
few hundred to ten-thousand images in it, sorted into sub-folders with ideas for specific
models, specific locations, thematic ideas, concepts from other photographers, posing
ideas, and more.
I am not suggesting you copy another photographer’s work—that is boring, wrong,
and maybe illegal. Instead, look at work that inspires you and ask yourself how you would
do it differently. Then do it!
136. Look for images that inspire you, then think of how you can make the concepts your own.

137 Go Your Own Way

Looking at other people’s work can often be helpful in developing a concept or an idea.
However, there are other times that looking at other people’s images or work could bias
your thoughts or ideas. For example, if I wanted to photograph a nude girl on a white bed,
I could hop on-line, find images of models on a bed, and choose what I wanted to do.
However, if I already had a basic concept in mind and wanted to produce something more
creative, I would probably not search for other people’s ideas. I would not want to bias my
own ideas by doing any research.

137. If you’ve developed an image concept you like, don’t bias yourself by looking for other people’s ideas.

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 138 Contributor Tip: Know Your Purpose
Billy Pegram (www.redcometstudios.com) says, “When I shot film, things cost
money; with digital, people seem to have lost focus. It is important to remember
why you’re there. What is the purpose of the shoot? What is the goal of the shoot?
This should all be clearly defined before the shoot and everyone should have a
clear idea of the road they are traveling in order to get to a unified goal. Over the
years, I have talked to a lot of models who were hired by photographers on Model
Mayhem and given no idea about the purpose of the shoot, the reason for the shoot,
or anything else.”

139 Shoot a Theme

If you’re having trouble coming up with new shooting ideas, shooting around a theme will
give you and your models something interesting to create. You don’t even have to come
up with the theme yourself—there are a ton of sites out there that have photo contests (you
can shoot for a contest even if you never submit for it).
Viewbug (www.viewbug.com) has contests all the time. Most of them aren’t designed
for portrait, boudoir, or nude photography—but some of them are very artful and they are
fun to shoot. Zivity (www.zivity.com) is, in my option, the current king of contests. They
have contests created by both users and staff members—all with super creative themes.
Their contests are always fun and often quite a lot different than any others out there.

139. Girls with guns are a classic theme going back to pinup days.

As you shoot for your theme, mix it up. If you are shooting a glamour concept, use
that long lens and shallow f-stop. If you are shooting something more urban or trendy, try
a really wide lens and an open f-stop. See how you can best use your gear to suit the
theme that you are producing.

139. Have an issue you feel strongly about? Try shooting some images inspired by it.

140 Determine the Feasibility

Once I find that perfect concept, I try to decide if it’s feasible to produce the look I’ve
envisioned. I look at the location, for instance, and consider whether this is something I
can shoot. For example, I have seen amazing shots created in forests with huge trees—but
I happen to live in the middle of a desert, so I can’t easily create images that require those
types of settings. I also consider the model; having the perfect model will make my idea
come to life.

141 Get What You Need

One of the most important things you can do to grow as a photographer is plan. When I’m
giving photographers feedback, many of them say things like, “If I would have thought
about it, I could have bought (or did) that.” To me, that is shocking. If you want an Easter-
themed image, what do you need? That’s a case where it’s pretty obvious: an Easter
basket, bunny ears, maybe colored eggs. It can be harder when the concept is just “a nude
shoot.” A seemingly “simpler” nude shoot will often need more conscious and thoughtful
planning than a shoot where the concept is more defined.

142 Use Negative Space

The classic rules of composition, like the Rule of Thirds and the Golden Mean (also called
the Golden Ratio), produce negative space around the subject of the image. For most
images, this negative space will not be evenly divided around the subject. I particularly
love the Golden Ratio because it can be seen in nature, art, and just about everything.

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can use negative space to direct the viewer’s eye and most effectively present your subject
and your story. In Photoshop, you can set the View option of the Crop tool to give you
Rule of Thirds, Golden Mean, and other compositional guidelines.

142. Using the Photoshop’s Crop tool to adjust a composition to the Golden Spiral (left) and Rule of Thirds (right).

143 Explore Shapes and Forms

Learn how interesting basic geometric forms in your images can control the way the
viewer perceives your subject and how the eye travels through the image. Keep in mind
that this can be different for different cultures and groups of people.

143. Explore different shapes and forms when designing your images. From left to right: a C shape, an S shape, and a
triangle.

144 Use Leading and Framing Lines

When you look at a shot, see if there are dominant lines that you can use to lead the
viewer’s gaze toward your subject. You can also use lines effectively to frame your subject
within the composition. Keep in mind that you can tilt the camera to change the look of
the lines. (Note: One thing you don’t want to do is split the horizon across the middle of
the frame. A centered horizon is not a leading line; it just looks static and boring. Place the
horizon above or below the midline.)
144. Use the lines around your subject to draw the viewer’s gaze to them.

145 Use Color to Draw Focus

Color can be used to control how viewers see your images. One approach is to find a
background that is one color and dress the model in a wildly different color. Maybe you’ll
shoot on a white bed with the model wearing bright green clothing—or maybe you’ll
shoot a model in a black dress against a bright yellow wall. This is a great way to capture
the viewer’s attention. Against the single-color background, the focus will be on the model
and the dominant color in the foreground. For the sharpest distinction, select
scene/clothing combinations featuring complementary colors (see “Complementary
Colors,” facing page). Another approach to using color is to match the background color
with the model’s clothing color (red background, red dress). When everything else in the
frame is one color, it makes the model’s skin really stand out.

145. Color contrast can make an image stand out (left). Color harmony produces a cohesive look. Here, notice how it
makes the model’s face stand out (right).

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146 Create Juxtaposition
When it comes to juxtaposition, I’m going to use one of my wife’s favorite phrases: go big
or go home! To make juxtaposition work, the things you choose to contrast must be
different—very different. It is this clash of opposite visual elements that will get the
viewer’s attention.
Think for a moment of that classic picture of Marilyn Monroe in the white dress with
the air blowing up her skirt. At least once a week, I see a model with a picture in her
portfolio that is a poor, trashy copy of that image. You know why it looks so bad? Because
I know what the original image looks like; unless your version is 99 percent as good, don’t
try to copy it.
Instead, try some juxtaposition! Assuming you have the model, the Marilyn Monroe
dress, and the location you could add a zombie coming after her! Or how about a military
Marilyn with a gun strapped to her leg and a bulletproof vest? Maybe you could create the
image with a tattooed model instead of a Marilyn lookalike? Just do what you have to do
to capture the viewer’s attention.

146. I’ll bet you didn’t expect to see a sexy clown pole-dancing, did you? That’s effective juxtaposition.
146. Glamour models are usually perfectly groomed and shown as happy or sultry. How about a total shift in the mood
and styling?

Complementary Colors
The colors in the visual spectrum are often arranged in a circle with complementary
colors located directly opposite each other. Complementary colors (like red/green
or blue/orange) stand in sharp contrast to each other and can be combined in
set/clothing selection to make bold statements.

147 Look for Logical Pairings

The opposite of juxtaposition is pairing. Unless you are consciously and emphatically
trying to create contrast (juxtaposition), it is important that the model, clothing, setting,
and lighting all seem harmonious. Casting a tough-looking model covered in tattoos to
play a sweet girl-next-door type isn’t going to work. Can you picture Jim Carrey replacing
Roger Moore or Sean Connery as James Bond? I’m sure Jim could do the acting just fine
—but is it really his style or personality or what you expect? Likewise, a model in a bikini
makes more sense at the beach or a pool than in a kitchen (just as a Fortune 500 CEO
makes sense in a suit in a boardroom).
You should also extend this idea of pairing to your lighting. If you have a model who
is covered in tattoos, has large breast implants, and sports bright blue hair, does it make
any sense to use soft, gossamer lighting on her? Yes, we can probably all imagine some
scenario where this would make sense, but generally you wouldn’t do it because it
wouldn’t pair logically with her perceived personality.

