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I do love these "Getting
Started" concept images, where we photograph the model
in the clothes she wears to the door and where we continue
photographing her as she removes her clothes. Not
only do you get a sense of the model as a person, it is
also a simple & gentle way to get started. I particularly
like the underlying concept -- when I'm out walking around,
I am surrounded by folks going about their business, and
you never know what those people look like without their
clothes. But I'm thinking about it -- I am imagining
all those people without clothing, and they can't stop me.
They don't even know!
Here
is the fabulous Keira Grant, returning for her second visit
with me. At the beginning of these sessions, I try
to set up the lighting for the first setup before the model
arrives, but I need to take a few test exposures with the
model in the frame -- I've got to double check on the positioning
of the lights and on the exposure. That's my approach
-- I like to do all my technical thinking up front:
I like to put the camera on a tripod, set the exposure,
adjust the lights -- all that stuff before I get started.
Then, when we are really working, I just stand beside the
camera with a cable release in my hand, and I interact with
the model, focusing on the aesthetic decisions while ignoring
the camera itself.
So, that
initial "setting up the technical aspects" time
at the beginning is boring for the model, but she has to
be present for me to fine tune the lighting.
This
is the very first test exposure, and I must have gotten
the technical stuff nailed before we started. I like
this image -- it's so casual -- Keira is just waiting for
me to tell her that we are ready to start.
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I think Keira
is a fine looking woman -- she has a striking figure, a
beautiful face, and a glorious mane of hair (in fact, we
featured her hair throughout this session).
But it
takes more than good looks to be a great model. It
also takes a lot of confidence & little inhibition to
be a great model, and Keira scores very high on those counts.
In addition, Keira's personality comes across loud &
clear. She is very easy to work with.
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I really like
this picture.
From
a technical perspective, this is about as good as I can
do with my set of skills -- I like the overall tonality,
I like how Keira's lovely hair is perfectly highlighted
without being blown out, and I like how Keira's skin looks
both natural and like a marble sculpture.
From
an aesthetic perspective, I kinda like Keira's less-than-straight
posture, her semi-intense & intimate expression, her
right hand, and the casual way her breast is exposed.
I feel that there is great "contact" going on
between Keira & the camera.
Overall,
this works very well for me.
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In general,
there is this tendency to treat fine art photography as
serious business, and we often wind up with noble or neutral
expressions on the model's face.
Keira
has a stunning smile, and I definitely like seeing it.
When you see a beautiful smile like this one, assume that
something fun and happy was going on at the moment.
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To me, this is Keira: a fabulous
figure, beautiful face, flawless skin, luxurious hair, and
high confidence. |
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Unlike
many (most?) fine art photographers, I like eye contact
between the model & the camera. When a model is
looking off into the distance, I wonder what is drawing
her attention (usually nothing) and why she & the photographer
aren't engaged with each other.
I also
like to get all the technical adjustments out of the way,
so I can concentrate on the aesthetics. As soon as
I change the lighting setup, I take a few exposures to set
the camera. Then, I leave the camera on a tripod,
and with a cable release in hand, I stand next to the camera &
talk with the model.
I like
watching other photographers work, and so many of them are
somewhat focused on their camera & not totally on their
model. I think giving my models as much attention
as I can is a big contribution to the quality of the images
I can create.
One drawback
to this approach, however, is that on occasion, the model
looks at me & not the camera. That's what's going
on here. Somehow, I don't mind this that much.
Keira isn't "staring out into the distance" for
no particular reason -- she's looking at me as I speak with
her. It makes a big difference.
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