Boudoir

1

2

Boudoir Photography A Guide to Excellence Part of the invest in knowledge series

3

First Edition 2010 Oliver Cameron Publishing Concorde House 10-12 London Road Maidstone Kent ME16 8QA www.oliver-cameron.com

© All Images and text copyright Tammy Warnock 2010 unless otherwise stated. All rights reserved. No part of this publication may be reproduced, stored or transmitted in any form or by any means electronically, mechanically or by photocopy without the prior permission of the publisher. Editing by Nick Primmer of The Write Stuff. Copyright for all images has been assigned to us by the photographers concerned. If we have made any omissions or individuals would prefer not to appear in future editions please let us know and we will remove said images. ISBN 978-0956546326

4

5

TABLE OF CONTENTS Foreword...................................................................................6 Why shoot boudoir?.................................................................8 Tips for clients booking a boudoir session...............................8 Use of light – natural and artificial..........................................9 Locations Locations – studio, homes, hotels and nature........10 Equipment recommended......................................................10 Posing your client – an overview............................................11 Furniture and Props...............................................................12 Clothing recommendations....................................................13 Relaxing your client and putting her at ease..........................14 Expressions............................................................................17 Why do boudoir for clients (and photographers)...................17 Working with stylists..............................................................18 Retouching.............................................................................18 Marketing...............................................................................20 General Business Principles...................................................21 Pricing....................................................................................23 Presentation of Images .........................................................24 Shoot to Sell...........................................................................24 Pinup and Vintage Inspired....................................................25

6

THE SESSIONS Amanda...................................................................................26 Charmaine...............................................................................34 Deanne....................................................................................44 Karen......................................................................................50 Trisha......................................................................................60 Yvonne....................................................................................66 Jen..........................................................................................78 Raquel.....................................................................................88 Andrea.....................................................................................96 Teresa....................................................................................104 Lara......................................................................................112 June......................................................................................118 Wendy...................................................................................128 Nicole....................................................................................142 Jordan...................................................................................150 Bryana...................................................................................152 Cassandra..............................................................................154 Gigi Von Vroom......................................................................157 Joy........................................................................................158 Kelley....................................................................................164 Katie.....................................................................................168 Yvonne..................................................................................172 Mindi.....................................................................................176 Joyce.....................................................................................178 Lisa.......................................................................................182 Mindi.....................................................................................186 The Gallery............................................................................198

7

FOREWORD I commissioned this book when I visited Tammy in Los Angeles, who had kindly volunteered to be photographed as a plus-sized bride for my book Wedding Photography – A Guide to Posing. I went to her studio and was blown away by the tips she gave me. Knowing that she specialises in plus-size Boudoir photography I asked her there and then to write a book on it. She jumped at the chance and after a few months of hard work by Tammy and trips to LA and New York by me, this book was completed. I am hoping this guide is quite different from other books you may have read on the subject. It is not cover to cover with size zero girls who could grace the pages of any magazine. Rather, it is very biased towards “real” everyday women who far more realistically represent the clients you might encounter on a daily basis. To my mind there is not a great benefit in showing you model-like ladies in every shot. I wanted Tammy to show you how to bring out the beauty in plus size or “fluffy” girls (as she likes to call them) so they look every bit as beautiful as they are. This book is not about having the best or latest equipment, a fancy studio or a hotel room location. It is designed to give you the knowledge you need to work in the simplest of environments. Unlike in most other books on the subject, the vast majority of the sessions were shot in a room at Tammy’s small studio. It is the size of a small bedroom and almost all images were taken using natural light only. As most of you will mainly be working from the same locations, day in and day out, we thought this was a very important approach, to make the book and the advice it contains as relevant as possible to the average reader’s circumstances. Tammy used her beloved 85mm f1.2 lens for a lot of the images, but you could 8

achieve results not too far from hers with a 50mm f1.8 lens ($100ish) on a non-full frame camera body. Naturally we have also included some location shoots – both outdoors and inside at ladies’ homes – to give balance and to help you build on what you have learnt. However, the real benefit of this book is its advice on posing. By showing you how to position your client in a flattering way, to virtually eliminate the need for post-production work in Photoshop, Tammy will save you literally hours at the computer. For 95% of her work, all the treatment the image gets is a saturation, contrast and levels bump. Many of the tricks of successful Boudoir Photography are not visible to the naked eye, so it is essential that you read all the text to fully appreciate all the golden nuggets of knowledge imparted for you. Practise these, and you will soon start to become a gifted Boudoir photographer in your own right. If you would like to receive further hints and tips on Boudoir Photography (and photography in general) then please sign up for our FREE newsletter. It also contains occasional discounts and reviews of other interesting books. You can sign up at http://eepurl.com/KeGt David Pearce

9

Introduction Why shoot boudoir? Boudoir photography has recently experienced a surge in popularity. Bridal forums are full of women asking other brides if they are going to have them taken, where and by whom, and then asking them to post the images publicly. The more these ladies talk about it and see each other’s images, the more it seems to fuel their desire to have their own boudoir photography session. Women decide to have these sessions for their boyfriends, for their husbands or for themselves. The increase in self-esteem that they experience as a result of seeing amazing, beautiful images of themselves can be an incredible, life-changing event for women. Conversely, when you pick up a camera and photograph a client, you have a responsibility to show her in the most flattering way possible. Because just as these images can raise a woman’s self-esteem, they can also be devastating when poorly done. The money can be very nice, but being able to give the gift of self-esteem to a woman who has never before seen herself as beautiful is the true reward. Tips for clients booking a boudoir session When you find a boudoir photographer you want to book a session with, call to get the information you need. Price may be a factor but the quality of the photographer’s work is so much more important. You want to make sure that he or she is someone you’re going to be comfortable being photographed by, and that they have a good reputation and good work in their portfolio. Think head-to-toe when preparing for your session. Shave or wax, have your hair cut and touched up (if needed), get a mani pedi, go shopping and buy things that fit well and that you feel like a million dollars in when you’re wearing them. Don’t forget shoes 10

and accessories too. If you are a sports fan, or the person the photographs are intended for is, take along a team jersey or other memorabilia. If your photographer doesn’t have a stylist they recommend, make an appointment to have your hair and make-up done immediately before your session. If you tan, try to tan in a way that minimizes tan lines, as they can be difficult to retouch and many photographers make an additional charge to remove them from your images. If you get a spray tan, be sure to do it at least three days prior to your session. This will give the colour time to fade a little and for you to exfoliate any areas that absorbed too much colour and have turned orange. The most important thing to remember is, that while it’s great to do this as a gift for someone special, the best reason to have boudoir photos taken is as a gift for yourself. From personal experience I can assure you that having photos taken by a good photographer can be absolutely life-changing – in the best possible way. You’ll walk just a little bit taller and with more confidence than ever before. Use of light – natural and artificial My preference is to use as much natural light as possible. That said, I’m more than happy to supplement it as required, with reflectors, studio strobes, speedlights – even using a sheet on a flipped-up air bed to bounce light into a scene. My studio has one wall completely filled with thigh level to ceiling windows, so when I’m shooting there I use that light almost exclusively. When I shoot in homes or hotels I find that I generally need to supplement the available light, and my preferred method is to use two or more speedlights set to master and slave, and almost always bouncing off the built-in bounce card onto opposing walls or ceilings to diffuse the light.

11

Locations Locations – studio, homes, hotels and nature Boudoir sessions can be shot virtually anywhere. Studios are nice as you can control all the variables: props, lighting and mood. Homes can be tough places to shoot when your client has a lot of clutter, mess or other people in their home at the time of the session, though strategic angles and a shallow depth of field can help you to get amazing images – even in less than amazing rooms. However, homes can also be wonderful places to shoot sessions. When you find yourself in a beautiful home, be sure to work elements of the decor into your images. Not only can it add to the elegance of the image, but it can also help personalize the images to your client. The same applies to hotels as to homes. Even in a small room, you’ll be able to make amazing imagery. Not enough floor space? Climb up on a chair. Use windows and accents in the room to add to your images. Again, a shallow depth of field and strategic angles can be used to make your images clean and classic. When it comes to outdoor sessions, I am constantly looking for cool, easy to get to, uncrowded locations. The beach, pools, fields and even remote parks can make great locations . But whether you shoot indoors or out, in your studio or in someone’s home, the bottom line is that you can create beautiful images anywhere. Equipment recommended • Camera • Portrait lens – 70mm or longer. I know that some photographers work with wide angle lenses such as the 35mm, but I find that wider lenses tend to widen clients. Also, when shooting from above (a very flattering angle), the wider lens tends to give the client a “bobble head” appearance • Natural light, speedlights or other similar flash units or studio lighting

