PROFESSIONAL DIGITALTECHNIQUES FOR & NUDE GLAMOUR PHOTOGRAPHY BILL LEMON Amherst Media ® PUBLISHER OF PHOTOGRAPHY BOOKS ACKNOWLEDGMENTS ThereareanumberofpeopleI’dliketothankfortheirencouragementtoproducemythirdbook.Toname just a few: • my daughter Cindy; my daughter Leslie and her husband Tim; and my four grandchildren, Logan, Sean, Andersen, and Kayla • the models who appear in this book (Liz, Natalie, Betcee May, Sarah, Dale, and Missy, to name a few) • Brian Ratty at Media-West •photographersArtKetchum,KenMarcus,RaySopczuk,andmyfriendandassistant,SpencerCalquhoun, for all of their help over the years • Erik Scheller, Dutch Myers, Lynn Clary, Ann Harris, and others assisting locally • Barbara, Michelle, Johanne, and Craig at Amherst Media for their help in putting words to these images Copyright © 2006 by Bill Lemon All photographs by the author unless otherwise noted. All rights reserved. Published by: Amherst Media, Inc. P.O. Box 586 Buffalo, N.Y. 14226 Fax: 716-874-4508 www.AmherstMedia.com Publisher: Craig Alesse Senior Editor/Production Manager: Michelle Perkins Assistant Editor: Barbara A. Lynch-Johnt ISBN: 1-58428-178-2 Library of Congress Card Catalog Number: 2005926594 Printed in Korea. 10 9 8 7 6 5 4 3 2 1 Nopartofthispublicationmaybereproduced,stored,ortransmittedinanyformorbyanymeans,electronic,mechan- ical, photocopied, recorded or otherwise, without prior written consent from the publisher. Notice of Disclaimer: The information contained in this book is based on the author’s experience and opinions. The author and publisher will not be held liable for the use or misuse of the information in this book. TABLE OF CONTENTS PREFACE ...............................................................4 INTRODUCTION ........................................................5 1.GLAMOUR .................................................IMAGES1–15 2.WATER ..................................................IMAGES16–28 3.LANDSCAPES ...........................................IMAGES29–48 4.LOCATIONS ............................................IMAGES49–80 5.INDOORANDSTUDIO ...................................IMAGES81–96 6.COUPLES ...............................................IMAGES97–99 7.FINEARTANDBLACK&WHITE ..........................IMAGES101–109 CONCLUSION ........................................................122 ABOUTTHEAUTHOR ..................................................123 TABLEOFCONTENTS 3 PREFACE BILLLEMON:ASCULPTOROFLIGHT IfirstmetBillLemonsomefifteenyearsagoinawork- shooting whatever or whoever the subject may be. Bill shop I was giving in Nashville, Tennessee. Bill suggest- has that talent and realizes when he has captured the ed we team up to teach some classes. Recognizing his essence of the person he is photographing. As a result, great personality and realizing his talent in the area of Bill Lemon will be remembered for his unique eye and glamour and nude photography, I took him up on his imitated for many years to come. offer. It would prove to be a winning partnership. As we go through life, we choose friends that have Through the years I have come to know Bill, and I values and tastes similar to our own. Bill Lemon is def- have the utmost respect for his talent and creativity in initely a photographic soulmate to me—and a good photographing women. Bill has a talent that is far friend. greaterthanevenherealizes.Hehastheabilitytoproj- In teaching my own workshops, I have literally met ect a feeling when photographing a model, and he cre- thousands of photographers over the years. Bill is ates some spectacular images in the process of seeking unique among them, with a vibrant personality that and seeing the model’s greatest assets. Bill also sees touches everyone he meets. I know I am a better pho- light and uses it to sculpt the image in his mind. tographer for having met and worked with Bill Lemon. Lookingatallaccomplishedandtalentedphotogra- phers’ works, you realize they have one thing in com- —Art Ketchum mon. That talent is knowing the decisive moment in LEMON’SCLASSICALAPPROACH I first met Bill Lemon a number of years ago when he attention to detail. His classical approach to black & attended a seminar I was conducting on glamour pho- white nudes is a refreshing change of pace in this day tography. He was eager to refine his techniques of and age of hardcore imagery. working with models and mastering lighting. It turned out that we had worked with many of the same models —Ken Marcus and had shot in many of the same locations. As a result of his books, I’ve become familiar with Bill’s work over the years, and I appreciate his artistic 4 PROFESSIONALDIGITALTECHNIQUESFORNUDE&GLAMOURPHOTOGRAPHY INTRODUCTION I began to experiment with my first digital camera, a phy, fine-art nudes, or female portraiture, you’ll un- point & shoot, fixed-lens Canon PowerShot G1, in cover the professional tips that will allow you to create April of 2003. I was impressed with the quality of the dramatic, softly feminine, and incredibly flattering por- images and the savings that shooting digitally offered. traits of women. You’ll find over one hundred images Since then, I haven’t looked back. with accompanying text that breaks down the technical While much remains the same when shooting digi- and artistic considerations of capturing the female form tally, some aspects of shooting have changed. Dead-on initsmostgloriousform.You’lllearnhowtocreatethe exposure is more critical than ever before. An LCD appearance of longer and slimmer legs, how to whittle screen allows you to know immediately