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147. The model’s sweet look and lounge-wear are harmonious with a home setting and soft window lighting.

147. This model has a tougher look and a sexier, more dramatic outfit. The harder lighting and bolder colors are a good
pairing.

148 Pairings (On Another Level)

This concept of pairing should really extend to just about everything on the set—including
the model and the photographer, the photographer and his clients, the photographer and
makeup artist, or just about a million other things. A few years ago, I photographed a
model who was made up beautifully, with sexy custom stockings and garters—and while
she looked pretty, she actually felt miserable, out of place, and unhappy. So we tried
something completely different: we messed up her makeup, made her mascara run, and
showed her as dark and moody looking. She loved it and it fit her personality perfectly! So
the next time you plan a shoot, try to ensure smooth sailing by correctly pairing everything
and everyone.

148. An unexpected camera angle can totally change the shot.

149 Shoot from a High Angle

Models can look quite different from different angles. Try getting on a ladder and shooting
down toward the model; it will change the feel of the shoot. Try the same thing with a
wide-angle lens.

150 Shoot from a Low Angle

Get down on the ground, or have the model stand up on a table and shoot from below her.
I once won an award once using this technique. Honestly, I didn’t think my image was all
that great—but when I saw the other photos entered, I understood why I won. There must
have been twenty shots where the photographer was standing up and shooting down at the
subject. I got down on my back and shot upwards at the model, changing the perspective
and really making me stand out from the other photographers. Sometimes, a change in
perspective can make all the difference!

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150. A low camera angle makes this scene and subject look totally different than if I’d shot from a standing position.

151 Think Seasonally

There is no shortage of holidays. Key holidays for glamour photography are Christmas,
New Years, Valentine’s Day, and Halloween. The secret of shooting and selling holiday
images is planning out far enough and doing some marketing to get people in the door.
When we do our Christmas sessions, we should be done by December 1. That way, we
don’t have to scramble to get prints out to people. Of course, in the real world it doesn’t
always work like that. Sometimes we get done as late as December 15 or 18. The problem
with finishing so late is that we can’t really market or do much with the images. No one
needs Christmas images on December 26! So when planning a holiday shoot, try to
schedule at least two to four weeks ahead.
151. Holidays can inspire useful themes for your images and generate nice gift sales.

152 Add Water

After a few weeks of non-stop shooting I am brain dead; I have a hard time being creative
or coming up with new ideas. In this situation, one of the things that always seems to work

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on themselves, I have assistants spray the model with a hose, I have put the model in a
bathtub or shower, and done about a million other things with water. For some reason,
water is a really creative medium for some models—and wet clothes can be really sexy.
(See “Find Your Tenzing Norgay,” page 94.)

152. Many models respond to posing in and with water.

 Find Your Tenzing Norgay
In the movie Intolerable Cruelty (2003), there’s an interesting conversation
between divorce attorney Miles Massey and his assistant Wrigley. They discuss
Marilyn Rexroth, the ex-wife of Massey’s client (and eventually the lawyer’s own
love interest). The scene unfolds like this:
Wrigley: Who are you looking for?
Miles Massey: Tenzing Norgay.
Wrigley: Tenzing Norgay? That’s someone she slept with?
Miles Massey: I doubt it. Tenzing Norgay was the Sherpa that helped Edmund
Hillary climb Mt. Everest.
Wrigley: And Marilyn knows him?
Miles Massey: No, you idiot. Not the Tenzing Norgay. Her Tenzing Norgay.
Wrigley: I’m not sure that I actually follow that.
Miles Massey: Few great accomplishments are achieved single-handedly, Wrigley.
Most have their Norgays. Marilyn Rexroth is even now climbing her Everest. I
wanna find her Norgay.
Wrigley: But how do you determine which of the people on here are …
Miles Massey: How do you spot a Norgay?
Wrigley: Yeah.
Miles Massey: You start with the people with the funny names.
Water is often my Tenzing Norgay; it is what helps me when nothing else seems to
work. When in doubt, I add water. You need to find your own Tenzing Norgay—
something that works for you and that you can always fall back on.

153 Add Milk to It

Milk is like water. When I’m looking for something fun, I grab powered milk or real milk.
I can place a model with issues like scars or tattoos in a milk bath and, guess what? It
hides it all. Models can even pour milk over themselves. It’s messy, but it looks great.

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153. Like water, milk is a versatile and interesting scene-setter.

154 Add a Big Fan

Just adding a fan will do a lot of work for you. It can make a huge difference when you
want to make something more fun and funky—maybe with a bit of an ’80s style. Also, a
fan will make billowy clothing move, if that is something you need.

154. With a fan on the model’s hair you can add some nice movement to the image.

155 Think in Black & White

Black & white work tends to fall into two categories: images that were planned as black &
white shots and images where the black & white presentation was more of an afterthought.
If you are taking a “blah” color image and trying to save it by converting it to black &
white, the results will not be as pleasing as if you consciously created the highlights,
shadows, and rich midtone details on the model. Those are the qualities that really make a
black & white image shine—but you have to plan for a black & white shot, not try to
create one after the fact.

155. When you know your end product will be a black & white image, you can optimize the tones and contrast to look
great in black & white.

156 Assignment: Mix It Up!

Sometimes moving forward requires you first to move sideways a few steps. There
have been times in my career when I couldn’t come up with a good idea for a
shoot. I had money coming in and models wanting to work, but I was just so
physically stressed and worn down I needed a break. Learning how to break
through a slump (or head one off altogether) is an important skill to teach yourself.
Here are some things I do:
I photograph something I don’t normally shoot. For a while, it was landscape
photography; after that it was animals. I change it up to keep it interesting and stay
on my toes. Because the subjects are new for me, I am more eager to shoot them
and experience the process.
I shoot for free or just because I want to. These shoots make my work stronger
and let me meet people outside my normal circle—which ultimately generates
more paid work.
Both of these approaches keep the camera in my hand and keep me shooting.
Often, I will see something when I am shooting a landscape, and think, “I could do
a glamour session like that.”

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156. Take a side-step and try shooting subjects that are totally different from your day-to-day work.

157 Assignment: Shoot a Fetish

In my work as a photographer, I have shot a lot of soft fetishes. Feet, stockings,
pantyhose, panties, hair, hands, nails—the list of sensual fascinations really does go
on and on. Before you presume to understand a fetish you don’t happen to share, do
some Google searches to help you learn what is important to people who do have
that fetish. This can help with planning and thinking about the shoot and the
lighting. I give you this advice based on personal experience. I was hired to shoot a
pantyhose fetish, and I presumed that people would want to see really nice,
expensive stockings. However, talking with some people from the nylon fetish
scene revealed that the opposite is true. The most common and popular nylon fetish
is for the $.99 pantyhose that come in a little egg. That’s what the fetish people
want to see—and it was good to know, because it was not what I expected.
157. Challenge yourself to learn about a fetish and shoot some images that would appeal to that audience.

158 Assignment: Something Sheer

Something sheer is always sexy, so go to a fabric store and have them cut a large
sheet of sheer material. Then grab a model and have her pose with it. You could
also try some sheer panties or other lingerie—or even a wet white t-shirt. Play with
different types of light (hard or soft). How does it affect the sheerness and shine of
the material?