12

Posing your client – an overview Having boudoir photos taken can be quite a workout for your client. Bending, stretching, twisting, tightening abs and getting into the right pose is equivalent to a fairly strenuous yoga workout. More than 90% of my clients are sore after their sessions – just like after a good workout. I let them know early on not only that this will happen, but also (with a big smile) that it’ll be completely worth it since they are going to look positively amazing. When your client first arrives, take a minute to talk to them and watch their body language. As they move around, you’ll start to get a good idea of little things they do that will photograph well. As you’re photographing them look at all the details. Are their panties a contrasting colour and showing oddly in the images? Are their bra straps cutting into or pinching their chest? Is the back of their outfit causing bulges because it’s too tight? Are their stockings pinching them in odd ways? Does the client have a random hair sticking out or up? When looking at these details, now is the time to make adjustments. This will save you literally hours of retouching work. It is very important to ensure that your clients are comfortable. I have written in detail about this on page 14. I start nearly all clients off on their tummies in a pose that is flattering to everyone. From there I rotate them – front, back, side, up, down etc. This is to make sure that we do easy poses in-between the strenuous poses, to give them a chance to rest and regroup for the tough ones. Whenever possible I instruct the client how to get into the right pose. However for some poses, arms – and sometimes breasts – need to be helped into position. When it isn’t possible for them to do this themselves, because their hands are not free or the position requires adjustments, I ask if I can touch them. I let 13

them know exactly what I’m doing and why, then make the move: deliberately and purposefully. It can be a bit awkward, but once you’ve got their trust and their confidence level is up, it’s a lot easier. It’s important to do the poses you think might need those adjustments AFTER they relax and you’ve established a good rapport. For obvious reasons, none of this advice on adjustments is applicable to male photographers! I would also advise that male photographers have a chaperone present at all times. You can take a flattering image of anyone, no matter what their shape or size, using the right lighting and the right poses, but as a photographer you’re going to come across some people who are easy to photograph and some who are harder to photograph. The goal is to be able to photograph everyone well, no matter what. I remind myself weekly that I can’t make anyone look like something they’re not, but I can make them look the absolute best that they can be. • Tummy – front, side, angled • On side – using arms to block off creases in waist, and extra tummy • Back – up on elbows, from side, lying flat (shot from the top of the head) • Standing – using large light source to blow out any problem areas • Laid back – on couch or chaise with head turned at appropriate angle to minimize jowl area, arms used to mask problem areas • Variations of the above Furniture and Props Every piece of furniture in my studio is used for more than one purpose. The bureau and armoire are used both as props and for storage. The chaise has storage under the seat and the bed is used as a bed as well as serving as a reflector or scrim. The windows have been frosted with sheer curtains hanging inside the studio. For nearly every session I use the light from outside (well diffused by the frost coating on the windows) to light, mask and shape clients for their 14

photos. The curtains help to give the images more depth. I choose to use a queen-size raised air bed instead of a conventional bed. This puts clients at the correct height for photographing them in a flattering way, and air can be added or removed to make the surface firmer (for thinner clients) or softer (for heavier clients). It is also multi-purpose as you can easily flip it up to act as a reflector or scrim. I find it very useful to keep a black fleece blanket on it, covered by a white comforter, just for this purpose. Naturally when I photograph a client on the bed, I put a clean sheet on it for reasons of hygiene. The chaise is a fundamental part of my studio and is used extensively due to its versatility. A chaise need not be expensive – I picked mine up for less than $300 on eBay and there are at least 10 poses I can shoot on it. It enables the client to sit or lie down, giving me multiple angles and poses to choose from. My bureau was purchased from Ikea for $350. It has plenty of space for storage and is also used for posing. The client can lean over it looking in small mirror, sit on the edge, or it can be cleared of items and the client can lie on it. Chairs and stools – can be used to sit or lean on and are great for taking headshots as well. Clothing recommendations I generally prefer my clients to bring their own lingerie. This can help the build-up to the shoot as frequently they will go shopping specifically for it and perhaps choose something they would not ordinarily wear. This might include high-end bras, panties, baby dolls, stockings, corsets and of course shoes. This makes the whole experience feel a little special and unique. I try to recommend stores that recommend me, in addition to the national chains. It is important that whatever the client decides upon fits correctly. 15

Many women are fixated on the size label inside their clothing. What this means to us as photographers is that they sometimes purchase clothing based on the size and not on the fit. Having clothing options available gives me some choices if an outfit is so tight that it’s cutting into the client. Thongs are a perfect example of this. If you are going to shoot a lady wearing one then make sure it is one size too large, otherwise the skin can be pushed up. Fredericks of Hollywood and Victoria’s Secret are staples of nearly every mall in America. Hips and Curves (.com) has amazing and flattering clothing for plus-sized clients. Many cities also have cute little boutique lingerie stores. Ross & Marshalls has amazing deals on adorable lingerie as well. In the UK, stores such as La Senza, Ann Summers, Agent Provocateur and Rigby & Peller offer fantastic selections, as do many department stores. I recommend clients to bring four to six outfits with them, but advise them that we usually only have time for shooting three or four. Relaxing your client and putting her at ease Boudoir photography is all about the lady: her sexiness, her look and her body. It is far removed from Glamour photography, as the image should show finesse and elegance and leave the viewer wanting to see just a little bit more. It is a celebration of the lady herself and quite often shot specifically for her and no-one else. We need to find a way to show this in our work, so that our images will really shine. Some ladies will naturally be very emotive and easy to work with, but most of the time we need to help them. I think it is fair to say that in some countries people are more reserved than others: they are not as outgoing or confident having their photographs taken as others. Some will actually dread having themselves photographed in their lingerie due to their shyness or insecurities about how they look. We can help the more shy ones overcome their anxieties, or make the most from the 16

shoot with those who are naturally more open and comfortable about their bodies. Developing a connection starts at the initial meeting before you have even been booked. Here you explain how you work so they are familiar with your style. You may also have to look hard at yourself and how you project yourself to them. What is your personality type? It is worth remembering that ladies will book you not only on your work but also on how much they like and trust you as a person. If you are male then the last thing you want to do is appear to be “pervy”, so ensure you remain professional at all times. The most important thing when you meet is to treat the client like a really good friend and not like a customer. The lady will instantly warm to you, but do not go overboard with this. It is all about balance. Try to imagine how you would feel meeting your bank manager if he was very serious and solemn, or if instead he gave you a warm welcome and took a personal interest in you. This book is not meant to delve into psychology, so if you find it hard to interact with others I suggest you undertake further reading for more detailed information. How many times has someone said to you: “I hate my photograph being taken”? The reason is generally because they have only ever had images taken by their friends, using a wide angle or extreme close-up lens, on a compact camera with direct flash. It is no wonder they do not like images of themselves! By showing them how amazing they can look in photographs with you behind the camera you will naturally break down this belief. Start with the basics and let the lady ease into the shoot. Demonstrate how to pose, as you need to build up to the “wow” shots. Remember that this may be the first time they have been 17

photographed professionally. Build their confidence all the time. You have to make them feel how you want them to look. The tone of your voice has a bearing on how your client responds to you. Use it to control the shot: perhaps be louder and more jovial to make her laugh, and speak more softly to capture intimacy. Try this – it really does work. The amount of energy you create will have a direct impact on how your subject acts. I find that it can help if you can laugh and joke whilst shooting, to capture emotion. It does not matter how silly you feel as long as you achieve a positive reaction. I often ask a client to laugh at the floor! It is vitally important, if you wish to develop a strong connection leading to meaningful photographs, that you use only poses that are flattering to the lady. For example, if you have a “plus size” lady who is quite introverted, then building up to a high fashion pose is probably not the right approach. You need to listen to the lady and view how she poses herself naturally. If she looks or feels silly then the resulting image is likely to show that. If she is naturally full of fun and humour then a sultry pose may not work. The idea is to bring out her natural personality and to make a connection. Some poses will be a little uncomfortable and hard to pull off but are designed to minimise size, so ultimately they are worth it. Speak to the lady between locations. How does she feel? Is she relaxed and feeling confident? Can you involve her and ask her to come up with a pose or location? You need her to trust you and think of you as a friend. A very good way to achieve this is by asking her questions about herself and taking a genuine interest in her. Everyone finds it easier to talk about themselves than having to think of something to say to you. Ask open-ended questions to which there is not an easy yes or no answer. Look at her body language too, which can tell you so much about how she is feeling. Is she hiding from you with crossed arms and looking 18

defensive, or has she adopted an open posture, suggesting she is receptive to ideas and to what you want her to do? Remember to smile a lot as well and encourage her – tell her how great she is doing. If you look at the back of the camera and have taken a bad shot then be careful not to let her know, in case she assumes it is her fault. Just say you would like to do it again for a slightly different look. Expressions - how to get natural, real expressions from clients with no modeling experience. Think about when a woman is at her sexiest – it’s often when she’s smiling or laughing. There’s just something sexy and flirtatious about a genuine smile. Some women can smile with their eyes but others just look angry without a smile on their face. It’s funny but many of the women that can smile with their eyes learned it by watching America’s Next Top Model. Gotta love Tyra Banks and her modelling lessons. Smile with your eyes = Smize! :D The way that I get genuine smiles from my clients is by getting the woman into the right pose then asking her to laugh at me because I’m weird, laugh at the floor because it’s carpet – basically anything silly to get her to drop her guard and really smile – from the inside out. Why do boudoir for clients (and photographers) Magazines and other media fill our heads with what is the ‘perfect’ image of beauty. The truth is that all images on magazines, movie posters and even on television are extensively retouched,which makes their version of beauty pretty much a lie. Dove recently started an ad campaign showing real women that are comfortable in their skin no matter what their shape or size. It helps but sadly the damage has already been done to the selfesteem of women of all ages. Sadly too many women have never looked in a mirror and seen their beauty.

