Veronica's

Do it Yourself
Glamour Photography

Important Note: If you're interested in becoming a conventional model (NOT an adult model!) check out these sites which will tell you how to become a model or actor and how to avoid scams that plague the industry. The Acting Modelling Information Service has excellent advice for aspiring models and actors. AMIS also publishes a book of LEGITIMATE talent agents and managers in Canada at a very reasonable price; this book also has advice on getting into acting, extra work etc. The National Arts and Disability Center promotes adults and children with disabilities in the media, performing and literary arts. Excellent resources for disabled actors at this site. The Screen Actors Guild (SAG) has an information brochure concerning hiring and working with disabled actors. If you're working or would like to work in New York City, the Mayor's Office of Film, Theatre, and Broadcasting has info on working with performers with disabilities. You can also check out the film and theatre activity at this site.

Introduction to Glamour Photography

Need sexy photos of yourself or a loved one? Read the following and find out how you can do-it-yourself. We've also added a special section of tips for male models here.There is also a page of free photo/video image viewing/manipulation/editing software here.

You'll find a few sites on the Internet where people (mainly women) sell photo sets of themselves. Here are a few of them (most are classified adult!!!). Please note that we're not promoting these sites or saying that they're good or bad; you'll have to decide that for yourself. We're just listing them so you'll know what's out there:

Southern Charms This site has lots of models, most able-bodied.
Gimps Gone Wild Photo sets of disabled models, female and male, for sale

You might also want to take a look at Garage Glamour a meeting place for glamour models and photographers. See what others have done and take part in online discussions about glamour and nude photography.

For those who want to get into the adult video market see Adult Video News (AVN) which has lists of distributors, producers etc. and lots of other info. Check out the "Industry Directory" and "Forums" under "Resources" on the menu bar on the right side of the AVN page.

Now here's how to get started taking photos:

Glamour photography is the art of creating a provocative, sexual image of the model. I'll discuss some basic lighting techniques and set preparation which will improve your photography.

Basic Photo Techniques

For a very simple setup that is good for point-and-shoot cameras try covering a sunlit window with tracing paper or a white shower curtain for a source of diffuse light. Opposite the window set up your reflector (use a large piece of white styrofoam insulation available from a building supply). This will give very soft flattering light that is very forgiving. Use the telephoto setting of your camera to give a more flattering effect (the wide-angle tends to distort the body when you're working close to the person).

When working with a model in the studio, the most flattering light is the diffuse bank light. This is one or more lights diffused by a large sheet of translucent plastic. Some photographers use a white shower curtain, my own preference is matte plastic drafting film. Make a light weight wooden frame and attach the film with double-sided tape. A white reflector can be used to bounce light back onto the shadow side of the face to reduce contrast. Light from a diffuse bank wraps around the model giving a soft, three-dimensional effect. This type of lighting also tends to hide small wrinkles, pimples and pores. Experiment with the light and a reflector at different positions to find the best effect. Note: Always make sure there is a highlight in the model's eyes. A highlight in the eyes adds sparkle and life to the photograph. If you find that you do not have a hightlight in the eyes, you can add a highlight with this simple method. Mount a white card on a light stand several feet behind the camera and light it with a single medium power light. The light reflected from this card will not affect your lighting set up appreciably, but the image of the card will be reflected in the model's eyes, adding the hightlight.

If you would like to see the type of equipment professionals use for lighting control see the Lastolite company's website. This British company makes a wide range of diffusers, reflectors and backgrounds for both still photography and video. The products are well-made and competitively priced. Check out Photoflex photographic lighting. They sponsor The Web Photo School which has a few free lessons available at their site. You can make your own lighting control equipment, of course, as described in the previous paragraph.

A few words of explaination here. The main light is the light which provides general lighting for the scene. When working outside it is usually the sunlight. A backlight is a light that is behind the subject pointing towards the camera. With backlights, a lens hood is used to keep direct light out of the lens. You want the backlight to light the subject NOT the camera. Finally, fill lighting is used to add light in shadow areas caused by the main light. Usually you want shadows to give form to the subject but not pure black ones. A small light or reflector will lighten shadows enough for most purposes. You can make simple lightweight reflectors from pieces of white sheets of foam insulation. Increase reflectance by taping aluminum foil to the sheet.