158. Sheer fabrics are sexy and a good theme to experiment with at a shoot.

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159 Assignment: Get Inspired by a Movie
You can get virtually limitless ideas from movies and television shows. I have been
looking for a model to shoot the Alice character played by Milla Jovovich in the
Resident Evil movies, wearing the signature asymmetrical red dress. Pick a movie
character or scene and create a shoot around it. Don’t try to copy it directly, though
—just build off of it, taking the elements from it that you like most.
159. Here are some images inspired by a famous scene from the movie Indecent Proposal (1993).

160 Shoot an Everyday Activity—But Sexier

A friend of mine rents huge houses and uses them to shoot high-end glamour images. I
love his work, but those locations aren’t accessible to everyone—and, to a lot of people,
those aren’t the most intriguing kinds of erotic imagery. In fact, people often tell me that
they love how my work looks real—not like it was shot in a fake location or on a fake set.
Many people want to see obtainable, real models in locations they can relate to. For some
people, a model is sexier when they can relate to her in some way. This is a challenge we
can all take on in the spaces right around us. Kitchens, offices, backyards, and more
provide readily accessible locations for shooting real activities in a sexy way.

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160. The theme here? A roadside car problem on a very hot summer day.

160. Images from a series shot in a kitchen, featuring a series of sexy mishaps.
 Postproduction and Technology
Overview: When I was a kid learning photography, my dad owned a photo lab and let me come to
work with him in the summers. That’s where I learned how to manually process black & white and color film. I
also learned how important the post-shoot processing of an image is to its success—something that, at the time,
many photographers overlooked. What made Ansel Adams great wasn’t just his camera skills, it was also his
mastery of darkroom techniques. In the post-shoot phase of production, he knew exactly how to bring out the
elements he wanted to emphasize and minimize the elements he wanted to downplay. Today, we can do similar
work with Photoshop and other imaging tools.

161 Don’t Fall Behind

When digital cameras first came out, a lot of photographers didn’t want to learn about
computers or digital imaging. Fast forward ten years and 99 percent of those
photographers are retired, out of business, or behind the curve of technology. We are all
creatures of habit, but you can’t be lazy or complacent—with photography or anything
else. It is important to keep learning and growing. What you learn isn’t as important as the
act of learning. There are millions of books, classes, videos, blogs, and so much more that
can keep you moving forward.

162 Stay Organized

When I visit photographers and work on their computers, I often find that their source files
are all over the place and disorganized. Find a file naming system that works for you—
maybe by date, by type of work (trade vs. paid), by client, or by model name (legal name
or stage name). Then use it consistently so you can always find what you need.

162. It’s important to stay organized—you should be able to quickly find the images you need.

163 Moore’s Law

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photography business, because you had to a buy a good camera like a Hasselblad, plus
lenses and camera backs. In the mid 1990s, a bare-bones professional system would have
cost you around $10,000 to $15,000. However, that camera would generally last you about
thirty years. If you think about $10,000 spread out over thirty years, that is a meager $333
a year—not too expensive overall.
Once digital cameras came out, the rules and ideas of buying gear changed. To really
understand buying digital gear, you need to understand the basics of Moore’s Law. Moore
was one of the founders and presidents of Intel, the company that makes the computer
chips for Mac and PC systems. In a nutshell, he stated that the number of transistors will
double every two years. So what does this mean? Why should you care? Well, there are a
lot of spin-off ideas, but here it is, again, in a nutshell: every two years technology will
double, or cost half as much. So if a 36-megapixel camera costs $2000 today, in two years
it will sell for $1,000. If a 4TB hard drive is $200 today, in two years I should be able to
get an 8TB hard drive for about that same price. To drive this point home even more,
here’s another guideline: Hendy’s Law, coined by Barry Hendy of Kodak, Australia,
shows that the number of pixels per dollar found in digital cameras will double every year.
Why is this important? Well, a friend recently saved some money by buying a new
camera that had been on the market for a few years. About a month later, a newer and
nicer version of the same camera was released for only $200 more. He wishes he had
waited just a little bit longer to buy that new camera. Before you buy any technology item,
see how long the model has been on the market and when it is going to be updated. Digital
technology is changing quickly and doesn’t hold its value very well. As a photographer,
you want to plan your expenditures and make the best possible business choices when
buying gear.
163. Moore’s Law shows that technology doubles every two years.

164 Gear Does Matter

On a lot of forums and at a lot of workshops, I’ve heard people say that gear doesn’t
matter. Have you ever seen a minivan win a NASCAR race? You haven’t—because gear
does matter. If you think it doesn’t, it’s because you’re not using your equipment as
effectively as you could. To return to our previous analogy, imagine you have a brand new
race car and a minivan. If they are both stuck in rush-hour traffic, there’s no difference
between the two because they aren’t being used to their full potential. They are not even
being used as designed.
Now, this doesn’t mean that more expensive gear is automatically better. It just means
that you’ll get the most for your money and the best experience with your equipment if
you select the gear that best matches your needs (don’t buy a race car when you really
need a minivan—and vice versa). Think about where you are going to invest your money.
What’s more important? The camera or the lighting? The flash or the tripod? Since I
mostly shoot indoors to make money, the lighting is more important to my work than the
camera—so I would rather spend my money on strobes. If I were a landscape
photographer or photojournalist, buying expensive lighting gear would be foolish.

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165 Get a Nice Monitor
Some people recommend photographers buy the cheapest monitor available because that’s
what most other people have. The logic here is that if you can make your images look
good on your cheap screen, then they will look good on most people’s cheap screens. I
think this is a stupid idea. Eight or nine years ago, I bought a really nice CRT monitor and
it changed my photography. I could see the colors and details so much better—it was a
night and day difference. At that time, good monitors cost about $1,000; today,
comparable devices are $200 to $300 at most. They are coming down in price, not in
quality. So if you are wondering, “Should I spend the extra $100 dollars for the nicer
display?” Yes. Your monitor is an important tool, so spend the extra money.

165. Viewing your images on a quality monitor will make a big difference in your image production.

166 Skip the Sketchy Software—Get Photoshop

I know a photographer who has reformatted his computer five or six times this year
because he got viruses from downloading illegal imaging software. This costs him a lot of
time—all because he because he doesn’t want to spend a few dollars a month to rent
Photoshop.
167. Before and after with the Focus 2 Pro plug-in.

Software companies have really changed the last couple of years and now they have
specials that are really wonderful. I got Windows 8 for $14.99 and the last Mac OS X
upgrade was free. I can now rent Photoshop and Lightroom for $10.00 dollars a month;
this is a small amount of money for automatic upgrades, Adobe support, and more.
If you want to move ahead in photography, you must have well-maintained
professional tools. So get Photoshop. Get Lightroom. Get whatever you need. Don’t risk a
virus from illegal software; it is just not worth the hassle.

167 Try Focus 2 Pro

I have always felt the best way to create something is in the camera. However, for
commercial or production work that isn’t always the safest way. For example, if I wanted
to shoot with a super short depth of field, I could grab a 50mm and shoot at f/1.2. Chances
are, though, a lot of the images would be out of focus or mis-focused. An image that isn’t
in focus is a wasted shot, so that could potentially cost me thousands of dollars and a lot of
time.

