Fig. 4.1 Image © Christian Hough. Model: Alli Andrews.
Shooting any form of nude photography needs tact, skill and a good understanding of light. The beauty of fine art nude photography is that it does not rely on the usual props of fashion and is therefore timeless. The idea is to bring out the shape and form of the subject and the subtle textures of the skin and not to seek maximum exposure of flesh.
Fine art nude should not be confused with glamour photography, which seeks to be deliberately explicit and arousing. However, on occasion it is worthwhile challenging established concepts, and I often deliberately blur boundaries, creating something that is evocative yet possesses artistic merit – more of a fashion nude. In art it sometimes pays to challenge established concepts and create a stir. While the balance of art and taste is entirely down to individual perspectives, remember that if you are considering shooting for sales then you will need to consider the global market and what is acceptable within different countries and communities. Make your work too explicit and you may well limit your market.
From a lighting perspective, art nude needs a combination of consideration and control and you will find that less is definitely more. Controlling the light and your exposure is paramount to your success, and it will help you to draw together a moodboard beforehand, to help you play with your lighting and poses.
PLANNING
Most models will be willing to attend some form of a fashion or beauty shoot, providing it is beneficial to their portfolio. However art nude requires a different sort of model, and the subject should be approached with tact and diplomacy. The majority of nude models will be experienced models in their own right and will therefore require a photographer to have a good portfolio of work to prove that they are a serious photographer and proficient with a camera. Unfortunately, there are many stereotypes that you have to overcome, especially if you are male, the most common being a ‘GWC’ (Guy With Camera), which is normally a photographer who has no artistic intent. Your portfolio is paramount in overcoming this stereotype, even if you have never shot a nude photograph in your life. A portfolio of well-lit and cutting-edge fashion photographs will demonstrate that you are serious about your work, whereas a portfolio of swimwear and glamour photographs may well typecast you, before you have even started.
Start by drawing together an achievable moodboard of images that you have found to be inspirational. Keep the moodboard realistic. I say achievable, because it is important to deliver the results, otherwise you will only disappoint the model as well as yourself. There is no point having images on your moodboard shot in expensive properties in faraway locations, if you are going to be shooting in an inner-city studio. Instead, try and concentrate on one or two themes, focusing on both lighting and shape. This will produce a more coherent reference and help you project your ideas towards the right models. The rest is down to you – it is for you to experiment and really consider your lighting.
Security in Numbers
I feel that it is worth a brief mention about the security of both yourself and the model when shooting any form of photography that involves nudity. When people are naked, then you may find yourself in a more tentative position than when they are fully clothed. Therefore, it is absolutely paramount to consider the personal space of your model. There have been a few stories of photographers not respecting this golden rule and they have subsequently found themselves the subject of allegations of assault.
If you are unfamiliar with your subject, then it is recommended that you have a third-party of the same sex as the model present. Not only will this help the model to feel more comfortable, but it will also protect you against any unwanted allegations and guard your professional reputation. Remember, it takes a long time to build a reputation, but only moments to destroy it. When shooting nudes I have worked with only a handful of models on a one-to-one basis, where we have an established professional working relationship. For the most part, I employ the use of a make-up artist or hair stylist as a matter of course. Not only does this improve the finish of the photographs, but it also serves as a completely independent third-party witness.
Ask First
It is important for you to direct your subject in front of the camera and on occasion help them into certain poses. Stick to medical terms and avoid any slang when describing parts of the body. This way you will avoid causing offence. If you are unfamiliar with the medical terms, be sure to familiarize yourself with them first, as it will build confidence and enhance your reputation as being professional. A similar rule applies to touching: do not touch unless you have asked first. There are occasions when you need to move an arm or a leg into position, so if you are unable to direct your model verbally, ask them if it is okay if you move them into position. Touching another person is by its very nature invasive, so be sure to ask first and restrict any contact between you to less intimate parts of the body, such as hand to elbow, head, foot and calf.
Tone and Texture
As would be expected, there is more skin exposed when shooting art nudes. Nobody is perfect, and everybody has birthmarks and blemishes. Regardless of this, it pays to minimize marks in the skin, such as impressions made by clothing or goose bumps, as this will greatly reduce your post-processing time. A cold model normally means goose bumps. Start by ensuring that the studio or room where you are shooting is warm. Remember, the model is constantly moving around shifting lights so will get cold quickly, especially on a cold studio floor. Invest in a medium-sized fan heater.
In the following setups, we will look at several lighting techniques to help you get started and get those creative ideas flowing. In much the same way as the previous chapters, we will begin with a single head and work upwards in complexity, so that you have a solid foundation and understanding as to how to light something and why it is being lit a given way.