I use backlights to separate the model from the background and to add a bit of sparkle to the photograph. The backlights also add a dimensionallity to the photograph. For a photograph of the face or upper body, one backlight positioned overhead is usually sufficient. For a mid-length photo, use three backlights, one overhead and one to each side. To prevent flare from direct light hitting the lens, shade the lights with gobos (black cards) and use a lens hood. You can make your own low cost gobos by covering a light weight wooden frame with black cloth or use stiff black cardboard; LetraMax Super Black board is a good choice, available at art stores. Hold the gobo in place with spring clamps available from your local hardware store; be careful though, if you're using artificial light, that you don't get it too hot and set it on fire! If possible use a focused beam of light, such as a spot light or a slide projector, for your backlight. You can also place coloured filters in front of your backlights to produce interesting effects. You might also wish to try a cross-star or diffusion filter on your camera lens, to soften and spread the highlights. For a low cost diffusion filter purchase a gelatin filter frame holder and use a piece of clear polyester or acetate plastic cut in a 3" square. Various degrees of diffusion can be had by spraying the plastic with plastic spray or by scratching the surface with abrasive cleaner or sandpaper. Always use filters sparingly. The indiscriminate use of filters will lead to gimmicky photographs. Don't use colour filters on your main light source. The main light source should be white light (as seen by your film) to give the viewer a key with which to judge the other colours in the photograph. You can find more information about filters for your camera at the Lee Filters website. For different filtering materials and reflector material see the Rosco Laboratories website. Rosco makes Roscolux, a low-cost filter available by the sheet, intended for use with stage lighting. Comes in a wide range of colours. They also have fog machines and other interesting stuff.

A short note about Playboy centerfold photography. I was recently reading some articles by photographers who began their photographic careers at Playboy magazine. Although I knew a bit about the photo shoots there, I discovered that the photographers are incredibly careful about the lighting, using up to 12 flash heads for the centerfold shot (many other photographers use just 2 or 3 flash heads for glamour shots!). Photographers light by a "formula", carefully metering the ratios of the different flashes and using filters (see Lee and Rosco references previous) to "warm" selected light sources. Playboy type lighting is complex, requires expensive studio flash equipment and takes alot of time and planning to set-up. Playboy features excellent photography, but don't become discouraged if your work doesn't look like theirs!

Using simple props to create mood

A simple set can be prepared from a chair, table and some pieces of fabric. By using a couple of carefully selected props, you can suggest a location or mood without detracting from the model. Diffuse bank lighting tends to fall off rapidly in intensity as distance increases.

If your camera has a zoom lens, set it at maximum zoom when taking photos of models. Using the lens at maximum zoom (long focal length) has the advantage of keeping arms, legs, body and head in proper proportion. It also gives you a reduced depth-of-field (the depth that objects remain in acceptable focus) which puts distracting backgrounds out of focus (assuming of course that you focus on the model!). Don't use the lens at minimum zoom (wide angle) as this will distort the proportions of the limbs and head. For an excellent but somewhat long article on photographic lenses and how to use them see the Nikon web magazine page on Lenses. For examples of how perspective is changed by focal length look here and here for examples. If you're still confused try taking a few shots with your camera at different zoom setting and from various distances; this should clear up any confusion.

Use a dynamic pose with the model; the model should look active, as if she is about to move. Tilting the head slightly forward strengthens the chin line and avoids the problem of looking up the nostrils. Watch out for the hands! A nervous or inexperienced model will sometimes clench her hands into a claw shape or hold her hands at an awkward angle. Fingers should generally be together and follow a body curve. In glamour photography the model should look toward the viewer. Unless the model has excellent teeth, she should keep her mouth closed. Try using chairs,tables or other props to help the model work out a dynamic pose.

Here are a few set decoration suggestions that can be used to create a photogenic set quickly and easily. Try these at home before you go on location.