Control the Grain

If you want the look of film, remember that film grain is a physical effect; it has
nothing to do with focusing the camera. So if you add grain to your images, do it
after applying the Focus plug-in. You don’t want the grain to be blurred too much.
Instead, I shoot a couple stops down from where I want to be and then use a program
called Focus to add the blur I want. This software is easy to use and creates the most

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(www.macphun.com/focus) is a Photoshop plug-in, so it is easy to integrate into my
workflow. With about three clicks, I can 100 percent control the focus. Throughout this
book, the images with the blur of selective focus were mostly created using the Focus
software.

168 Decide When to Crop

It can be hard to figure out when to crop in camera and when to crop in postproduction.
There are times when the answer is somewhere in the middle; you don’t want to crop out
important data or visual elements, but then again you don’t want to capture boring images
and have a bunch to do in postproduction. Cropping in post can often take a good image
and make it great. If I have an image that needs an extra boost I will play with different
crops to see if I can find something I love.

168. Thoughtful cropping in postproduction can enhance the impact of a photo.

169 Get a Backup System

Every photographer I know has some crazy backup system—some sound really great;
others … well, not so much. Backblaze is an on-line backup system for your computer,
external USB drives, network drives, and anything else attached to your computer. The
best part it that Backblaze costs $5 dollars a month for unlimited storage. It never hurts to
have off-site backup—away from your computer, home, and studio. Recently, I also
started using Spider OAK. With storage prices falling all the time, it will not be long
before most of our data is stored on-line so we can access it remotely.

169. Backing up with Backblaze.

170 Try Alien Skin’s Exposure

Ninety-five percent of my published work is processed with Alien Skin’s Exposure.
Generally I don’t even look at an image anymore until I have run Alien Skin’s Exposure; it
helps me match the digital image to what I previsualized.

Protect Your Customers’ Images

Your customers’ images are more important than yours. To understand how
important this is, go find a mirror, take a lot of naked pictures of yourself, and then
put them with your customers’ images. Feel nervous about who might find them?
That’s how your clients feel.
For a basic level of protection, compress (zip) the shoot and add a password.
You should also ensure you don’t have any illegal software on your computer
(backdoors or Trojan horses). You can also get the images off your computer by
burning discs and storing them in a safe deposit box. For advanced protection, store
the images on an encrypted drive that is kept off-line—and when you work on your
images, work off-line. Be sure to back up all your data.
The main threats to your images fall into three categories. 1) Online, people
might download the files without your knowledge. 2) Someone could break in and
physically steal your hard drives or computers—or even nab your laptop while you
sit at a coffee shop. 3) You could lose your data due to an error or device failure.
So, if you gave me your IP address or handed me your computer, what would I
find? Are your clients images stored as safely and privately as they should be?

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 Alien Skin’s Exposure is much more than a color-changing filter. It applies simulated
effects that are based on exhaustive mapping of the properties of real film images, which
is why the results look so much like real film. Other “film” or color-changing plug-ins I
have tried are sometimes close, but they ultimately lack the feeling that my clients love—
they lack the “realism” that the people at Alien Skin’s Exposure have spent so much time
and money researching and perfecting.
Generally, I choose a slide film setting like Kodachrome. It makes my work stand out
from other photographers who might have similar gear—and for most of my images,
people love the look. I know it sounds strange to apply an “old school” look to images
created with sophisticated modern gear, but if something works, why change it? For most
of my images, people love the look of the Kodachrome or other slide film settings.

171 Imagenomic Portraiture: One Plug-in to Rule Them

All
If you put a hundred of my photographer friends in a room, there isn’t much they could
agree on. They all use different cameras, different lighting, and different lenses to create
different styles of photography—and that’s just a few of the many things they all have
different ideas about. Amidst all our differences, though, I think there are two things we
agree on: 1) Photoshop is amazing and has changed photography in major ways, and 2)
Imagenomic Portraiture is the single best, must-have plug-in.
I can’t stress enough how this one plug-in changes everything with glamour
photography. Whether you are doing quick edits or preparing print-ready images,
Imagenomic Portraiture makes retouching a quick and easy process. Video tutorials are
available, but it’s honestly so simple I don’t think many people need them (unless they
want to get really good).
171. Before applying Imagenomic’s Portraiture plug-in.

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The image shows a closer view of the model’s skin after the plug-in was applied.

The first suggestion I generally give people is to remember that less is more. When
you first start with Portraiture, it’s easy to over-soften the skin—but after a few times
using the software, you will find the perfect, subtle balance. Another great tip is to use the
plug-in in your Photoshop actions. This might not seem super important at first—but when
you learn to make effective use of actions, you can process thousands of images in no time
at all!
 Marketing and Public Relations
Overview: Earning an income with your photography can be challenging. Good marketing and
public relations (with clients, models, and more) can help get people to look at your work and talk to you—but
financial opportunities will come only if your work is strong enough to hold viewers’ attention and make
people remember you! In today’s competitive market, it’s easy to get your work out there; it’s hard to get
noticed.

172 Organize Your Sample Images

I have an organized folder of samples reflecting different styles of work, so I respond to
job inquiries really quickly. If a fetish model wants to look at some of my fetish work, I
can immediately drop it to her in an e-mail. If I have a tall model, a heavy model, or any
other special subject, I have different samples ready to go—without having to spend my
time looking for them. Responding quickly can make all the difference. So, if I asked you
today to show me some work with older models or heavier models, or if I wanted to see
some before-and-after images, could you send those to me within a few minutes?

173 Let Her Keep It

Sometimes it’s not about how nice you are to a person, it’s about what they can walk away
with. Sending your model home with a physical reminder that keeps bringing the shoot to
her mind increases the chances she’ll rave about the session to her friends.
I try not to give away commonly branded marketing items like pens or shirts with my
logo on them; that stuff is often overlooked. I want things the model will use or share—
something that has some value to her. For a long time, we gave away some of the makeup
we used on the model; then, we gave away baby-doll shirts. When I order prints, I often
get a few extras to hand out at trade shows or give to popular models. My cost is low, and
I know the model will show them to all of her friends—and then they will contact me to
shoot.

Another “Freebie”
If I know a model needs her hair touched up, I can book a shoot and take care of
that. This is a nice perk for her and a good incentive to come in for a session. We
also book sessions around make-up for a special day (we shoot in the day, then the
model can go out—all made up—on her date that night).

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 There are limitless options. One time a model came over for a shoot and mentioned
she needed headshots for another project, so I took a couple extra minutes and sent her
home with those images. Another time, we had a model who fell in love with a pair of
heels in our wardrobe selection, so we gave them to her. The shoes were about $60—but
she sent us so many more models (and shot with us so many more times) that it was one of
the best investments I have ever made.

174 Share via Dropbox

Oh, how I love Dropbox (www.dropbox.com)! Dropbox has changed the way I work with
clients because it notifies me right away when there is a new file in a shared folder. If a
client wants to share some samples, he can put them on Dropbox, and I will know right
away that the files are there. The same is true for models; if they want to see their images,
I drop them into Dropbox and, as they upload, the model get a little pop-up notifying her
that she has images to see. There are other file-sharing services out there
(www.wetransfer.com is a popular one) but, for me, Dropbox is easy and reliable.

175 Get a Great Business Card

I attend all types of events—model meetings, photographer workshops, and more—and
there seems to be one constant: models and photographers have horrible business cards. A
good 80 percent of the business cards I have from photographers and models look like
they were made by a nine-year-old. If you want to be respected as a professional, you need
to have professionally designed cards. For me, Moo (www.moo.com) is the answer. They
have great card templates and their printing is terrific. Just click on “photography,” upload
some images, and enter your information—that’s it! They are not the cheapest, but they do
look great and, to me, that’s what is most important.

