Sometimes, I think the addition of modifiers, such as in, “fashion nude,” “art nude,” “glamour nude,” and so on are an attempt to legitimize their photographs. I don’t think figure photography needs to be legitimized beyond the legitimacy that is earned by merit of the images themselves. I’ve even seem some of these as distinct entries in wikipedia and other lexicons. The terms mentioned above are are barely descriptive of any particular style or genre. Certainly terms like implied nude and covered nude serve the purpose of indicating a photograph that is inexplicit or perhaps lacks actual nudity.  But the others seem to distract in many cases from the work.

If one is describing a site to either entice folks to visit or to warn those who might be offended, some of these modifiers may serve a purpose. However, once someone is viewing the work, I’m not sure we need to explain to them, or persuade them, that its either art or glamour.

In some cases, I see people adding modifiers to the word because it matches a domain name that was available. I’m reluctant to name specifics because that might offend the owners of those sites, though I’m really not condemning practice. We all have to make compromises to get the domain names we want. I’m not sure, however that we need to build brands that match the exact domain name.

Here is an example of a “dark, semi-monochromatic figure art bodyscape”

Have you ever looked at one of those over-retouched photos that looks like it was either computer-generated or that the model was molded out of plastic instead of being a flesh-and-blood human? We all have to start somewhere and over processing is almost a rite of passage for photographers. Sometimes the effect is meant to be the star of the show, but usually you want the retouching to enhance your model, not outshine her.

How to know you’ve gone too far with your retouching

• If people (except other photographers, perhaps) look at your work and say, “Nice Photoshop work,” instead of, “wonderful image,” you’ve probably done too much.
• If people can name the specific effects you used, such as blurring, vignetting, etc.
• If the model looks at her final image and asks, “Nice, who is this of?”

Tips for keeping retouching realistic

• Don’t zoom-in too much. It’s important to get close to your work, but not so close that you’re tempted to clone out every pore and heal every wrinkle.
• Remember that real skin has variation to its texture. The skin on an elbow doesn’t look like the skin on the rest of the arm. Arms don’t look like legs. So don’t try to make every body part look like a baby’s butt.
• When applying effects, apply them until you notice a difference, then back off to about 70% to 80% of that point.
• You don’t need to use every trick you know on every image.
• Don’t try to use Photoshop to fix bad lighting, bad shooting, or a poor choice of scene. The more you have to do in postprocessing, the more it will look fake.
• Before you dive into a Photoshop tutorial, look at the “after” image. Does the style look like what you want your work to be?

This unretouched image includes a tattoo, clothing lines, and some stray hairs.

Finding a willing model is the most important aspect … you never want to convince someone to pose nude who might otherwise not. But after you find the willing model, where most photographers fail is in setting up the shoot. They may think they set up a shoot only to find out, when the model doesn’t show, that she never intended to shoot with him. She was just agreeing to a shoot in order to get rid of him so she could interview with the next photographer, the one she will really shoot with.

I’ll help teach you how to not be that photographer who always gets stood up. Instead, you can be the second photographer, the one who actually gets to do the shoot. You do this by building a professional relationship before booking the first shoot. It won’t be a strong relationship yet, but it will be a start.

A step-by-step guide to recruiting beautiful models, lighting, photographing nudes, post-processing images, and maybe even getting paid to do it.

Recruiting a model for figure work can be tricky, even for someone who has been photographing artistic nudes for a long time. To better introduce the concept of recruiting, I explain the core recruiting activity in terms of five stages. They are:

1. Establishing contact
2. Building interest
3. Overcoming objections
4. Getting commitment

If you skip or rush through any step, you risk not getting the booking. This happens to many photographers and they wonder if it has something to do with the model. In many cases it is a matter of not completing the process. Many photographers fail to secure bookings because the skip directly from establishing contact to getting commitment.

Establishing contact means meeting the prospective model and exchanging contact information. Just handing out a business card is not establishing contact. It is important to have the model’s contact information so that you do not have to rely on her to retain your information and follow up. If you make contact online, the exchange of a return email address is usually automatic.

Building interest is an often overlooked step. This can be a simple as showing some portfolio pieces to the model but it should involve more. You need to let the model get to know you a little bit. Nobody wants to work with someone until they gain a comfort level.

Overcoming objections is something photographers often engage in, but seldom in the right way. Objections are usually requests for more information or confusion about what you are proposing. The faster you attempt to get a model to commit, the more confusion you will encounter. The first step to overcoming an objection is to recognize it. Then you need to let the model know that other models had the same question. Finally, you need to explain how you will make things work out.

For example, a model might object because she does not feel she would know what to do as a model. If a model says this to me, I let her know that this is common among many new models and more than half of the models she sees on my website expressed the exact same concern. However, once they did a photoshoot, they found that it was easier than they thought it would be.

Finally, you must ask a model to commit to booking a specific time and location. If you rush the model to commit, she may agree just to delay having to deal with you. You want a true commitment. A good first step in getting a commitment is to ask the prospect to come to a face-to-face interview.

I hope to write more on the above four steps in the future.

Many photographers get frustrated by models who cancel, but it doesn’t have to be the end of the professional relationship. Ann, a model who has shot with me at least ten times, almost didn’t do it at all. She had initial reservations, and just needed time to make up her mind.

Here is how the conversation went with the reluctant model

Model: “I’m not sure that this is for me”

Photographer: “I can understand that you might have hesitations about doing this. A lot of the models who pose for me felt the same way before they started. Some of them never took the plunge. But those who did found it was a lot easier than they thought it was going to be and were glad they did.”

Model: “I see what you’re saying. Maybe I should try this.”

That was all it took. So, next time you get frustrated with a model who is initially reluctant, don’t end the conversation. Just let her know that her feelings are normal. Some models may come up with an implausible excuse. My advice is that you not dwell or her reason for cancelling, bargain or argue. The shoot is not going to happen, but another one can. If you focus on the future you can still have a great shoot.

If you are a model thinking about posing nude for the first time, rest assured that with the right photographer it can be an exhilarating and fulfilling experience.

Week 12: Venus in Black & White.

The final week, a pose from model Venus (Sarah). Some you may have seen before, some are new, all were chosen as favorites.

Week 11: Venus in Black & White.

The last pose from model Venus (Sarah) is next Friday. Some you may have seen before, some are new, all are chosen as favorites.

Week 10: Venus in Black & White.

Scheduled for every Friday for the next 2 weeks, a pose from model Venus (Sarah). Some you may have seen before, some are new, all are chosen as favorites.

I recently drove from coast to coast. Along the way, I stopped to make some photographs. Here is one. The model, Jacqueline Faith, is standing on a bluff overlooking the city of Albuquerque. The second image shows where I have placed an accent light. It was around freezing and I had a running car a few feet away from her for quick refuge. This location is a half-mile or so off-road. At one point a survey crew passed us in a pickup truck. They may have wondered what we were doing or how I got my sedan out there.

Shot at f/16 and 1/160 second to balance with natural light. Flash is an Paul C. Buff Einstein powered by a Vagabond Mini battery. I had a Zeus Bi-tube with me but the Einstein (640W) was sufficient and less trouble to set up. Who says small flashes can’t be effective? I was also unsure what the effects would have been of the freezing cold on the higher-powered flash tubes. Trigger was a wireless Elinchome Sky Port.

Week 9: Venus in Black & White.

Scheduled for every Friday for the next 3 weeks, a pose from model Venus (Sarah). Some you may have seen before, some are new, all are chosen as favorites.