HPBooks Pro Techniques of

c
Beaufrj &, Glamour
PHOTOGRAPHY
Gary Bernstein
 HPBooks®

Pro Techniques of

c
Beautu Glamour &
PHOTOGRAPHY
Gary Bernstein

NOTICE: The information contained in this book is true and complete to the best of our knowledge. All
recommendations are made without any guarantees on the part of HPBooks. The author and publisher
disclaim all liability in connection with the use of this information. All photographs copyright 1985 by
Gary Bernstein.

Published by HPBooks, Inc., P.O. Box 5367, Tucson, AZ 85703 (602) 888-21 50
ISBN:0-89586-364-2 Library of Congress Catalog No. 85-60457
©1 985 HPBooks, Inc. Printed in U.S.A.
2nd Printing
 Publisher: Rick Bailey
Editorial Director: Theodore DiSante
Editor: Vernon Gorter
Art Director: Don Burton
Book Design & Drawings: Kathleen Koopman
Typography: Cindy Coatsworth, Michelle Claridge
Book Manufacture: Anthony B. Narducci

THANKS
I'm sincerely grateful for the generous help given by many
individuals and companies.
Special thanks to:

Thomas Slatky (represented by Lee + Los Angeles)— for his sure hand and quality retouching;
Lou of
A& I Labs., Inc. Hollywood, California— for fine transparency duplicating services;
Alfa Color Labs, Inc., Gardena, California— for color printing services;
Kay Sutton York— for her creative contribution

DEDICATION
For Iris

FOREWORD
One feels deeply honored when asked to do something that bears a great
deal of responsibility. It is especially meaningful if that responsibility is to a
friend.
During the past 22 years I have looked at a lot of lenses. Fortunately,
most of them were on movie cameras. I always felt comfortable. However,
Inever felt relaxed in front of a still camera— maybe because it captured
"moments," many of which were private. The photos usually ended up in
one of our notorious tabloids or movie magazines, with some silly caption.
Having a simple photograph shot for GQ
magazine in 1979 sounded
easy enough. For most, it would have been. For me, it was like going to
the dentist! I arrived feeling uneasy, expecting the worst. Being basically a
shy and introverted person didn't help.
As soon as I met the photographer, I felt a little more comfortable. We
began to shoot— and we talked football, hunting, fishing and about the
business we're both involved in. From pictures of personalities he had pho-
tographed in the past, I could tell that he was fantastic at what he does.
I left the studio feeling good about the session. A few days later I saw the

results. I have never used another photographer since then. That was six
years ago. I recommend this photographer to everyone who asks me who's

the best.
He's Gary Bernstein— now my friend!

Lee Majors
 Donna Mills
by Gary Bernstein
for Jean-Paul
Germain, Ltd.

Contents
Introduction 4
1 Planning the Photo Session 5
2 Lighting and Metering Applications 9
3 Background Variations 25
4 Effective Posing 34
5 Makeup and Hairstyling 39
6 Turning Pro— Commercial Photography 49
7 Turning Pro— Portrait Photography 56
8 Portfolio 60
Appendix 1 59
Introduction

Photography, like life, is composed of the world's top companies and always subject to change.
of those who merely fantasize about celebrities. The portfolio affords you a What's contained in this book rep-
doing and those who go out and do. unique look at photographic principles resents what I believe today— at this
This book is directed at, and dedicated in practice. moment in my development and
to, the doers— the photographers with This book describes a variety of career. While it's all valid, it is also
a passion for self-expression. It is in- lighting and metering techniques and subject to subtle changes as I proceed

tended for those of you who want to applications. Some of the accompany- through life.
move a step beyond the crowd in ing instructional photos I took specifi- Don't stagnate! You, too, should
terms of photographic technique and cally for this purpose. I've discussed not be afraid to change when change
pictorial quality. makeup and hairstyling in a way I is appropriate. The essence of art— as

Completion of my first book for think will informative

be and of life — is change and growth.
HPBooks, Pro Techniques of People stimulating. I've also included special It is my aim to provide through this

