raphers will place this dead center, I usually place it slightly to one side—in
Shannon’s case, to her right. This gave me a little bit of a short light, kind of
between a loop and a butterfly pattern. I used a reflector placed at about hip
level under and slightly ahead of the softbox to soften the shadows under
her chin, nose, and eyes—and to put catchlights in her eyes. Next, I placed
a large muted silver reflector to camera right to open up the shadows. Take
your reading and overexpose by one to two stops (depending on your cam-
era). You don’t want to blow out the skin, but you want to come close.
High-Contrast Black & White. While I prefer Canon cameras, I use a
Fuji S1 for many of my high-contrast images. That was my first digital stu-
dio camera and was nothing short of a miracle when it came out in late 2000.
It’s now kind of a dinosaur in the digital world, but set on black & white with
70 MASTER GUIDE FOR GLAMOUR PHOTOGRAPHY
LEFT—To get the expression, you may have to
say the right thing. “I bet it’d look great to get
that top wet, too,” I joked. “Not so fast, pal,”
Shannon said, covering her breasts with her
arm. The first three words are the print’s title.
ABOVE—I love redheads, and Jessie has a great
look. While you don’t need color to identify a
curly-haired brunette with big brown eyes, I’d
have lost the penetrating blue eyes and that ex-
quisite red hair if I’d done the wet-look image
the way I usually do. To get this look, I said,
“Okay, just mess up your hair and shake your
head—but look at me when you’re doing it.”