ONE HEAD LIGHTING TECHNIQUES
One Light Setup 1
Photographing art nudes has a fairly unique perspective on ‘person-based’ photography in that it does not have to revolve around the face of the subject but can in fact concentrate on particular areas of the body. These are known as abstracts. Subtle use of light and shadow, plus clever framing, can bring a whole new perspective to a photograph.
In this shot [Fig. 4.1], I deliberately maximized the use of the shadow, concentrating on the outline of the model, to produce a continuous band of light from one side of the frame to the other. The idea behind this was to treat the scene as a landscape, the body of the model providing the undulating curves similar to that of hills. The background has a very subtle gradient, which lifts it from the shadows but still provides enough depth to contrast with the highlighted skin of the model. It is simple but very effective.
Fig. 4.1 Image © Christian Hough. Model: Alli Andrews.
Getting Started
Set up a dark grey background paper onto a support system and drag the paper to the ground and outwards, to give yourself a paper train of about four metres or more. It is possible to use a fabric background; however, the gradient on the fabric background is unlikely to be smooth, leaving you with more post-processing work.
Once the paper background is out, attach a single head to a boom stand, together with a stripbox. A stripbox or strip light is most suitable as you need to light the length of the model and avoid lighting too much of the background. Place the boom so that the head remains slightly behind and above the model, but pointing back towards the camera at approximately thirty degrees. The idea is to ‘short light’ the model’s back, leaving the side nearest the camera in the shadows. You may find that you need to adjust this back and forth until the shadows are cast on the nearside of the model. Take extra care when adjusting the position of the boom so as to avoid it falling onto the model. You will find that a boom stand fitted with castors/wheels will facilitate movement and reduce the risk of toppling.
Once in you are set up, meter the light between ƒ11 and ƒ16, get your model into position and then take a test shot. There should be a constant light down the back that slowly tapers off towards the front. Try shooting at an angle slightly higher, so as to just get both buttocks into the shot, along with the outline of the back.
This setup can be used to capture many different shapes, so experiment by moving between short lighting and rim lighting. It’s the simplicity that works.
Common Issues
BACKGROUND TOO LIGHT
FRONT OF THE MODEL TOO DARK
This may be a matter of the dynamic range of your camera.
SETTINGS AND EQUIPMENT
Camera Settings
Lighting Equipment Required
One Light Setup 2
There are a lot of things you can do with a single light, and experimenting with different modifiers is one of them. Art nude photography works particularly well in black and white, but it can benefit from hard lighting sources, such as honeycomb grids, snoots and bare reflectors. Like every other photograph, there needs to remain a strong emphasis on shape and form to give the photograph a visual dynamic.
In this shot, there remains a lot of expression in the pose from the model. Getting the model to change the pose with small movement between frames is hugely beneficial and will certainly increase your chances of getting the shots you need. However, a gobo has been added to the front of a spot attachment to create the beautiful dappled effect with the light. It is this contrast between the skin and the filtered light that adds the artistic interest to the image, giving it an additional dimension. It also has the benefit of making the plain black background part of the frame.
What is a Gobo?
A gobo is basically a piece of steel with a pattern cut into it, similar to a stencil. They come with various patterns and sizes and therefore produce a range of different effects, from imitation window light to that of tree branches. Gobos are made by several manufacturers – it is not a case of one size fits all – so be sure to get the right size for your equipment. Finally, it is possible to make your own gobos out of thick card, but remember that studio modelling lights get very hot and may cause your homemade gobo to combust. If you are taking this route, be sure to turn the modelling light off when not in use to reduce the risk of fire.
Fig. 4.2 Image © Christian Hough. Model: Lydia Turner.
Getting Started
The best and most effective way to use a gobo is via a focused spotlight. A spotlight will enable you to control the intensity of the shadow edges, allowing you to sharpen and diffuse them very easily. Light is at its most diffuse when closest to the subject, so you will find that simply placing a shaped cut-out in front of a standard reflector will not give you the same results as using a focused spotlight and gobo. A manufactured spotlight or spot attachment has a focusing lens built within, so that it can focus the light behind the gobo to project the cut-out shape.
Using a spotlight with a gobo can easily fool a light meter, as small movements from the hand-held light meter may cause it to move in and out of the light; therefore, it is important to take several meter readings and check the exposure on the back of your camera’s LCD or monitor. In a similar fashion to Technique 21, it is the placement of the light and positioning of the model that must be considered. The difference here is that we tend to ‘broad light’ the model, otherwise the effect of the gobo would almost be lost with short lighting.