19

Working with stylists I was very lucky early on to meet several great stylists that I’ve developed a great working relationship with. I have found that clients will tell me if they are a stylist or makeup artist just in casual conversation. If I like their hair and makeup, I’ll get a card from them and add them to my list of people to call. You can also get stylists by talking to and getting recommendations from salon owners. I’ve added several stylists to my list by doing shoots for salons and I have the added bonus of getting to display my work and business cards in their salons. You can also call the cosmetology schools and get recommendations from the instructors. Retouching This is a slightly controversial area. My preferance is to keep the images as natural as possible with very little or no retouching. I do not want any images where a lady looks like plastic and totally unnatural and the last thing that is desired is for their significant other to look at the images and notice any very obvious retouching. This can be a little hard for some ladies to understand and appreciate initially. They are so accustomed to seeing overly worked images in magazines and reading about retouching they believe it is the only way to bring out the best in them. This is far from the truth and I take time to explain that heavy retouching is unnessasary in most cases. By posing correctly, shooting in flattering light with a wide open lens along with the strategic use of props and placement of limbs we largely negate the need for heavy post production. I shoot sessions knowing that the client will see their images mostly un-retouched when coming back for their purchasing session. This means that I am very careful to get as much right in the camera as possible. If I have to ‘sacrifice’ one trouble spot 20

over another, I always leave the spot that is easiest to retouch showing. Not only does this save me time behind my computer (or paying my re-toucher), it also looks more natural. Soon, with practice it becomes instinctive to shoot correctly. After each session I go through the images and cull out ‘blurs, blinks and uglies’. I typically show 60-80 images from a session. This may seem high but one of my best selling products is a coffee table book that has about 35-40 images in. It is important to have various image choices for this. At this stage only one or two images are retouched to demonstrate the quality the final images will be. This works well for me as I get as much right in camera as possible. If I had to do heavy Photoshop work this method would not work. As I am shooting to get things correct in camera the images are 80-90% fine already so a very good representation of the final image. The other often overlooked benefit of this is client confidence. They know that models in magazines have lots of re-touching applied but can see for themselves that they in fact need hardly any. When images have been selected and orders placed we go through and retouch every image – lightly. Moving the line at the armpit just a touch when needed makes a lot of difference in how a woman views her arm size, retouching under the eyes, removing acne and bruises is most of what we do. Occasionally I have a client that wants a lot of retouching and while it’s not my style, I do my best to give the client what they want. I simply remember that LONG after I’m done working with and looking at their images that they will be enjoying them. As such, the images should be as the client desires.

21

Marketing A business can only survive if you have customers who are willing to purchase your services and products at the price you wish to charge. This is a fundamental prerequisite for the survival of your business and is achieved through marketing and sales. These subjects alone are the basis of thousands of books so I strongly suggest you undertake further reading and study these complex subjects at length. I would, however, love to give you a brief overview of what works for me and keeps me pretty much fully booked! I work very hard on my reputation, on giving excellent service, and on being approachable and contactable. This generates a great deal of word-of-mouth marketing, which ensures my name is being mentioned regularly. This proves invaluable when I visit lingerie boutiques and salons and talk to the owners about marketing my services. Word-of-mouth is backed-up with print ads, and social marketing via Facebook and MySpace postings, and the meetup.com website. I use these online media to create a buzz amongst my readers and their friends, and consequently get bookings for individual shoots, boudoir parties, Girls’ Nights Out and Open House events. I find that it is important to meet the professional people my potential clients might visit, and to develop relationships with them. These include plastic surgeons, personal trainers, gym professionals and home party companies, who can provide me with valuable leads from their client base. Making the effort to do this has paid me untold dividends, by generating lots of positive talk amongst my target market. However, it is not enough to just make contact and ask them to refer clients to you. It is vital to maximize the benefit of these contacts by using them to actively market your services for you. To do this it is important to create a win-win situation, where 22

you both have the opportunity to benefit. A perfect example of this would be me suggesting that I create a special offer for my services, unique to them. This offer can then be marketed to their clients, perhaps by placing a certificate in the bag whenever someone makes a purchase or spends over a certain amount. The result is that I get more business through free advertising, and my contacts benefit by offering added value to their clients. This approach provides me with a constant stream of bookings. Each one is pre-qualified, by me detailing my pricing before the shoot and charging a session fee. After the shoot I can then be confident that the client will be in a position to purchase a reasonable amount of product. General Business Principles Before clients call me it is usual for them to view my work on my blog and website. An interesting fact is that my blog generates 75% more traffic than my website. However ALL of my enquiries come in via the website or phone, and none through the blog. I believe having both a blog and a website is important, as I feel that potential clients will look at my blog for my most current work but will use a website to check that my work is consistent, that I am legitimate (not just a creep with a camera) and as a means of making contact with me. I try (but don’t always succeed) to blog at least three times a week. I also post at least once a week on Facebook to tell people that I have just blogged. I can attribute to these posts a marked increase in blog and web traffic, thanks to web/blog stats that let me know what incoming links are being followed. While people may not call right away, I have been successful in planting the seed in their brains. When people see posts with consistently good work, they will call eventually.

23

A quick note about Facebook: I do friend clients on my personal page and interact with them weekly, if not daily. I do this because I genuinely like them and it has the added benefit of keeping the buzz going and fostering very easy word-of-mouth. With every image that is purchased as a print, in an album or as other products, I also give them a web-sized file to put on their partner’s phone, in a digital frame or on Facebook. I’ve consistently been amazed at how proud and brave my clients are in posting their images. This little add-on has been a HUGE source of referrals, as each woman posts her photos, her friends get excited and then they call me to shoot their own sessions. While I do shoot nudes and some more “racy” images, I do not show these on my site or blog. They are mentioned on both, and shown discreetly in sample albums in the studio for people who are interested in having nudes shot. I am generally asked to show breasts but not “girly bits”, though I will shoot in more of a Playboy style if requested. There are so many ways to show the human form in a beautiful and tasteful manner, and I use legs, shadows and angles to hide what I want to hide and show what is supposed to show. I have what I call a “bathing suit” rule with regard to online images. If the image shows the same or less skin than is seen on the beach, it’s good to post. If more skin is showing, I either don’t show the image at all or only show it in the studio. The reason for this is two-fold. Firstly, there are enough internet sites where truly provocative images can be found, and my site just isn’t one of them. Secondly, by showing only the more modest images, I book more clients who appreciate the fact that I show only images I have releases for (I mention this repeatedly), that the images are very tasteful, and that they are all beautiful – no matter the age, shape or size of the woman featured. Thankfully I’ve developed a very good reputation for being careful with client images, and as a result more than 90% of my clients sign model 24

releases, can’t wait to refer my services and are happy to be featured on the blog and website. My studio policy is crystal clear regarding model releases and the use of client images. Unless a client signs a model release, her images are not seen by anyone who is not staff or part of my lab and album printer’s staff. As a matter of fact, all the work displayed on my site, blog and in my studio is client images: not one model in the bunch. Like most photographers I’ve had amazing shoots with clients who did not feel comfortable signing a release. No matter how badly you want to show those images, don’t. Word will eventually get back to that client and the end result won’t be good. People talk, and if they can’t trust you, believe me, their friends won’t trust you either, and you will have cut off what is potentially a great word-of-mouth client. I know that many people are modest. They worry about their family, children and friends recognizing them in images. So I know that unless I come up with sexy yet relatively modest images, that selling large wall portraits will be difficult – if not impossible. With this in mind I always take a few “anonymous” images that can easily be shown off as art. The heel of the shoe caught in the thong is a great image for a woman’s dressing room or rest room. Shots with the eyes downcast or even with the eyes cropped out of the frame always sell well in larger sizes. Pricing This is a very complex issue and there is no general answer except: do not be cheap! Everyone’s situation is different so you need to work out what you personally need to charge. This will depend on various factors, including your overheads and how much you need as a salary to cover all your bills and house payments, whilst still making a profit and having enough money to enjoy life and invest back into the business.

