Why would anyone waste money on a light meter? It is a fair assessment that most photographers, including very serious ones, can get by without an external light meter. When I say external, that is to differentiate between a handheld meter and the one in your camera.

I seldom rely on a handheld light meter, especially in my studio. However, I still use a light meter in unfamiliar situations. My LCD does not tell me how much something is over/under exposed. The preview image on my camera’s LCD does not tell me the value of each small area of the scene I am interested in. Also, the LCD is not going to tell me when my edge lights are ¼ stop brighter than I intended. The LCD gets me close, but in loading the RAW file after a shoot, I sometimes end up with scenes I wished I had metered more carefully. A ¼ stop might not make much difference in most cases, where you can just selectively dodge and burn. But what about the unintended consequences of spot-exposure adjustments in post-processing, such as loss of subtle texture? Suffice to say, you need to be rather nit-picky about your results to worry about such things, and feel the need to meter.

Some people put a thermometer in beer before they drink it. I have often wondered what is wrong with them. Can’t they tell if they like the beer without having to take its temperature first? This may be the way some people view those of us who use a light meter. Why don’t we just look at the three-and-a-half-inch LCD for two seconds to determine if we like what we see? After all, the LCD displays almost a full megapixel of information. And, if we are worried about the fact that the screen image looks differently based on the ambient light, there is always the histogram.

Unfortunately, the histogram only tells you about the scene in aggregate, not what each light is doing. The LCD really is too small to see what highlight or shadow texture in hair or skin is going to look like when the final image goes to print. The light meter helps me to know what each light is doing across the entire scene, not just the net affect for a single pose within the model zone. The truth is, usually rely on my LCD and some experimentation to get the light right.

For most people, a handheld meter is overkill. If your images are only destined for a web page, few people may even notice the difference, much less care. If you have strong ideas that produce passionate images, then the nuanced trade-offs between a metered work flow and a non-metered workflow may cancel each other out.

But, I do not anticipate getting rid of my meter. I use a light meter when I am trying a new light setup. This is especially useful before the model arrives. If I do not have enough power to blast through the diffusion material on a new softbox, I do not want to waste time hauling out more power packs during shooting time. If I get a new light, new modifier, an extension cable, or anything else that will affect power output, I use my meter to learn what the net effect is. Basically, any time I am at a loss for knowledge, I seek the most detailed information I can find. When it comes to light output, only my handheld meter can give me that.

So, just as I do not check my body temperature every day to make sure it is still a healthy 98.6 F (37 C), I do not need a light meter when I already know approximately what is going on with the light.

So, I am still waiting for the total phase-out of the light meter, especially the spot meter. Is the “spot-histogram” around the corner? That would be a feature I would use.

Maybe I am a dinosaur, clinging to the tools I loved when I shot and developed film and used flash powder to illuminate the scene. Heck, I still own oil paints; everyone knows that oil painting is a useless technology now that we have photography, right?

A light meter was useful in getting the effect I wanted

Hope at the interview

Hope responded to a classified ad I placed on a popular free classified website. I had posted ads once or twice a week for the previous few weeks. The ads stay up for a couple of months, so there were about ten ads up. Hope responded to all ten, so I assumed she was probably hitting all of the ads she could find, what I call shot gunning. A model appearing uncommitted can be a yellow flag, so I needed to determine how deep her interest was. I responded quickly to Hope, knowing she was eager to get started and might soon be busy with other photographers. Here is the e-mail she sent me:
“Hi, I am interested in being the nude model for your photography. I am an artist myself and have painted some nude portraits so I understand. I would like to meet beforehand and maybe know a little about you before. I will attach one or two photographs of myself in semi nude to see if I might be what you are looking for. I will check my email often for a reply. Thanks, Hope”

As it occasionally happens, Hope’s photos were not large or clear enough for me to determine her suitability for my projects. It was obvious that she had some attractive features, and the photos she sent me were unusually creative in their lighting and poses. This was substantially encouraging. Nevertheless, I still had some questions about her appearance that were difficult to answer via an e-mail exchange. From the small, dim shots, I could not see if her skin was smooth or if her muscles were toned. I was also concerned about her apparent shotgun approach. I decided an in-person interview would solve these uncertainties, as well as verify her interest and commitment. My reply to her first e-mail read, “Hello, Hope. I like what I see. I’m pretty flexible with time this weekend. If you send me your number and tell me when you’re available, we should be able to do something.”