Start by setting up a black paper background and dragging a large train of paper to the ground; enough for the model to lie down on and for you to move around comfortably. The black paper will help maintain a more subtle background and keep the viewer’s attention on the model. It is possible to use a black cotton fabric background, but you need to bear in mind that it will ruffle, fold and crease with movement. Black velvet absorbs light, so it is not ideal for this setup unless you are deliberately intending to restrict light to the subject only.
Once the background is ready, place the head onto a regular stand and fix your spot attachment and gobo to the head. There are no rules as to where you position this light, but try to avoid placing it too close to the camera axis, otherwise you will not be successful in bringing out the shape of the model. A good place to start is at about 45 degrees, making small adjustments to the height and angle when your model is in position. Meter this light several times, both in the shadow and light areas to get a rough reading, but be sure to double check your exposure on your camera’s LCD or histogram, ensuring that you refrain from blowing any of the highlights. Once you have positioned and metered the light, you are ready to shoot. It really is that simple. The key to success is experimenting with different poses, several gobos and lots of lighting positions to find out what produces the most visually interesting result.
SETTINGS AND EQUIPMENT
Camera Settings
Lighting Equipment Required
Common Issues
TOO MUCH CONTRAST
Dynamic Range (DR) is a still a challenge for many digital systems.
SHADOWS LONGER FROM THE GOBO
TWO HEAD LIGHTING TECHNIQUES
Two Light Setup 1
There are many different props that may be utilized with art nudes, giving the model something to interact with and offering an additional visual dimension to the photograph. Some photographers use textures, others abstract objects and some colours. Water on the other hand not only props the model but also brings with it a feeling of motion. Product shots splashing water are always appealing as they produce shapes that we are not used to seeing with the naked eye. These effects are even more compelling when mixed with other photographic genres such as art nude.
This photograph was shot as a series mixing the motion of water with art nude photography. The hard lighting and high-contrast of black and white tones catches the viewer’s attention and has more impact than the same photo in colour. The water droplets have been lit from behind to ensure that they stand proud of the dark background, whereas the model has been lit with a butterfly lighting pattern to throw the shadows downwards and add more drama to the lighting.
Fig. 4.3 Image © Christian Hough. Model: Iveta Niklova.
Health and Safety
It is essential to concentrate on health and safety when mixing water with studio lighting and electricity. Studio lights consume an enormous amount of electricity, so having them in close proximity to water increases the potential for an accident; therefore, extra precautions are needed.
Firstly, if your lights are connected to the mains supply (AC) it is important to have them connected through a circuit breaker, which will instantaneously isolate the power supply in the event of an accident. You will find that most modern extension leads will have some form of circuit breaking facility or emergency cut-out. Secondly, it is advisable to position the heads a good distance from your subject and away from any water, ensuring that leads are taped to the ground and that stands are weighted down. This reduces the risk of any studio heads and stands being accidentally pulled over by loose cables or being knocked by assistants and models. Finally, when you are shooting and the model is in place, be sure that you restrict access around the set, ensuring that there is a clear path in and out.
Electricity is your main concern, but it is important to think about the water and its delivery. Attaching a hose to a high-pressure tap is not always recommended, unless the pressure can be adequately controlled. When forced through a hose high-pressure water systems can create a fine mist of cold water droplets, which could cause your hot lights to explode if they come into contact with each other. A hand-controlled gravity-fed system is much more controllable. Ensure that you test the water delivery thoroughly prior to shooting and that you have some way of collecting the spilled water. A large paddling pool and plenty of towels will help you collect the water and soak up any unwanted spillages, reduced the chance of slipping.
SETTINGS AND EQUIPMENT
Camera Settings
Lighting Equipment Required
Ideally, make use of a battery generator system to power your heads. This will reduce the risks dramatically. Switch modelling lights off when not in use to reduce heat and do not take any unnecessary risks. Remember, control the water, control the electricity and keep the two well apart from each other.
Getting Started
Start by setting up your dark background. Rather than use paper, use black fabric, preferably velvet. Once wet, paper curls and warps, whereas a fabric background will help soak up any spillages and dry out afterwards allowing it to be reused. It is of course possible to use paper, but you may want to consider increasing the distance of your subject from the background to avoid spoiling the paper.
Once you have erected your black background, mark a spot for your subject to stand and place a single onto a boom stand central to your subject, so that it casts the shadows downwards. Position the boom approximately one to two metres higher than the subject and a good distance away so it will not be splashed with any water, and fit a standard reflector with a large honeycomb grid, to help you control the light. It is possible to use broader reflectors; however, these may spill onto your background, leaving you with more post-processing. Meter this light between ƒ11 and ƒ16.
