DUNCAN EVANS*IAIN BANKS REVISED EDITION CLASSIC GLAMOUR PHOTOGRAPHY CLASSIC GLAMOUR PHOTOGRAPHY ‘AQUARTO BOOK CCoomiaht © 2003 Quarto ple Fit pubished inthe Intec Kno in 2008, ‘oy Agentur ‘on mpi of Aur Press irited 26 Recor Aves Ionelon WeR sar Al ights reserved No pet of ths publication may be Feprecuced or used in any foro by eny means ‘olaehie elacron, or mechenied, ncluaing hotagraphy. racordng,loohg. ot niermcten orage-ancleoriava systems without he wifan petmision othe copyright rolces toon: 1-902822-81-5 ‘Acotalogue copy of this bookls avaiable fom the Bist Loney GUAR Asr2 ‘Concenedt designed, ond produced ty ‘Quote Puolehng ok Ine Oe sreuery lund Sheet London N7 See Editors: Ace Ta Kate Tackett Senior ArtEciter Aenny Cobb Designer Ress George liastaror: Kuo Kang Chor Procteader:Clate Wate Bow Inoexer Diora Le Coe 2 Dlector Maia Cinch Pusher: Pers Spence, Manufse"wres by Universal Graphics Pie) Lic. Singocore Penina by lastung.Asco Mnfrs Lc, China CONTENTS FOREWORD 6 ‘SECTION ONE: THE CLASSIC PHOTOGRAPHERS 8 (CLIVE AUSTIN. 10 BOB CARLOS CLARKE 14 WIEN CLERGUE 18 JAN cose 22 EMMA DELVES-BROUGHTON 26 ROBERT FARBER 32 NIGEL HOLMES 36 (CHAS RAV KRIDER 42 FRIC KROLL 46 PATRICK LICHFIELD. 52 CRAIG MOREY 56 TREVOR WATSON 42 ‘BEN WESTWOOD 68 TREVOR AND FAYE YERBURY 72 SECTION TWO: WORKING PROFESSIONALLY 78 INTRODUCTION 80 PHOTOGRAPHIC EQUIPMENT: CAMERAS 68 PHOTOGRAPHIC EQUIPMENT LENSES 92 PHOTOGRAPHIC EQUIPMENT: FLM 96 PHOTOGRAPHIC EQUIPMENT: ACCESSORIES 98 LIGHTING CONDITIONS 108 SHOOTING INA STUDIO. 124 SHOOTING ON LOCATION 128 comosmow 138 THE MODEL 148, POST PRODUCTION 156 INDEX 158 ACKNOWLEDGEMENTS 160 FOREWORD CClassle glamour is « phrase that encompasses many disciplines, from the brightly it and sunny smiles of he fabloid newspaper or calendar git, to the classic nude by way of the leather-clad fefishist. Classic Glamour Photography focuses on the work faken from a group of photographers whose subjects span these categories and definitions. in Interviews with ‘each one, we find out how they came fo work in thelr respective fields ‘and what motivates, drives, and enthuses them. The second saction of the book includes everything you need to know about becoming ai classle glamour photographer yourselt. You can find out about camera ‘equipment—both fim and digital, lighting—both natural and studio, and fim stock and digital media. There is also a chapter on fincing and using models and studios, and the problems and pitials of mounting a shoot yoursell. he book concludes with a section on post-production fechniques using photo-sdiing software. ‘Apart from equipment, studio space, and models, wha! separates the ‘great and the good from the ordinary isthe abilly fo see a picture before the frst prop is assombled. A creative eye isthe most important skill fo have, and while technique can be learned through experience, and equipment collected over time, the fact remains hat f you don't have @ singular vision betore picking up the camere, you won't have something ‘memorable by the time you put i own again. ‘fall he photographers in this book, Robert Farber and Lucien Clergue are the most distinctly artic purveyors of the rt, imbulng a lightness «and texture fo their photography where form and color reign supreme. Jon Cobb and the Yerburys—Tievor and Faye—produce more modem, but refined and siyized color work, presenting ihe naked form cs a thing of beauty, within carefully considered surroundings. f anything, Cobb has a ‘more minimaiist feel that is olso token up by Chas Ray Krider, Eric Krol, ‘and Craig Morey, but Kroll has more of © foo in the fetish world of eshaint ‘and bondage. His images can be darker and more menacing. Tevor Watson aio uses shadows and lighting fo great effect, within a ‘predominantly black-and-white environment but unlike Kioll nd Morey, fis photos contain a good deal of subversive humor. As part of the 905 ‘boom in fetish-inspired erotica, Watson can both stimulate and simultaneously enteriain. Bab Carlos Clarke is a man whose career and output have been constantly 1e-invented due fo the requirements of ‘advertising cllents, where his work is based. Sex is an integral pair of of his work, at times cousing controversy as witnessed in a recent advertising ‘campaign set in a nightctub, pushing the boundaries of what is ‘acceptable in adveriising, for classical glamour, the Lichfield shots for the Unipart calendar are synonymous with expensive, stylish sotings inhabited by nubile young Jactes whe a more down-to-earth commercial approach has been ‘employed by Nigel Holmes fo fil magazine after magazine with raclfonal, brightly tt happy glamour girs. Clive Austin Is olso @ commercial ‘photographer, but uses the internet fo help promote his glamour and photography training sessions for models and photographers. Recently, the olor work of Ben Westwood and Emma Delves-Broughton, with thelt Inclination foward fetishism but incorporating the bright colors and kitsch style reminiscent of David LaChopell, has given yet another flavorsome strand to the photographic art of classic glamour. Detves-Broughton also brings the female perspective to what has largely been a male domain All these people and different styles are represented in this book and I ‘hope that they will inspire you in your own photographic endeavors, or at the very least, present you with an interesting insight info the world of the he Dunean Evans Bzeule Ne) THE CLASSIC PHOTOGRAPHERS 10 CLIVE AUSTIN 14 BOB CARLOS CLARKE 18 LUCIEN CLERGUE 22 JAN COBB 26 EMMA DELVES-BROUGHTON 32 ROBERT FARBER 36 NIGEL HOLMES 42. CHAS RAY KRIDER 46 ERIC KROL 52 PATRICK LICHFIELD 56 CRAIG MOREY 62 TREVOR WATSON 68 BEN WESTWOOD 72 TREVOR AND FAYE VERBURY