175. Online file-sharing sites like Dropbox make it quick and easy to share images with your models and clients.

176 Try Diverxity

It would be great if there were a site that let me just shoot and not worry about anything
else—no website design, how to make money, sharing pictures, paying for insurance, or
the million other items that take time away from creative shooting. Lou Giacalone, Jr.
thought the same thing and he created Diverxity (www.diverxity.com), a site where

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on how long their uploaded content stays on the site and how popular it is.
176. Once you have a good sense of your most popular images, try making some money by posting them to Diverxity.

If you’re just getting started and want to make some money (or even just get some
feedback on your work), I recommend first posting some images on Flickr
(www.flickr.com). See what people like and what they don’t respond to. Get used to
uploading images and dealing with some mean comments. Then, plan a shoot of around
two-hundred images and explore a few different ideas. After you’ve edited the session,
submit your best images to Diverxity.

177 Loves Are Better Than Likes

Ten people who love you are worth more than ten-thousand people who like you. That’s
especially true if those “likes” were purchased on Facebook. There are a lot of unknown,
unsuccessful photographers with 50,000 likes on Facebook. That is completely the wrong
way to build a business! It’s much more valuable to build a small but devoted following of
people who are really invested in your success—people who would show up to help you
move if you decided to re-locate your studio! Invest your time in developing relationships
with people who really love your ideas and support you as an artist with more than their
social-media clicks.

178 Hire Experts

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basic proficiency in just about anything—but that’s a lot different than truly being an
expert. It took me a long time to understand that hiring an expert—a real professional—
meant the work would be done more quickly, less expensively, and often better than if I
did it myself. Think of it this way: a CEO understands his whole business—but while he
knows the value and importance of each job, that doesn’t mean he will personally do each
job. Just because you can, doesn’t mean you should.

179 Get Others to Promote You

It doesn’t matter how good I tell people I am—people don’t want to hear what I
think of myself. However, if someone else tells a person that I am great, they just
might listen. Referrals, references, and glowing reviews from other people are
worth more than any Facebook friend count, Yellow Pages advertisement, or just
about any other marketing tool you can think of. Don’t be scared to ask for
endorsements and reviews from your happy clients—and then use them to attract
more business!

179. Have happy clients? Their recommendations will carry more weight than anything you could say about yourself or
your work.
180 Carry a Reference Book
Years ago, I started to carry a pen and some paper to remember things and models started
grabbing it to write down how great I was and how much fun they had on the shoot. So I
bought a reference book, a 5x7-inch notebook so models can write down what they liked
about the shoot, about me, or whatever. It is a brag book, for sure. I like to wait for my
second or third shoot with the model, then ask them if they want to sign it. This way
they’ve had a chance to get to know me and they have seen the images I have taken of
them, so they can write something that is touching, accurate, funny—or whatever they
like.

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181 Be Diligent—Even in the Face of Rejection
Ever hear an older person say, “These young kids have it so easy today, I remember
when…”? I feel that way about photography. When I started, we had to make prints, write
letters, and send real portfolios in the mail—just to get turned down! Now we just shoot
and e-mail a digital image that costs nothing. Of course, that also means that we can be
dismissed more quickly than ever before—so one of the most important things you can
learn as a photographer is to enjoy pain … the pain of rejection.
If you e-mail a hundred magazines, a hundred galleries, and a hundred models each
month, you may only get one or two yeses—but if you do that every month, it will start to
add up. What is the risk? Your ego and your pride? A dollar in electricity? A bit of your
time? If you want something badly enough, you must be diligent and persistent. Send that
e-mail. Remember: if you never ask, every answer is no.

182 Rethink That Huge Watermark

Adding watermarks is a common strategy photographers use to protect their images, but
they can get out of hand pretty quickly and make you look like you have a Napoleon
complex (“Look at me! I have a big watermark on my image! I am so special!”). A small
watermark is okay, but some photographers add huge watermarks that just destroy their
images.
I was curious about this, so I researched what some of my favorite high-end
photographers do and noticed that many of them don’t mar their beautiful images with any
watermark at all. David LaChapelle? A quick Google search shows no watermarks.
Patrick Demarchelier? Nothing is watermarked with his name—but some of the images he
shot for Vogue have their logo. Ansel Adams, Herb Ritts, Robert Mapplethorpe, Edward
Weston? No watermarks.
If you’re so worried about people stealing your images, don’t put them on the Internet.
A watermark isn’t going to stop anyone from stealing your work. I guess it might help
people find out who you are, but I have honestly never had a client come to me and say, “I
found you by this watermark.”
182. Skip the watermark. If you’re worried about image theft, don’t put your work on the Internet.

183 Know Thyself, Know Thy Client

We all have a style or a look we prefer to create. Knowing what you genuinely like to do
will help you find people who are like minded. This is the first step in really molding your
image. My clients like what I shoot and like what I create—that is why they continue to
hire me.
Similarly, when I submit to a magazine I actually like and read (or one I simply
admire), I tend to get published. When I submit my work to a magazine I don’t normally
read or even like, I am almost sure to get rejected. The same is true with clients, models,
and everything else. The heavily tattooed models tend to shoot with tattooed
photographers and for ink magazines. Asian models tend to flock to Asian photographers
for Asian car magazines.
This is important to understand. You will do your best work when you are creating
something that you genuinely understand and are interested in. If you’re straining to fit in
or doing something just for the money, it almost never works. (That’s not to say you
shouldn’t try new things—you absolutely should! If you find you really enjoy them, then
those are other areas where you might become successful as well.)

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183. Understanding what you truly love to create will help you attract the right models and clients.

184 Specialize
KFC, Pizza Hut, and Taco Bell are all owned by the same company. So why don’t they put
everything under one roof and on one menu? Initially, that seems like a good idea—there
would be something for everyone and it might reduce their overhead or allow them to
streamline their marketing. In fact, this is what a lot of photographers do—they offer
everything in the hopes of attracting more clients and making more money.
The truth is, less is more. Apple Computers has shown this to be true. So has Yum!
Brands (the owners of KFC, Pizza Hut, and Taco Bell). These companies know that
focused marketing and a unique customer experience enhances the success of each brand.
That would be impossible to do if they were all in one location. When people go to Taco
Bell, they want to be in a Taco Bell—they want the whole enchilada! That’s the user
experience that will make people come back.
This is something a lot of photographers need to learn: a better focus can help you get
more work. For example, I was recently looking for models on an adult talent site when I
noticed a photographer’s profile saying that he specializes in working with kids. What?
This site is filled with porn stars. This is not the place for a professional photographer who
loves working with kids.
Another photographer asked me to look at their Model Mayhem profile and give them
some tips on making it stronger. About half of the portfolio was amateur fashion stuff and
the other half was nude housewife-looking images. I asked him why he thought he was
having trouble finding models, but he really had no idea. I explained that most of the
fashion models don’t want to shoot with a photographer who does amateur nude/fashion
work. His muddled portfolio made him look like a pervy “dude with a camera” who had
no idea if he wanted to shoot fashion or pornography. I suggested he open another Model
Mayhem account so he could have one portfolio dedicated to his nude work and one
dedicated to his fashion images. He followed my advice and now his portfolios are a lot
more effectively targeted to the models he’s seeking.

184. A cohesive, well thought-out brand helps models and clients understand what you do and whether you’re a good
match for their needs.