I called her, and we agreed to meet at a coffee shop that was convenient for both of us. Hope was on time to the meeting and lively when she got there. She was, in fact, easily identifiable as the most attractive woman in the shop. On that note, I typically do not worry about how I am going to spot a model at our first meeting; if I cannot find her in a crowd, she’s probably not what I’m looking for. I introduced myself to her while she was standing in line. I bought coffee for both of us, and we sat. Hope reiterated that she was an artist, and concerning nudes, she said, “I get it.” She was emphatic, and I could sense she had zero qualms about creating images with me. After a few minutes, I suggested we step outside to see how well things worked with her, my camera, and me. We walked into the parking lot, and I retrieved my camera from my car and snapped a few quick shots, one of which appears on this page.

I did two shoots with Hope before she unfortunately had to move four hours away. For months, we did not do any shoots. I kept in touch with her through Facebook and we have continued to work together. I have travelled up to work with her over a weekend and she has come to me on occasion. When visiting her, we traveled to some of her mountain haunts, including some amazing waterfalls. She has posed with classic cars and at an abandoned Buddhist monastery. Hope is good at making a single prop work, whether it is a rope, chain, scarf, or bottle filled with water. I have photographed Hope at least eight times, each with spectacular results.

More about Hope, and additional recruiting diaries appear in my book Up to My Eyeballs in Nude Women.

The contours of the female body are a masterpiece of nature and were the inspiration for the title of this book. There are an infinite number of ways to represent this beauty. The photographer’s role is to create work that is appealing, fitting, and meaningful. This book takes a two-pronged approach: first by teaching the academic and second by encouraging hands-on creativity.

This guide presents the material through five main chapters: Composition, Technique, Posing, Self-Expression (Style), and Shooting Assignments.

The instruction is intended to be accessible to any novice with a serious interest in the composition and posing of female nudes. You do not need to be an artist or a photographer to understand the material but a basic understanding of camera operation is assumed. It is written for the uninitiated and for those who have no more than a modest amount of experience with photography or composition.

The book begins with a discussion of visual literacy and its importance. Next are the abstract elements of composition, such as lines, colors, value, mass, depth, illusion, time, and motion. A section on design principles instructs in the assembly of these elements. Visual pathways, including cyclical, triangular, and others, are explained. Methods of design such as the rule of thirds, the golden mean, diagonal method, armatures, and forty-five degrees are all described and illustrated. The design instruction is rounded out with a discussion of commonalities and pitfalls in the design methods.

The various camera techniques range from controlling framing, focus, and lighting. There is information about high-key, low-key, and minor-key lighting, complete with histograms and diagrams that show where the lights are set up. The section on post-processing mentions the importance of vignettes, contrast, monochrome (black and white) images, color mapping, the zone system, isolating images, and making composites (montages). The book includes 100 examples of nude poses (in addition to the numerous other samples) grouped into sections, such as standing, furniture, and props.

The section on style addresses why we make a photograph and what constitutes an artistic body of work. There is a discussion of how your choice of genre, whether it is pin-up, glamour, or fine art, figure study, or commercial design, influences your composition. The examination of style would not be complete without addressing how to analyze your work and sources of inspiration. The shooting assignments are real-world exercises that provide an opportunity to put what you have learned into practice. The book is rounded out with a glossary, index, and bibliography.

This image is from the title page of my new book, Exquisite Curves. This is a book about composition and posing. The contours of the female body are a masterpiece of nature and were the inspiration for the title of this book. This file is an example of the bonus material that is available to readers of the book. Select Photoshop files are also available.

Title page image for Exquisite Curves

The book will be available within the next 60 days.

