2. LENS SELECTION

t is often said that beauty is in the eye of the beholder. But what most photographers don’t realize when photographing models is that a good part of a model’s beauty is also achieved through proper lens selection. Choose the wrong lens and a photograph becomes a mere snapshot—even when you are photographing the most beautiful model imaginable.

THE THREE C’s

I use the “three C’s” to influence my choices for lenses. These are:

Compression

Composition

Comfort

Understanding these characteristics is vital to photographers interested in capturing the beauty of their subjects. It is part of what separates professional glamour photographs from ordinary, amateur snapshots.

Jessica was illuminated by a studio flash with a Larson 48-inch Soff Box with a 40-degree grid in the front. I placed a Rosco #02 Bastard Amber gel in the box for a more sunset-colored lighting effect. I aimed another studio flash head into the ceiling for ambient light. The head was covered with a Rosco #3409 ¼ CTO gel. Notice how the model is juxtaposed with the painting on the wall. This is an old photojournalism technique for adding another element into the image. The use of a longer lens and wider aperture helps offset the inherent increase in depth of field with digital photography, softening the background slightly. (CAMERA: Olympus E-1, Zuiko 50mm lens with 1.4x converter [eff. 140mm]; EXPOSURE: 1/160 second, f/3.5, ISO 100; WHITE BALANCE: 6,000K)

Compression. Let’s look at the first C—compression, which also is affected by depth of field. This is particularly important when shooting digital glamour photography, as there is a natural increase in depth of field that is much different than when shooting film (with digital cameras that utilize a multiplication factor; newer digital cameras do not have this problem). Because of this, it is sometimes harder to throw the background out of focus by just dialing in f/2.8. Regardless, the natural compression provided by a long (telephoto) lens helps offset the increased depth of field found at wider apertures with digital photography.

Lindsey strikes a pose during a Cozumel, Mexico sunset. The model was lit with a 48-inch Larson Soff Strip with a Rosco Bastard Amber #02 gel to mimic the color of the sunset on her skin. The use of a long lens made the sun appear larger, and the f/2 rating of the lens made it easier to focus during sunset. (CAMERA: Olympus E-1 with Zuiko 150mm [eff. 300mm]; EXPOSURE: ¹/50 second, f/7.1, ISO 100)

This image by Dennis Keim of model Nicole S. caught my eye because of the plain background, which doesn’t take away from the props the model is sporting. Her intense look adds to the serious mood of the image and her lack of shoulder pads states she can hang with the toughest.

While the physics behind this phenomenon would require a whole book to explain, the important thing to remember when shooting digital glamour photography is to stay at f/5.6 or wider (f/4.0, f/2.8, etc.) if you do not want your background sharp. In addition, a wider aperture will help reduce the sharpness of any blemishes on your subject (which makes such apertures good for older subjects, too). Wider aperture settings, along with longer lenses, are a recipe for success in digital glamour images where the background has no influence on the final image.

Composition. When it comes to composition, focal length is the important lens consideration. Most glamour photography is shot with medium-telephoto to telephoto lenses. Using these longer focal-length lenses means you have a reduced angle of view and can obtain tighter cropping of the subject, eliminating much of the background. Such tight compositions are always more flattering than a small subject lost in a field of clutter. I suggest using prime lenses in the 85mm to 200mm range for 35mm cameras, or in the 140mm to 250mm range for medium-format cameras. (Note: On cameras with a focal-length multiplication factor, the effective focal length is what influences the final outcome.)

Lindsey’s body accentuates the mountains in the background. The powerful outdoor setting contrasts beautifully with the model’s form. Photograph by George Stumberg.

Comfort. The greater image magnification of these longer lenses naturally forces the photographer to move farther away from the model. This increased distance gives the model a greater comfort level, providing a bit of space between the model and the photographer. This comfort ultimately leads to better facial expressions on the model. Additionally, beginning photographers will find the greater working distance is an advantage in developing their own confidence when working with models for the first time.

INCLUDING THE BACKGROUND

The combination of the three C’s helps create an image with an uncluttered background, a tight composition, and a relaxed subject. Sometimes, however, the photographer needs to ensure the background is part of the image—for example, when photographing a model with a car or similar product. In this case, the photographer would shy away from a telephoto lens and steer toward a wide-angle lens. Wide-angle lenses have a shorter focal length and provide for greater depth of field, which leads to an image where the model and the background are in sharper focus. But watch out! They also tend to distort the model (of course, any lens can produce distortion if it is not used properly, but it’s much easier to create unflattering problems with a wide-angle lens). Some photographers take advantage of this wide-angle lens characteristic, but they are extremely careful about what they distort in their images.