25

To do this you need to consider every cost associated with your business and life. Factor in equipment (pro rata), retouching, props and clothing that you provide, consumables, cost of goods and, of course, your time for each session. Presentation of Images After every session I print up a unique thank you card featuring my favourite image from the client’s session, and mail it to her with a handwritten note inside. When she comes back to see her images, we show her an Animoto slide show with my favourite images in it, then go through all of her images using Proselect and a 37” flat screen TV. I’ve found that I can also do this on location in clients’ homes using their TV/DVD player and a laptop. Using the laptop alone to go through the images shows them a little bit small, but it is still preferable to online galleries. After the client places her order, I put her images online on a private, password-protected gallery so that she can look through the images and share them with her friends. I’ve found that clients’ friends will book with me after seeing the images online. The online images are heavily watermarked and are only uploaded after the client has placed her order, so I’m not concerned about her lifting images instead of buying them. Shoot to sell I shoot sessions with full coffee table albums and wall portraits in mind. Also, be sure to display what you want to sell. I have sample albums in the studio ranging from a ten image 4”x6” self-mount album to a 9”x12” coffee table-style album. I also have large wall portraits with boudoir images on display. It helps to sell those items because clients will have an easier time visualizing purchasing them when they can hold them in their hands or see them on the wall. I also have samples of some novelty items, such as handbags, wallets, playing cards and even mouse pads.

26

Pinup and Vintage Inspired This is one area that is a personal favourite of mine. While I have some clients who come in specifically for this look, sometimes a client will come in with the look already and I will take it and run. For planned shoots I have some hair flowers and lingerie available. I can also bring some additional props to the studio upon request: for example, a guitar, microphone, upright bass guitar, balloons and a vintage style feather fan. There are many clothing retailers online that specialize in vintage style clothing. A favourite of mine is www.StopStaringClothing.com. You can also find models and vendors on www.PinupLifestyle. com.

27

A Beach Session with Amanda Clients love going to the beach. There is plenty of space, infinite good light and a multitude of poses that require no props. The beach is conducive to being playful and having fun, which will encourage your client to loosen up and give you some very natural expressions. Although sometimes difficult, early mornings are a very good time to visit as the light is softer and there and not likely to be many people around.

The images below demonstrate the difference small changes can make. Amanda is sitting down and upright in the left image with her arms on her knees. It is a nice image, but if you ask your client to kneel down and lean slightly forward you can see the difference. It slims the arms and shoulders and you can see the waistline creating a far more flattering image. Give yourself options and shoot one image with eyes to camera and one with them away.

28

This shot looks perfectly acceptable on initial viewing, but if you look a little more closely you will see that the bikini top is pinching against the skin. Correcting this is a simple case of pulling the top away from the skin and repositioning it. It is a very small point but one that not only shows your attention to detail but also demonstrates your professionalism. If you are male, ask the lady to do this herself.

29

The image above shows how a hand placement can also hide pinched skin. Note how Amanda’s mouth is slightly open and she is looking down. Having Amanda up on her elbows, legs leaned into each other, makes for a nice pose when photographed from above her. A variation would be to have her drop her head back and photograph her from a lower angle.

30

In the image above it looks as though Amanda has only one leg. You can see from the image below the difference it makes being able to see both. It is important that the feet are brought together as well.

31

I like to shoot in manual exposure at the beach for a couple of reasons, the main one being that it will keep the exposure constant so that processing is far more straightforward. If you are shooting in “A” or “S” mode, your camera will constantly give a different reading due to the varying amount of sky and ocean you have included in your composition.

32

Having the client roll around slowly in the sand and watching her move helps to get her just wet enough and lets you see which poses are the most flattering for her. Observation is a key skill and one that you should be able to do naturally. This is only possible when you fully understand your camera and exposure. If you are constantly looking at the settings you have dialled in, or chimping, then you cannot watch your model.

The image on the opposite page, and the two on this page, are basically the same pose but shot from different angles and distances. This is a really important advantage of shooting at the beach: you have plenty of space available, so use it and move around freely looking for different angles and heights to shoot from. 33

I took the two images on this page to demonstrate the importance of timing and when to press the shutter. In the top image Amanda’s legs are crossing over one another, causing her hips to be facing the camera and her thighs to look larger. This is a common mistake which you need to avoid.

In this image taken just a second or two later, we can clearly see a gap between Amanda’s legs and the hips are at an angle to the camera. By timing your shot carefully you can create a far more flattering image and save yourself editing time later. It also makes it a more saleable image.

34

Again, on the surface this image looks perfectly acceptable, but we can improve it significantly as outlined below.

By asking Amanda to arch her back and twist her arm around we have made a beautiful curve that extends and flows up her arms. It has the added benefit of flattening her tummy, which every lady will love! In addition to this I have changed my shooting position slightly to eliminate the horizon line cutting through the top of Amanda’s head.

35

A Session with Charmaine The image on the left below was shot diagonally to give a pleasing line. I pulled Charmaine’s hair outwards to give it volume and body, which every lady with long hair loves, instead of leaving it lying flat. I asked her to raise her left knee a little, which thins the thighs and makes them more pleasing to the eye. Charmaine’s arm is placed away from her body to give separation, and her hand is placed at the top of her thigh. When your client is wearing a necklace try to ensure it is a heavy one as this will stay in place more easily than a lighter one. If you have no option then tape it down so that it remains in the correct position. Below left and right – these are very similar images but with some crucial differences. I have moved to the right a little so Charmaine is more straight-on to the camera. I have asked her to roll her hips to the left and arch her back. The image is not perfect though: the whites of her eyes are very prominent, which is something we need to avoid. This is a very common error and one that is very easy to overcome. To correct it, simply ask your client to look at a point above you and not actually at you. You can see the far more pleasing results on the facing page.

36

37

This is the room in which the session was shot using a mix of available light and bounced flash. In the image below we have Charmaine on her side, legs together, with her arm draped over where her tummy creases. We could improve this image by taking her left arm and sliding it forward a few inches.

38

In the image above, Charmaine has her legs a little apart and straight up. When asked to bring them back towards her bottom and move them closer together it greatly enhances the image. Note how this is taken on the same bed but this time backlit to give a totally different look.

39

While the image on the top left is cute, having Charmaine move her elbow out has covered up some wrinkling on her back. The wrinkling happens to everyone so do look out for it. Below left – I asked Charmaine to stretch up tall and look out of the window past me. Her left arm is covering her back where the skin has folded up a little from twisting. Below right – having Charmaine laugh at a person in the room, or even at a piece of furniture, creates a cute and playful look.

40

Mirrors are a nice way of getting an alternative look and images. Showing Charmaine’s body and reflection gave the image a slightly voyeuristic feel. Shooting her with the reflection of the decor helps to give the image a different kind of depth.

41

For each shot on this page I’ve instructed Charmaine to look away from me, at me, down at the bed and again away from me. When I asked her to move her right leg forward, I had her pull her skirt down to keep her “girly bits” covered. You’ll want to make sure that they are either masked with fabric or by a dark shadow.

42

You can see how asking Charmaine to move around has created better images as the session progressed. When she is seated you see the creases at the ribs, but by moving her arm down it is corrected. Having her kneel up really leans her out. Note the sun coming in to her rear also thins her out a little.

43

This is a cute pose. However, moving her arms back directly to the side of her breasts will help in positioning her breasts more together. She can then cross one arm over to mask her nipples if desired. 44

This is a position that shows creases on nearly everyone. This is one pose that I would carry out some light retouching on, to minimize this bulging. 45

A Session with Deanne Using a simple prop of a white sheet and some shoes, we’ve got a great look for Deanne. Since she is a fullerfigured woman it is imperative to position her arms in a flattering way to minimize her weight. Having her stretch up as much as possible will elongate her neck and make her appear slimmer and less bunched up.

46

Something important to remember about using a sheet is that you do not want the client wrapped up in it, as doing so will create unnecessary bulk. It’s important to take these shots after a client has become comfortable as you’ll want her in little or no clothing. Get her into position and then place the absolute minimum amount of sheet needed to cover what you want covered. When you shoot Boudoir in a studio or your own home, hygiene is imperative and everything must be washed after each session before using it again. The three images on this spread are quite similar, but with and without glasses and a portrait and landscape option. This is very useful if offering albums as it maximises your design options.