You can shoot a lot of different things, but that does not mean you have to promote
them all. Just promote what you want to do more of and you will get that. For me, I’m a

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the images you’ll see in my portfolios and promotional materials. However, I also love
shooting landscapes; I have landscape works hanging in galleries. Additionally, I donate
time to photograph animals for local dog rescue groups. I don’t hide that work, but I don’t
market it either. Likewise, I’m not hesitant to turn down jobs when they fall outside the
scope of my work (just as I don’t go to Taco Bell to order pizza).

185 Don’t Focus on the Money

Some of the biggest and best jobs I have gotten are from helping friends—one thing leads
to another and, boom, you have a big client and a big shoot. I used to do free Tuesday
sessions, inviting models to come down to the studio to meet and shoot. Any model was
welcome to come and see me in action. I had an on-line booking system that was very
easy to use, so all I had to do was sit at the studio and wait for models. Other
photographers told me, “With your skill level you could be making $500 per model—and
you are meeting three or four models every week and shooting them for free? That’s
$100,000 a year you are missing out on!” Well, on one of those free Tuesday shoots, I met
Billy Pegram, a talented photographer who became a very good friend. Through his
reference, I got a book deal—all from a free shoot. If I had been money-focused that
might have never happened.

185. This is Reanna Mae. I first photographed her after a friend asked for a price and I told him not to worry about it—
I’d take some pictures of her for free. She and her webmaster loved my work so much that, within a year, I was doing all
of her photography.
186 Team Up
Don’t let ego or competitiveness keep you from working with other business owners.
Smart team-ups can be beneficial to both of you. For example, I used to shoot for free one
day a week at a Las Vegas studio in exchange for bringing in models and other
photographers who might want to rent the studio. I helped market the studio and brought
in a lot of new people, helping to put it on the map. As it happened, the owners of the
studio were personal fitness trainers, so they had clients who were models and also needed
images for their portfolios. The studio had lights and a large space with themed rooms I
could use—and the models I shot with could pick up their images anytime from the studio.
It was a win for everyone involved! Here’s another logical pairing: I was recently at a
makeup store and they were planning a shoot with a local photographer, which is great—
it’s an arrangement that will help both of them.

186. Be on the lookout for partnerships and other creative opportunities—not just a quick dollar.

187 Maximize Your Efforts

McDonald’s sells at least fifteen different kinds of hamburgers. Does that mean there are
fifteen different patties? No way. At most, I’d bet there are three or four. But they combine
those with a few different types of buns and toppings and—poof!—fifteen different
hamburgers. Their success rests in the fact that they have mastered copying themselves.
Many photographers fail because they don’t maximize their efforts to generate
recurring income from their ideas. Think about it: if you paid a model today to shoot once,
how many ways could you divvy up those images to make the most money? If you’re
smart, you’ll have a detailed plan. If your only plan is to shoot “two hundred artistic
images of her getting undressed” … that’s kind of a dead end. How about, instead, you
shoot the same number of images—but make sure to get: fifty non-nude shots, fifty topless
shots, fifty shots of feet, and fifty nude shots. Then you can take some of the non-nude and
topless images and submit them to Zivity. Add the nude shots to the set and you’re ready

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fetish site. Finally, the best of everything can be submitted to a magazine.
With this approach, you have four places to market one set of images and make money
from them. It’s much closer to the (very profitable) McDonald’s business model than what
most photographers use.

187. You can maximize your efforts by planning for a variety of sales markets at each session.

188 Own Your Mistakes

Acknowledging your errors means people can’t use them against you. I have
photographed thousands of models and I have made mistakes; I (accidentally) put poison
on models, I have made comments that hurt feelings, I have taken bad images, and much
more. However, I own my mistakes. I apologize, make it right, and move forward. This
has made me a stronger and better photographer. (I’d be wary of any photographer or
model who claims never to have made any mistakes; they are the most likely the ones with
something to hide.)

189 Don’t Hide

If you shoot nudes or other potentially controversial stuff, people will know—so don’t
lie about it. Often, people will ask you loaded questions or try to “out” you, and if you lie,
it just adds fuel to the fire. If someone asks whether you shoot models, or glamour images,
etc. Just say, “Yes. I do.” There’s no need to elaborate if you sense the person asking the
question disapproves or has a negative agenda.

190 Protect Your Reputation

If you promise something to a model or another photographer, really push and try to
deliver on what you’ve committed to doing. Photographers and models who are flakes are
invariably out of work before long. I, on the other hand, generally have more work than I
can handle. One of the reasons for that is my reputation. I really don’t worry about what
other people say about me (I have very little control over that). What I do have control
over is what I say and what I deliver to the client or model. If I do everything I say I will
do, then the model will generally speak highly of me. If I fail to do that, I know all of her
friends will hear about it. The same is true with clients. I have picked up a good number of
jobs from companies who were sick of their previous photographers not being able to ship
on time. Keeping your promises and establishing a great reputation is really half the battle
of being a successful professional.

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 Cheap, Fast, or Good
Everyone wants it all—images that are cheap, fast, and good. As a photographer,
you can only reasonably produce two of the three. You can do it cheap and fast, but
isn’t going to be good. You can do it good and fast, but isn’t going to be cheap. Or
you can do it cheap and good, but isn’t going to be fast. It wasn’t until I was about
a year into working as an assistant that I learned this and understood it well. You
can try to do all three, but it will often fail and you will disappoint your clients. It’s
better to promise two out of three and really deliver!
www.ebook777.com
 General Advice
Overview: Photography isn’t just about picking up a camera and shooting; in some ways, it’s more of
a lifestyle. Accordingly, some of the skills needed to succeed often transcend cameras and lighting.

191 Separate Work and Art

This is something that is hard for a lot of us—and I never really understood it until I
started working with other photographers. Some photographers think that everything they
create is a masterpiece and that it is going to change the world. Other photographers
understand that they have “work” and they have “art.” Think about it like this: you see
those chefs on television making super fancy meals? Do you think every meal is like that?
Of course not. When they are hungry and tired, they probably stop at McDonald’s for a
Big Mac or grab something quick just like the rest of us. Not every meal is a complex
work of art; sometimes you just have to open a box of mac-and-cheese and go for it.

192 Your Style, Your Gear, Your Life

If you want to be successful, you have to really know yourself and what you want to
shoot. All the decisions about your gear, your education, and the life you want to lead will
follow from that knowledge. These aren’t decisions that should be made based on your
friends’ opinions, what you learned in your college classes, or the amount of money in
your wallet.
192. Surround yourself with people who share your tastes and goals.

Once you’ve decided who you want to be, surround yourself with people who have the
same goals and can help you on your way. If you want to be a wedding photographer,
don’t take advice from a glamour photographer (and, conversely, if you want to be
glamour photographer, don’t spend time studying with a wedding photographer). I’m not
saying that those other photographers will give you bad advice or lie to you—but until
you’re really good, learning about another style of photography can often pull you away
from your intended focus point.

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192. On the left you will see an image of Aaliyah Love shot by Robert Ferrara. The other one was shot by me.

Outfit your life with the things you need to create the images you desire. For example,
my buddy lives in New York City and doesn’t own a car; almost no one does because they
are kind of useless in that lifestyle. On the other hand, living in Las Vegas I couldn’t
imagine living with out a car—hell, I have three. We’ve each made different choices based
on our preferred locations and styles. It’s the same thing in photography; you should own
and use the gear you need to create the images you like. Don’t listen to people on the
Internet who want to make those decisions for you. For example, I don’t own an on-
camera flash—so I look at the people on Strobist and think they are crazy (and I am sure
they feel the same way about me).

