ity and time are taking a toll on their bodies, and that they should act now
before it’s too late.
Generally, 18–30-year-olds purchase an 8x10-inch print or similar prod-
uct, 30–40-year-olds purchase For Your Eyes Only albums, and 40–60-
year-olds buy wall portraits, calendars, and other larger packages. Once
you find a client who has a desire for boudoir photography, you need to
give her confidence that she is attractive and that her significant other will
love the prints. It’s your responsibility to properly pose your subjects in
order to emphasize their best features.
I’ve had family members of now deceased clients express their gratitude
for the images my studio created of their departed loved one. This occurs
more and more now that I’m approaching my thirtieth year in the pho-
tography business. Keep situations like this in mind when you’re photo-
Don’t be afraid to combine black & white or sepia-tone images when presenting images to your client. The left-hand portrait
is an example of the veiled lighting technique. Again, be sure to have your main light behind the mosquito netting and set your
camera to manual focus. I used one background light and pulled in a little ambient light from the window behind the subject.
I tipped the angle of my camera on the tripod to create a little more interest. If you use this technique, be aware of any lines
in the background. I always look for symmetry in my images. I brought her hands together to create a nice triangle and cover
any undesirable areas. The right-hand image represents an example of one of the first images I take when starting a boudoir
session. I have the client wear something comfortable and pose her in a very relaxed style. These are still beautiful, saleable
images, and they always start off the session in a positive way.
64 ELLIE VAYO’S GUIDE TO BOUDOIR PHOTOGRAPHY