47

Shooting a fuller woman from above while she is on her back can be unflattering. Note the creased forehead, added bulk in the mid-section and splayed out legs in the image above. To correct this, ask your client to raise her knees and rock her head back at an exaggerated angle. If you now shoot from on top of her head you can create a beautiful image. One of the added benefits of having the head rocked back is that it helps to push the breasts up, which then hides the tummy. Be careful not to use a wide angle lens though, or her head will be very distorted and unnatural. 48

49

In the image above, Deanne has her shoulder up and her chin down, which accentuates her fuller jaw line. By contrast, in the image below she is stretching her shoulders down, has rocked her head back and has used her arms to give her breasts a boost. It is a huge difference.

50

The images on the left show two very small changes. Simply by changing the angle of Deanne’s head and which hand she’s holding the sheet up with, I have created a very different look. As mentioned previously it is really important to be able to show a good selection of images to your client. I am always looking to sell an album and at the time of shooting I cannot be 100% certain what the client’s preferences are. By shooting with an album in mind, and therefore with multiple variations, I am covering my bases. The more pages I can sell in an album the more money I can make.

51

A Session with Karen We started with front and side images to demonstrate how not to photograph a fuller-figured client. In my experience fuller-figured clients know that they are not petite but still want to look as slim as possible without any manipulation in Photoshop. They want to see an image of themselves and know it is 100% them. I often see images of fullerfigured ladies that could easily have been made more flattering by enhanced posing techniques. On the next two pages you can clearly see that there are alternative angles that minimize problem areas and flatter the client. The image on the opposite page clearly shows the difference shooting from a side view can make. As the client is already seated I am naturally higher than her, ensuring she looks up at me – which helps to give a better jaw line and thins the chin.

52

53

This is a cute image but it could be significantly improved. One key element for improvement is to ensure your client keeps her hands off her tummy (unless she’s pregnant) as it draws attention to that area. Below, I’ve moved above her and requested she moves her hands down to her thighs. The breasts are now completely hiding her tummy area.

54

I love this pose. However you will need to get your client’s head rocked back just a tiny bit more in order not to get her eyes looking as if they are rolling out of her head. You can accomplish this by asking her to scoot a few inches towards you. Below is a nice variation of the same pose. Have her keep her chin up but look down. This is sexy and demure.

55

The image on the left demonstrates what a flattering pose this was for her. I have hidden the mid-section and posed the hands very elegantly, whilst positioning the body at a slight angle. The ankles are crossed and she is looking up at me.

In the shot below you can see that by shooting from above and at an angle I have used the arm of the chaise lounge to hide her mid-section, resulting in a very flattering full body image. I have crossed the legs at the calf and ensured her arms are positioned away from her body.

56

By having Karen swing her legs down to the floor and lean forward, we get a great image. Note that her left arm is obscuring her mid-section.

Below – this is a great pose on a soft air mattress. However on the firm chaise it’s not as flattering. This could have been improved by photographing it more from the front.

57

On both pages – note the difference between photographing the client from above and photographing her from the top of her head. Dropping the head back and using the arms to give the breasts support and the hands to cover the creases at the armpits makes all the difference in the world. These are changes that took literally seconds to make and yet saved me many minutes of retouching time. I have also allowed the bottom of Karen’s negligee to drop a little to show her legs, making the images that little bit more sexy whilst maintaining finesse. Note again how these are almost identical poses, but captured from different angles and orientations. 58

59

The images on both of these pages again demonstrate that by shooting from a low angle you can use the breasts to hide your client’s mid-section. In the image above I have focussed on Karen’s lips, which is a very sensual approach. 60

61

A Session with Trisha The shot on the left was taken before the stylist did Trisha’s hair and make-up.

As you can see from this image, photographing her from the front, standing upright, isn’t particularly flattering. It maximises Trisha’s size and is simply not saleable. 62

Turning Trisha to the side and shooting from up against the wall, or having her lean forward at the hips, has a much more pleasing look than the first image on the previous page.

When you’re shooting a ¾ angle, watch out for which leg should be slightly popped up at the knee, to help create more of an “S” curve by pushing one hip out and compressing the waist a little. Sometimes this can be enough to make your client look a tiny bit hourglass shaped, even if she’s fuller in the waist.

63

Using the curtain as a mask for Trisha’s tummy was far more flattering than the side photo taken initially. With the images below, I asked Trisha to bend forward at the hips, in an effort to move the breasts forward and the waist back. These images would benefit from a tiny bit of liquify: just enough to flatten the bulges slightly as shown on the image on the right.

64

65

On the previous page, you can see how to use drapes and a strong light source to mask problem areas. With some clients you do need to use just a touch of liquify. Just try to get things as correct as possible in camera, then you’ll see that a little hint of liquify is all you’ll need.

On this page as well as the opposite page, you can see how getting in closer and shooting from above creates very flattering images.

When shooting wide open, as I almost always do, be careful to focus on the eyes. This is especially important with this style of shot, as you are relatively close and a loss of focus on the eyes will result from even just a slight movement. 66

67

A Session with Yvonne I love to use different props whenever possible, and in this session you can see how a simple stool can be used very effectively, especially in conjunction with a “business lady” themed session. The background consists of two polar fleece blankets: one on a background stand and one on the floor. I use these instead of a muslin because they are durable, washable and remain wrinklefree. As in almost all of my shoots, only natural light was used. In the image above left, I have simply asked Yvonne to perch her bottom on the edge of the stool and “fill her top”, which causes her to arch her back and push her breasts forward. It is an okay shot, but I far preferred it after I asked her to bring her right leg up to the mid-calf level. On the opposite page I have turned Yvonne around and simply asked her to kick her heel up towards her bottom. Look at the beautiful shape created by her arched back. This is very simple and very effective but only really works with petite ladies. 68

69

A pen and notepad take Yvonne from being just a sexy businesswoman to looking more like a sexy secretary. It is another option and a little cheeky. Note how Yvonne has crossed her legs at the knees and placed one foot on the stool.

The image to the right gives the impression that Yvonne is requesting the viewer to follow her.

70

With a quick change of clothing we went to more of a pinup look, on the same white background. The military themed look is very popular with ladies who have partners in the armed forces serving abroad. When posing a client with her leg up, I love to use the leg closest to the camera as I find that it tends to slim the thigh a little. When 100% of the weight is on the forward thigh, it tends to bulge slightly, much like when you lean back on your arm. Encourage some playful expressions and movement from your client.

71

Tastefully Topless Try using a military helmet (you can use any hat or jacket) to cover the breasts just enough to make sure the nipples stay out of sight. This allows you still to show just enough of the underside and side of the breast to be sexy, without being over the top. It is advisable only to do this type of themed shoot with clients who are very comfortable and confident about their bodies, otherwise their anxieties will show. It is also best to shoot this type of image near the end of a session when confidence is high but your client still has a lot of energy to give maximum effort.

Opposite page – I asked Yvonne to lie on the floor to enable me to shoot in landscape orientation. Both are technically the same pose. However moving in closer gives the shot a different feel. Notice how gently she is holding the helmet and how her legs are bent. It can be quite hard on the abdomen muscles so only ask your client to raise her legs when you are ready to shoot. These are all lit by a large window to the model’s right, with the airbed flipped up and covered with a white blanket, creating just enough fill light. 72

73

Using hands to cover the breasts. This is a tricky business as you want to give the breasts a bit of support and keep the nipples covered, yet you do not want to squash the breasts into an unnatural shape. Whilst I like the image on the left, I feel that the head position of the image on the right is better, and I prefer the way Yvonne is leaning back and has her leg raised.

74

A couple of vintage-style suitcases (bought for less than $30 at Cost Plus World Market) give the images a completely different feel. When you’re positioning a coat over a topless woman, it’s important to remember that your view from in front of the client will be different from the perspective from her side (which is where you’ll be shooting from). Keep this in mind when positioning the coat to cover the nipples, yet show just enough of the side of her breasts to add that little bit of sexiness. You can see the difference it makes by having Yvonne look behind and smile. My goal with these images is to show just enough skin that you want to reach in and move the coat to show more.

75

76

A change of position (image at far left) gives a completely different feel. Note: fixing the seam where the two blankets meet takes no longer than a minute with the brush and/or dodge tool if it shows in some images. One quick method I have discovered is to select the Dodge Tool and make sure Highlights are selected, and then brush over the affected area.

Having the client topless with the suitcase propped up in front of her gives yet another look to the images. With pinup or vintage style images, you’ll find that expressions really do help make a shot. 77

Biker Chic... Still using the same white background, you can see how the change in clothing takes Yvonne’s session from pinup style to more of a fashion look.

With this look we were going for a sexy girl, “Top Gun” feel. The Ray-Ban Aviators and leather jacket really made the look. All that was missing for this part of her shoot was a 1985 Kawasaki Ninja motorcycle.

78

Different positions gave us more variety. Glasses on, glasses tipped down, glasses in the teeth and even a shot from behind. With this shot I asked Yvonne to keep her body facing the background as much as possible and turn her head as far as she could – just as if she was glancing behind to wink at her man.

