Page created December 4, 2005
Sitting date:  October 24, 2005

 

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I like this kind of lighting -- it's something I haven't done in a while.  Basically, there are two smallish soft boxes on either side of the model, positioned further towards the back wall.  I've often stated that I dislike single-light source setups, because I don't like how the unlit side of the model disappears into a dark background, but with two light sources, you get a better appreciation of the three dimensionality of the subject. 

 

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I'm a big believer of eye contact in photography.  In fact, I remember Jessica & Betcee teasing me about that when I requested eye contact during Betcee's second sitting a few months earlier.

But perhaps it is more accurate to say that I strongly dislike the "model staring off into the distance" images, including the "modeling looking out of a window" cliché.  I dislike these images because the model appears disengaged from the photographic process in general and from the photographer in particular.  I always wonder what the model is looking at.  I wonder at the relationship between the photographer & model, and in particular why is the model ignoring the photographer?  Therefore, I usually ask for eye contact, or failing that, I want the model to give her attention to something within the image frame.

(This is a sitting favorite.) 

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The problem with eye contact while using this kind of lighting is that it often looks terrible -- this is one of those setups where light that is terrific for the figure is awful for the face.  I love how the light caresses Betcee's figure -- I even like the shadow of her hand on her hip.  But if her face was turned towards the camera, her face would have been in shadow.  We solve this by turning Betcee's face more towards one of the two light sources.  We avoid the "modeling staring out into the distance" stuff I dislike by keeping her eyes aimed low (and with this light, that looks good on her face; if she had raised her chin, we would have gotten Boris Karloff lighting).

I really like how this lighting highlights Betcee's curvy figure.

 

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A graceful pose from Betcee.

In my opinion, beginner photographers don't care about this, but intermediate & advanced photographers do:  there needs to be a tonal separation between your subject matter & the background.  That's why I dislike the single light source shadowy images -- the unlit side of the model can disappear into dark backgrounds.  Here, you can see all the edges of Betcee's figure; they are distinct from the tonal range of the background behind. 

 

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I don't do figure close ups nearly often enough.

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Much as I like fine art figure studies, it can be limiting.  I quickly run out of ideas, so we move on.

What's next?  When I spent some time with Betcee during her second visit, she had mentioned that some of the mild fetish stuff appealed to her -- in particular, she liked some of the leather products I had been using.  It's not something she did often, but she had done it before, only with photographers she knows & trusts.  We try some. 

This sitting continues with Naughty Betcee

 

(Remember -- feedback is always appreciated) 

All images (c) 2005 Looknsee Photography

Betcee Third Visit Out Takes

Over 100 more images from this sitting are available in the Out Takes Galleries.  These galleries are available to those who have made a donation to the upkeep of this web site.  See this FAQ question for more details.

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