If you have an overstuffed chair, put a blanket over it then cover with a large piece of satin for velvet fabric. Have the model pose in the chair and shoot in close so that the chair fills the entire frame. The soft curves of the chair tend to enhance the softness of the model.
A single ornate chair is an effective prop. Allow the background to go dark. Try the chair in several different positions: back toward the camera, back away from the camera etc. If the chair is chrome, try a star filter on your lens to make the chrome highlights into stars. Tip: A quick substitute for a star filter is a piece of aluminum window screen held up close to the lens, for diffusion try a piece of sheer black hosiery.
An entrance to a bedroom or living room can be used. A small ornate table or chair against the wall just outside the door, the model standing in the door, backlit against the darkened room.
Use a piece of fabric for a backdrop: suspend it from the wall and forward onto the floor. Use a few small pillows for contrast.
Decorate a corner with a small table, chair and lamp. A small light concealed behind the model will give enough backlighting for a dramatic photograph.
If you are using a large room try putting a chair in the center of it and have the model pose in the chair. Reduce any spill lighting so the background goes dark (use black cards on stands). This photograph will show a bright model against a moody and suggestive background.
A trunk full of clothes. Pose the model in front of an old trunk full of clothes, on a rug. Different colors of clothing can be used to set off the model's features. This setting allows for many variations. In the background hang a blanket or a drape.
Bathrooms sometimes make nice setting although it can be crowded. To light a small bathroom, aim your lights at the ceiling. A small, diffused light on your camera will help to lighten any harsh shadows and put a highlight in the model's eyes. Be careful of hot lights and electic cords with the water around. Hot bulbs splashed with water can explode and wet hands can cause shocks! Try taking a photo of the model in the mirror. This gives you an increase in distance in tight situations. If you use an autofocus camera, it is usually best to focus mirror photographs manually; the mirror will fool many autofocus lenses. Mineral or baby oil rubbed into the skin will make water bead up. For longer lasting droplets of water, mix glycerine (available at most drug stores) with water and apply with a pump spray bottle.
High shot. If you have access to a balconey or a high point, place a large rug, blanket, sheet or comforter on the floor and have the model lie down on it. Shoot from above.
Window shot. Cover a window with tracing paper (on the outside) and have your model pose on the window sill. Use the drapes and stuffed toy animals as props. Use a flash for fill if necesary. Tracing paper on a window is also a good way to protect your privacy if you want to use natural light. You can get tracing paper by the roll at a local art or drafting supply store.
A spare window or a door with a window in it can be used to frame a model. Have the model look out through the window. Lighting this type of setting takes a bit of time but is well worth it.
Hang gauze or netting from the ceiling and have the model play with it. You should have enough so that it piles up on the studio floor. Backlight the gauze or netting with spotlights. By using colored gels (filters) on the spots and by having the model move the gauze, you can experiment with many different effects.
If you have access to a fireplace, either real or fake, try the following. Pose the model in front of the fireplace and shoot from the side (in other words, not looking directly into the fireplace). In the fireplace put a light (tungsten photoflood or flash) without a reflector (bare bulb). Crumple some gold or orange foil and place it at the back of the fireplace to reflect and color the light. This set-up simulates the light of a fire without the trouble of actually starting one. IMPORTANT: If you decide to use a real fire, please remember that many fabrics used in lingerie and other clothing can catch fire easily.
If you're stuck with a busy background, open up your lens and move in close to the model. This will throw the background out of focus. You can also increase the amount of lighting on the model and let the background go dark.

Beginners often make the mistake of trying to capture everything in a single photograph. They end up with a tiny image of the model surrounded by a profusion of colours and shapes. Use props sparingly and work in a relatively small area. Look at other photographers' work; you'll find that the best shots are tightly cropped. To see the effect of cropping on a photograph, make up a set of cropping squares. Cut out two 'L' shapes from black cardboard with each arm of the 'L' 25cm in length and 5cm wide. Use the cropping squares to block out areas on your proofs or contacts to see the effect of tight cropping. ALWAYS TRY TO FILL THE VIEWFINDER WITH THE MODEL UNLESS THERE IS SOME COMPELLING REASON NOT TO. USUALLY YOU'LL ONLY PHOTOGRAPH PART OF THE MODEL, SO DON'T BE CONCERNED ABOUT NOT HAVING THE ENTIRE MODEL IN THE FRAME.

