I want to show you how to create art nude images and how to read and evaluate art nude photographs.

 

The photographs in the book I have taken over a period of time and I have selected them to show powerful techniques for creating amazing photographs.

 

My photographic methods are simple and are very easy to duplicate in your own work.

 

I will teach you how to evaluate an image.  You will be able to look at a photograph and assess its qualities.   You will be able to see why some images work well and others lack impact.

 

My photographic methods are simple and are very easy to duplicate in your own work.

 

I will teach you how to evaluate an image.  You will be able to look at a photograph and assess its qualities.   You will be able to see why some images work well and others lack impact.

 

 You will learn about the thinking behind images; how to read the image and techniques you can use in your own photography.

 

This is an intensive look, combining Thinking, Seeing and Acting.

 

This book contains 70 colour and black and white images - each image fully described and high resolution.

 

 For each image I break down the discussion into Thinking, Seeing and Doing.

 

Thinking talks about the theory part - maybe the concept or  the purpose.  For example:

 

How can we introduce additional senses into a photograph?

 

Why would you introduce bad optics into your shooting?

 

What do your images say about body image?  

 

How to capture emotion and how to use to add power to your photographs

 

Introducing movement to still photographs - different methods for different reasons

 

Many of these questions cover artistic and aesthetic questions.    You probably already can capture technically perfect images most of the time.  Now it is time you for you to learn how to take your thinking and your images to the next level.

 

 

 

The Seeing section discusses the actual visual aspects of the image.

 

You will understand how to critique an image at the level of composition, framing, processing.  You will apply those skills to your own images to create more interesting images with immediate impact.

 

For example:

 

When to fill the frame

 

When to leave the frame empty

 

When to centre in the image

 

When to use the "rule" of thirds

 

Why the rule of thirds is nonsense

 

Use of dutch crops and other devices

 

Position of arms and legs within a frame

 

Ideal cropping points

 

Colour theory and practice

 

Takes you through the real, practical aspects of getting a shot.  

 

This is real world advice from my direct practical experience as a professional photographer.     These are clear and purposeful tricks, tips and techniques you can directly apply to your own work.

 

You will get directly useful tools you can use immediately in your own shoots.  

 

For example:

 

How to manage flash and slow shutter speed

 

When and how to use incorrect colour balance

 

Easy post processing for dyptychs and tryptychs

 

Managing sunlight on location

 

Relative lighting positions

 

Contra-luminal lighting

 

Core lighting technique

 

THINKING:

 

It was the painting of Napoleon behind the doors that really got me working on this image. Because of its location in a corridor the only way to shoot it was through the doorway. That in turn immediately meant the doors had to be made into a significant part of the shot.

 

SEEING:

 

The most obvious feature of this shot is what contrast of Raphaella's curving figure against the straight lines of the doorway. The strong verticals only serving to emphasise the sensuous feminine curves.

 

The perspective effect with the doors opening away from camera then give a range of leading lines that all point back into Raphaella. The eye is continuously brought back into the central figure.

 

Raphaella's hand reaching up to the left brings the viewer's eye up to Napoleon behind (notice how the hands shapes echo each other). There is also an echo of Raphaella's bum in the horse's rear; and blonde hair flowing down the back repeated in the horses flowing mane.

 

Napoleon and Raphaella are obviously looking at each other bring the background picture out into the main story.

 

DOING:

 

You can just see the edge of an enormous table lamp below the painting, I have used Raphaella to hide this distraction as much as possible. I use this technique often on location. If there is something unwanted in the background, can I use the model and/or camera position to hide it?

 

Shooting with a long lens to avoid distortion in the doors was vital here and the camera height is down at hip height to give a direction upwards to Napoleon.