Get creative

Digital Photograper - - Artistic Nudes -

Take your nude im­agery a step fur­ther by adding some unique el­e­ments and ef­fects

Adding a lit­tle cre­ativ­ity to your nude im­agery can be very ef­fec­tive. Think of the body as a can­vas and let your imag­i­na­tion do the rest. The most straight­for­ward way of adding a lit­tle artis­tic flair to your shots is to play with the shad­ows and cre­ate some that will fall in in­ter­est­ing ways across the model’s body.

Pro­ject­ing pat­terns onto the skin is an­other in­ter­est­ing ef­fect. Sch­mitz uses the pro­jec­tion tech­nique to add a new di­men­sion to his nude pho­tog­ra­phy. “The pro­jec­tions were done with a Light Blaster, which is ba­si­cally a de­vice ac­cept­ing a com­pact flash, a lens and a slide or gobo. For creat­ing the par­al­lel lines, I used a metal gobo (ba­si­cally a metal slide con­sist­ing of par­al­lel metal lines). For some photos, text was pro­jected with the same de­vice, but us­ing a glass gobo. The Light Blaster is used off-cam­era and the flash is trig­gered re­motely; by plac­ing it away from the cam­era, it em­pha­sises 3D struc­tures, which works won­der­fully on a woman’s body.”

Sim­i­larly pro­fes­sional pho­tog­ra­pher John Gasca (john­gasca.com) projects stun­ning lace pat­terns onto his mod­els. “I used a sin­gle 1K con­stant light called a ‘Baby-Baby’ (made by Mole-Richard­son), and for the shad­ows I used go­bos like lace, palm fronds, plant vines and a thin shawl. A gobo is an acro­nym for ‘goes be­fore op­tics’ or less com­monly, ‘graph­i­cal op­ti­cal blackout’. It is a phys­i­cal sten­cil, tem­plate or ob­ject that is placed in­side or in front of a light source, to con­trol the shape of the emit­ted light. In this case it was used to cre­ate the shadow. The style I was go­ing for was very de­fined shadow edges. To ac­com­plish this, you ac­tu­ally need a small, hard light source placed very far from the sub­ject. That is ex­actly the op­po­site tech­nique that you would use if you are try­ing to light a typ­i­cal por­trait. Then to cre­ate the shadow, the gobo is placed as close as pos­si­ble to the sub­ject, with­out ac­tu­ally be­ing in the shot. I nor­mally light with strobes, but with this style, I needed to see where the shadow was go­ing to fall for com­po­si­tion, so a con­stant source was the best choice. I think it adds tons of in­ter­est to the im­age and is even more strik­ing with Cassie’s light skin. In some in­stances the pat­terns look like tat­toos, but made with light.”

“In this case a gobo was used to cre­ate the shadow. The style I was go­ing for was very de­fined shadow edges”

Above

Use re­flec­tions

Use a mir­ror to cre­ate a re­flec­tion of your sub­ject for a more artis­tic shot

Right

Black and white

“some images work bet­ter in colour, and oth­ers in black and white,” says gasca. “i shoot all images in colour and al­ways try black and white ver­sions of the fi­nal se­lects. this par­tic­u­lar im­age works in both colour and black and white, but for this project, we agreed that black and white was best. it re­minds me of a clas­sic film noir look”

Newspapers in English

Newspapers from UK

© PressReader. All rights reserved.