Free Lights, Camera... Nude!: A Guide to Lighting the Female Nude for Photography by A. K. Nicholas Page A
Authors: A. K. Nicholas
intend to use wardrobe and props with your nude — you may also want to develop fashion and still life lighting skills.
In this section I will explain some of the concepts that are used in the lighting diagrams that appear throughout the book. This is not an exhaustive explanation of all lighting concepts, and topics for further study appear at the end of the book.
Contrast Ratio
Contrast ratio, in the context of nude photography, establishes many aspects of the image including mood, compositional elements, and how much detail of the model is revealed. In this book I express this ratio with two numbers in this format: main:fill.
In two-light portrait photography a ratio of 3:2 is traditional; but in nude photos a higher ratio like 2:1 (main light twice as bright as the fill light) or even 4:1 often yields more dramatic images. It’s a matter of preference and style. Lighting that obscures the model in shadow is often viewed as more artistic, while lower contrast images can risk looking pedestrian. Don’t worry too much about the math, the following images illustrate the various ratios between main and fill lights.
Photo 2: Contrast ratio 3:2
Model: Hope S.
Photo 3: Contrast ratio 2:1
Photo 4: Contrast ratio 3:1
You usually reduce the output of a light by lowering its power. You could move the light farther away, or add a diffuser, but these alter light quality (hard/soft) as well.
Set Up Your Studio to Affect Light
Photo 5: Color reflection
Model: Michelle W.
The size and colors of your studio affects your lighting. The walls, floor, ceiling, every object in your studio, reflects light. They reflect light towards your model—sometimes in ways you don’t want.
In the images at the left you can see the green reflected onto the model. Avoid rolling any more colored background paper in front of the model than is needed; it will just reflect additional unwanted light, affecting skin tone.
Photo 6: Close-up, color reflection
In a small studio, white walls act like built-in reflectors kicking light onto your model. The smaller the studio, the closer the walls are to the model, the more light bounce you’ll have. With a standard-height ceiling, it works in the same way, reflecting light back at the model from above.
Sometimes reflected light helps by filling shadows, but too much can spoil the image. You could paint some or all of the walls (and possibly the ceiling) black. Then you can add reflectors where you want them.
Instead of painting walls black, you could hang up black cloth, foam board, wide rolls of paper, or anything black that will absorb the light. A device designed to absorb light, sometimes called a “black reflector,” prevents reflection . This is an effective way of experimenting before committing to painting walls. I can’t tell you exactly how to paint your studio, because each room is different and it also depends on your photographic style and equipment. I will give you a diagram as an example.
Figure 1: Example Studio wall colors
If you have only one small, low-powered light and you paint the walls black you might not have enough light to get acceptable photographs.
Avoid colored walls that will reflect their hue onto the model — even an off-white such as cream colored. Green walls make for green skin; yellow walls, jaundiced skin; and so on. Stick to neutrals (white, gray, black).
Photo 7: Studio surroundings affect light
Model: Ariel W.
You may have noticed that high-end cameras, tripods, and light stands are painted black. This is so that they don’t reflect as much light — especially onto shiny props (like wine glasses) that you’re trying to photograph. Many photographers also wear dark, neutral colored clothing for the same purpose.
Metering Your Lights
It’s easy to see what your results will be using a digital camera’s LCD screen.
In this section I will explain some of the concepts that are used in the lighting diagrams that appear throughout the book. This is not an exhaustive explanation of all lighting concepts, and topics for further study appear at the end of the book.
Contrast Ratio
Contrast ratio, in the context of nude photography, establishes many aspects of the image including mood, compositional elements, and how much detail of the model is revealed. In this book I express this ratio with two numbers in this format: main:fill.
In two-light portrait photography a ratio of 3:2 is traditional; but in nude photos a higher ratio like 2:1 (main light twice as bright as the fill light) or even 4:1 often yields more dramatic images. It’s a matter of preference and style. Lighting that obscures the model in shadow is often viewed as more artistic, while lower contrast images can risk looking pedestrian. Don’t worry too much about the math, the following images illustrate the various ratios between main and fill lights.
Photo 2: Contrast ratio 3:2
Model: Hope S.
Photo 3: Contrast ratio 2:1
Photo 4: Contrast ratio 3:1
You usually reduce the output of a light by lowering its power. You could move the light farther away, or add a diffuser, but these alter light quality (hard/soft) as well.
Set Up Your Studio to Affect Light
Photo 5: Color reflection
Model: Michelle W.
The size and colors of your studio affects your lighting. The walls, floor, ceiling, every object in your studio, reflects light. They reflect light towards your model—sometimes in ways you don’t want.
In the images at the left you can see the green reflected onto the model. Avoid rolling any more colored background paper in front of the model than is needed; it will just reflect additional unwanted light, affecting skin tone.
Photo 6: Close-up, color reflection
In a small studio, white walls act like built-in reflectors kicking light onto your model. The smaller the studio, the closer the walls are to the model, the more light bounce you’ll have. With a standard-height ceiling, it works in the same way, reflecting light back at the model from above.
Sometimes reflected light helps by filling shadows, but too much can spoil the image. You could paint some or all of the walls (and possibly the ceiling) black. Then you can add reflectors where you want them.
Instead of painting walls black, you could hang up black cloth, foam board, wide rolls of paper, or anything black that will absorb the light. A device designed to absorb light, sometimes called a “black reflector,” prevents reflection . This is an effective way of experimenting before committing to painting walls. I can’t tell you exactly how to paint your studio, because each room is different and it also depends on your photographic style and equipment. I will give you a diagram as an example.
Figure 1: Example Studio wall colors
If you have only one small, low-powered light and you paint the walls black you might not have enough light to get acceptable photographs.
Avoid colored walls that will reflect their hue onto the model — even an off-white such as cream colored. Green walls make for green skin; yellow walls, jaundiced skin; and so on. Stick to neutrals (white, gray, black).
Photo 7: Studio surroundings affect light
Model: Ariel W.
You may have noticed that high-end cameras, tripods, and light stands are painted black. This is so that they don’t reflect as much light — especially onto shiny props (like wine glasses) that you’re trying to photograph. Many photographers also wear dark, neutral colored clothing for the same purpose.
Metering Your Lights
It’s easy to see what your results will be using a digital camera’s LCD screen.
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