Photography, gave me a great feeling advice for those aiming to pursue pho- book a stimulant that will lead to
of accomplishment. This was tography as a career. better and more imaginative
accompanied, however, by at least a Dogmatically imposed constraints photography. However, the ultimate
little disappointment. It seemed that serve little purpose in artistic success of the book is largely depend-
there was still so much more to say. endeavors. Therefore, I'm not going ent on you alone.
In Pro Techniques of Beauty & Glam- to impose rules on you. I'm simply You can't produce high-quality
our Photography, I'll give you a going to tell you what has worked, photographs as long as you are only a
detailed look at a variety of photo and does work, for me. If what I tell spectator— or reader. You must be a
techniques in practical application. As you proves thought-provoking, the doer! When all is said and done, your
with the first volume, a rich portfolio purpose of the book will be fulfilled. success will be mainly dependent on
section depicts noteworthy examples Remember, however, that viewpoints your own motivation and dedication.
from assignments produced for some and opinions are living entities and I wish you success!
Planning the Photo Session

Good photography is much more photographer, who must interact necessary to create the right environ-
dependent on mind than on matter. favorably with other human beings to ment for the session.
What you do, how you do it get the pictures he wants. Satisfy the Subject— The public is
and— perhaps most essentially — why used to seeing contemporary editorial
you do it, are much more important ESTABLISH THE PURPOSE and advertising photographs in large
than the equipment you do it with. OF YOUR PHOTOGRAPHY quantities. Many of my female sub-
The psychology behind advertise- As a photographer of people, you jects look for informality in photos
ments for cameras is often based on must carefully define your reasons for depicting them. Some like an image
the assumption that serious amateur making photographs. If your aim is to that's ethereal. Women frequently in-
photographers like to think of them- beautify people — which is the purpose dicate their by showing me
desires
selves as being on an equal level with of most people photography— your re- pages torn from magazines. "I love
professionals. The domain of the pro- sults will depend on significant emo- the way the model looks in this ad,"
fessional beauty and glamour pho- tional involvement with the subject. expressed one of my clients, adding
tographer is perceived as being filled You must have a logical plan for "Can you make me look like that?"
with excitement. And, indeed, it achieving the goal. The plan must be If the model in the example I'm
often is. However, the most important tempered with the awareness that all shown was photographed in soft focus
characteristic of a professional pho- subjects are sensitive and none are on a fur rug, I prepare for the session
tographer is his commitment to quali- exactly Consistent success in
alike. by getting a diffuser and a selection of
ty and dependability. photographing people depends on a fur rugs. My foremost desire is to
Theprofessional must display a harmonious interrelationship with please the client. To do this, I must be
dedication and desire to fulfill his per- each and every subject. prepared before the session starts.
sonal esthetic goals while at the same It is you, the photographer, who When taking portraits, determine
time satisfying the client's needs. must be the leader. Behind the the subject's esthetic likes and dislikes
Furthermore, not only must the pro- camera, you are the director. Regard- prior to the photography session. You
fessional aim to produce quality — he less of whether you're shooting for can help to do this by also showing
is expected to do so consistently. fun or hired to produce a photograph, photographs. Show your subject a
Different photographers approach harmonious communication between variety of pictures— they need not all
their subjects in different ways. The you and your subject is imperative. be your own work. Which photo-
photographer of still-lifes, scenics and What is the specific purpose of the graphs appeal to the subject? And
products, for example, deals with in- photography session? Is your subject why? Discuss the pose, location,
animate materials and scenes. He can a client who needs a business portrait clothing, props and background with
generally work at his own pace and suitable for a newspaper or publicity the subject.
without the need to interact. His only release? If so, select a suitable location Remember, appealing people
concern is the finished photograph. for the photography. The subject's photographs are rarely produced by
His attitude and mode of operation office may be the best place. If he pre- the photographer alone. A joint effort
are relatively inconsequential because fers the privacy of your studio, prepare creates a more enjoyable, productive
they don't affect the subject. His appropriate backgrounds and props. shooting experience for both of you.
photos may often elicit emotion, but You may need to rent an oak desk or Your creative possibilities are
his subject matter is totally perhaps some shelves filled with almost unlimited. There is not a right
unresponsive. books. It may be necessary to panel or wrong way to take a photograph. An
It's very different with the people part of a studio wall. Do whatever is infinite number of visual effects are at
your command. Use the best means close friends. Therefore, I can shoot Most subjects haven't the slightest
you can find to ensure the subject's with minimal inhibitions. However, I knowledge of photographic principles
satisfaction. must be sensitive to the fact that the and technique. However, everyone
subject's self-image is very subjective. can sense instinctively when incompe-
EMOTIONAL NEEDS Communicate— Often, the gap be- tence or sloppiness is present. Setting