Book Cover

The following analysis pertains to a self-reported data from of over 140,000 American models. All respondents were female, ages 18 to 28, and actively seeking modeling assignments through online accounts that each model maintains. Each was asked if they were interested in nude modeling assignments. Their preference for or against nude modeling was posted publicly, along with their portfolio.

Of these models, those who openly advertised a desire to pose nude numbered 12.5%. This percentage includes all heights, sizes, and shapes. If we just consider models who fall into a particular body type, the number willing to pose nude goes up. For example for those between five feet tall and five foot eleven, having a dress size zero through eight, and have a bra cup size of “B” or larger, 15.5% are willing to pose nude. If we look at the subset of these women who have a bra cup size of “C” or larger, the number goes up to 17.5%. If we look at those with a D or DD bra cup size, 20% are willing to pose nude.

The first sample, models ages 18-28, one in eight is actively looking for nude modeling jobs. With the last sample, it is one in five. These numbers reflect models who are seeking regular employment modeling nude. If you consider those who are willing to entertain nude modeling on a case-by-case basis, the proportion increases.

The results can’t be considered scientific because it is based on self-reported data. However, this analysis does make clear that body type has an effect on an interest in posing nude. The single most influential factor is bust size. It seems bustier women are more comfortable posing nude.

In a separate survey, the willingness of models with breast augmentation to pose nude was considered. It was apparent that having breast implants did not significantly change a model’s willingness to pose nude. In fact, only 16% of those willing to model nude had breast implants, compared to 26% of all models in the survey. In most instances, breast augmentation reduces the aesthetic appeal of a nude model. Many photographers don’t desire the unnatural shape and scars that come along with breast implants and models know this. So, it’s not surprising that the percentage of nude models with a natural bust line (84%) is higher than the percentage of all models over eighteen with a natural bust line (74%).

It is also apparent that models of average or shorter heights are slightly more comfortable with nudity than their taller counterparts. Models who are 5’9” and taller were about 1% less likely to advertise a willingness for nude modeling jobs.

When comparing various ethnicities willingness to pose nude, the results are disparate. Over 62,000 American models ages eighteen to twenty-eight were sampled on a modeling employment site. Of those who stated an ethnicity, Native Americans and Caucasians were the most likely to express an interest in posing nude (22% and 16.5% respectively.) All other categories were less likely than the average (14.5%) to respond positively. The least likely to respond in the affirmative was East Indians, which were only one-third as likely to do so.

Even hair color plays a role in determining willingness to pose nude. In a sampling of models, again all ages 18 to 28 in the United States, respondents were asked to report hair color and their willingness to pose nude. Amongst blondes and dark-haired models the results were mostly undifferentiated. Redheads and brunettes were at opposite ends of the spectrum. Redhead models were the most likely to opt to model nude, more than twice as likely as brunettes. Even hair length comes into play. Models with very short or very long hair are up to twice as likely to model nude compared to those with medium length hair.

How to use this information? You don’t want to limit yourself to pursuing models of only a very specific body type or appearance. For one thing, the demographic that is most willing to pose nude may not be what you’re looking for in a model. If you want to photograph tall models with small bust lines, there is no reason not to pursue them as subjects. Additionally, the subset that is most likely to pose nude comprise only a small fraction of the available models. Although short, very busty models were the most likely to be seeking nude jobs, they accounted for fewer than ten percent of respondents.

The more experienced the model, the more comfortable with nudity

Experienced models are more likely to want to model nude than inexperienced. This is mainly attributable to the fact that modeling nude is a one way trip. Few models begin modeling nude and then stop. More often, models will start modeling before they decide to pose nude. Then they will continue to pose nude. Models who describe their experience level as “very experience” are more than twice as likely to pose nude as those who say they have no experience. The desire to model nude increases sharply as models gain experience. For this reason it’s beneficial to seek women who already have some modeling experience.

The style of photography is a huge factor in attracting models.

When models are asked their opinion of nude photography versus artistic nude photography, the results are astonishingly different. In a sampling of over 1,400 American and Canadian female models 15% of them said they would be willing to pose nude. When models are asked if they would pose for an artistic nude, the number jumps to 45%. This is three times as many positive responses.

