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GARAGE GLAMOURTMDigital Nude andBeauty PhotographyMade SimpleROLANDO GOMEZAmherst Media P U B L I S H E R O F P H OTO G R A P H Y B O O K S
ON THE COVERPlayboy Playmate Holley D. was illuminated with just one light: a Hensel Integra Pro monolight with a Larson 4x6-foot soft box. Whenusing a soft box this large, placing it close to the model produces the sweetest, softest light you can imagine. (CAMERA: Olympus E-1, Zuiko50mm lens [eff. 100mm]; EXPOSURE: 1/160 second, f/5.6, ISO 100; WHITE BALANCE: 6,000K)Copyright 2006 by Rolando Gomez.All rights reserved.All photographs by the author unless otherwise noted.Published by:Amherst Media, Inc.P.O. Box 586Buffalo, N.Y. 14226Fax: 716-874-4508www.AmherstMedia.comPublisher: Craig AlesseSenior Editor/Production Manager: Michelle PerkinsAssistant Editor: Barbara A. Lynch-JohntISBN: 1-58428-183-9Library of Congress Card Catalog Number: 2005937364Printed in Korea.10 9 8 7 6 5 4 3 2 1No part of this publication may be reproduced, stored, or transmitted in any form or by any means, electronic, mechanical, photocopied, recorded or otherwise, without prior written consent from the publisher.Notice of Disclaimer: The information contained in this book is based on the author’s experience and opinions. Theauthor and publisher will not be held liable for the use or misuse of the information in this book.
TABLE OF CONTENTSPREFACE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6Props . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .25Chairs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .25INTRODUCTION . . . . . . . . . . . . . . . . . . . . . . . . . . .7Instruments . . . . . . . . . . . . . . . . . . . . . . . . . .26Increasing Popularity . . . . . . . . . . . . . . . . . . . . . . .7Ladders . . . . . . . . . . . . . . . . . . . . . . . . . . . . .26Digital Imaging . . . . . . . . . . . . . . . . . . . . . . . . . . .7Cars . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .26Who Does Glamour Photography? . . . . . . . . . . . .7Animals . . . . . . . . . . . . . . . . . . . . . . . . . . . . .26The Subject . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9Hair, Rim, and Accent Lighting . . . . . . . . . . . . .27About This Book . . . . . . . . . . . . . . . . . . . . . . . . . .9Hair Lighting . . . . . . . . . . . . . . . . . . . . . . . . .27My Perspective . . . . . . . . . . . . . . . . . . . . . . . . . . .12Rim Lighting . . . . . . . . . . . . . . . . . . . . . . . . .29A Brief History of Glamour Photography . . . . .12Accent Lighting . . . . . . . . . . . . . . . . . . . . . . .29In Conclusion . . . . . . . . . . . . . . . . . . . . . . . . . . . .141. ELEMENTS OF GLAMOUR . . . . . . . . . . . . . . . . .16Optional Elements . . . . . . . . . . . . . . . . . . . . . . . .17Lines (Implied, Imaginary, and Inherent) . . . . . .17Implied Lines . . . . . . . . . . . . . . . . . . . . . . . . .18Imaginary Lines . . . . . . . . . . . . . . . . . . . . . . .18Inherent Lines . . . . . . . . . . . . . . . . . . . . . . . . .18Diagonal Lines . . . . . . . . . . . . . . . . . . . . . . . .18Leading Lines . . . . . . . . . . . . . . . . . . . . . . . . .18Foreground . . . . . . . . . . . . . . . . . . . . . . . . . . . .19Clothing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20Stick with Favorites . . . . . . . . . . . . . . . . . . . . .20Avoid New Purchases . . . . . . . . . . . . . . . . . . . .20Clothing Color . . . . . . . . . . . . . . . . . . . . . . . .20Bikinis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22Accessories . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23Jewelry . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23Belts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23Hats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23Sunglasses . . . . . . . . . . . . . . . . . . . . . . . . . . . .23Coats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .25TABLE OF CONTENTS3