Keep in mind that a shot from behind is very difficult to achieve without using Photoshop, with all but the slimmest of models. I generally run images through Portraiture set to default which smoothes out most minor imperfections.

79

A Session with Jen After a quick “before” shot, Jen put on this adorable corset. Since she is a busty lady, we had to remember to keep pulling it up in order to keep her breasts covered. A window ledge and curtains were our set for this portion of the shoot.

I often have clients perch on the window ledge and use the curtains to mask off any problem areas. Jen is very close to a “normal” sized girl: not rail thin and not heavy. When she just leaves some space between her arms and waist it does wonders to accentuate her figure. The pink in her lingerie really works well with her black hair and black stockings.

80

81

Shooting from above can hide problem areas, and give the appearance of added height for the client. 82

Shooting from a little higher provides yet another perspective.

83

Next I laid Jen down on the bed. You can see how her breast wrinkles slightly at the armpit, as breasts will naturally head towards that area when someone is lying down. With her head back and at an angle, we’re able to see Jen’s eyes and gorgeous smile without her forehead being wrinkled. In the example on this page I asked her to kick her leg out to show her calf and foot. You can do this shot with the legs together, and as shown on the previous two pages, for slightly different looks. They are all very sexy.

84

The image to the left is one of my staples as it is flattering to literally everyone. With her head rocked back, one hand covering the wrinkle at the armpit, and the other holding up her skirt , this shot is sure to be purchased.

A variation of the shot above, but with the legs completely rocked over to the left. The elbow is bent at an angle to accentuate the “S” curve, and the hand is resting on the hip to draw the viewer’s attention from the face to the rest of the body. With her face and eyes looking demurely down, this image is tame enough to be considered wall art.

85

A side view of the same pose on the preceding page.

Putting Jen up on her elbows and looking back at me creates yet another look.

86

With Jen up on her side, shooting close first and then from farther away offers more options. It’s important to ask the client to really stretch up, so that she looks long and lean. It may feel a little unnatural for her but the results really make it worth her extra effort to get the pose working .

These were all taken on the airbed. The only difference is that I put a red satin sheet on it and red drapes behind. This gives a completely different look and creates a warm feeling.

87

Be sure to walk around the client a little when photographing her. You’ll never know how many different images you’ll get from the same pose unless you do. More “staple” shots – lying on the bed shot from an angle, and up on tummy and elbows. These are two shots that are flattering to virtually everyone.

88

89

A Session with Raquel We decided to go to a local equestrian facility for these images. The lighting was great and the hay barn gave us stacks of hay to pose her on. Since Raquel has a bit of a tummy, a plaid shirt gave us the cover that we needed to make these images flattering without Photoshop.

The two images on this page are very similar but with one key difference: in the image to the left I have asked Raquel to bring her right foot forward. Which do you prefer? Opposite – lying Raquel down with her head hanging over the edge of a bale of hay gave us two totally different looks in the same location. I have volumised her hair to show off its body. Next page - the first side image is cute, but facing the bales of hay and shooting from an angle gave us a picture-perfect image.

90

91

92

93

Lying Raquel down on the hay gave us more options. Sometimes you need to work up to “the shot” which you can see opposite. It is very saleable.

94

95

If you have access to a horse, you get a bit more variety. You can lift the horse’s head and swing in, in front of your client, for more coverage if needed. 96

There are two things to note about this shot. The first is that it wouldn’t be safe to do this with most horses. This one has been extensively trained to be safe. Also, be careful to not shoot up a client’s skirt. Had we not been drawing a bit of a crowd, I would have had Raquel move her left knee up to hide the underside of her skirt. 97

A Session with Andrea With her full, curvy figure, Andrea is perfect to demonstrate bathing suit images. The first image is of her straight on which is not particularly flattering.

The second image is better, with her hips turned to the side, shoulders twisted to the left and the knee nearest me popped up just a little. I like to shoot images like this as it “warms up” the client. She will not purchase them but it is an opportunity to instruct her on how to pose well, which makes life a lot easier as the shoot progresses. 98

Again, the front shot. This is cute but it could be better. Note how the tree appears to be growing out of her head, which is not something that I want.

Now I’ve got Andrea turned towards the side. This is more flattering but it could still be better. I have moved around to fix the tree issue.

Finally I have asked Andrea to lean forward at the hips, tighten her abs, bring her left arm back, put her glasses between her teeth and smile. Andrea has a fuller neck so I’ve also asked her to stretch her chin out. I now have an image that she loves.

99

In the image above, Andrea is resting and appears a bit compressed. Asking her to stretch up makes her appear thinner and more elongated. I have also created more space between her torso and arms.

100

101

Different angles of the same pose make little differences that count. Adding the sunglasses changes the look too.

Here Andrea is propped up sitting in a pool float. The images are cute but they are not really working as they appear a little too “snapshot”, which as professionals we want to avoid at all costs. The water has also magnified her size and compressed her body, whereas we actually want to achieve the opposite. A better way to shoot a client on a pool float is to have her on her tummy instead, as you can see on the next page. 102

The pool float sinks Andrea into the water just enough to make her body appear smaller. As you can see from this image, stretching her head up makes her neck appear longer.

103

Standing on the pool deck shooting down makes for very flattering images. Shooting quite tightly eliminates the distortion from the water on Andrea’s lower half. When you shoot images with the client’s arms down, be sure to have them out to the sides, as in the image to the left.

A sexy, sultry, yet serious look, and a beaming smile, both work well for this pose.

104

Add a floppy hat or cowboy hat and you’ve got a different look. Note that Andrea’s hands are up and playing with the brim of the hat in the image below.

105

A Session with Teresa With Teresa I blacked out everything in the studio and used modelling lights as continuous lighting. While I like the colour images, in black and white they really have great impact. With the image on the right I wanted to demonstrate how, if you don’t have the head back quite far enough, the forehead crinkles up. When Teresa puts her head back just a tiny bit more, those forehead wrinkles go away. The amount of wrinkles is individual to each client. In Teresa’s case they were quite subtle, as you can see below.

106

107

With the images below, I wanted specifically to show how a small adjustment of the nightie strap made a HUGE difference in how the arm and armpit looked.

108

When shooting from above, you can take two variations of the same image: one with the eyes down and one with the eyes looking at the camera.

Teresa’s head is rocked back significantly so that I can photograph her from directly on top, which pushes her breasts up, hides her tummy and flatters her figure. 109

By concentrating the light source I’ve created definition where it is needed. Sometimes harsh shadows can be used to slim down a client as well as making for very dramatic images. This is especially true in relation to arms, so practice ways to achieve this.

110

111

This page and next – using one light as a hair/rim light and one placed above and at camera left, I’ve got detail where I want it yet some things (like her tummy area) are in darkness. Adding a cute veil or fascinator can really change the look of an outfit. I buy these from local vendors as well as from Forever 21, for as little as $9 each. Note that the image at the top is the same as the image on the preceeding page, however a black and white conversion has been applied.

112

113

A Session with Lara This set-up was done without blacking out the studio, and using bare bulb strobes. One was used as a hair/rim light and one as a main light with the air bed flipped up on its end with a white blanket facing out, for a little bit of fill. (illustrated below)

I’ve put Lara in the chair and had her lean on the back of it. While I know there is some spill on the back of her arms, I like the fact that she’s very clearly separated from the black background even while wearing all black.

114

115

Even though Lara is a slender girl, she has that little bit of skin on the inside of her upper arm – as do nearly all women. The way that I mask this is by moving the arm away from the body, turning it so that her palm is towards the back, then placing it slightly behind where it naturally rests – then finally letting it fall naturally forward. This effectively takes that little bit of skin and tucks it neatly under the arm. For those of you who have spent time retouching that spot on many images, this little trick will save you literally hours in front of the computer.

Opposite page – I’ve intentionally cropped off most of Lara’s face. This is now an image that could be displayed as wall art without her being recognized by friends or family. 116

117

Since Lara is an older teen, we decided to shoot some poses that are fun and reflect her age: sitting in the chair with her hands between her knees, legs playfully splayed; close-up looking at the camera; looking down at the ground with her whole body showing.

For a little variety I’ve turned Lara around in the chair and had her look over her shoulder at the floor. Cute, fun and age appropriate. 118

119

A Session with June The theme of this session was bridal boudoir. Using June’s wedding night lingerie, a veil and shoes we went for a white-on-white look.

For this session we used only window light, the air bed with a white sheet on it, and the curtains that cover the windows in the studio.

With this image I’ve used the window light to blow out the detail in the front of June’s nightie. Looking down, with her hand looped in the strap, makes for a playful image. In order to get a natural smile from June I asked her to laugh at the floor. It’s such a silly request that she couldn’t help but laugh. 120

121

Watch out for the angles of the head. The top image is much better than the one below due to the head angle.

