Grey - Chris Greys lighting techniques for beauty and glamour: a guide for digital photographers

ABOUT THE AUTHOR

Christopher Grey, an acknowledged world-class photographer and Master of Light, describes himself as husband, dad, photographer, author, educator, lover of bad science fiction movies, jazz fan, average golfer, poor dancer, voracious reader, unfulfilled comedian, and occasional village idiot. All are true.

Copyright 2011 by Christopher Grey.
All photographs by the author unless otherwise noted.
All rights reserved.

Published by:
Amherst Media, Inc.
P.O. Box 586
Buffalo, N.Y. 14226
Fax: 716-874-4508
www.AmherstMedia.com

Publisher: Craig Alesse
Senior Editor/Production Manager: Michelle Perkins
Assistant Editor: Barbara A. Lynch-Johnt
Editorial assistance provided by John S. Loder, Carey Maines, and Sally Jarzab
ISBN-13: 978-1-60895-234-2
Library of Congress Control Number: 2010904520

Printed in Korea.
10 9 8 7 6 5 4 3 2 1

No 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 authors experience and opinions. The author and publisher will not be held liable for the use or misuse of the information in this book.

Check out Amherst Medias blogs at: http://portrait-photographer.blogspot.com/

http://weddingphotographer-amherstmedia.blogspot.com/

Well, by gosh, by golly (as we French Russian Danes like to say), heres another one from Ol Brown Eyes.

I had so much fun with this book. I have to tell you that it really stretched me as an artist and photographer, forcing me to flesh out new ways to work with lights and lighting. I hope you play and learn from each and every one of the new techniques Ive laid out, as I did when I thought them up. We, an industry of photographers dedicated to creating memories above the norm, must continually evolve to meet the rising expectations of our clients. Visual mediocrity, perhaps even corporate death, awaits us if we do not, and we simply cannot let that happen to the business we love and cherish, our creative calling.

My models and makeup artists, along with others who helped me on this voyage, deserve recognition and, as always, Ill list each of the talented contributors who freely gave of their time to help me with this project. You should also know that there are a number of models who were photographed at the outset of this project but whose images did not make the cut because their shoots were tests, an error on my part, or because I found easier or less expensive ways to accomplish my goals. Though they remain anonymous to you, they have my profound thanks for their efforts.

This was a huge project, and there are lots of people to thank. First, the models who put up with my mumbling to myself as I thought a shot through: Courtney Agar, Tanya Anderson, Denise Armstead, Tristy Auger, Gianna Alvarez-Avelli, Sandra Avelli, Katy Becker, Lola Bel Aire, Michelle Blonigan, Melissa Buche, Victoria Bugayev, D. Carmen, Angela Christianson, Veronica Clark, Laurel Danielson, Jillian Devona, Kelsey Eliason, Laura Erchul, Cassie Glover, Tammy Goldsworthy, Liz Grey, Anthony Hennigan, Victoria Holliday, Laura Hughes, Courtney Johns, Andrea Jones, Brooke Keys, Kangla Khang, Katie Krall, Erin Kromer, Christa Lillehei, Erin Magnuson, Kari Maiorino, Michelle Malinski, Erin Nauman, Kathryn Nelson, Katie Netherton, Julie Nielsen, Tammi Rose, Sahata, Faith Samson, Margot Scheltens, Rachel Schutz, Margaret Sinarath, Marlee Southam, Evangeline Stacy, Aleta Steevens, Cassie Streich, Kay Tuveson, Anne Ulku, Alexandra Vang, Liliane Vangay, Sarah Whiting, Kaesha Williams, Ily Yang, Linda Yang, Pa Nou Yang, and Ying Yang. To all of you, my deepest thanks and appreciation for your time and your talent.

As always, the makeup artists are the unsung heroes of the studio (I wrote a chapter on the topic in Christopher Greys Advanced Lighting Techniques). Without their help, youd be looking at 120+ pages of beautiful women with shiny faces. Special thanks to: Sandra Avelli, Nicole Fae, Sarah Morrison, Jennifer Holiday Quinn, Nahla Sonbol, and Derkie Thor. You are, in one word, fantastic.

To my buddy Joey Tichenor, thanks for another great author photo. Joey tells his clients that Ive taught him everything he knows. Doubtful. I may have taught him how to make things work, but his vision is entirely his own. Joey does terrific work, with a personal twist thats interesting and very entertaining, and you can check it out at www.jtichenorphotography.com. For this, Joey, you owe me lunch.

To Sue, my beautiful wife, thanks once again for not just putting up with my sometimes ridiculous schedule but actually encouraging it. I dont think Im done yet, so please dont lose that attitude. And to Liz, our beautiful daughter. You two wonderful people inspire me more than you know.

The female of our species has been the subject of artistic expression since the first artist scratched a stick figure on a cave wall. Artists have gotten better since then, thankfully, and with the advent of photography, the range of artistic expression grew exponentially. Even so, the objective behind our fascination with women is exactly the same as it was for that first nameless artist: to create a work of art that represents our subject in a beautiful and attractive way that will transcend time.

I gauge the success of my portrait photography on the number of people who jump up and down or shed a tear or two when they look at a final print. Under that criterion, Ive been very successful because Ive predicated that success on a number of factorssome personal and some technicaland Ill do my best to explain them to you over the course of this book. Both will take practice on your part, as well as a commitment to challenge yourself to produce progressively better work.

Nudity is frequently a factor in beauty and glamour photography. Even though Ive enjoyed the challenge of photographing the nude since I began my career, Ive avoided including such images in this book because I want to reach the largest audience possible, and some venues would not carry this book if certain body parts were represented. Rest assured that any of my lighting techniques will work as well on an unclothed figure. Its up to you as a photographer and visionary to form your concepts and decide how they would be best represented.

As with every aspect of photography, there are many subcategories that tag along. For beauty and glamour, one might call some work Maxim style, after the popular and titillating mens magazine. Boudoir photography typically describes a sexy image made for a clients significant other, while goth glamour and fetish glamour explore possible darker sides. Well take a look at some of these styles, and how they differ from each other, to give you an idea of whats out there or to help you find your direction.

I heard a story, many years ago, from an internationally recognized photographer and friend who had photographed a womantastefully, artistically, and in the nude. The images were of sufficient quality to be included in a book of his images. Unfortunately, the woman died in a tragic car accident shortly after the book was published. The womans mother confronted the photographer and sought to take out some of her anger over her daughters death on him. The photographer, who had not previously heard of the death, was distraught (as you can imagine), but he spoke to the mother about the freedom, the joy, and the cathartic experience his model had as she was being photographed as she had requesteduninhibited and in a safe environment. All I could say, he said, is that the photographs would keep her young forever.