Warming Gels . . . . . . . . . . . . . . . . . . . . . . . . .30Framing . . . . . . . . . . . . . . . . . . . . . . . . . . . . .47Chiaroscuro . . . . . . . . . . . . . . . . . . . . . . . . . . . .30Lens Selection . . . . . . . . . . . . . . . . . . . . . . . . .47Varied but Required Elements . . . . . . . . . . . . . .31Lines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .47Camera Position . . . . . . . . . . . . . . . . . . . . . . . . .31Rule of Thirds . . . . . . . . . . . . . . . . . . . . . . . . .49Vertical Images . . . . . . . . . . . . . . . . . . . . . . . .31Direction . . . . . . . . . . . . . . . . . . . . . . . . . . . .49Camera Tilt . . . . . . . . . . . . . . . . . . . . . . . . . .33White Balance . . . . . . . . . . . . . . . . . . . . . . . . . .50Camera Height . . . . . . . . . . . . . . . . . . . . . . . .33Mood . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .55Vary Your Perspective . . . . . . . . . . . . . . . . . . .35The Model’s Mood . . . . . . . . . . . . . . . . . . . . . .55Background . . . . . . . . . . . . . . . . . . . . . . . . . . . .36The Photographer’s Mood . . . . . . . . . . . . . . . . .57Shadow Detail . . . . . . . . . . . . . . . . . . . . . . . . .36The Environment . . . . . . . . . . . . . . . . . . . . . .57Lighter Backgrounds . . . . . . . . . . . . . . . . . . . .37Backdrop . . . . . . . . . . . . . . . . . . . . . . . . . . . .58Outdoors . . . . . . . . . . . . . . . . . . . . . . . . . . . . .37The Lighting . . . . . . . . . . . . . . . . . . . . . . . . . .58Backyard Images . . . . . . . . . . . . . . . . . . . . . . .38Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .59Previsualization . . . . . . . . . . . . . . . . . . . . . . .38Clothing . . . . . . . . . . . . . . . . . . . . . . . . . . . . .59Separate the Subject . . . . . . . . . . . . . . . . . . . . .40The Angles . . . . . . . . . . . . . . . . . . . . . . . . . . .59Shadows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .41The Four S’s . . . . . . . . . . . . . . . . . . . . . . . . . . .59Be Observant . . . . . . . . . . . . . . . . . . . . . . . . .42Curves . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .60Posing and Lighting . . . . . . . . . . . . . . . . . . . .43Drop a Strap . . . . . . . . . . . . . . . . . . . . . . . . . .60Composition . . . . . . . . . . . . . . . . . . . . . . . . . . .44Expression . . . . . . . . . . . . . . . . . . . . . . . . . . . .60Frame Format . . . . . . . . . . . . . . . . . . . . . . . .44Implied Nude . . . . . . . . . . . . . . . . . . . . . . . . .61Cropping . . . . . . . . . . . . . . . . . . . . . . . . . . . .46Hair and Makeup . . . . . . . . . . . . . . . . . . . . . . . .62Makeup . . . . . . . . . . . . . . . . . . . . . . . . . . . . .62Hair . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .652. LENS SELECTION . . . . . . . . . . . . . . . . . . . . . . .66The Three C’s . . . . . . . . . . . . . . . . . . . . . . . . . . . .66Compression . . . . . . . . . . . . . . . . . . . . . . . . . . .66Composition . . . . . . . . . . . . . . . . . . . . . . . . . . .67Comfort . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .68Including the Background . . . . . . . . . . . . . . . . . .683. SUBJECT RAPPORT . . . . . . . . . . . . . . . . . . . . .694. SMILES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .715. POSING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .73Comfort . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .73Individualized Posing . . . . . . . . . . . . . . . . . . . . .74Height . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .77Hips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .77Breasts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .77Hands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .784GARAGE GLAMOUR
Side View . . . . . . . . . . . . . . . . . . . . . . . . . . . .78Jewelry . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .80Hands on Hips . . . . . . . . . . . . . . . . . . . . . . . .80Hands to Conceal . . . . . . . . . . . . . . . . . . . . . .826. LIGHTING . . . . . . . . . . . . . . . . . . . . . . . . . . . . .83Chiaroscuro and Rembrandt Lighting . . . . . . . .84Umbrellas vs. Soft Boxes . . . . . . . . . . . . . . . . . . .86Louvers, Honeycombs, and Grids . . . . . . . . . . . .88Louvers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .88Honeycombs . . . . . . . . . . . . . . . . . . . . . . . . . . .88Grids . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8890-Percent Rule . . . . . . . . . . . . . . . . . . . . . . . . . .92Clothing Selection . . . . . . . . . . . . . . . . . . . . . . .95Separation . . . . . . . . . . . . . . . . . . . . . . . . . . .95Adding Detail . . . . . . . . . . . . . . . . . . . . . . . .95Composition . . . . . . . . . . . . . . . . . . . . . . . . . . .95The Poor Man’s Light—Save 3,800 . . . . . . . . .95Building the Setup . . . . . . . . . . . . . . . . . . . . . . .95Metering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .98Makeup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .98Accent Lights . . . . . . . . . . . . . . . . . . . . . . . . . . .98At the Zoo . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1077. THE BLACK-SCARF TECHNIQUE . . . . . . . . . . .99Arrive Early . . . . . . . . . . . . . . . . . . . . . . . . .107Get Your Bearings . . . . . . . . . . . . . . . . . . . . .108The Scarf . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .99Shooting . . . . . . . . . . . . . . . . . . . . . . . . . . . .108Aperture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .101When You Get Home . . . . . . . . . . . . . . . . . . . .108Light Modifiers . . . . . . . . . . . . . . . . . . . . . . . . .101Putting QRT to Work . . . . . . . . . . . . . . . . . . . .110Variations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10110. PRIVATE GLAMOUR: MAKING MONEY . . . . .113Applications . . . . . . . . . . . . . . . . . . . . . . . . . . . .1028. DEVELOPING YOUR STYLE . . . . . . . . . . . . . . .103Become a Professional . . . . . . . . . . . . . . . . . . . .113Be Consistent . . . . . . . . . . . . . . . . . . . . . . . . . . .103Photograph Your Friends . . . . . . . . . . . . . . . .113Composition . . . . . . . . . . . . . . . . . . . . . . . . . . . .104Create a Portfolio . . . . . . . . . . . . . . . . . . . . .113Importance of Style . . . . . . . . . . . . . . . . . . . . . .105Generate New Contacts . . . . . . . . . . . . . . . . .1149. QUICK-REACTION TIMING . . . . . . . . . . . . . . .10611. RELEASES . . . . . . . . . . . . . . . . . . . . . . . . . . .116Planning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .107CONCLUSION . . . . . . . . . . . . . . . . . . . . . . . . . . . .118Set Aside a Day . . . . . . . . . . . . . . . . . . . . . . .107Pack a Bag . . . . . . . . . . . . . . . . . . . . . . . . . .107Food and Drink . . . . . . . . . . . . . . . . . . . . . .107Previsualization . . . . . . . . . . . . . . . . . . . . . .107Marketing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .113INTERNET RESOURCES . . . . . . . . . . . . . . . . . . .119ABOUT THE AUTHOR . . . . . . . . . . . . . . . . . . . . .121INDEX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .122TABLE OF CONTENTS5
PREFACECreating your first book is sometimes fun, some-especially my wife Ramona, my kids (Jennifer, Stephanie,times hard, sometimes sad—and sometimes youNatalie, Sophia, and Nickolas), and my parents. Mostjust want to quit. In the end, though, you feelimportantly, I thank my God. Without him I’d have noyou’ve accomplished a goal and it hasn’t been in vain.guidance.Few people realize the work that goes into a projectThere are many others to thank, as well—people wholike this. Books require text, and there were no ghost-have kept me straight and believing in myself. While Iwriters involved here—just my fingers and the help ofcould try to list all the names (Ricardo Gutierrez, mya top editor, Michelle Perkins, an author herself. Ofassistant and friend; my makeup artists or business part-course, photography books also need images. That in-ners; all the folks at Amherst Media for putting up withvolves setting up a shoot, getting it done, and then thisme, etc.), I’m sure I’d skip someone accidentally. So, I’llfunny thing we have more of today as digital photogra-play it safe and just mention the three people I have tophers: post-production.blame for being the the first to encourage my passion forIn the end, this book took over a year to produce—photography. The first is my father, who bought me thatand what a year it was. On top of the everyday distrac-first camera from Popsicle in 1971 when I was nine yearstions (babies crying for Daddy, wife wanting to knowold. It cost a few wrappers and one dollar. The second isyour schedule so she can plan hers, e-mail to answer, andBarclay Burrows, my journalism