122

The image above is quite cute, but by moving June’s right arm back just a little, I’ve slimmed it down and created an even better image.

123

124

As you can see in the photos with the veil, the placement of it is important when framing the face. With bridals there are times when I want the veil detail to show and other times when I want the veil to be blown out to create a bit of mystery. When I have a client with a fuller figure, using the veil to cover the problem areas – then blowing it out –makes for a very pleasing image. I believe this is preferable to preserving the detail and having the body showing underneath.

125

By shooting close and bringing up the hand, we have an image that is really focused on June. The veil and ring give the image a very bridal boudoir feel. By stepping back and shooting a bit looser, we’ve got a more complete image showing the bridal lingerie as well.

126

When using a veil you want to make sure that it frames your client’s face well, without covering anything important such as the eyes.

127

128

129

A Session with Wendy Wendy is a favourite model of mine because she is incredibly comfortable with her body. All women should feel this way about themselves. We started out with a pose that is flattering to everyone. You’ll want to avoid having the feet directly behind the head as it looks a little like Mickey Mouse ears.

You’ll note that Wendy’s arms are next to her body. This is okay as I’ve turned her arms to hide most of their problem part, and it has the added advantage of giving her breasts a bit of support and bringing them together.

Opposite page – be sure to shoot this image from directly above the client. As with all these images you can see the importance of shooting at f2 or similar. It is flattering and creates a look far removed from anything that a partner could take. 130

131

132

This image demonstrates what happens when you photograph a plus-sized client from on top of them. Even using a shallow depth of field, you still can see that she’s thicker through the tummy. By rocking her head back and shooting from the top of her head, you push the breasts up and drop the tummy down, which is far better. This is even true with her legs up in the air: a position that naturally pushes the tummy up.

By rocking her head back and shooting from the top of her head, you push the breasts up and drop the tummy down, which is far better. This is even true with her legs up in the air: a position that naturally pushes the tummy up.

133

Shot from on top of Wendy with her chin forward in a natural position. You can see how it bulks her jaw line.

134

Shot from on top of Wendy’s head, with her chin pointed towards the ceiling. This has hidden the tummy and her hands are covering the lines where her breasts and armpits meet.

135

Opposite page – with her eyes down and shooting tight, I’ve got two cute images: one with her stiletto showing and one without. To make for a better image I would make sure that the nose does not break the side of her face.

136

You can see how I’ve used the curtain and window light to mask off her tummy area, resulting in cute images that have required no Photoshop.

137

Image top left – this is cute but Wendy’s tummy is showing prominently.

With Wendy leaning forward at the hips, we’ve done better at making her tummy less prominent. Remember: a client who is a size 20-22 doesn’t expect to look like a size 2, but only to look the best that she can. 138

My booty shot. Yes, I do this with plus-sized girls too.

Note that Wendy’s back is smoother in the image below. This was accomplished by asking her to rock her shoulder forward. I have also raised up the sheet at her side to cover her body. As you can see, the difference it makes is very apparent.

This is an image that I would retouch, but only slightly – just enough to remove the crease that remains. 139

140

Image above – by changing my angle and standing on top of the air bed, I have created yet another saleable image – all without any Photoshop. I really hope that by now you can see how getting everything in camera saves me hours of editing at a computer. It allows me to shoot far more sessions and is so much less stressful.

I LOVE my chaise. It represents easily the best money I have spent for my studio, as it is so versatile. The image at top left is a straight shot of Wendy and it is not very flattering. However, by changing my angle and making a few small adjustments, I have great, saleable images. She looks gorgeous! 141

Little things can make a BIG difference. As you can see in the image at the top left, there is a bit of skin folded over the top of the corset between the armpit and corset strap.

By taking a few seconds simply to pull up the corset a little, I’ve eliminated the bulge. It is small details such as this that make such a huge difference to the final image. 142

While standing on the chaise, I’ve asked Wendy to sit up, rock her left shoulder forward and look down and laugh at the floor. The bureau behind her makes the background dark and gives it a bit of depth. Asking someone to laugh at the floor sounds ridiculous but it really works well if you say it with enthusiasm and energy, and even laugh along with them.

In the same position, I’ve asked Wendy to look up at me whilst keeping her shoulder rocked forward. This frames her face a little and smoothes out her back. Snap... another cute image. 143

A Session with Nicole Nicole had never done a boudoir session before, with me or anyone else. While she brought some adorable outfits, the vintage style bathing suit she brought stood out enough for me to really get excited about it.

If this shoot was done for her specifically, I would push her tummy in just a touch using liquify. However, I wanted to show that the images are flattering as they are. Her back foot is facing to the camera left, and her front foot is facing towards the camera with her weight rocked back on her back leg and her booty pushed out. 144

A close up with her left shoulder dropped and her body bent to the side at the hips.

The use of props to mask off problem areas. Our vintage style suitcases were just what was needed for some variety and a flattering new pose. Next page – a paper umbrella can be used in a variety of ways, from hiding problem areas to creating a nice background. 145

146

147

Having the client lie on the floor is always a flattering pose when you are photographing from above her head. Make sure to point her chin to the ceiling.

148

Sometimes all an image needs to go from being good to great is a great expression. Again, asking clients to laugh at me or at other things really helps me to get their natural expressions.

149

Shooting from above really does a lot to slim out a client’s features. Placing arms or furniture in front of troublesome areas can make all the difference in an image. 150

Asking your client to tug down bra or top straps can take an image from beautiful to sexy really easily. With Nicole having all that gorgeous curly hair, it seemed only natural to have her twirl it a bit. A fascinator with veil was a great finishing touch.

151

A Session with Jordan.

Theme sessions can be shot using props from a hobby or lifestyle. With Jordan, we incorporated equestrian sports and motorcycles into her session.

152

These images were taken outside on the same polar fleece blankets used in Yvonne’s session. The tyres marked up the background but since the blankets could be washed it was easy to clean them. A note about photographing shiny things such as cars and motorcycles: this is one case when you need a circular polarizer on your lens to help keep the reflections down.

153

A Session with Bryana A very curvy girl with many tattoos, she wanted her session to reflect her personality and show off those amazing tattoos. Working with a fuller-figured woman like Bryana this could have been hard, but by asking her to stretch up I was able to get the shots she wanted with a minimum of Photoshop. As you can imagine, it’s rather difficult to Photoshop a crease or bulge when it’s covered with artwork.

154

155

A Session with Cassandra I always try to take a quick headshot when doing sessions. Since some women aren’t comfortable showing their images to family and friends, it’s important for them to have something they can show everyone. Since many adults go for literally years without having a professional photo taken, the extra few minutes required to shoot some “Mum-safe” images has often resulted in some nice additional sales. Watch your client as she puts on her earrings or adjusts her stockings. Capturing that moment can make for some adorable, saleable images.

156

With a client with amazingly striking eyes, be sure to make them a real focal point of your images. For some, sexy is ALL about the eyes.

157

With the image to the left, I’ve been careful to use Cassandra’s arm to block off her tummy area. With her left shoulder rocked forward it gives just enough coverage. As with most of my sessions, I shot at f2 which puts the eyes in focus and nicely blurs out everything else

158

A Session with Gigi Von Vroom This client won a certificate for a session at a local Roller Derby event. Since pinup can be very flatly lit and photographed at direct angles, you’ll want something to help mask any problem areas. Having met Gigi before, I knew to bring the upright bass and a bunch of balloons to help keep the pinup theme, whilst still photographing her in a flattering way. She posted her images on the Pinup Lifestyle website and I’m hoping to get more business from this very popular site.

159

A Session with Joy With Joy being a thinner woman, I was able to photograph her from more direct angles – from the side and above – without any concern about accentuating any tummy or other bulges. The position at right is easily achieved by having the client lean back on the arm of a chaise or couch with her bottom just a few inches away from the side. This puts her neck and head in the right position and causes her to arch her back just enough to make her breasts come forward. When you can, it’s nice to photograph your client from above. With a smaller woman this can help accentuate her curves.

160

161

A cowboy hat makes a great addition to a session and can really change the look of an outfit. The two images on the page are both taken in the same outfit.

162

A set of red satin sheets adds a whole new dimension to the images. They are gorgeous and sexy. You want to use the absolute minimum amount of sheet needed to cover up your client, as a bunched up sheet will add unwanted bulk.

163

You can see how a slight change in position has really helped accentuate Joy’s curves.

These images were taken in the city behind an abandoned building. You can find a great location anywhere.

164

We’ve sexed up the traditional hunting coat, breeches and shirt a little, by undoing several buttons and shooting from above.

165

A Session with Kelley

Kelley had done some modelling when she was younger. When I have a client with modelling experience, I often put her into an initial pose then let her flow into the next pose on her own. It’s amazing how much a client can inspire you with her body language.