OF SUBJECT tween our different viewpoints can be up and moving lights, placement of
largely bridged by sympathetic discus- reflectors and adjustment of exposure
The volumes of self-help books on
sion before a session. I can then direct should come as naturally as taking the
the market indicate the basic insecuri-
the subject in a manner most likely to next breath. Most of your conscious
ty of the public in many areas of per-
produce images that bring satisfaction energy should be devoted to your
sonal endeavor. To be successful in
your photography, you must be capa- to us both. Giving your photo session communication with the subject and
direction isn't a negative constraint. It the creative process.
ble of putting your subjects totally at
ease. Very few individuals are confi- isan aid that you can push aside when- When You Work Alone— If you don't
dent at the start of a photo session. ever you feel like it. have the luxury of an assistant, as will
Almost all need encouragement- The commercial photographer, often be the case, be extra sure to be
some of them every step of the way. who must suit the needs of a specific fully prepared for a smoothly operat-

Each subject has one common goal: client, has relatively little flexibility. ing session. To minimize interrup-
To be photographed in the most pleas- However, when you're shooting por- tions in your shooting, load the lon-
ing and flattering way. Consequently, traits for a subject, don't be afraid to gest rolls of film obtainable. For
confident but relaxed direction is the shoot spontaneously. This sometimes example, use 36-exposure 35mm film
key to all good beauty and glamour leads to the best pictures of all. rather than 20-exposure film. An
photography. When people,feel good, they gener- added advantage is the lower cost per
Try to establish immediate rapport ally look good. The sheer power of en- image.
with your subjects. I flatter them from couragement can work visual wonders If you own two or more camera
the moment they enter my studio. on a face and body. bodies, load them all— and attach a
And, I continue to build their confi- lens of different focal length to each.
dence throughout the photo session. SPEED AND EFFICIENCY This enables you to shoot for an ex-
Even if my earliest images are less The professional photographer's tended period without having to take
than I had hoped to achieve, I con- success depends largely on speed and a break. Basically, it's a good idea to
tinue to give encouragement. efficiency of operation. This is neces- always have more of everything than
Subject Sensitivity— Be sensitive to sary to avoid subject boredom, not you think you'll need.
the fact that you are much easier to merely to handle a possibly excessive Plan Your Lighting— If you have an
please than the subject — and with workload. Your subjects require con- opportunity to meet the subject
good reason. As photographer, your stant encouragement and attention. before the session, determine in ad-
view of the subject is objective. Your You may lose cooperation if
their vance the lighting you consider most
main concern tends to be with eyes, you're preoccupied with technicalities. suitable. However, be prepared for
facial features and skin texture. You can retain a subject's attention last-minute changes. For example,
However, your subjects see them- and enthusiasm in two major you may determine that your subject
selves in a very subjective way. They ways— with constant verbal encour- should be photographed by soft
have preconceived ideas about the agement and with efficiency in your window light. Check the available
way the world sees them. The image operations. Don't keep the subject light a day before the shooting at the
you produce may be totally contrary waiting while you fidget with lights, time of day scheduled for photog-
to the way a subject has learned to see reflectors and camera. If you do, the raphy. If you make test exposure read-
himself over a lifetime. subject will soon fidget, too— and the ings on an overcast day, be sure that
A photo session is not an everyday chance of the session being a success direct sunshine won't enter the
occurrence for most people. Upon will be slight. window if the sun should shine during
viewing the results of a session, a sub- Photography has few unbreakable the session.
ject will be concerned about the effect rules. Those that exist do so only be- Make allowances for the need for a
your photographs will have on cause of photography's dependence film of different speed or exposure
others— friends, family members and on certain laws of physics. Know variations under different lighting
business associates. A first look at those laws and how they affect the conditions. In an extreme situation,
photos sometimes comes as a shock photographic process. Beyond that, you may have to use artificial light to
to a subject— even if he eventually your own creativity is the lifeblood of simulate window light. Be prepared
comes to like the images. your work. It is your individuality for all eventualities!
Photography lends itself to great alone that separates your photographs
creativity and manipulation. I'm en- from those made by others.
thralled with the different aspects of a The examples in this text are not EQUIPMENT YOU NEED
personality that can be derived from a meant to indicate right from wrong. Just as a good cook wouldn't be
single individual. Because I don't Quite to the contrary, they represent caught without salt and pepper, you
know most of my subjects well prior only one photographer's vision. For should be sure to have the pho-
to photography, I don't have a precon- you, they can serve as a "starting tographic staples essential to opera-