teacher at Victoria Highthe phone ringing off the wall), my father was hospital-School, for believing in me ever since I was a sopho-ized twice during the writing of this book for major sur-more. Finally, I need to mention Mike Badough, whogeries. (Yes, he made it—thank God.) Just when thattaught me color processing in his bathroom darkroomscare was winding down, my brother and his family(Sorry about hitting that light switch when the papermoved in with us for a month after being evacuatedsafe was open, Mike!)from New Orleans by Hurricane Katrina. Then, a man-In closing, I would also like to dedicate this book todatory evacuation due to Hurricane Rita required us tomy fellow military veterans (active duty and civilian).transport my father from the Gulf Coast to San AntonioWhile I served in Desert Storm, Rwanda, Haiti, andvia ambulance two days after his second surgery.other operations, this is nothing in comparison to yourThat said, I’d like to dedicate this book to the believers, the ones who have always shown faith in what I do—6GARAGE GLAMOURsacrifices today. God bless you all and your families!—Rolando (a.k.a. rg sends!)
INTRODUCTIONThe passage that appears below is my definition ofinfluences of glamour in photojournalism, celebrity,glamour today. It is based on a combination ofcommercial, advertising, and wedding photography.definitions that I found in various researchsources and on my own experience in creating imagesand evaluating glamour photography by other artists.DIGITAL IMAGINGDigital imaging technology is also furthering interest inglamour photography because the capture and commu-Glamour—The ability to allure people’s attention withnication of these images is easier than ever. Why not?charismatic qualities; a magnetism of attraction containedDigital photography not only gives the subject the com-in a person or object that can be considered provocative;fort of the delete button, it also gives both the subjecta powerful and sometimes passionate attractionand the photographer the privacy needed to producepossessed by a person or thing.sexy, sultry, seductive, and sensual images. These cannow be easily printed and viewed privately, or exchangedGlamour photography today must possess these charac-over the Internet and via e-mail.teristics, but it must go farther as well. Today, the con-Digital photography is here now; it’s no longer a rev-vergence of new trends in publishing, fashion, and pho-olution, it’s an evolution. Of all the genres of photogra-tography have combined with the power of the Internetphy, glamour has gained the biggest momentum. Bothto propel the standards for top-quality glamour photog-professionals and amateurs (and everyone in between)raphy higher than ever. Sometimes I even call today’scan now photograph someone sexy and maintain com-glamour photography style “flamour”—a mixture ofplete privacy, working at home through the wholefashion and glamour photography that leans into theprocess, from capture to printing, with complete confi-fashion side of the image while maintaining the power ofdentiality. This is an awesome revolution for people whoglamour.have a passion for glamour but, at the same time, wantINCREASING POPULARITYGlamour is an alluring genre of photography that isto be discrete.WHO DOES GLAMOUR PHOTOGRAPHY?evolving quickly, gaining momentous popularity thanksProof of that last statement is simple. I’ve conductedto publications like Maxim, Stuff, FHM, and fashionover seventy workshops that deal with the subject oficons like Victoria’s Secret, bebe, DKNY, and others.glamour in less than four years and they’ve all sold out.The Internet, with web sites like www.GarageGlamourMost were filled with doctors, lawyers, engineers, CEOs,.com, www.Playboy.com, www.Maximonline.com, andand other high-profile professionals—even local, state,others, adds even more to the mix. You’ll even find theand federal agents from various government branches!INTRODUCTION7