166

Kelley had expressions down to a science so I made sure to really let her looks show in her images. She rocked “fierce” above and rapture below.

167

A total natural, Kelley raised her right shoulder, arched her back and brought her legs up even more than I had asked for. The result is incredibly sexy. Take your time in putting your camera away. The image to the right was taken as she was getting up off the bed at the conclusion of her session. Kelly just seemed to fall into poses and I was glad I still had my camera in hand to capture this adorable image.

168

169

A Session with Katie I had the opportunity to photograph Katie in a very nice home. Using window light, a small amount of bounced flash and the existing decor, we ended up with many amazing images. When you get to a client’s home, ask if you can look around. I always look for great light, unique furniture and anything else that I can incorporate into the session. When shooting a session that will ultimately be a gift for the client’s spouse, I love using their actual bed, as it adds just a little extra something to the session.

170

171

A simple ottoman made a great piece of furniture for creating a “standard” pose. Note the different ways to use the same piece of furniture, in the image below and to the right. With a change of position and shooting angle we have two very different shots yet taken in the same place.

172

173

This is from Yvonne’s (who appeared earlier) original session with me. With a cute, natural pinup look, we added some props to give it more of a vintage feel.

174

175

176

177

Mindi’s ‘Glam’ Session I photograph Mindi several times a year. She says that boudoir sessions are addictive. For this session we used red sheets. Since she’s a smaller woman, I was able to photograph her from directly above. Note the sheet bunched up to her left, as we’ve used the minimum amount of sheet necessary to keep her important parts covered. With the images on the right, we were going for something similar to the Kate Winslet images that appeared in Vanity Fair magazine. Since Mindi has had two children and was concerned about her tummy showing, I’ve made sure that her arm or the drape covers the spot at her waist that creases a little.

178

179

A Session with Joyce

From the front

180

This is the same position from the side. Note her left shoulder rocked forward, which has smoothed out her back.

181

Note how the hand position masks where her thigh has bulged out.

Note how you can clearly see Joyce’s tummy in the image below left. By rocking her head back and photographing her from directly above her head, we’ve hidden her tummy behind her breasts.

182

Note how the bra strap was pinching the fold of skin in front of the armpit. Simply by lifting the strap and letting it fall, that area is covered up and is no longer being pinched by the strap.

The position below is the same as in the images to the left. Note that a slight change in my position has presented me with a new pose without doing anything more than asking Joyce to turn her head to the left and bring her hands up.

183

A Session with Lisa I had little more than 15 minutes to photograph Lisa in her apartment. I was quick to note what props she had that I could put to use.

184

I also looked for the room with the best light. If you are lucky to have a room with large windows letting in lots of natural light then try to use it. Naturally you will need to be careful that people cannot see in!

185

186

187

Tasteful Nudes with Mindi

Here Mindi is rolled over onto her back, with her arms supporting her breasts, her hands up to provide coverage of her nipples, and her leg kicked out to show off her amazing legs.

188

A quick turn of the head for a slightly different look.

Now the client is rolled up to one side. Note that I’ve got her legs crossed to cover what we don’t want to show.

189

I asked Mindi to lie on her tummy and this was the position she landed in naturally. Note her splayed legs. I asked Mindi to put her knees together, cross them at the ankle and point her toes. What an improvement!

190

I’ve moved the feather from in front of Mindi’s eye and moved her arms back just a tiny bit. Additionally I’ve asked her to arch her bottom up and stretch up from her elbows as much as possible. The end result is that she looks lean, her neck is clearly showing (as opposed to having it look as if her head is sitting directly on her shoulders) and her booty is appropriately popped up.

191

192

Image above – I’ve brushed her hair off her left shoulder and pulled her corset down slightly near her tummy. I’ve also asked her to stretch up on her right arm, making her appear leaner, and had her move her left arm forward a little so the pose looks more natural. Image top left – again, I’ve asked Mindi to lie on her side but without further direction. Note her that her left shoulder has crept up, making her appear tense. Image bottom left – I’ve asked Mindi to stretch her shoulder down and bend both legs, with her left knee forward just a little.

193

Above left – here Mindi is lying on her back without direction. Above right – Mindi’s knees are now together, with her right leg slightly more bent than the left to make sure of closing any gap in her legs. Image left – with Mindi’s head rocked back I am now able to mask her tummy, and photograph her looking at the camera without her forehead bunching up or her looking uncomfortable.

194

Fine tuning an image This first image is of Mindi without any direction.

Now I’ve asked Mindi to turn her head to her left. Her shoulder is bunched up, making her neck appear short and creased.

With a slight change of angle we’ve improved the shot, but there is still room for more improvement.

By stretching her shoulders down, bringing her hands up and fanning out her hair, we’ve created a stunning image that needs no retouching, save for a little clean up under the eyes.

195

Since you’ve seen so many flattering images of Mindi, we thought it valuable to show some poses that are less than flattering.

Whilst I initially took this shot to show what angle not to photograph a client from, ironically it was an image that her husband liked.

196

Posing with pointed or flexed toes can make a huge difference in an image.

197

Adjusting clothing makes such a big difference yet takes only seconds.

198

This image is a little cheesy, yet still cute and playful. With head-on shots of all but the thinnest of clients, be sure to leave enough room between the arms and the waist to allow for some easy liquify.

199

The Gallery The rest of the book is devoted to showing you the work of a small selection of other Boudoir photographers work. I felt it important to show these as they work in a different style to me but still deliver beautiful images to their clients. I wanted this book to be very much based on a broad selection of ladies but with a bias towards larger ladies as they are virtually ignored in most books on Boudoir photogtaphy yet make up a huge part of my work. If you can master the techniques I have taught then your business can thrive specializing in capturing them beautifully. Much has been mentioned previously by me, as well as in this book, about the lack of retouching needed for clients of all shapes and sizes. In the case of the images I took specifically for this book, David simply took the cards of raw files from me, batched them to jpg and they were placed in the book without any adjustment or retouching. Sitting in front of my computer retouching for hours at a time is not how I’d like to spend my days. I’m a photographer and I love creating beautiful images of my clients – often helping them to see themselves as beautiful for the very first time in their lives. Every single one of my clients sees their images without retouching. I feel this is an important part of the process, as I think they acquire more self-esteem from knowing that they really look that amazing. While touched-up images are great, knowing how little retouching you actually need is an amazing boost to women. Bend, stretch, twist and adjust your clients THEN find your angle. I think you’ll find that you spend more time doing the thing that you love (creating images) and less time feeling like a slave to your desk. Oh... and don’t forget to have fun while you’re doing it!

200

201

Stephanie Saujon Baltz

Stephanie Saujon Baltz

202

Stephanie Saujon Baltz

Stephanie Saujon Baltz

203

Stephanie Saujon Baltz

204 Erica Tait

Erica Tait

205

Erica Tait

Erica Tait

Erica Tait

206 Stephanie Saujon Baltz

Stephanie Saujon Baltz

Stephanie Saujon Baltz

Stephanie Saujon Baltz

207

Stephanie Saujon Baltz

Stephanie Saujon Baltz

208

Stephanie Saujon Baltz

209

Stephanie Saujon Baltz

Stephanie Saujon Baltz

210

Julia Holland

Julia Holland

211

Julia Holland

Julia Holland

212

Julia Holland

213

IMMI Belle

Julia Holland

214

IMMI Belle

215

IMMI Belle IMMI Belle

216

IMMI Belle

217

IMMI Belle IMMI Belle

218 IMMI Belle

IMMI Belle

IMMI Belle

IMMI Belle

219

IMMI Belle

IMMI Belle

220

IMMI Belle

221

IMMI Belle

222

Andrew Bobell

Andrew Bobell

223

Andrew Bobell Andrew Bobell

224

Andrew Bobell

Andrew Bobell

225

Andrew Bobell

Andrew Bobell

Gallery Contributors Stephanie Saujon Baltz - www.laphotographienashville.com Erica Tait - www.taitboudoir.com Julia Holland - www.boudoirportrait.co.uk IMMI Belles - www.immi-belles.com Andrew Dobell - www.andrewdobell.com Further Information If you would like to be updated on our series of photographic books, and receive our newsletter full of advice, articles and special offers, please email us at [email protected]. For a discussion of Boudoir Photography (and Wedding and Portrait Photography) join the Digital Wedding Forum and take part in the thousands of threads at www.digitalweddingforum.com Make-Up and Hair Stylists We would like to thank the following for their time, effort, expertise and general all-round good company whilst completing the special shoots for this book: Mindi Combs Jana Cari Thayra Rothweiler Katie Fate Finally... A huge thank you to all the ladies who took part in the making of this book. You are all beautiful, brave and lovely. Thank you for sharing your beauty and allowing Tammy to capture some “before” images as well as the final “after” results.

226