You Look Smashing!

Earlier this week my son turned one.  I was agonizing over what approach to use for his cake-smash photos because I wanted to capture the entire event without going too artistic and loosing the quality of the moment for the sake of one or two images.  After having to fight my instincts as a mother, I went for a bold color choice in frosting and made an effort to really light the area at an insane level so I could ensure that every little detail was visible.

 

The boy was an amazing model yet again, really getting into the moment and giving me some wonderful expressions in his wild celebration.  The start was just a little timid, poking the frosting then looking at and licking his fingers.  For a moment I even thought he was going to go Godzilla on the poor cake and belly flop on it in some sort of mini pile-driver.  He got his feet, hands, even his bottom into the act when he sat on the cake at the very end.  

 

Thankfully it was followed by a bath since we have a full bath with tub at the studio, but I got stuck with the epic clean-up while my husband simply took bath duty.  The hardest part of the whole event was getting the little man to bed that night after the amazing sugar rush.  Thankfully he did nod off around one in the morning, but by then I was already to tired I was debating if he would ever have cake again.

Flashing Is Impolite

I am an odd-duck in the photography community.  I use very strong bright blubs in my camera gear set to flood the room with light but not as a flash.  I use an additional flash when needed, but in general my studio does not require that extra factor.  I do this for two reasons, one personal and one medical, and neither really has baring on the outcome of the images.  I also tend to shoot in my studio with a specific preset group of settings and use auto focus to remove that factor of human error unless is have an experienced model willing to hold the pose carefully.

Showing off a new diffuser I received for the holidays.

I bring this up because recently I asked for feedback from fellow photographers for thoughts on some images while in the selection and editing process.  While most were kind enough to state where they could think of tips for improvement, a few comments were less than kind.  Only one could be really categorized as "trolling" as it told me to give up photography because I knew nothing.  

At first I thought about what he said and wondered if I should put down the camera and go back to working a day job.  At that point I took the time to look through the person's own collections on his website and found nothing much in common in our shooting styles, though he has a wonderful eye for color combinations. So it got me thinking that perhaps the issue was how we do not use the same style of camera, equipment, or shoot at all similarly.

A selection from the shoot in question.

 I took time to get other responses and listen to what was suggested, and find that in general his reaction was a rare moment of trolling even in the eyes of those who were not raving fans of my work.  So I thought about how it was said, and this is where my topic seemed to hang... the person was not offering advice of any kind, just going for a low blow.  There was no effort to advance the skills and this is where I think any answer to a request for a "critique" should be aimed.

I spent several years of my professional life as studio and district trainer.  I would spend hours looking over the portfolios of students and working with them on how to improve their work.  Not every image was a winner, and I had some people who just seemed to let things go in one ear and out the other even when their job was on the line.  But I made a conscious effort to never insult or belittle those that came to me for advice.

The comment I received was based on my asking if I should follow through with a suggestion to buy an additional reflector.  I will share it here, and I have not edited the comment in any way other than taking off the name because it would be unfair to insult a fellow photographer.  

"You don't need to spend more money on gear but rather put down the camera until you learn to use it better plus a better understanding of light would be a bonus & cost nothing" 

Actually, I am not mad that this person answered as they did.  I found it a teachable moment for my blog because people of all art forms and business types should know what to say and what not to say.  Perhaps I can best rephrase this with an edge to increase the useful information.  That should always be the goal, and so I can think that with what little information he gave me, I would have said something like this:

"Rather than worry about new gear right away, save some money in the long run by doing some research on how  to work with the lights you have.  You might also focus on learning the specific controls on your camera for different settings.  If you are going to make an investment, do it through education in place of gear.  Take an advanced class and you will get more out of what you already have."

While I don't have the time to fix every mistake in a photo, or the energy to feed every troll to their heart's content... I am more than happy to spend my time making others stronger in their skills, even if it is through learning that those of us who intend good things get insulted too.