ceived idea of their character or block" from which to grow and tional effectiveness and efficiency.
personality, as I would have with expand. Let's evaluate some of them:
Tripod With Pan-and-Tilt Head- quire extensive retouching. modes. Many allow for selective
The specific photographic situation Outdoors, a reflector can redirect angles and multiple
of acceptance
dictates whether a tripod is needed. I midday sunlight so it strikes the sub- exposure readings, too. And, at the
use a Gitzo tripod with pan-and-tilt jectfrom a lower, more flattering, very least, the handheld meter pro-
head when I have to adhere to a specif- angle. A reflector can also create vides you with a valuable "second
ic layout where the model must shade on a sunny day or produce a opinion."
occupy a specified part of the controllable source of fill light. How accurate must your light
composition. The object is usually to When on location, I've even used meter be? I consider reliability and
leave a predetermined area clear for large reflectors to shield subject and consistency to be far more important
headlines and body copy. With my camera from rain. I've also used large than accuracy. When a meter performs
camera on a tripod, I can position the reflectors to build a makeshift dressing consistently, you can easily calibrate it
critical compositional elements at the room on location. As in your actual for your own purposes. However, a
start of the session and then concen- photography, inventiveness is the key meter that's accurate— but only some
trate my attention on the model. word! —
of the time is of little use.
Image sharpness and clarity is a Filters —A skylight filter and a diffu- Too much emphasis is often placed
prime requirement in most of my sion attachment should be part of on obtaining critically accurate
assignments. Consequently, I select your permanent equipment arsenal. exposures. However, in practice the
slow, fine-grain transparency film for Open shade is an ideal source of soft, best a light meter can do is provide an
most of my
work. Generally, I use natural light. It is flattering to most approximation of "best" exposure.
Kodachrome Such slow film often
25. faces. However, a large area of blue or That's because there are too many
requires a relatively slow shutter overcast sky gives the subject and variables in the typical situation. They
speed during natural-light beauty other elements in the scene a bluish include film-speed variances, camera-
assignments. Rather than use a faster cast. A skylight filter removes much of performance variances, subject-
film. Til use a tripod whenever the the unwanted blue and renders skin contrast conditions and your own
light level and lens aperture demand a tones, as well as the other colors in visual preferences.
shutter speed of 1/125 second or the scene, normally. Fortunately, most films have ade-
slower. An image can be softened with the quate exposure range to allow for
Many advertising assignments re- use of a good diffusion attachment. In minor exposure errors without much
quire sequential photography. This my beauty and glamour photography, harm. By habitually bracketing
means a series of shots must all have the subject or client frequently prefers exposures, you can generally elimi-
the same basic composition and light- a soft-focus version. The diffusion nate the effect of undesirable
ing characteristics. A tripod ensures can take place when the camera expo- variables.
this —
consistency particularly when sure made, or later. I generally
is Color-transparency films require
fm using multiple light sources of prefer softening my images at the the greatest exposure accuracy, be-
varying intensities. printing or duplicating stage. It ena- cause no corrections can be made
Photography of groups of people bles me to control the degree of diffu- once the film is processed. If you're
often involves intricate posing and sion and leaves me with the undif- aware of exposure errors at the time
precise cropping. Here, too, the use of fused original. If I were to diffuse an of shooting, and you're using films
a tripod allows me to set the composi- image in the camera, I would have such as Ektachrome— which lend
tion at the start of the session. Then only the diffused image. If a client spe- themselves to processing manipu-
I'm free to concentrate on my cifically requests a diffused original lation—you can compensate to some
subjects— all the more essential be- slide, I'll shoot it without diffuser also. extent by an adjustment in the
cause I have to deal with several There are many excellent commer- processing. However, Kodachromes
people at once. cial diffusers on the market. generally don't allow for processing
A pan-and-tilt head, or a ball head, However, I've achieved wonderful re- variations, so that compensation for
is essential. It enables me to make sults with diffusers I made myself. As inaccurate exposure cannot be made.
minor adjustments in cropping— base, use glass ultraviolet (UV) fil-
I Even when I know that the lighting
rapidly and accurately. ters or sheets of acetate.On this base I conditions have changed during a
Reflectors — Reflectors are as impor- spray commercial fixative in varying session, I won't stop to make further
tant as your light sources. As you'll densities, depending on the degree of meter readings. Doing so would
see throughout this book, a great softening I want. endanger the continuity and mood of
variety of photographic effects can be A glass base has a distinct ad- the session — and I can't risk that.
produced by them. vantage: If you want to reduce the dif- Consequently, I bracket my exposures
Reflectors can have a matte white fusion effect, it's easy to remove liberally. When we reach a "natural"

