A gallery of my work organized by year.
This is a new set in my continuing explorations in shape, form, shadow and how it can be used to express the beauty and eroticism of the female form.
A vast majority of boudoir and sensual photography is shot with high key, or bright natural lights. I thought, what could you do with low key, soft lighting and a willing model? Here are a few of the images from a couple of hours of experimentation. No nudity, but lingerie is still NSFW in most places, so it’s behind the cut. Enjoy.
There are times when you have to put away the strobes and umbrellas and just let nature light the way. I love the softness of early morning light through the window and the way to caresses a woman’s skin. I hope you enjoy these photos as much as I enjoyed taking them.
With a camera, a bed, a red dress and my ever lovely wife, Wendi, how could I go wrong on a Wednesday evening?
Good scotch, a fine cigar, soft silks, a beautiful woman. What more could a photographer possibly want?
It’s not often I get another photographer in front of my camera, but I was blessed with that opportunity this weekend. Below the fold are the first few edits from a marathon 5+ hour session with this lovely lady.
Yep, they’re not safe for work. Nudity, tobacco and alcohol abound beyond the fold. I’m not sure which is more offensive to the prudes, to be honest.
What started as a simple lighting test to experiment with lighting angles, fabric textures and skin textures or muscle highlights ended up becoming a much more intense shoot than planned. As you’ll see from the images below the fold, the look is intense, textured, detailed and appears to have a fairly complex lighting setup.
What i used, however, is anything but complex. I used two speedlights inside 30 inch softboxes with radio slaves. For most shots they were set to 1/8 power and set perpendicular to and about 6 inches from the wall and about 3 feet from the model. They’re above the model’s head and tilted down to give a good wash of light over her body and still throw a soft hightligh on the wall. Because they’re softboxes insted of grids, i got a good highlight on the chains and cloth as well.
I would have preferred either larger softboxes or stip boxes to give me a fully parallel light rather than the downward cast light I have now. However, sofboxes large enough (72 or 80 inch would be perfect) would not have fit in the space we shot in and strip boxes that tall would have been almost as unwieldy and not given me the wash on the wall that I ended up liking very much.
The sescret to the complexity of the scenes is in the textures and contrast of the intricate cloth, the way it’s draped and the contrast with the wall behind it. The mix of hard chain with the soft silk of the cloth is mirrored in the intense textures in the model’s skin. Even the smooth skin of the lower back has an unusually pronounced texture.
I’ve included a quick snap of the light and prop setup that shows the space we were shooting in (my bedroom, in this instance). So jump into the comments and tell me how you’d shoot something like this or if this inspired you to shoot something, post it somewhere then come back here and etell us about it.
The images below are not safe for work. The nudity is mostly implied, but it bondage and eroticism isn’t implied, it’s right out in the open for anyone to seel.
The lovely Calamity Janet, one of my favorite redheads to grace my studio this year showed me how much fun several yards of yellow silk can be.
As usual, Not Safe For Work (NSFW). You’ve been warned.
These are the cooling towers for one of the nuclear power stations in Tennessee. I think this was the Watts Bar station, though we passed not far from the Sequoyah station during that same trip in 2011.
Edit: Eight more photos added. (8/14)
Edit 2: Two new and One re-edit posted. (8/17)
A few weeks ago, I got an odd e-mail about my Google+ community; Atlanta Photography being used for Trey Ratcliff’s Atlanta Photowalk. Sadly, if you’re reading this and weren’t there, you missed it. You can read the details here. People have been posting their photos to my g+ group with the tag #TreyUSA and #AtlantaPhotowalk.
Enough words though. You all come here for the same reason you surf the web and (if you’re old enough to remember them) buy *those* magazines. You know the ones I’m talking about.
So here are the first fruits of the Photowalk last night. There will be many more images added to this gallery over time. I took almost a thousand shots in 3-shot bracketed groups. HDRI is the focus of Trey’s work so of course I had to shoot for HDRi. I shot these at +2, 0, -2 stops which gives me somethign on the order of 16 stops of dynamic range (have to confirm that number when I can find the time.. it’s off the top of my head and may be even wider than that).
Enjoy the photos.
With every shoot I do, I make an effort to revisit the shoot after some time has passed in order to look at the shots with a fresh eye. I’ll also do this after developing a new technique or just to experiment and see if I can come up with anything neat or show worthy.
I added quite a few images to the gallery of my low-key experiment shoot with Corrie back in January. Some of the new images are, in my opinion, my best low-key work to date, though there is one stunning high-key image included. I just can’t seem to get away from bright lights and hard shadows.
So, sit back and enjoy the show. I’d love to hear from all of you with comments, criticisms, suggestions or anything else you want to say or ask.
The gallery is behind the cut because, as you should already expect from me, they’re Not Safe For Work (NSFW).