Free Lights, Camera... Nude!: A Guide to Lighting the Female Nude for Photography by A. K. Nicholas Page B

But don’t skip the process of carefully measuring and analyzing every detail of your lighting. In nude photography, careful exposure is important to make sure the skin tones and other elements of the composition have the effect you want. You can carefully inspect test images as you set up the lights. However, a spot meter works well to get the background lights balanced. Measure the light at the model’s position, near the four corners of your frame, and any other points of interest.
     
    Figure 2: Examples of metering locations
     
    Model: Toni C.
     
    In many images, such as shown in the figure below of Toni, I will meter the sides, center, foreground, background, and a couple of spots in the model zone. Having a regimen that includes metering can also help you avoid careless errors, such as forgetting to turn on one of your strobe heads. I strongly encourage a hand-held light meter, even if you always shoot with available light, and a remote trigger for studio strobes.
     

How Many Lights Do You Need?
     
     
    Photo 7: Two lights
     
    Model: Aurora L.
     
    The short answer is, “at least one.” The long answer is really a question: “What do you want your light to do?” There are all kinds of lights, each with a job. If you need a job done, you need to choose the correct light. For example, if you want light on the background add a background light, maybe two or four or more, depending on the effect you want, how large your background is, and so on. More on background light later. The point is that there is no magic number of lights. The shots in this guide used from one to six lights.
     
     
     
    Photo 8: Five lights
     
    These two images show the same model, same background, and just minutes apart. The only change is the lighting, but the results are dramatically different. The top shot used two lights, one on the model, and one on the background – the background light used a red gel to intensify the background color. The second shot used five lights. The effect of each is subtle, but the resulting tonalities are more complex.
     
    An important lighting principle is to never add a light without a specific reason. Use as few lights as you need to get the desired effect. Every light you add increases the complexity of controlling the light. Resist the temptation to set up every light in the kit, and turn them all up to the max.
     

Large Close Light
    A common mantras is to use as large a diffuser as possible, and to place it as close to the model as possible. The desired result is for the light “wrap around the model.” Examine the following three images using different sized diffusers.
     
    With a small umbrella, the light coverage is narrow and the contrast is a bit harsh. Notice the quick light falloff across the torso and the length of the body.
     
    With a medium umbrella, the light is a bit softer and coverage is wider.
     
    With a large umbrella, the transition from light to shadow is more gradual. This is evident in the floor shadows and on the body. This smooth transition between lit and unlit areas is what some refer to as wrapping the subject in light.
     

     
    Photo 9: Umbrella, 20"
     
    Model: Narzahni C.
     

     
    Photo 10: Umbrella, 48"
     
     
     
    Photo 11: Umbrella, 84"
     

Accent and Separation Lights
    These are neither fill lights, nor background lights. Accent and separation lights are placed behind the model, and aimed towards her. Some photographers adore them, some hate them, some overuse them, and some ignore them. Learn about them, experiment, and use them where you decide they work best.
     

     
    Photo 12: Accent Light
     
    Model: Hope S.
     
    Backlight ( can be a hair light) Backlights are typically above the subject, either directly behind or slightly to one side. Light colored hair can look great with backlighting.
     
    Kicker (a.k.a. accent light) Kickers are placed at a low angle, and to one side. For reference, this is an effect that’s classic in presidential portraits,