I hope that this short introduction to glamour photography will help you to improve your photos. Collect and analyze photographs that you admire and try to determine the methods used to create the photograph.

Poses to Correct Face or Figure Problems

The following poses are grouped according to the face or figure problems that are hidden or minimized. All models have face or figure problems of various degrees so this list of poses should be useful in most situations. Keep in mind that you can also make up your own poses: this is by no means an exhaustive list.

Face

In general, the model should not cover parts of her face with her hands. Keep the neck relaxed and if the model is leaning toward the camera, have her lean from the waist.

Wrinkles or Poor Complexion - light the face evenly with soft diffused light and have the camera on the same level as the model's face. She should face directly into the camera. One method popular with fashion photographers is to seat the model at a table, place a white card flat on the table and bounce light off the card upward on the model's face. This lightens the underside ofthe nose, lips and eyes. If you're shooting with black-and-white film, reddish discolorations (acne, pimples etc.) can be subdued with a red filter over the lens.

Prominant Nose - photograph the model straight on with your camera slightly above the model's eye level. Use soft lighting to reduce shadows around the nose.

Double Chin - the model should tilt her head slightly downward and the camera should be above the model's eye level. Also try a pose with the model resting her chin on her hand (she can also hold a hat or flower) The model should NOT put any weight on her hand since this would distort the face. When posing like this keep the thumb side of the hand AWAY from the camera; the little finger side of the hand should be toward the camera. Lingerie with a high collar or a towel can be put around the neck to hide a double chin. In some cases tilting the head back and putting the neck under tension will help. Finally, if you are shooting a profile of the model's body, have her turn her head toward the camera. Use her forward shoulder to hide her chin. If she has long hair, bring some down across her face in front of her chin.

Strong Chin - keep the chin straight on to the camera or have the model tilt her head down slightly.

Wide Face - photograph the model with the face at a three-quarters view (slightly turned away from the camera). You can also increase the lighting contrast and allow the side of the face away from the camera to become darker. If the model has long hair, try bringing some around in front to cover part of the face.

Narrow Face - have the model tilt her head forward and shoot from above eye level. the face should be lighted evenly without shadow. Shadows can cause a narrow face to look gaunt.

Small Mouth or Thin Lips - have the model open her mouth slightly. This is one case in which the hands may be used in front of the face. Have the model put her finger on her lip or her hand across her mouth (as though she is giggling). This will help to hide a small mouth.

Poor Teeth - instead of smiling, have the model open her mouth SLIGHTLY, just enough to show the smallest amount of teeth. Try smiling with the mouth closed.

Arms and Hands

Don't photograph the model with her armpit turned toward the camera or with one arm too near the camera. An arm too near the camera can cause it to look large in relation the the rest of the body. The model should keep her fingers extended and together (it looks more graceful), with the side of the hand toward the camera.

Sagging Upper Arms - try draping a piece of material across the shoulders and down over the upper arms. A shirt open at the front and down in the back will also hide the upper arms.

Unattractive Hands - hold hands under a piece of chiffon (see-through) material. Remove jewelery which can attract attention to the hands. Long gloves can also disguise hands while giving an elegant appearance.

Breasts

Large or Sagging Breasts - support the breasts with folded arms or a cushion or pillow held under them. The hands and arms can be raised over the head to raise a large bust line. An open mesh top or teddy can help support the beasts while still showing them off. The model can also use her hands to support the breasts. If the model is in a seated or reclining position, she should try squeezing her arms together. Finally, she can lean over so that the breasts hang downward at a pleasing angle.

Small Breasts - try making the lighting slightly contrasty, overhead and to one side. Also, have the model squeeze her arms together to force a bit of cleavage.

Uneven Breasts - pose the model in a three-quarters position (slightly away from the camera) and hide one breast with a scarf or shawl draped over one shoulder.

