Lights, Camera... Nude!: A Guide to Lighting the Female Nude for Photography (16 page)

Photo 67: Excess light

Model: Aurora L.

To improve dull, flat images that are uninteresting because of low contrast:

Photo 68: Flat light

Model: Jessica A.

Photo 69: Chromatic aberration

Chromatic aberration results in a color fringe where dark areas (such as the model’s hair) are adjacent to a bright area. Less intense backlight can reduce chromatic aberration.

Photo 70: Lens flare

Model: Ashley G.

A color reflection can occur when unwanted non-white light bounces onto the model’s skin.

Photo 72: Color reflection

Model: Jessica A.

Photo 74: Hard shadows

Model: Lauren M.

Hard light and a model near the background leads to hard-edged shadows on the background. Either soften the light with a larger diffuser, move light closer to the model, and/or move the model further from the background.

I sincerely hope that the information in this book inspired you, and gives your technique a push in the direction of superior lighting. There is no substitute for hard work, and though this book may save you some time in compiling much of the information you need to light the nude, you still have to put in the time to learn by doing. Try, fail, and try again. There will be times when you get frustrated, and there will be times when you become content not to push yourself. It’s at times of difficulty that I remind myself that every great athlete, musician, and photographer had to practice and pushed themselves hard to get where they are. They attempt the difficult, over and over, so that it becomes learned, then rote. It is not by playing it safe that you train for greater accomplishment—it is by pushing your limits so that repeated efforts eventually becomes a new skill.

Photo 75: Model in studio

Model: Ariel W.

b
acklight
(a.k.a
.
hair light)
Typically above the subject, either directly behind or slightly to one side. Light colored hair can look great with backlighting.

barn doors
A lighting modifier consisting of two or four flaps that keep light from spilling out of the desired area.

boom
A light stand that holds a light above the model.

chromatic aberration
Displacement of the red and blue channels of an image due to lens characteristics; results in color fringes where light and dark areas meet.

diffuser
A translucent material placed in front of a light to soften and reduce its intensity.

falloff
Decline in quantity of light at the edge of the area the light covers.

fill light
A light of less intensity than the
key light
, that fills shadows.

flag
An object designed to block light, usually an opaque panel.

grid
A honeycomb pattern grid that directs light in one direction. More restrictive than barn doors. Controls light to a specific angle (20°, 40°, etc.)

heads & pack
Studio lighting consisting of a power pack and usually several lighting heads. Light heads are attached via special power cords.

key light
The main (most powerful) light pointed at the model

k
icker (a.k.a. accent light)
At a low angle, placed to one side of the model, at least slightly behind (95-degrees, but not more than 135-degrees)

model zone
My term for the area where the model can move and still be well lit.

modifier
Any device that controls the quality, quantity, and or direction of light.

monolight
A portable, self contained light with flash tube and power in one unit, plugs directly into household power.

r
im
l
ight
,
(a.k.a.
r
immer
)
Placed behind the model, so that she blocks the light; points directly at the lens.

snoot
A lighting modifier that restricts the light to a narrow beam.

spot meter
A light meter that takes readings from a very narrow angle of view, usually 1-degree. Usually a hand-held device (not built into a camera)

strobe
A photographic flash.

watt second
(WS)
A measurement of a strobe’s power output.

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