The Rules Vary

There’s another reason I recommend learning from someone in your desired field:
the rules aren’t always the same from one specialty to another. As I was doing
research for a project on ethics in photography, I kept finding photographers who
insisted that it is completely unethical to pay models. In the case of
photojournalism, that is completely true. In the case of glamour photography, that
is completely incorrect. In glamour photography, models generally won’t work for
free.
What makes something a “correct” decision depends on what you do—so it’s critical
to know what you want and to do what you love.

193 Protect Your Vision

High blood pressure is a silent killer, but it can also rob you of your vision (as can
diabetes). A photographer I know nearly lost his eyesight because of his uncontrolled high
blood pressure. So if you don’t know your blood pressure, take a reading the next time
you’re at Wal-Mart. If it is higher than it should be, see a doctor; your eyesight is at risk.
Problems with high blood pressure can develop really quickly, so this is something to be
vigilant about.

194 Get a First Aid Kit

Spend $20 dollars on a cheap first aid kit—it will save you so much hassle. It doesn’t
matter if you’re shooting outside or inside at a studio, things happen. Whether it’s a
headache, a small cut, or something worse, having some basic supplies on hand can
improve the situation and maybe save your session. Having a shoot ruined because you
didn’t have a Band-Aid or Tylenol can ruin your week. In addition to those supplies, my
emergency kit contains allergy pills, tampons, tape, and a pen and paper.

194. Wherever you’re shooting, unexpected things can happen—so be prepared with some basic supplies.

195 Have Emergency Funds on Hand

We almost always keep cash and a credit card on hand. However, we still have two or
three blank checks in the back of the camera case. Very rarely have I ever had to use them.
Here’s an example, though: I was shooting on location, out of town, and I had something
break. The local repair shop in this town didn’t take credit cards (it was a very small town)
and I couldn’t withdraw more than $400 from the ATM machine. However, I could write a
check for the repair—and that let me get back to shooting the next day. Having that check
on hand saved me from losing a large account.

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196 Pen and Paper
I’m a big nerd; I couldn’t lie about that if I tried. I love technology and feel that
technology, in general, can help us all out. That being said, there is nothing better than
super low-tech, good old-fashioned pen and paper.
When I was in college, I took a landscape photography class. I loved camping and I
remembered that it was always good to carry pen and paper so you could write down what
you needed for the next camping trip. I did that in landscape photography and it helped so
much. When I started working in the studio and doing more nude work, I stopped carrying
a pen and paper in my pocket; it would be in my camera bag, but never right on my
person. Inevitably, I would think of something or need something and make a mental note
to write it down after the shoot. And guess what? Ninety-nine percent of the time I forgot.
Sure, it was always the small things I would forget to write down—but those little
things are so important. They are what separate professionals from amateurs and great
shots from average ones.

196. Learn something during a shoot? Have a great idea for another session? Write it down—right away!

197 Ask for Advice

I was having problems with Lightroom last year. As I was looking for a solution, a
photographer friend happened to call and I told him I was Googling for an answer to this
problem. It turned out he’d had the same problem and had developed a workaround! A lot
of the problems photographers deal with have already been solved by other photographers.
So if you are having issues, ask your photographer friends what they are doing. How do
they back up their work? What software and plug-ins do they use? How do they sort their
images from each shoot? What is their workflow like? How do they deliver images to their
clients and models?

Know What Works for You

I’ve offered a lot of advice, but I want you to remember that’s what it is—advice,
not rules. It’s what works for me. When I was writing this book, I came across a lot
of techniques from other photographers that I know don’t work for me. If I were to
force myself to shoot according to their ideas, I’d be miserable. Conversely, there
are lots of things no one mentioned that really work for me (like shooting barefoot,
which for some reason just works for me). So try the tips a few times and see if
they work for you. If they do, great! If not, that’s okay, too. What’s important is to
figure out what works for you.

198 Watch and Learn

Companies love to tell you how great their products are, so you might as well listen and

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Thousands of companies out there are hosting free webinars and there are thousands of
YouTube videos about photography posted every day. Think how much you could learn if
you watched a few of them a day. If you have iTunes, subscribe to some photography
podcasts, too.

199 Trust Professional Feedback

Filter out comments from non-professionals. Even not-so-good images will often get rave
reviews from your friends, family, and others who are not in the industry. This doesn’t
mean you should only consult photographers, of course. When I was shooting more
fashion photography, I learned a lot from the clothing designers and other creative people
involved in the process. Likewise, I know a professional art dealer who never comments
on my Facebook images—but if I ask him to crop them or resize my images for the art
market, they always sell better. This is what he does for a living and I trust his opinion.
The same goes for the makeup artists and others professionals involved in photography.
Listen to them and follow what they say.
 The Most Important Secret of All
200 Do What You Love and Be Happy
Why is it that so many of us can remember the lyrics to a million songs but can’t figure
out that one hard subject in school? It’s because we have fun singing—we like to sing, and
that makes it feel fun and natural. If you take the same approach to photography, you will
improve your results and achieve more success. When you love what you do, it’s easy to
devote yourself to doing it really well. Chances are, you’ll also be a lot happier, which
brings another benefit: models and clients have enough stress in their lives, so they would
rather work with happy people who bring all that joy to their work than with uptight
photographers who seem to hate their job.
I can’t express this enough: Enjoy what you do! If you don’t want to shoot it, don’t.
Life is too short to shoot things you don’t enjoy. We all have ups and downs, but if in
general you don’t like what you’re doing, change it. Nowhere is that more true than in
creative professions. Great art is all about truth and knowledge. Before you can be true to
other people, you have to be true to yourself. So in order to create art for other people, you
have to create art for yourself.

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 Index
A
Adams, Ansel, 50
Adobe Camera Raw, 50
Adobe Lightroom, 102
Adobe Photoshop, 102–3
Advice, asking for, 119, 121
Alcohol, 18
Alien Skin, 104
Aperture, 43–44, 45, 78–79
Aperture-priority mode, 46
Art vs. work, 118
Automatic modes, 46
B
Baby wipes, 19–20
Backblaze, 103
Background light, 68–69
Background selection, 78–83
Backing up, 103
Backyards, shooting in, 82
Beauty dishes, 64
Best features, 28, 77
Black & white images, 94
Brand identity, 113–15
Bra-strap marks, 22, 34
Business cards, 107–8
C
Cables, long, 74
Camera controls, 42
Camera height, 91
Cancellations, 11–12
Candlelight, 73
Clothing selection, 24–25, 28–31, 88–89, 96
Clutter in the scene, 79–80
Color checkers, 49–50, 57
Color combinations, 88–89
Color space, 50
Composition, 58, 86, 87
Continuous light, studio, 62–63, 71, 74
Controversy, 117
Conversation, 25, 36, 38
Craigslist, 31
Cropping, 38–39, 103
D
Daphoz, Dave, 73
Depth of field, 43–44, 45, 78–79
Direction, giving, 38
Direction of the light, 55–56, 58
Discretion, 53–54, 82, 83
Distance of light to model, 77
Diverxity, 52, 108–9, 116
Dragging the shutter, 46–47
Dropbox, 107
Drugs, 18
E
Education, 119, 121–122
Emergency funds, 120–21
Ending the session, 17–18
Equipment selection, 100–101 118–19
Escorts at session, 26
Experts, hiring, 109
Exposure, 46, 50, 56–57, 71
Eyebrow color, 21
Eye color, 75
F
Fabrics, sheer, 96
Facebook, 109
Fans, adding, 94
Fetish images, 13–14, 96
File format, 43
Film, 48–49
Filters, 51, 53
First aid kit, 120
Flash, 46–47, 60
Flikr, 84
Focusing, 42, 43, 45
Focus 2
Pro, 102–3
Foreground elements, adding, 81
Framing, 87
G
Gels, 64–68, 77