Lisa B. lays on her side at the edge of an infinity pool that appears to merge with the ocean, which is about fifty feet beneath the pool.There is an additional one-hundred feet of grass between the pool’s edge and the ocean. The effect of the two bodies of water blendingis created by the angle at which I took this image, standing in the pool and holding the camera at water level. She was illuminated bya Hensel Premium Porty 1200 AS portable power pack that powered a Hensel Ringflash with the optional Octa Sunhaze RF90 soft box. ARosco Bastard Amber #02 gel was placed inside the Sunhaze. (CAMERA: Olympus E-Volt, E-300 with Olympus Zuiko 50mm lens [eff. 100mm];EXPOSURE: 1/50 second, f/6.3, ISO 100; WHITE BALANCE: 6,000K)My workshop attendees have the same goals in mind, forthe dollars needed to obtain the proper equipment. It’sthe most part. While they would be flattered to get pho-not about recognition or money, it’s about the passiontos published, their goal is not really to see their imageswe all share for glamour photography.in print or even to sell them—they just want to be ableMost of the people in this group realize that the onlyto take beautiful glamour images by increasing theirobstacle to success is reflected in the many so-calledknowledge of photography. Most are willing to invest inglamour images that fall short of the standards discussedgaining such knowledge, and most aren’t afraid to spendabove—images that lack the ability to allure and fail to8GARAGE GLAMOUR
create a sense of powerful and sometimes passionatedress or accessories (the real subject of the photograph)attraction. If we’d just take the time to understand bothto make product sales, in glamour photography thedigital and glamour photography, and the constructivemodel is the subject of the photograph. Therefore, asand destructive results the combination of the two canphotographers, it’s up to us to capture that subject’sproduce, we could consistently produce more pleasinginner and outer beauty. I often call this “phototherapy”results.or “therapeutic photography.”THE SUBJECTABOUT THIS BOOKAll photography is powerful, but glamour photographyIf you’re new to glamour photography or photographyis probably the most powerful form of photographyin general, this book will help you to elevate your imageswhen it comes to its essential subject. Unlike fashionfrom snapshots to true portraits. If you have some expe-photography, which relies on the model to display arience taking photographs, it will provide you with someModels Kim and Dee pose in a “flamour” style. They were illuminated by one Larson 4x6-foot soft box with a Rosco #3410 1/8 CTO gel overthe Hensel EHT3000 flash head powered by a Hensel Vela 1500 AS studio pack. (CAMERA: Olympus E-1 with an Olympus Zuiko 50mm lens[eff. 100mm]; EXPOSURE: 1/30 second, f/9.0, ISO 100; WHITE BALANCE: 6,000K)INTRODUCTION9
insights on glamour photography as a whole, and oncan be applied to any subject (of course, more photo-digital glamour photography in particular.genic subjects will make any glamour photographer lookWhen reading this book, please keep in mind thatglamour photography is about your subject, and yourgreat, and for publication, sexy, young models are morein demand).subject is your model. You don’t need a professionalWhatever subject you have in front of your lens,model in front of your camera. Glamour photographyexperience as a photographer will obviously help youFACING PAGE—Playboy model Laura F. relaxes in a hot tub while shooting at the Virgin Islands. The image was illuminated by a Larson48-inch Soff Strip with a 40-degree grid, colored by a Rosco Bastard Amber #02, doubled inside the light box at the lamp head. The flashhead was a Hensel Integra monolight. Additionally, the pool was illuminated with one Hensel Porty Premium power pack with a HenselEHT1200 head with a Hensel 7-inch reflector and a 20-inch grid at the end of each reflector. The Porty heads had a Rosco red gel on theright side and a Rosco magenta gel on the left side. (CAMERA: Olympus E-Volt, E-300 with Olympus Zuiko 50mm lens [eff. 100mm]; EXPOSURE: 1/100 second, f/3.2, ISO 100; WHITE BALANCE: 5300K) ABOVE—Here, the same model, Laura F., appears to walk on water as she strikesa “flamour” pose while at the Virgin Islands. Laura is standing at the edge of an infinity pool that faces the ocean. She was illuminatedby a Hensel Premium Porty 1200 AS portable power pack with a Hensel Ringflash with an optional Octa Sunhaze RF90 soft box. A RoscoBastard Amber #02 gel was placed inside the Hensel Sunhaze. (CAMERA: Olympus E-Volt E-300 with Olympus Zuiko 11–22mm wide zoomlens [eff. at 44mm]; EXPOSURE: 1/10 second, f/6.3, ISO 100; WHITE BALANCE: 6,000K)INTRODUCTION11