Now place a second light onto a stand and position this approximately four to five metres away behind the subject and at an angle of 45 degrees. This head will help light the side of the model, creating separation from the background, and also light the water droplets from behind. Fit this head with a semi-directional bare reflector and use the modeling facility on the head to ascertain where the light is falling. Meter the light between ƒ8 and ƒ11.
Once you have set up and paid particular attention to the health and safety of your subject, your assistants as well as yourself and your set, it is time to get your assistant to supply the water. Start slowly and control the delivery. It is equally important to consider the comfort of your subject. Cold water will quickly chill the model, causing them to shiver and the skin to react with goose bumps, so use warm water and ensure the studio is warm. Achieving the desired effect will take a little practice and time to perfect, so take regular breaks, clean up spillages and continuously empty any collected water from the studio.
Common Issues
UNABLE TO ADEQUATELY LIGHT WATER FROM BACKGROUND
The choice of reflector from the background light will influence the way in which the water is lit.
SIDE LIGHT TOO BRIGHT
THREE LIGHT SETUPS
Three Light Setup 1
Abstract shots can make an interesting study. It is not always necessary to photograph the face when shooting fine art nude. The expression of the face adds a lot to the mood of a photograph, and removing this allows the viewer to concentrate more on the shape and tone. It does become more important to sculpt the body with light, however, as without the face your photograph is at risk of becoming very flat.
This shot [Fig. 4.4] is simple in terms of lighting and relies more on shape and angles to add interest. The shot has deliberately been framed from corner to corner to fill as much as the frame as possible whilst the model arched her back, creating a curved shape that accentuated the ribs and chest bones. It is the softer lighting that allows it to work in colour against the high-key background.
Fig. 4.4 Image © Christian Hough. Model: Amanda Swan.
Getting Started
Begin by setting up a white paper roll onto a background support and pulling a long train of paper to the ground. Ensure that you have enough paper for the model to manoeuvre and for you to move around comfortably. Once done, set up a single head with a broad directional reflector to light the background. You can position this on either side of the paper, but as you are shooting on the floor of the studio, it is more beneficial to direct this more towards the lower part of the background or the curve in the train. Mark a position for your model approximately three metres in front of the background.
Now set up two more studio heads and stands, fitting these with white reflective umbrellas. As we are shooting on the floor of the studio, it is important to provide enough light to illuminate the floor surrounding the model. Position the umbrellas on either side of the paper/model, ensuring that they are bouncing light back towards the ground. Using the traditional key light/fill light setup, meter one of your lights as the key to approximately ƒ11, and the second as the fill light between ƒ5.6 and ƒ8.0. There are no hard and fast rules between the lighting ratios and you may find that under certain circumstances you will need less/more fill light, so be prepared to check your results and adjust the power of the fill light accordingly. Remember, too much fill light will make the light very flat, whereas too little will add more contrast.
Once you have positioned and metered your main lights, it is time to make the final adjustments to your background light. Start by metering this to a similar setting to your key light, around ƒ11. The idea is not to completely blow the highlights behind the subject, but to lift the shade of the paper to a similar level to that in the foreground. This effect can be achieved by bouncing light off the background paper, or by using a reflector to direct the light towards the background. Either way, you may find that as you move around your subject, your camera’s angle on the background may change, necessitating small changes in the position of the background lighting. For greater flexibility, it is of course feasible to use two background lights to cover a broader area.
The key here is to get in close and concentrate on the angles and positioning of the model. Don’t be afraid to move around and shoot from different positions and heights. Make use of a zoom lens to accentuate and distort angles to create a unique perspective – after all, the key to this type of art nude is experimenting with shapes.
Common Issues
TOO MUCH LIGHT FROM THE BACKGROUND
Light reflecting from the background back onto the subject is known as ‘bleed’. In certain circumstances, such as this example, bleed can be useful in drawing out some shape.
PAPER AROUND SUBJECT UNDEREXPOSED
SETTINGS AND EQUIPMENT
Camera Settings
Lighting Equipment Required
Three Light Setup 2
Shooting nudes does not always have to be about body sculptures, but can also have a fashionable angle. Sometimes, small additions to the photograph can make a very big difference, such as small items of underwear, jewellery and even hair. It can be the combination of shapes and textures that really add interest to an image.