This was not an anonymous survey. These data are from a modeling employment web site where the models receive job offers for various modeling jobs ranging from fashion to nude.

The models were told that artistic nudity meant full nudity with artistic intent. For sake of clarity, the models were told that this was not implied nudity. One in seven models are willing to pose nude, while nearly half are willing to pose nude when the photography is described as artistic. Clearly the style of the photographs has a huge influence on a model’s willingness to pose nude. What makes a photograph artistic is subjective, and it is the photographer’s intent and style that attract models. Because art is in the mind of the viewer, you need to do more than describe your work as artistic. This is why you need a portfolio.

On a side note, various data were compared from modeling web sites of varying sizes. On heavily trafficked web sites, models are less likely to advertise their willingness to pose nude. Many models say that this because of the large number of undesirable correspondence they receive.  On smaller modeling sites more models indicate an interest in nude gigs.

For more on this topic, and other aspects of recruiting and working with nude models can be found in my new book, Up to My Eyeballs in Nude Women. This book is written for the serious beginner, the curious non-photographer, and even the moderately experienced photographer who needs a better grasp of recruiting and working with nude models. Understanding this book does not require comprehension of photographic technique.

Model: Audrey Rose

Modeling is competitive, and the world of the figure model is no exception. If you work out three times a week, you may lose your next audition to the model who hits the gym five days a week. If you run two miles a day then treat yourself to fried chicken, there’s the girl who runs six miles and never sets foot in a fast-food restaurant. Here are some ideas to stay in shape and showcase your talents and make sure you stay on top of the list of models who get called back for more work.

1. Fix your portfolio. Choose recent photos. It’s okay to keep one favorite, but old photos send the message that you’re not hired much. Choose photos that show how good you look, not how good the Photoshop is. Retouched photos make it look like you’re trying to hide something. Remember, it’s not an art exhibit, it’s a visual résumé.
2. Tone up. You’ve got to work out more than the competition if you’re going to beat them. Find exercise you enjoy so you won’t quit doing it.
3. Take care of your hair. Baby it. Don’t abuse it. Depending on its length, the ends of your hairs have been hanging around for a year or more. Don’t ruin your hair in one night with harsh chemicals.
4. Take the interview seriously. If you show up looking like you just rolled out of bed, you won’t get the choicest gigs.
5. Junk food is the enemy. You can lie to yourself, but your body will not lie to the camera. Treat junk food like a terrorist. Don’t negotiate with junk food. Drinks with whipped cream, anything fried, anything that drips grease, or has added sugar should not pass your lips. Whole, natural foods build a healthy body.
6. Keep a steady pace. Model regularly and in amounts that you can handle. Don’t overbook and don’t take extended holidays.
7. Fade those tan lines. Wear a variety of beachwear so you don’t have such a bad lines. Use tanning salons, but don’t overdo it. Buy one or more tan-through swimsuits. Use sunscreen. Avoid deep tanning.
8. Don’t smoke. The link between being smoke-free and a healthy, sexy look shouldn’t have to be explained.

Nude model outdoors. Model: Hope S.

There is quite a lot of information available on model releases, and there are quite a few people who are still confused about the topic. When it comes to nude photography there are some aspects that are not often talked about. many of the principles are exactly the same for nude and non-nude photography, but there are also differences. Many wiki sites and modeling forums have information, some of which is helpful, but some of which is misleading or flat-out wrong when applied to nude photos. There are a couple of good legal books for photographers that I recommend. These appear at the bottom of the post.

Luckily, it is not the norm to end up in a legal dispute regarding your nude photography. The worst thing that I have experienced is having a publisher delay acceptance of nudes until I could get a proper release signed by the model. But you can save yourself time and potential headaches by having a proper release for your images.

Myth #1 : I need a model release in order to legally take nude photos.
Response: Wrong. Model releases are about permission to use the photos, not permission to take them.

