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Photographing Women contd.

…always expect to get some nice shots, but these alone would not do justice to the individuals. I owe it to them and myself to do a good job, and that means getting the right training.

Over the past three years I’ve attended courses run by several highly respected photographers. You might find them helpful also:

Chris Burfoot, now working under the auspices of the Royal Photographic Society www.rps.org introduced me to the use of studio lighting for both low and high-key art nude and portrait photography. One of his tips I try to follow is using “the squint test”. By squinting, a photographer is better able to judge the effects of light and shadow on his subject. As light is the foundation of all photographic work, it’s crucial to get this right – especially when taking low-key images.
Dave Newman from Salt Lake City www.dave-newman.com helped my understanding of commercial portraiture and how to deal with individuals of all ages, shapes and sizes. I particularly remember his advice on the notorious double chin problem. “Get the model to try to touch the camera with her nose, leaning forward, NOT upward.” Standing slightly above the subject and shooting downward while the person tilts up toward the camera also works.
Trevor and Faye Newbury’s sessions on posing and boudoir photography www.yerburystudio.com were very different and particularly good in their use of natural light. I also gained a deeper appreciation of how best to photograph women in classical and sensitive poses.

I’ve also attended “Superclasses” run by The Societies - the collective name for eight professional photographic bodies operating under the banner of the SWPP (Society of Wedding and Portrait Photographers). Their superclasses are the premier tuition events at the annual convention in London, to be held next in January 2012. See www.swpp.co.uk/convention.

Keeping it Natural

In the world of fashion and glamour there are two fundamental styles. I’d describe the first as brash, in-your-face, and always seeking physical perfection – often involving software-assisted solutions. The alternative – and my choice, is to create more natural, intimate and softer images that capture the essence of the individual. When shooting art nudes, I work on the premise that the model should feel able to show all the photos to her family with pride and without embarrassment.

My approach is more demanding, but can be more liberating, too. A sensitive photographer can produce wonderful shots of more mature women, who often have a great deal of character and more variety of form to offer. Overall, I find my photography of women to be a very rewarding experience and hope that those I work with feel the same.

One of my specific objectives for the future is to experiment with prints in order to discover which photographic and fine art papers work best in capturing mood and atmosphere – regardless of whether the shots are in colour or monochrome.

Ed: SWPP member Chris Orchin uses a Canon D50, which he loves -- partly for its ability to deliver superb shots in low light. We hope Chris and other shooters will also love our new 2012 range of giclée papers and canvas. Read more on Facebook at Christopher Orchin Photography or at: www.chrisorchinphotography.co.uk

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