achieve the best-possible result, so I recommend prac-Thanks to the evolution of technology, I no longertice, practice, practice. It also helps to spend time doinghave to wear a computer strapped to my thigh, as we didsome research, viewing all the work you can in this genrein the early days of digital photography. Now my Lexarof photography and others. It’s easy to get wrapped upmemory cards are smaller than a box of matches andin the technology, but it’s important to keep in mindhold more data than an army of those old computers.that photography is, in general, subjective; technologyWhile I spent most of my career as a photojournalist,is never tantamount, because it changes all the time.for the last decade I’ve toyed with glamour photography.Staying on top of photography—all photography—isThanks to the Internet, I’ve now gained more fame formandatory.my glamour photography than I ever did as a photojour-This process of educating yourself is never ending.nalist. Glamour photography is my passion, but I oftenEven with my background in photography and nationalfind that I bring my skills as a photojournalist to myspeaking credentials, I still attend other speakers’ semi-glamour images, intermixing their influences.nars—especially when I am speaking at the same expo orconvention. Education is always important.MY PERSPECTIVEA BRIEF HISTORY OF GLAMOUR PHOTOGRAPHYUnderstanding the history of glamour photography mayseem a little superfluous, but it will actually help youBefore we get knee-deep in my thoughts on glamourfully appreciate the meaning of glamour photographyphotography, I’d like to briefly introduce you to myand to feel the passion required to create these images.background to help you understand my perspective.The roots of glamour photography go back to theI’m a freelance photographer and writer with over 26early 1890s, with the start of the cinema industry. Theyears’ experience in photography—that’s right, I startedfield got another boost in the mid-1920s with the inva-shooting when I was nine and became a professional bysion of television. Glamour photographs helped createthe time I was 17 years old. I won’t bore you with all mythe air of power and glitz that surrounded the newhistory, but I will tell you that my photography has takenHollywood celebrities being created by these media. Inme to over 39 countries while on assignment, manyfact, glamour photography was reserved almost exclu-more than once.sively for glamorizing celebrities, especially the women.For most of those travels, I owe thanks to the U.S.(Even today, glamour photography is meant more formilitary. I served as an active-duty Army combat pho-women than men, though that perception is slowlytographer for over eight years. As an Air Force civilian, Ievolving—especially with the current blending of glam-was the Chief of Photography for the Pictorial Branch ofour and fashion photography.)the Army and Air Force Hometown News Service forHollywood executives wanted their stars to shimmer,another six years. I also spent three years as the Chief ofnot glimmer, and they knew that good photographersMultimedia for the Air Force News Agency. The militarycould capture the needed drama, power, and excite-exposed me to digital photography in 1989, way backment. From 1925 to 1930, Ruth Harriet Louise, a pho-before it was truly introduced to the consumer public.tographer who worked at Metro-Goldwyn-MayerWhile I don’t consider myself a digital guru, I doconsider myself a very experienced and well-publishedphotographer who understands digital technology. I domy best to use technology to my advantage in creatingsuccessful images more efficiently. I do not, however, lettechnology take the lead or allow it to distance me frommy creative thinking.12GARAGE GLAMOURFACING PAGE—While glamour photography is usually meant morefor women, Hollywood glamorizes its male celebrities, too. In thisimage, male model Chris Winters was illuminated by a Hensel PortyPremium portable power pack powering a Hensel EHT1200 headwith a 7-inch reflector pointed into a California Sunbounce Prowith zebra fabric. The idea was to mimic the look of light from thesun when it is at a low angle.
