When it comes to the buttocks and upper thighs, especially when the
model is scantily clad (the more nude body is harder to photograph than
the clothed body), I look at the lines formed underneath the buttocks
where they meet the upper thigh. Some lines are flattering, but sometimes
there are too many lines. When this occurs, I either turn the model to
conceal them or place her in a pose that helps remove the lines—some-
thing, perhaps, with a little more bend at the waist.
LEFT—In this pose, Roxxy raises a leg
and, by careful placement of the hands,
creates sensuality. The cropping of the
pose is a combination of a full-length
and three-quarter pose, breaking the
rules of traditional cropping. (Camera:
Leica R-9 with Leica Digital Back DMR;
Lens:effective 100mm;ISO:100;Shut-
ter speed:^1 / 125 second;Lighting:Hensel
Integra Pro Plus 500 monolight with a 7-
inch reflector and 20-degree grid;Aper-
ture:f/2.8;White balance:6000K)ABOVE AND FACING PAGE—Playboy model
Laura places one foot forward as an ac-
cent leg while supporting her weight
with the other leg. Notice how her hand
is on her hip-pocket area, where the
lighting helps subdue the majority of the
hand to keep it from appearing as a dis-
traction. Her other hand tugs on her
blouse, adding an action to the image
that matches the direction of her face.
As seen above, this image was used
on the cover ofRangefindermagazine.
(Camera: Olympus Evolt-300; Lens:
Olympus 50mm lens, effective 100mm
focal length;ISO:100;Shutter speed:(^1) / 10 second;Aperture:f/6.3;Lighting:
Hensel Porty Premium power pack at-
tached to a Hensel ring flash fitted with
a Hensel OctaHaze attachment and
gelled with a Rosco #02 Bastard Amber
gel;White balance:6000K)