can be created by simply changing lenses or moving closer or further away
from the subject. Sometimes, without changing the model’s pose or the
lighting itself, I just walk around the model looking for different angles
than I was getting by standing in front of the model. Normally, a model
will enjoy your creativity—provided that you observe her professionally
and keep her informed of what you’re trying to accomplish.
Switch Lenses.By merely going from a medium telephoto lens to a
telephoto lens, you can quickly increase the background compression,
making it appear more out of focus and smudgy. This often really puts the
focus on the subject and her pose in the final image. This painterly effect
on the background also affects the mood of the image to help comple-
ment the pose.FACING PAGE—Playboy model Kelly poses
in a door frame, which we tilted with a
small rock to create the diagonal frame
while keeping the model in a natural
state of standing. Having the model
bend her elbows created diagonals that
accentuate the diagonals of the door
frame. The lighting is natural. With the
exposure made for the model’s skin,
which faces inside, the light from behind
became overexposed. This technique is
accepted today, but it used to be con-
sidered a serious technical error. Styles
change all the time, though. (Camera:
Canon 5D;Lens:Canon 85mm f/1.2L,
USM lens, effective focal length 85mm;
ISO:100;Shutter speed:^1 / 100 second;
Aperture:f/2.8;White balance:6000K)
Sometimes abstract views of the body,
or body parts, photograph strongly
enough to form a complete image. In
this photograph, the directional lighting
outlines the natural curves of the body,
but the impact comes from the proper
posing of the entire body to emphasize
just one breast. (Camera:Olympus E-1;
Lens:effective 70mm;ISO:100;Shutter
speed:^1 / 125 second;Aperture: f/14;
Lighting:Hensel Integra Pro Plus 500
monolight with a 7-inch reflector and 20-
degree grid;White balance:6000K)
COMPOSITION87