Myth #2: A model release protects my copyright.
Response: Wrong. A model release gives permission to use photos and has nothing to do with copyright.

Myth #3: I don’t need a model release if I shoot nudes in a public place such as the great outdoors.
Response: Yes, you do. This myth stems from fact that people in public places do not have a reasonable expectation of privacy. However, a claim of invasion of privacy is not the only thing a model release protects you from. If the images are used for advertising, you need a release. If the use could in any way be construed as malicious or scandalous (not hard to image with nudes photos, especially years down the road) you have a problem. It’s best to be clear about what you intend to do with nude photos, so put it in writing. Shooting in public doesn’t mean you won’t want a release.

Myth #4: I have a first amendment right to distribute my photos so I don’t need a release.
Response: Your first amendment rights are not carte blanche to distribute nude photos when someone else might have a reasonable expectation of privacy, a right to portray others in a false light, etc. There is plenty more going on than first amendment rights when it comes to releases for nudes.

Myth #5: I don’t need a model release if I’m not making money off my photos.
Response: See myth #4, above. While it’s true that you can sell photos of people without their permission under some circumstances, there is more at play with nude photos. Even if you’re conducting a gallery show or displaying them on the Internet you could be subject to claims including painting the model in a false light if you didn’t establish intended uses clearly in writing.

Myth #6: A generic model release is fine for nude images.
Response: On the contrary, a model release for nude photographs should, at a minimum, state that the model is releasing nude images. This is especially important if any of the images look like they could have been an instance of the model mistakenly revealing more than intended. A good release contains a description of what is being released.

Myth #7: I only need to pay the model $1 or give her a copy of a photo to make the release enforceable.
Response: A compensation clause in a release is used to show that both parties have given “consideration”. This is one of the requirements for having a contract. If you do end up in a dispute, it doesn’t look good to have a payment that is well below market rates for services if you are in the business of selling the images. Inequitable compensation is a big red flag especially if the model has little experience and you have much. If the compensation clause is in question, the whole model release is in question. Pay fair rates.

Myth #8: If the model doesn’t read the release it’s not valid.
or
As long as she signs it, it is valid.
Response: Both of these are wrong. Most releases are written as contracts. If someone signs a contract without signing it, that fact alone does not invalidate the contract. It is up to everyone to read what they sign. However, just because someone signs something, doesn’t mean you have a contract. If you trick or pressure the model into signing without reading, you definitely don’t have a valid contract. So don’t rush the model and don’t try to fool her with long-winded verbiage in the release. If there is no meeting of the minds, there is no contract.

Myth #9: The release should be signed before the shoot begins.
Similar Myth: If I’ve already worked with a model and have a release, I don’t need a release for our second shoot.
Response: I can’t think of a good reason to do this and the practice could be very problematic when shooting nudes. Some photographers want to get the release out-of-the-way. If the model is inexperienced or has questions about what kind of permission and uses you’ll be asking for, you can show her the release before you shoot but don’t have her sign it. It’s difficult to enforce a model release that pertains to images that do not yet exist when the release is signed. Court cases involving model releases have been awarded based on the sole fact that it was not clear as to which specific photos were being released. The model could claim that she didn’t know the extent of nudity involved and thus there was no meeting of the minds and no binding contract. If the photos don’t yet exist, you don’t have a very solid release.

Myth #10: A model release provides the photographer better protection if it is long with lots of legal language, especially in the case of nudes.
Response: Just about the opposite is true. The release need only be long enough to clearly establish what the agreement is and to account for any contingencies. Unnecessarily complex or repetitive language can actually weaken a release. Remember, a contract documents an agreement and the more complicated the language the less plausible it is that both people were in agreement.

I assure you, I have a release for all my photos. Model: Tess I.

Disclaimer: I’m not a lawyer and laws vary by location. Enjoy the above generalizations, don’t fall for myths, and seek qualified experts for your legal questions.