or a shiny silver surface. They can spray fixative with a lacquer thinner. break in the shooting, I'll check my
even be black, to remove light from Light Meter— The quality and accura- meter readings. If my calculation were
specific areas. With reflectors, con- cy of modern through-the-lens (TTL) way off, I'll adjust the exposure and
trast can be reduced or enhanced with- metering systems leave little to be shoot some more.
out a change
in the main-light desired. However, a good separate Electric Fan— One of my non-
position. When
positioned properly, handheld meter provides far greater photographic staples is a small, porta-
a reflector can add sparkle to a sub- flexibility in use. Most handheld ble electric fan. I often use it to blow a
ject's eyes or soften lines and skin meters can be used in both the subject's hair, to add a little motion or
blemishes that might otherwise re- incident-light and reflected-light "life" to a photograph. A fan can also
have a noticeable relaxing effect on a ed them. This requires you to be con- beautiful color of her eyes. I always
subject. Its gentle sound and the sistent in your work. As I've indicated look at eyes first. They are, after all,
moving air tend to have a calming in this essay several times, one essen- the portals of the soul. The eyes
effect on nervous subjects. tial way of ensuring consistency is to reveal the subject's mood and rapport
You'll put .a lot of thought and be totally prepared. In addition to with the photographer the moment
energy into your photo sessions. having the necessary equipment, you the exposure is made.
Don't deprive yourself of the best must be prepared with technical I knew my subject could be pho-
possible results by not having some know-how and creative ideas. tographed in a way she would find ap-
relatively small, but very important, Many photographers don't give pealing and I told her so. In fact, I con-
piece of equipment. You owe it to free rein to their potential creativity. vinced her of it. Remember, you must
both yourself and your subject. Don't be afraid to vary your technique give emotional energy and support to
and its application. Try something your subject. Elevate the subject's
CREATIVE VARIETY new. If it doesn't work, throw the spirit. Believe in the subject's charac-

There isn't an ideal time of day for result away. At the very least, you'll teristics as you do in your own
photography, nor is there an ideal learn something from the experience. capabilities. It will be reflected in your
aperture, camera angle, filter,
lens, Adapt your technique to the specific photographic results.
film or lighting effect. There is not needs and characteristics of your I decided to use a coarse-grain color

one ideal view of the face. And, as ex- subject. And, always strive to satisfy film for the session. The film mini-
plained earlier, there isn't even an the specific desires of the subject. mizes apparent skin problems, creat-
ideal exposure. Because each subject ing a softer rendition of the subject. It
is unique, and because each photogra- FIND THE BEST IN PEOPLE allowed the shape of her eyes and
pher has his own special vision and What of those individuals who, by facial contours to appear without
sensitivity, inflexible rules are our society's standards, are less than distraction. During the course of the
inappropriate. beautiful? Look for their special photo session, I used a variety of card-
So what is the measure of pho- features— eyes that smile, wonderful board scraps and boxes to create care-
tographic success? I consider a suc- hair, a finely chiseled nose or jawline. fully located shadows on her face. I
cessful photograph to be one in which Try shooting extreme close-ups of was able to emphasize certain
I because they are pre-
like the results such subjects, emphasizing their best areas— such as her eyes— while sub-
cisely how I had previsualized them. I features. Employ a wide variety of duing elements she considered
also consider a photo to be a success lighting techniques and camera unappealing.
when the subject is totally pleased angles. Alter perspective through the I was able emphasize the
to further
with the result. use of different shooting distances size of her eyes by using two large,
Only you know the direction you —and lenses of accordingly shorter or silver reflectors below and to the side
want your photography to take. Only longer focal lengths. of her face. The eyes sparkled in the
you envision the finished photograph On a recent portrait assignment, I finished photographs. She loved the
prior to its appearance on film or was confronted by an unusually inse- results!
paper. An essential part of your prepa- cure subject. She was concerned over You'll be surprised at what you can
ration for photography is the mental, her weight and poor skin. She had create with a concerted effort.
technical and creative process of always wanted to be photographed Everyone is beautiful. It begins with
previsualizing.The next logical step is likea magazine model or celebrity. your recognition of it!
the execution of your intentions. However, she thought that she had Plan to meet all eventualities. To be
You don't want unpleasant sur- always looked unattractive in previous successful in all your people pho-
prises when viewing your efforts. The photographic results. tography, you must have both ade-
results should be as you had anticipat- As we spoke, I noticed the size and quate equipment and know-how.
Lighting and Metering
Applications
Photography enables us to preserve The photographic examples in this incident- or reflected-light mode.
a moment in time. Through a unique essay represent only a few of the Electronic Flash My —studio is

