Lighting for Nude Photography - Światło w fotografii aktu.pdf

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CONTENTS
ABOUT THIS BOOK 6
HOW TO USE THIS BOOK
8
CHAPTER ELEVEN
TEXTURES, PATTERNS AND FORMS
212
CHAPTER TWELVE
FETISH APPEAL
232
CHAPTER THIRTEEN
THE ROMANTIC LOOK
250
CHAPTER FOURTEEN
PUSHING THE BOUNDARIES
274
PROVOCATIVE SHOTS
292
CHAPTER FIFTEEN
SIMPLY NAKED
296
CHAPTER SIXTEEN
HAIR AND MAKE-UP
314
CHAPTER SEVENTEEN
STRIKING A POSE
330
CHAPTER EIGHTEEN
PROPS
352
CHAPTER NINETEEN
EFFECTS AND FINISHING
372
CHAPTER TWENTY
DRESSING UP
394
CHAPTER TWENTY-ONE
VOYEURISTIC SHOTS
412
DIRECTORY OF
PHOTOGRAPHERS
434
ACKNOWLEDGMENTS
448
GLOSSARY OF LIGHTIN G TERMS
10
NUDES
13
CHAPTER ONE
APPROACHING NUDITY
16
CHAPTER TWO
CLASSICAL NUDES
36
CHAPTER THREE
THE SEMI-DOMESTIC NUDE
58
CHAPTER FOUR
FANTASIES
74
CHAPTER FIVE
MALE NUDES AND COUPLES
96
CHAPTER SIX
THE OUTDOOR NUDE
114
CHAPTER SEVEN
SYMBOLS AND EXPERIMENT S
130
EROTICA
150
CHAPTER EIGHT
EROTIC FANTASY
154
CHAPTER NINE
ABSTRACTS AND BOD Y PARTS
176
CHAPTER TEN
ACCESSORIES AND PROPS
194
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ABOUT THIS BOOK
The most common response from the photographers who contributed to this book, when the
concept was explained to them, was "I'd buy that". The aim is simple: to create a library of
books, illustrated with first-class photography from all around the world, which show exactly
how each individual photograph in each book was lit.
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HOW TO USE THIS BOOK
The lighting drawings in this book are intended as a guide to the lighting set-up rather than as
absolutely accurate diagrams. Part of this is due to the variation in the photographers' own
drawings, but part of it is also due to the need to represent complex set-ups in a way which
would not be needlessly confusing.
Distances and even sizes have been
compressed and expanded: and because
of the vast variety of sizes of soft boxes,
reflectors, bounces and the like, we have
settled on a limited range of
conventionalized symbols. Sometimes, too,
we have reduced the size of big bounces,
just to simplify the drawing.
None of this should really matter, however.
After all, no photographer works strictly
according to rules and preconceptions:
there is always room to move this light a
little to the left or right, to move that light
closer or
further away, and so forth, according to the
needs of the shot. Likewise, the precise
power of the individual lighting heads or
(more important) the lighting ratios are not
always given; but again, this is something
which can be "finetuned" by any
photographer wishing to reproduce the
lighting set-ups in here. We are however
confident that there is more than enough
information given about every single shot to
merit its inclusion in the book: as well as
purely lighting techniques, there are also all
kinds of hints and tips about commercial
realities, photographic
practicalities, and the way of the world
in general.
The book can therefore be used in a
number of ways. The most basic, and
perhaps the most useful for the beginner, is
to study all the technical information
concerning a picture which he or she
particularly admires, together with the
lighting diagrams, and to try to duplicate
that shot as far as possible with the
equipment available.
A more advanced use for the book is as a
problem solver for difficulties you have
already encountered: a
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particular technique of back-
lighting, say, or of creating a
feeling of light and space. And, of
course, it can always be used
simply as a source of inspiration.
The information for each
picture follows the same plan,
though some individual headings
may be omitted if they were
irrelevant or unavailable. The
photographer is credited first, then
the client, together with the use for
which the picture was taken. Next
come the other members of the
team who worked on the picture:
stylists, models, art directors,
whoever. Camera and lens come
next, followed by film. With film,
we have named brands and types,
because different films have very
different ways of rendering colours
and tonal values. Exposure comes
next: where the lighting is
electronic flash, only the aperture
is given, as illumination is of
course independent of shutter
speed. Next, the lighting
equipment is briefly summarised
— whether tungsten or flash, and
what sort of heads — and finally
there is a brief note on props and
backgrounds. Often, this last will
be obvious from the picture, but in
other cases you may be surprised
at what has been pressed into
service, and how different it looks
from its normal role.
The most important part of the
book is, however, the pictures
themselves. By studying these, and
referring to the lighting diagrams
and the text, you can work out how
they were done.
The following is a key to the symbols used in the three-dimensional and plan view diagrams.
All commonly used elements such as standard heads, reflectors etc., are listed. Any special
or unusual elements involved will be shown on the relevant diagrams themselves.
THREE-DIMENSIONAL DIAGRAMS
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