You may enjoy reading:

The Law (in Plain English) for Photographers
by Leonard D. Duboff

and

Legal Handbook for Photographers
by Bert Krages

If you’d like to read more about model releases for nude photography, as well as the interpersonal aspects of working with models, you may enjoy my book Up to My Eyeballs in Nude Women. It covers recruiting models, preparing them for a shoot, getting great results in the studio, and a solid follow through (which includes, of course, an appropriate model release.) This book includes a sample model release that is like what I use.

Shutterstock has been a source of passive income to me and other photographers. It is exceedingly difficult to get onto the site in the first attempt. The first rule is to keep resubmitting until you get accepted.

Look at what’s been selling lately by doing a search on Shutterstock for keywords that describe your genre of images.

Shoot in RAW and perform a minimum of post-processing, nothing too creative. Work in 16-bit mode and Adobe RGB or ProPhoto RGB while in Photoshop. Convert to sRGB only when saving. Go over your images at 100% or 200% and fix any technical problems. Don’t lighten any images, you will just end up with noise that will lead to rejection. Make sure your images have enough contrast. If excessive correction is needed, choose an image with better exposure.

Down-sample your initial submission images to the minimum required size. This means re-size the images so they are no larger than smallest dimensions that Shutterstock will accept for judging the quality of your work. Once you are accepted, you can submit full-scale versions. Shutterstock is much more selective about the initial batch of images than they are after you are accepted.

Don’t submit nudes with your application. Shutterstock is a great place to license nudes (the kind that are used in European magazine advertisements to sell watches and shampoo), but your first batch should not include any. Vary your subject matter and setting too. Don’t submit all studio work. Don’t submit anything that has a logo, trademark, or other intellectual property visible.

When you are rejected, Shutterstock will tell you which images did not pass and why. Don’t try to fix these. Resubmit the images that did pass, and replace the rejected images with new ones.

A nude image that has sold well through Shutterstock. Model: Laura M.

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Disclaimer: This post is shameless self-promotion of my third book. See the end of this post for details.

Can you introduce yourself?

Hey y’all it’s Sara. I’m twenty one. I have been modeling for two years, just about. Yeah it’s fun. It’s easy. It’s exciting.

What inspired you to start?

Well yeah, my mom was in Playboy [magazine] and ever since I hear about that, or she told me about it, it’s kind of been a goal of mine. I was eighteen. Well actually I saw the Playboy ad. I was like Oh my God, mom, nice job! It’s the biggest sex symbol magazine known to man.

How many shoots have you done?

I’ve done a least a hundred nude shoots. And I’ve shot with probably about the same photographers. I’ve shot with several more than once. I’ve attended lots of workshops. Like lighting workshops, posing workshops, all kinds of things. Workshops are really hectic sometimes. It just depends on where you go. It depends on how many photographers there are, how many models there are, the ratio between them. How much space there is. How many setups and rooms there are. It’s really hard if the dressing room’s really small. But other than that, it’s a good time. You get a lot of experience. You learn how to be directed. And you try to figure out which way works best for you.

I remember the last one I went to. I think there was twenty-nine photographers and seven models. It was pretty crazy.

What makes for a good shoot?

You have to be confident on how you look naked. Otherwise it shows in your pictures. If you’re going to be afraid of one little wrinkle or one little, you know, line or crease, you just have to get over it. You have to kind of just man up and be comfortable with yourself. As soon as you’re confident it looks better on camera.

After all those shoots, do you still ever get nervous?

Sometimes I get butterflies, yeah. But I think that’s just, you know, the brink of almost there. Almost ready.

Sara appears in my upcoming book: Up to My Eyeballs in Nude Women, Techniques to Recruit Models, Direct Shoots, and Build Working Relationships.

Recruiting Tip #4

Experienced models know the importance of communication. When doing a nude shoot, there are a lot of questions that can come up. It’s important to get these questions answered before the shoot is booked. Less experienced models are not going to know what questions to ask. When recruiting a less experienced or inexperienced model, you need to use your expertise to help educate them. Make sure you explain what kinds of poses you expect. This needs to be established before the two of you agree that you’re going to do a photo shoot. When it comes to recruiting nude models, images communicate better than words. A well planned and executed portfolio is the core of your communication.