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Chris Nelson. Master Guide for Glamour Photography

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Chris Nelson. Master Guide for Glamour Photography MASTER GUIDE FOR GLAMOUR PHOTOGRAPHY DIGITAL TECHNIQUES AND IMAGES CHRIS NELSON Amherst Media® PUBLISHER OF PHOTOGRAPHY BOOKS ABOUT THE AUTHOR A former photojournalist and reporter, Chris Nelson used to supplement his small-market wages shooting weddings, advertising images, and senior portraits. In the process, he found that he enjoyed his sideline more than his day job. In 1991, he quit his newspaper gig and started a portraiture business, which moved to Fall Creek, Wisconsin, a few years later and became Fall Creek Portrait Design. Since then, study within the photographic industry has influenced his development. He credits photographers Monte Zucker, Don Blair, and Michele Gauger for the foundations of his photographic style. “Robert Lino and (the late) Dean Collins have really influenced my glamour style,” he says, “and maybe a little of Herb Ritts, too.” Chris Nelson is a graduate of the University of Wisconsin–Milwaukee who earned a B.A. in English (applied writ- ing and journalism), plus minors in philosophy and fine-art photography. He has also earned his Accolades of pho- tographic Mastery and Outstanding Photographic Achievement from WPPI (Wedding and Portrait Photographers International). A number of his glamour images have earned merits in WPPI and PPA (Professional Photographers of America) competitions, with one currently under consideration for print of the year. Glamour photography now comprises about 20 percent of his studio’s business and is growing each year. “The fun part has been learning how to make women look great. The hard part was learning how to build a classy and artistic image of it,” he recalls. In writing this book, he hopes to help other photographers do just that. Copyright © 2007 by Chris Nelson. All rights reserved. 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 Assistant Editor: Barbara A. Lynch-Johnt ISBN-13: 978-1-58428-201-3 Library of Congress Control Number: 2006930070 Printed in Korea. 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, mechani- cal, photocopied, recorded or otherwise, without prior written consent from the publisher. Notice of Disclaimer: The information contained in this book is based on the author’s experience and opinions. The au- thor and publisher will not be held liable for the use or misuse of the information in this book. TABLE OF CONTENTS 1. THE GLAMOUR PORTRAIT . .5 Touching the Subject . .37 Reasons for Commissioning a Glamour Portrait . .5 Conversation . .37 A Special Hobby . .5 Fitness Portfolio . .6 3. FLATTERING FACES AND FIGURES . .38 A Racy Wedding Gift . .8 Angle of Main Light to Subject . .38 A Group Session . .8 Short Lighting . .38 So What is a Glamour Portrait? . .10 Broad Lighting . .38 The Beauty in Every Subject . .10 Fashion Lighting . .39 Six Styles . .11 Split Lighting . .41 Classic Beauty . .11 Facial Lighting Patterns . .43 Fashion . .13 Loop Lighting . .43 Artistic . .14 Butterfly Lighting . .43 Pin-up . .14 Rembrandt Lighting . .44 Sensual . .16 Facial Angles . .45 Provocative . .17 Full Face . .45 Two-Thirds . .46 2. UNDERSTANDING YOUR CLIENTS . .19 Profiles . 46 The Planning Consultation . .19 Flattering Figures . .47 Self-Rating Questionnaire . .20 Avoid Straight Lines . .47 The Product She Wants . .21 The C Pose . .48 Calendars . .21 The S Pose . .49 Centerfold Posters . .23 Be a Posture Nag . .50 Session Books . .25 Solving Figure Problems . .50 Designer Albums . .26 Waist . .51 Studio Atmosphere . .29 Stomach . .51 Dressing Room . .30 Legs and Thighs . .53 Hair and Makeup . .30 Breasts . .55 Clothing and Accessories . .31 The Corrective Mind-Set . .56 Feather Boas . .31 Fabric . .32 4. STUDIO AND INDOOR PHOTOGRAPHY . .58 Clothing . .33 Black Backgrounds . .59 Lingerie, Seminudes, and Nudity . .34 White Backgrounds . .63 A Self-Image Booster . .36 Gels and Secondary Backgrounds . .64 Have Her Bring a Friend . .37 Red Satin . .65 TABLE OF CONTENTS 3 Special Techniques . .67 7. MARKETING YOUR STUDIO . .98 Mirrors . .67 Four Words . .98 Window Light . .67 Sexy . .98 The Wet Look . .69 Fun . .98 High-Contrast Black & White . .70 Classy . .98 Discreet . .101 5. GLAMOUR ON LOCATION . .72 Be Different . .104 Lighting . .72 Creating Demand for Your Brand of Glamour . .104 Equipment . .72 Media Trades . .104 The Flash as Main Light . .73 Displays . .107 Flash Settings . .73 Web Site . .109 A Trick for Reducing Flash Power . .74 Referrals . .111 Positioning the Flash . .75 Special Events . .112 Locations . .75 Tire Factory . .75 8. SALES BEGINS Railroad Bridge . .75 BEFORE THE SESSION . .116 Railroad Yard . .77 Plan for Success, But Be Open to Inspiration . .116 Railroad Trestle . .77 Projection Screening for the “Wow” Factor . .118 Junkyards . .78 Lakes, Rivers, and Oceans . .80 DOLLARS, SENSE, AND LIFE: Waterfalls . .81 A SUMMARY . .121 Wildflowers . .84 Index . .123 6. DIGITAL TECHNIQUES AND ENHANCEMENTS . .85 Cameras and Lenses . .86 Digital Enhancements . .89 High-Contrast Black & White . .89 Enhancing the Eyes . .90 Enhancing the Lips . .91 Enhancing the Teeth . .92 Enhancing the Skin . .92 Digital Glow . .92 Porcelain Skin . .93 LucisArt . .94 Proportional Enhancements . .95 4 MASTER GUIDE FOR GLAMOUR PHOTOGRAPHY 1. THE GLAMOUR PORTRAIT here are a few words I use to describe my style of glamour photography: elegant, fashionable, alluring, sexy, glamorous, sensual, attractive, playful, or just plain fun—all adjectives as in- dividual as women’s personalities. A female client might also use any one of Tthese words to describe the portrait she’d like your help in creating for her. That’s where the life of a commissioned glamour portrait begins—with what the client wants. Understanding each client’s reasons for wanting that por- trait is also an essential component of building a successful glamour photog- raphy business. In commissioned glamour portrait photography, your clients are the women themselves, not a magazine, advertising firm, or modeling agency. In fact, that’s the difference between this book and many others devoted to glamour, boudoir, or fine-art figure photography. You’re not paying her to pose; she’s paying you to produce an image that flatters her femininity. Often the image will be a gift for.
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