combination of science and art, we many possible lighting variations. equipped with Photogenic Versatron
can depict a three-dimensional object There is not a formula for creativity. 800 flash units and flash heads. I con-
or scene on a two-dimensional It is composed of too many personal, sider it to be among the finest flash
surface. often intangible, factors to be reduced equipment made.
Lighting has a lot to do with creating to a formula. The examples, however, Because the Versatron 800 is rela-
the illusion of depth in space on flat provide a starting block— a foundation tively expensive for the amateur
film For example, light areas in a from which to experiment, analyze photographer, I suggest using the
photo tend to project forward while and expand. Porta-Master 400 instead. It is a self-
darker tones recede to the distance. Throughout the book, you'll see a contained system designed for porta-
Consequently, proper rendition of variety of flattering glamour lighting bility and is available at a significantly
highlight to shadow is often critical applications. Through them, I'm lower price. The Porta-Master 400 has
for pictorial impact. trying to show you the diversity and special safety circuits, to prevent the
The novice photographer is often power of lighting— its creative, mani- possibility of an overload.
eager to live by a collection of inflexi- pulative and corrective uses in the The power pack of the Porta-Master
ble rules governing the use of light. photography of people. 400 is approximately the size of a
Basic guidelines do exist, but only the I made most of the photos in this vacuum cleaner. It comes with a flash
experienced and dedicated photogra- essay in my Los Angeles studio with head incorporating a proportional
pher realizes the need for thought state-of-the-art lighting equipment. modeling light. It is also provided
beyond the rules. He manipulates However, you can produce the same with a light stand. A second stand and
light to suit the individual subject. It lighting variations in your own home a clamp are also included as standard
is the thought process alone that can with significantly less expensive gear. equipment.
make photographer's work a person-
a The main advantage of large studio Reflector Panels — I use Sibern
al statement. lighting units is their power. It facili- Rocaflectors and reflectors made by
As contemporary photographers, tates the use of smaller apertures for Photogenic. A quality photo reflector
we have a great advantage over the increased depth of field. It enables must provide uniform illumination
early pioneers. Modern technology you to use slower films with finer that is free from hot spots. A silvered
has provided us with instruments grain and better image resolution. Pro- reflector should reflect approximately
capable of accurate and consistent fessional lighting systems also tend to 95% of the light striking its surface.
control and measurement of light. be more dependable and consistent. Reflectors should be portable so they
In photography, light and its meter- can be used on location as easily as in
ing are inseparable. Throughout the the studio.
text, I'll discuss them jointly. EQUIPMENT Halos— Since the introduction of um-
Each photographic subject is The equipment used for the produc- brella lighting many
years ago, there
unique in personal characteristics tion of the photos in this essay includ- has been little development of new
such as age, physical appearance and ed the following essential items: light modifiers. However, recently
attitude. A lighting application that Light Meters— I regularly use a Photogenic Machine Company, of
enhances the look of one individual Gossen Ultra-Pro and a Minolta Auto- Youngstown, Ohio, introduced the
may be inappropriate for the next. It's Flash III Meter. I use each in the Halo— the most versatile light modi-
important to develop an extensive un- studio for electronic flash exposures fier I've used to date. Because you'll
derstanding of lighting principles so and outside for available-light see the Halo mentioned several times
you command a variety of applications photography. The meters are relative- in the Portfolio se tion, I want to say a
and effects. When used wisely, light ly expensive but well worth the cost in little about it here.