Why I Do, What I Do

Trying my first posting from an alternate device tonight, we'll see how this goes.  Try to be forgiving, this is a test of my blogging skills via smarter-than-me-phone.

Aside from busily working to build a new studio location, booking sittings, and shooting weddings each week; I am also involved in work to help demystify boudoir photography. I want to help more people understand how they can express their sexy inner being without having feeling like they are posing for a dirty magazine. I have redoubled my efforts after becoming involved with an effort to put a stop to illegal posting of images taken by a fellow photographer who broke his client's trust.

I am, however, toying with the idea of choosing to make a notation that I will no longer take sittings where obvious nudity is involved. I state this as different from “implied nudity” because of the appearance of sensitive areas of anatomy. My portfolio does not suffer simply because I choose not to display genitalia or require an age filter and I feel that this should be part of what my subjects can always expect. I want them to feel no embarrassment about having a stranger – myself or my assistant in this case – see them while they are posing. More importantly, there should be pride and enjoyment when they share their final selections with others.

I believe in using intelligent composition,
not pornographic position.

Remember that quote. I have no problem with it being shared around the internet and used by anyone who ever studies the art of boudoir photography, even in passing. If I am famous for nothing else, make me famous for that one comment.

Artistic nudity has a place in the world. There is something beautiful about a newborn infant with nothing put that innocent pout on their lips. There is an equally stirring notion when a seductive bare shoulder is closely cropped into frame with sultry eyes and lips directed into the lens. It is even possible to have a tasteful image where just a bolt of silk can be wrapped around a mother to show off her growing belly and lovely legs at a maternity sitting.

There is also a place for nudity of the non-artistic genre. A good number of photographers and models make their living in a world of pay-to-view websites and adults only magazines. Before our marriage, I know my own husband had a collection of those magazines and I'm fine with that fact. He is one of the thousands of adults that has owned or viewed that type of material. It is a profitable market, and those employed by those companies are aware of the controversy that will forever be involved with their industry.

The word boudoir is a French term that refers to the chambers around a wealthy ladies' bedroom any time prior to about 1920. The boudoir was an elaborate sitting room where she could entertain her guests or romantic partner(s). This was separate from her dressing room, morning room, and bed chamber. In some less wealthy circles the term began to be used on sitting rooms or parlors – what we now call “the living room” – when the house did not contain massive suites for the adult females.

This history is important because it gives a reason for the very distinct aim of good boudoir photographers; they aim to create an intimate, romantic feeling with each pose. My own goal is to encourage a playful feeling as well as capturing that alluring gaze that seems to say “come hither”.

I use a fifteen to twenty minute consultation prior to the session as a chance to learn about my subject and get a feeling for their personality. It is not just the long lashes and soft gaze of my model but the timid girl behind those big brown eyes that should come through with every pose. For those fantastic moments when the girl in kitten heels can flirt through the lens, my goal is to let her purr come through with every wink.  I even have had male subjects prove that the kindest, nerd can become a hunk when he lets his confidence do the work.

On May 26th, I will be hosting a boudoir photography event at the new studio to help educate local women and men interested but shy about committing to a full session. The idea is to find the beauty in every body type. Women should learn to embrace their unique figure and the beauty that exists in simply being born a part of that gender. Guys can take the chance to not worry about having to put on a hyper masculine facade, they can be cuddly and still be sexy. Most of all, my goal is to make each person see that you don't have to be built like a model to make your mate “happy”. If I can still get a grin from my husband after the huge change in my figure from pre-pregnancy to almost one year postpartum... well, just trust me when I say the most sexy part of the body is the brain... followed by the eyes!

Color Theory

Going to aim for a few small updates this week since I am a little scattered between having just held a birthday party for my husband, looking into renting a better studio space, and some family issues here at home. I'll be treating you to a few nice images in these updates, and be promoting another photographer with one of them.

Today I want to discuss how to work with colors. Not in terms of how to pair things in an image, but how to shoot for an emotional impact by using the colors inherent in a setting. This will be a very visually in depth process, so I will only touch on a few emotions and the best way to communicate them in color. This will be a post of strictly my own work, though the concept is not at all something I lay claim to as an original concept; many books, blogs, and other works exist based on this topic.