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Girlfriend, photographing, 10–11
Grain, 102
Grids, 63–64, 71, 72
H
Habits, breaking, 95
Hair color, 21
Hairstylists, 32–33, 106
Hair, washing, 21
Happiness, 123
Health, 120
Hendy’s Law, 100
High-key images, 76
Highlights, 56–57
Home, shooting at, 81
Honesty, 11, 116–17
Horizon line, 87
Hotels, shooting in, 82
Hydration, 22
I
Idea files, 84
Idealization, 27–30, 64–65, 77
Identification, 15–16
Imagenomic, 104–5
Intensity of light, 57–58
Isolating the subject, 79
ISO setting, 42, 45, 50, 73, 102
iTunes, 122
J
JPEG files, 43
Juxtaposition, 89
L
Leading lines, 87
Legal advice, 14–16
Lens flare, 69–70
Lens selection, 42, 44, 45
Lightfoot, Charles, 45
Lighting, 42, 46–47, 55–83
Light modifiers, 42, 58–59, 63–65, 71
Light modifiers, choosing, 64–65
Light placement, 55, 70–71, 77
Light ratios, 68–69, 71
Light sources, 42, 46–47, 55–77, 71, 74–75
Lights, testing, 71, 74–75
Lit, Mark, 77
Location scouting, 83
Lookouts, hiring, 83
Loose clothing, 22, 34
Lotion, 33
Low-key images, 77
M
Main light, 55, 65–66
Makeup, 32–33, 106
Manicures, 19
Manual mode, 46
Market, tailoring images to, 112, 116
Matthews, Alice, 21
Mentors, 119, 121
Midday, 60
Midtones, 56–57
Milk, images with, 94
Minors, not working with, 14–16
Mirrors, 81
Mistakes, admitting, 116–17
Model Mayhem, 52, 113
Models, hiring, 11–18, 26, 51
Money, 115
Monitors, 101
Moore’s Law, 99–100
Movies, themes from, 97
N
Natural light, 57–58
Negative space, 86
Nipples, ice on, 33
Non-nude images, 32, 36
Notes, keeping, 74–75, 110, 121
Number of images to shoot, 52
O
One Model Place, 52
Organization, 99, 106
P
Pacing the session, 36
Pairing, 90–91
Parks, shooting in, 82–83

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Paying models, 16–17
Pegram, Billy, 37, 77, 85, 115
Persistence, 111
Personalization, 77
Personal style, 22–23, 84–85, 118–19, 123
Planning, 11, 24–26, 36, 54, 86, 116
Playboy look, 45, 67
Podcasts, 122
Portfolios, 113–15
Posing, 37–41
Posing samples, 34–36
Professionalism, 11, 38, 41
Practicing, 14
Privacy, 25, 82, 83
Problem areas, minimizing, 28, 77
Professional feedback, 122
Props, 31, 39–40, 73
Public lands, shooting on, 82–83
Pupils, contracting, 75
Q
Quantity to shoot, 52
R
RAW files, 43, 50
Ray Flash, 73
Razor burn, 18–19
Referrals, 109, 110
Reflector panels, 58–59
Reflectors, standard, 63, 71
Rejection, handling, 111
Releases, 16
Reputation, protecting your, 11, 14–16, 116–17
Rest, 22
S
Sample images, 106
Scrims, 59, 77
Seasonal images, 92
Security of images, 104, 111
Self-tanners, 20–21
Semi-nude images, 32, 36
Shadows, 56–57
Sharpness, 51
Shaving, 18–19
Sheer fabrics, 96
Shoes, 30–31
Shoulders, 37
Shutter speed, 45, 46, 73
Side lighting, 67
Silhouettes, 69
Skylight filters, 51
Smartphones, advantages, 53–54
Snoots, 64
Social media, 109, 111, 122
Softboxes, 64, 71
Software, 101–5
Specialization, 113–15
Spouse, photographing, 10–11
Starting the session, 34
Studio strobes, 62–72, 75, 77
Stylists, 32–33, 106
Sunny 16
Rule, 58
Sun, overpowering, 75
Sunrise, 59
Sunset, 60
T
Teaming up, 115
Technology, 99–101
Telephoto lens, 45
Testing, 50–51, 71, 74–75
Themes, shooting, 85–86, 92, 97
Traditional beauty, 27
Tripods, 44, 73
Twinkle lights, 74
U
Umbrellas, 64
US 2257 legislation, 16
UV filter, 51
V
Versatility, 116
Video, lighting for, 63
Vision, protecting your, 120
W
Water, images with, 92–94

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Waxing, 19
White balance, 49–50, 57
White seamless, 78
Wide-angle distortion, 44
Window light, 60, 61, 77
Word choices, 38
Work vs. art, 118
Y
YouTube, 122
Z
Zivity, 52, 116
Zone system, 50
Zooming, 48
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Elegant Boudoir Photography

Jessica Lark takes you through every step of the boudoir photography process, showing you how to work with clients
and design images that are more engaging. $27.95 list, 7.5x10, 128p, 230 color images, order no. 2014.

Shoot to Thrill
Acclaimed photographer Michael Mowbray shows how speedlights can rise to any photographic challenge—in the
studio or on location. $27.95 list, 7.5x10, 128p, 220 color images, order no. 2011.
Shaping Light
Glenn Rand and Tim Meyer explore the critical role of light modifiers in producing professional images of any subject,
ensuring smart decisions at every turn. $27.95 list, 7.5x10, 128p, 200 color images, order no. 2012.

Photograph the Face

Acclaimed photographer and photo-educator Jeff Smith cuts to the core of great portraits, showing you how to make the
subject’s face look its very best. $27.95 list, 7.5x10, 128p, 275 color images, order no. 2019.

Light a Model
Billy Pegram shows you how to create edgy looks with lighting, helping you to create images of models (or other photo
subjects) with a high-impact editorial style. $27.95 list, 7.5x10, 128p, 190 color images, order no. 2016.

Lighting and Design for Portrait Photography

Neil van Niekerk shares techniques for maximizing lighting, composition, and overall image designing in-studio and on
location. $27.95 list, 7.5x10, 128p, 200 color images, order no. 2038.

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The Speedlight Studio
Can you use small flash to shoot all of your portraits and come away with inventive and nuanced shots? As Michael
Mowbray proves, the answer is a resounding yes! $27.95 list, 7.5x10, 128p, 200 color images, order no. 2041.

Nudes on Location
Overcome common obstacles to capture gorgeous nude and glamour portraits in any outdoor location. Bill Lemon
provides an intimate look at what it takes to succeed. $27.95 list, 7.5x10, 128p, 200 color images, order no. 2043.

Portrait Mastery in Black & White

Tim Kelly’s evocative portraits are a hit with clients and photographers alike. Emulate his classic style with the tips in
this book. $27.95 list, 7.5x10, 128p, 200 images, order no. 2046.

Direction & Quality of Light

Neil van Niekerk shows you how consciously controlling the direction and quality of light in your portraits can take your
work to a whole new level. $29.95 list, 7.5x10, 160p, 194 color images, order no. 1982.

Flash Techniques for Location Portraiture

Alyn Stafford takes flash on the road, showing you how to achieve big results with these small systems. $29.95 list,
7.5x10, 160p, 220 color images, order no. 1963.
 MORE PHOTO BOOKS AVAILABLE

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