The Corrective Mind-Set.
In most of these examples, I’ve used
nude or seminude models as exam-
ples just to show you what can be
done using lighting, posing, and
ideas to compensate for perceived
flaws. Clothing and props give you
many more options. Just use your
imagination. Ask yourself questions.
What do I want to show? What don’t
I? And how can I use that to make
her look gorgeous? Here are a few
guidelines:
- If you want to diminish it, light
it directly. - If you want to accentuate it,
light across it; create shadows. - Call attention to a positive fea-
ture. Make it dramatic enough
that the viewer doesn’t notice
the “problem.” - Create illusions. Use body
parts, clothing, or props to
break up unattractive lines.
When the mind sees an incom-
plete line, the imagination fills
it in. Imagination is much more
forgiving than reality. - There is no substitute for a
beautiful, expressive face. There
are angles that flatter. Find
them. - Learn to create body language.
This usually means bending and twisting that is exaggerated
beyond what your client would do in everyday life. The less
space your subject occupies in the image, the more exagger-
ated the pose needs to be. The opposite would be a head-
shot, where a glance back across the nose is very dramatic. - Make sure the body language and facial expression agree.
- For women, body parts in pairs should not be posed on the
same optical plane. This creates curves. - Use different camera angles. Low angles lengthen legs and
torsos. High ones accentuate the face and foreshorten the
body.
56 MASTER GUIDE FOR GLAMOUR PHOTOGRAPHY
ABOVE—This shot has it all: a sensuous expression, a great
setting, and a flattering pose. The model’s arm supports her
breasts to create ample cleavage. This is then accentuated
by the side lighting. FACING PAGE—We painted Angel for
this image we did for a local radio station calendar. We
wanted the viewer to look at the playful expression on her
face, the fact she’s naked, and how much she seems to enjoy
teasing her viewers. Even though the main light is pointed
into her body, which actually tends to flatten breasts out,
that’s the last thing you think about. In looking at the rest
of the pose, note how we’ve created beautiful female curves
with her body. I placed her weight on her left leg and had her
pull that shoulder toward her left hip, creating the center
of the S, the beautiful arch in her back. Tipping her head to
her right completes the S.