Lights, Camera... Nude!: A Guide to Lighting the Female Nude for Photography (3 page)

Photo 9: Umbrella, 20"

Model: Narzahni C.

Photo 10: Umbrella, 48"

Photo 11: Umbrella, 84"

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, but also has its role in nude photography. The kicker needs to be at least slightly behind (95-degrees, but not more than 135-degrees). Place the kicker on the same side as the main light for a more traditional look.

Photo 13: Separation Light

Model: Ariel W.

Rim
light
(a.k.a.
Rimmer
)
Placed behind the model, so that she blocks the light, a rim light points directly at the lens. Be careful that the model doesn’t move too much, or the light will hit the lens directly, washing out the shot.

Don’t point these lights at the lens without the use of a flag, or you’ll get lens flare or other defects. Barn doors can help control accent light; a diffuser with a deckled edge can blend the light’s edge. These lights can stand some overexposure and still look alright, but don’t let them burn out too much of your subject.

Light can come from many angles: above, below, side, front, and behind the model.

Light #1 is almost straight in front of the model, leaving few shadows and little to the imagination.

Model: Hope S.

Light #2 is positioned slightly to the side and shadows begin to appear along the side of the body.

Light #3 is at ninety degrees to the model; light and shadow divide the model down the center into almost equal parts. This can make a striking composition with a statuesque model.

Light #4 is slightly behind the model, only the sides of the model are lit. Cheek catches some light, as does the edge of the raised arm. Thinner parts of the hair near the edges are backlit. The face is mostly a mystery and the form is accentuated.

Light #5 is almost directly behind the model, and only her edges are lit. Only the part of the face turned towards the back light and the tip of the nose catch any light.

Photo 15: Bare tube