If you follow traditional thinking, water is an emotional element because it is so closely related to all life. We emerge from water through the process of birth, we require water to survive must faster than food, indeed we even loos what when we feel the strongest of emotions (both joy and sorrow). So it should be no surprise that water is often an essential element of using color to transmit emotion; water is naturally blue. Using blue and purple shades are an obvious progression and can make a basic shot even more commercially presentable.

This photo was a lucky catch while on a vacation with my parents and an ex-boyfriend of mine about four years ago. I point out that there was a UV filter placed on the camera for this, so it did tint the shot slightly, but only enough to prove my point. Below is the shot taken just prior; this time without using a filter and the default settings and basic white-balance. Just looking at the two quickly, it is simple to tell how there is a dramatic feel to the filtered image.

The lesson I want you to take from this is simple, editing is not always required, but can enhance an image to the perfect level to make a sale. In this case, I am discussing non-portrait images, but the same rule applies there too. If you can frame, light, and pose well, the image will simply need to be uploaded or printed. And for now, I leave you with a few more shots where a slight addition or filtering of color has an obvious effect on the outcome.

Bright Lights

This week you get a double dose of information... Lucky You!

In this lesson we will be looking at how to use alternative styles of lighting to sculpt and complement the curves of the female body. No offense to the male models out there, but this is focused on making a big show of that big belly or those lovely curves. This can be very difficult because it requires just enough illumination on the subject to make them visible with the camera without loosing the shadows and highlights into a monotone pallet. For most poses and situations, windows are ideal light sources; but, this is not always the case.

Lets admit right now that nothing compares to the sun. I know we can blow all the money we want on strobes and such, but nothing compares to the huge fiery ball in the sky. And I didn't even mention the best part... IT'S FREE! While that should be all the sales pitch anyone ever needs, that is simply not the case, so I will continue.

Windows are fabulous backdrops, they harness the glorious free solar lighting goodness, while giving us the option of making a beautifully draped set for some fantastic silhouettes. Add a strong angle or a soft pose and you can achieve perfect shots without having to put in the hours of retouching that harsh studio lights can require. A lovely lady in some killer shoes can stand in a strong pose with her back to the camera and look over her shoulder with a fierce expression. You want there to be just a hint of curve from the chest while there can be plenty of long legs if your model is comfortable. Also remember that it can be enough to allude to sensuality through great eyes, there is never a need for the model to be nude for them to be irresistible.

“A woman is closest to being naked when she is well dressed”.
-- Coco Chanel.

The other beautiful element you should consider is perfect for maternity images, a profile pose with light from the side and slightly behind. This casts a lovely eclipse around the curve of the belly. Place the hands carefully, the arm facing the camera should be at the model's side, and the other should rest lightly on the top of the belly. If she has long hair, it can be left loose so long as the face receives enough illumination to show the profile. Work with the subject to make sure she is looking down lightly but you don't want to cause the double chin that can form with women in pregnancy from the water weight they gain.

From the base with the pose above, you can even incorporate her partner either kneeling to kiss the belly, or standing behind and placing hands on the belly as well. This must be done with attention to detail so that enough light hits the subjects to illuminate the figure partially. It may help to think of this in terms of watching an eclipse or even the cresting images taken in space as shuttles returned from the “dark side of the moon”.

“Life is always a rich and steady time when you are waiting for something to happen or to hatch.”
-- E.B. White, Charlotte's Web

This is a short entry, I know. Only two alternative light styles are covered and I only described one complete pose. I do this because you should always strive think beyond what I am giving you as a starting point. Look in sports magazines and you will see some great alternate lighting styles as well. I may have over six years in a studio, but even that is just a blink of the eye when it comes to experience with all forms of lighting. Perhaps someday I will share more, but for now this is what I feel I could best explain. Enjoy.