If you encounter any real problems with breasts, try draping a see-through piece of fabric over the model's chest. Backlight or frontlight to give definition to the body without showing detail. You might need to experiment with this technique a little to achieve the proper lighting and fabric placement.

Stomach

Protruding Stomach - try holding a pillow or a piece of lingerie in front of the stomach. If the model bends (arches) backwards, it will sometimes correct a slightly protruding stomach by putting the abdominal muscles under tension. Sometimes lying on the back will solve the problem (try a pillow or cushion under the small of the back for this pose). Try pulling a towel or blanket tightly around the body at waist level to keep body fat under control.

Stomach Scars - drape a piece of see-through material over any scar area. This will help to diffuse the light and hide the scar.

Legs and Hips

Have the model angle her legs and hips away from the camera. To add interest to the pose, one leg should be bent at the knee. A small box can be used under one foot to raise it.

Heavy Legs or Thighs - try wrapping a towel or piece of lingerie around the waist and let it drape over the thighs. For a seated pose, cover the thighs with a cushion or pillow. In cases where the thighs cannot be covered, have the model cross one leg over in front of the other. In lying down poses, shoot the model at a low angle from her head looking toward her feet. The low angle makes tha waist, thighs and legs smaller in comparison to the upper body.

Buttocks

Sagging Buttocks - try draping with a scarf or lingerie. The model can also use her hands to shape and raise her buttocks. In a seated position, use a cushion or pillow to hide any sagging.

Discolored or Pockmarked Buttocks - drape with sheer fabric from the waist and back or side light. This will allow the shape to show through but not the color or texture. Experiment a bit with this method to achieve the proper effect. If only slightly discolored or pockmarked, use soft light and try using a warm filter over the camera lens (light amber or orange)

Body

Too Heavy - determine which part of the body is best. Wrap body in sheer fabric and expose the part that you or the model considers the best.

Too Thin - pose the model in a "folded-up" postion (i.e. legs drawn up, arms folded, head down on knees) and shoot close in. The idea is to downplay the thinness by reducing the space around the model.

Consider other possiblities also. For example, if the model has a good face with dark hair and good features, try overexposing the photo with slight diffusion over the lens. This technique will help to eliminate uneven skin colors. Also bright backlighting on the figure with light mainly on the face. This has the effect of preserving a good figure but subduing detail.

Tips for Male Models

Males can be photographed in more directional, contrasty lighting to show off muscles. When you use directional light you will most likely need to pose a bit more carefully since even a slight change in position can alter how the light plays across the skin and muscles. You may need to use a bit of talc powder on the skin to cut any shine and prevent glare. Look in body building magazines for examples of this type of lighting. As with women, you can hide unphotogenic areas with carefully placed clothing. Try using sports equipment, weights, tools etc. as props. Rough surfaces such as tree bark, stone and concrete make excellent backdrops for the male figure. Haircuts should be done a day or two before you shoot so that it has time to lose that "just cut" look.

Want to make your penis look larger? Of course you do, it can never be too large, can it? Try shaving the pubic hair directly above the shaft and carefully trimming the rest (of the pubic hair, that is). This will make you appear slightly larger in the photos.

If you're shooting photos with a female partner, have her hold your penis; women usually have smaller hands than men and you'll look larger. BTW A trick to use when you have trouble finding a female to do a shoot with is find a female willing to provide a hand only. Have her wear a latex glove covered with lace glove (you can get black or white lace gloves at most bridal shops fairly cheaply). It looks good and only her gloved hand need appear in the photo.

Another method, used years ago when censorship laws prevented showing erections, is to pull the erect penis into its normal flaccid position making it appear larger. You tie a thin, flesh-colored thread or string just behind the head of the penis and run the string between your legs. Get an erection, how you do that is up to you, then pull on the string until your erect penis assumes its non-erect position. In the photograph it will look like you have a very large, flaccid penis. The only downside to this is that if you want to shoot some photos with an obvious erection, it won't look like it gets very large compared to your normal size.

Need a "cum" shot? Try using egg whites as a substitute if you run out of the real thing.