whether a pic- awaistline,andcurvetothehips,andmakebreastslook tureisakeeperbeforeyouevenleavethescene.Image- their best. You’ll learn how to use artificial lighting editing is something that every photographer can mas- techniques for stunning portraits made indoors or out- ter to gain unprecedented control over their image doors and will get advice for using sunlight to create making. Shooting digitally, you can more confidently soft, natural effects. You’ll learn the importance of take risks and achieve your artistic goals. choosinganeffectivesettingandcomposition,andhow Thisbookwillhelpyouonyourphotographicjour- to select and work with clothing and props. ney. Whether your primary interest is model photogra- INTRODUCTION 5 1. GLAMOUR G lamour images can be created with any client, flatbed truck that Ashley leaned against. I wanted to regardless of their level of comfort in taking create an image of Ashley that had a certain girl-next- nude images. In this section, you’ll see that door appeal, and I think that feeling comes across nice- clothedimagescanbesexy,andthattheglamourgenre ly in this shot. has grown leaps and bounds and now includes more While I often crop images in the computer, this than perfectly coiffed hair and lots of lipstick. image was cropped in-camera to draw the viewer’s There’s a certain appeal for me in pairing the attention to the model’s hair and face. The shot was smooth, lovely skin tones and graceful lines of the fem- captured in manual mode with a Nikon D100 and a inineformwiththeweathered,rusticappealofoldfarm 28–75mm Tamron lens. Flash fill brightened the shad- equipment.Inimage1,thattexturecomesfromanold ows on Ashley’s face and add catchlights to her eyes. 1 CURVES There’s no denying the appeal of the S-curve throughout the length of the body of the model shown in image 2. Natalie exudes femininity, sex appeal, and a particular playful exuberance in animagethatshowsoffallofherfem- inine charms. I asked Natalie to lay on her side, and she refined the pose herself, plac- ing one hand on her face and one on her chest. She put a lot of energy into the image, and there’s a feeling of joy in it. I focused on her eyes in taking this image, and her gaze engages the viewer. Natalie was posed atop a rolling platformcoveredwithaswathofblack velveteen fabric that serves as a make- shift bed for the the session. I shot the image with a Nikon D100 and a 28–75mm Tamron lens. The flash, positioned at camera left, was set at full power. 2 MODELS most models now demand payment for each session. I’vebeeninthisbusinessfortwenty-fiveyearsnow,and With a need to pay models, the cost savings inherent in I’ve photographed countless models. Most are referrals shooting digital is more important than ever before. from past clients. Once you’ve proven yourself as an artist and a respectable professional, your business will INTHEPINK grow by leaps and bounds. Image 3 was created in a Charlotte, North Carolina, With the wide variety of modeling websites avail- hotel room. I created several long shots, then came in able, it’s never been easier to find a subject ready for close for this image, made with a Nikon D100, a hire who suits the type of image you aspire to create. 28–75mm Tamron lens, and an on-camera flash. Checkwebsiteslikewww.onemodelplace.comforleads. I directed Kaylee in creating this pose, and she Also, many established models now host their own refined it by placing her hand on her right shoulder. I websites. A simple search should yield countless links love the soft, feminine look it imparts, especially in worth investigating. combination with the direct eye contact and sensual Regardless of the type of image you shoot—swim- mouth. Her clothing selection lends energy to the suit, implied nude, nude, glamour—you’ll find that image and draws attention to her curves. 3 4 5 DYNAMICLINES you’ll notice that there is no doorknob—it’s a fake Image 4 was made at an old abandoned building near door, used only for decoration. myhome.Ishottheimageatanangletoshowtherow Iknockedonthehome’sfunctionaldoor,hopingto of pillars behind Kristin, which gives a sense of dimen- get permission to use the residence as a backdrop for sion in the image. Heidi’s session. When I got no answer, I proceeded The sheer slip dress Kristin selected for the image with the shot and hoped for the best. Midway through provides a somewhat modest glimpse of her body. I the session, the homeowner, a fellow artist, arrived on darkened the fabric in the pelvic area in Photoshop to the scene. He was enthusiastic about the session and conceal a little more. invited me to shoot in the backyard as well. The session took place on a chilly day, so we shot I love the contrast of the vibrant blue door against justtwentyframes.ThisonewasshotonaNikonD100 the orange stucco walls. I would have liked to show with a 28–75mm Tamron lens. more of Heidi’s body in the image, but she wanted a conservative shot. ABURSTOFCOLOR I like the composition in this image. Heidi’s off- When scouting for new photogenic locations in center placement and the tilted camera created a dy- Tucson, Arizona, I came across the private residence namic feel in the image, while the branches at the left shown in image 5. Arizona and New Mexico are re- and right of the frame point to the subject and provide nowned for the gorgeous architectural color schemes. additional color. WhenIsawthishouse,Ithought,“Ineedtoshootthis The image was captured with a Nikon D1X and a front door.” However, if you look closely at the image, 35–70mm Nikon lens. GLAMOUR 9