(MGM) during her early twenties, was one artist whohelped stars spit-shine their image using glamour photography. Her photographs were seen by millions andhelped frame the public’s perception of “Hollywoodglamour.” They also helped infuse the glamour genrewith influences from fashion photography, somethingFACING PAGE—AJ was photographed by Dennis Keim (a.k.a. “dk”).Keim brings years of experience to his photography with a background from NASA to fashion. He is a master at making backgrounds complement his subjects, which is why I chose to featurehim in this book. This image caught my eye because of the forceand power AJ projects, along with the implied motion in theimage.that is still impacting us today.Hollywood found early on that glamour sells—and,tography can have a negative effect not only on theirin the 1950s, so did a young man named Hugh Hefner.own reputation as a photographer, but also on the self-In late 1953, he took a gamble and proved his pointesteem of their subject. If only for this reason, I recom-when he published the first Playboy, featuring a “centermend that you practice glamour photography withpiece” image of Marilyn Monroe by Tom Kelly, Sr. Thatfriends or with subjects who understand you are tryingissue sold over 54,000 copies with no advance publicity.to improve your craft before you attempt to make a liv-By 1964, Playboy was selling at the rate of two millioning shooting glamour. Never blame a subject for a poorcopies per month. Playboy took glamour photography toimage. Suck it up and fall on your sword; as a glamoura new level by adding nudity to its already alluring form.photographer, you are in total control of your cameraGlamour became more sensual and sexy than ever.equipment, lighting, location, and the shoot.Today, many folks believe that being published inThe popularity of glamour photography is more evi-Playboy is the ultimate achievement for glamour photog-dent than ever. This book will help you achieve someraphers. While this is debatable, if you study the historysexy, sultry, seductive, and sensual images that glamorizeof glamour photography you will notice the significantyour subject while improving your glamour photogra-role Playboy played in the development of what we thinkphy skills. The key is to keep shooting. Practice, practice,of as glamour photography today—especially in the dayspractice, and your subjects will not only feel great aboutof Pompeo Posar, who shot over 65 published Playmatesyour images, but they will tell others about your abilities,and 40 published Playboy covers. Posar reinforced thewhich can help generate income from doing what youneed to maintain the class and dignity of the subjects aslove!well as the style of the image. Of course, Posar’s ownpersonal style also enhanced the status of being a glamour photographer—even today the “glamour” in glamour photography is probably why you’re reading thisbook. After all, who wouldn’t want to shoot for Playboy,or Sports Illustrated Swimwear, or the Victoria’s Secretcatalog?IN CONCLUSIONAdding a touch of glamour to your photography onlyrequires a will to learn, a passion to please your subjectCOMMUNICATIONWhen creating glamour images, be careful about how youcommunicate with your subject. You are the photographerand your model is the subject—it’s never a “male andfemale” shoot. When working with a woman in the studio,you have to respect her sensitivities. When I shoot glamour, I tend to have female stylists, so I give each model lotsof advice, but I try to do it while she is working with themakeup artist. This makes the subject feel more comfortable. A failure to take into account the sensitive nature ofwith gorgeous images, and an understanding that glam-this work is, I think, why glamour photography has some-our photography is about the subject rather than thetimes taken a bad rap as being tawdry and sleazy. So bephotographer.careful, considerate, and respectful when try
to propel the standards for top-quality glamour photog-raphy higher than ever. Sometimes I even call today's glamour photography style "flamour"—a mixture of fashion and glamour photography that leans into the fashion side of the image while maintaining the power of glamour. INCREASING POPULARITY Glamour is an alluring genre of .