In this shot [Fig. 4.5], I have made use of some designer underwear and a very unusual shaped wig to give the image a more fashionable edge. The underwear is unusual and helps break up the body line around the waist of the model, whilst the wig completely changes the shape of the head, removing eye contact and making the main focus of the photograph the lips, with the side profile drawing out the shape of the body and the outstretched arms filling the frame. As in a lot of artistic nude photographs, there is as much emphasis placed upon the shadows as there is on the light, and it is this consideration that makes the shot work. The background has deliberately been lit so that it is lighter at the bottom of the frame and dark at the top, whereas the model has been lit the opposite way, so that she is lighter at the top of the frame. This retains separation from the background, but not in a way that it becomes overly distracting. In fact, it is so subtle, that not a lot of people even notice.
Fig. 4.5 Image © Christian Hough. Model: Gemma Nichols.
Getting Started
Start by setting up a dark grey background paper on your background support. Using a dark grey will give you more flexibility and control over the background light, especially if you are working within a confined space. It is still possible to use a background of any colour you are going to convert to black and white; however, depending on the method you use, it is possible that a coloured background may later affect your black and white conversion process.
Once you have set up your background, you need to position two heads on lighting stands on each side of the background. If possible, position the heads about three metres back and fit them with broad directional reflectors. The reflectors fitted to the background lights should be broad enough to allow an even coverage across the background, without creating distracting hot spots. Meter the heads to around ƒ4.0 and point them downwards towards the curve in the paper. The idea here is that you are lighting the lower half of the background paper, creating a natural vignette.
Now mark a position for your model and for your key light. Set up a single flash head fitted with a beauty dish. A beauty dish can throw light over a broad area and create a fairly harsh shadow on the background if used too closely. To combat this, you will need a fair amount of separation between the model and the background. To begin with, the beauty dish is best placed about a metre higher than the model and approximately 45 degrees off the camera axis. Meter this to approximately ƒ11. On the opposite side to the key light, position a black polyboard to help darken the shadows. You will find that if you are using a similar shaped wig or hat, then you will need to adjust the height and positioning of the key light so that it still lights part of the face, the side of the breast and the top of the arms. Don’t be afraid to adjust the lights as small movements can make a big difference and save many hours of post-processing.
SETTINGS AND EQUIPMENT
Camera Settings
Lighting Equipment Required
Common Issues
SPILL LIGHT ON BACKGROUND
If you are using a large beauty dish or softbox on your key light, you may find that this spills onto the background.
HOTSPOTS ON BACKGROUND
The key to lighting a background properly is using the right shapers and making the most of the space available. The further the background lights are from the background paper, the broader and flatter the coverage. Position them too close and you will get ‘hot’ areas on the background and uneven coverage.
Three Light Setup 3
If you are interested in taking more of a glamorous approach, but would like to retain an editorial feel, then it is possible to make use of a ringflash. Ringflash has long been associated with fashion photography, creating a very flat and stark light, with the characteristic shadow around the edge of the subject. It is quick and simple lighting, allowing you to maximize time on shooting and posing as opposed to lighting.
Building upon the principle of mixing garments with nudity, I have concentrated less on the lighting in this photograph [Fig. 4.2] and more on the expression and eroticism of the model. The idea behind the photograph is that it looks as if she has been caught unaware, adding a semi-voyeuristic feel to the shot. The photograph is meant to have a raw paparazzi feel to it, but not appear as ‘traditional glamour’.
Fig. 4.6 Image © Christian Hough. Model: Kerri Guiney-Donnelly.
Getting Started
Ringflash is very unforgiving light. It is by its very nature harsh and unflattering to the majority of subjects, but used correctly, can give a photograph a strong editorial feel. It is simple to use, but needs to be applied in the right circumstances to look good. The telltale sign of ringflash is a narrow continuous shadow around the subject and very flat lighting, with no directional shadows on the face. You should find that the ringflash comes with both a reflector and a diffuser. Adding the reflector will project more of the light forwards, improving the shadow around the subject. There is also a bracket that will attach to the tripod mount underneath the camera, fixing the camera to the same axis and the ringflash.
Start by fixing your camera to the bracket and positioning the camera’s lens through the centre of the ringflash. Now meter the ringflash to approximately ƒ11 and begin shooting. It really is that simple! Try to introduce some dynamic into your shots, so don’t be afraid to move around and shoot, getting your model to make interesting shapes and poses. Just remember to remain roughly the same distance from the subject as when you metered, otherwise you will achieve inconsistent exposures.
Common Issues
RED EYE
Red eye is common with ringflash, simply because it is directional on-axis flash bouncing off the back of the retina.
SETTINGS AND EQUIPMENT
Camera Settings
Lighting Equipment Required
NO SHADOWS