can enhance the beauty of the human terms of their remarkable accuracy The Halo is a combination of sil-
face and form. and reliability. Each may be used in vered and translucent umbrellas, as
 PHOTOGENIC HALO Beauty and
Glamour: Lighting
REFLECTION
UMBRELLA
(SILVERED
the Woman
INSIDE)
TRANSLUCENT
UMBRELLA The subject for this section is

pretty, 22-year-old Jana Kay Moore of

Dallas, Texas. She's a talented
dancer, not a model. She hasn't spent
CROSS SECTION: more time in front of a camera than
the average person. These pictures,
FOR UNIFORM, taken specifically for this book, were
SOFT LIGHT the first I had made of her.
Jana was nervous when we began.
Her own evaluation was that she
"never takes a good picture."
Doesn't that sound familiar?
However, there was an interesting
transition in her attitude as the session
FOR SPECULAR
CENTER AND progressed. I think you can see it in
SOFT EDGE the photos. She seemed to become 2-1
more relaxed and confident as we
went along. However, she was also
changed by the lighting I used. PHOTO 2-1
This represents the most basic ap-
The Weight of Light-Controlled
lighting can change a person's proach to glamour lighting. Jana was
positioned about 10 feet from a white
appearance. Light has weight. This was
FLASH-HEAD first pointed out to me many years seamless background. She was seated
POSITION CAN on a small cube. I positioned a single
BE ADJUSTED ago, whenbegan my career in fash-
I
Versatron 800 flash head four feet in
ion photography in New York City.
front of Jana, bouncing the light from
It's significant to me that I learned
a 52-inch umbrella. The single light
most of my early lighting techniques
from experienced professional produced about a two-step falloff be-
the accompanying sketches show. It models rather than photographers. tween subject and background. This
mounts and accounts for the medium-gray repro-
easily to lights light In one of the "lessons," a top
stands and folds like an umbrella. The model asked me to stand in front of duction of the white background.
Halo comes in diameters of 32 inches, the camera and lights. She returned to
The required relative distances be-
45 inches and 54 inches. What's new the camera position. I watched as she
tween main light, subject and back-
and special about the Halo is the quali- raised the main light higher than
ground to produce a specific back-
ty of light produced. seemed appropriate. "Do you feel the ground falloff varies in different

The Halo gives a soft to medium- studios. Ceiling height, room

light on your face?" she asked. I re-
contrast light especially suitable for sponded that I did. "Do you feel the dimensions, wall surfaces, light

By changing the direction sources and color of background and

portraiture. light in your eyes?" she continued. I
in which the flash head faces, and ad- wasn't sure. Then she lowered the walls are some of the factors that
affect the results. Test and evaluate
justing the lamp position within the main light and asked me again. There
Halo, you can achieve a wide variety was no question that I could feel when each new setup before you photograph
of effects, as shown in the accompany- the light struck the surface of my eye, an important session.
ing sketches. producing a catchlight.
In addition to subject illumination, "That's the point," she concluded,
the Halo is excellent for producing "light has real substance— or weight.'"
evenly lit backgrounds. The more time you spend in front of
Cameras and Lenses — I make nearly the camera, the more attuned you
all of my photographs on 35mm film. become to how light models a face.
For me, that means Nikon cameras. I I make a point of making a subject

learned many years ago that you get aware of this phenomenon. It helps
what you pay for. With Nikon, I have her to feel when the light on her is
durability and reliability in what I con- right, just as she intuitively knows
sider the ultimate system camera. how the photo session is going, based
At the end of the book, you'll find a on her rapport with the photographer.
listing of products I've used in the pro- Now, let's evaluate the photos I
duction of the photos for this book, made of Jana.
together with the suppliers.

10
2-2 2-3 2-4

PHOTO 2-2 PHOTOS 2-3, 2-4 & 2-5

I made only one change for this The basic lighting for these three
photo, placing a 27-inch silver reflec- photos is identical to that used for
tor beneath Jana's face. It was about a photo 2-2. However, I placed a seven-
foot in front of her and just below the foot black Sibern Rocaflector on each
camera's view. side of Jana and very close to her. The
The addition of the reflector re- black surfaces eliminated some of the
duced contrast. bounced light
It also reflected light striking the sides of the
into the subject's eyes from a low face. Consequently, the face appears
angle, filling the slight shadow created narrower, with better shape and
on the surface of the eye by the long contouring.
eyelashes. As a result, the whites of To add to the slimming effect, I
the eyes appear clearer. asked Jana to turn her head slightly
The most significant change is in away from full face. The combination
the iris of each eye. It is lighter, bright- of the lighting modification and the
er and reflects a second catchlight change in pose produced an impres-
from the silver reflector. The extra sive pictorial difference.
sparkle is immediately apparent. I'm not an advocate of big smiles
However, the face looks a little too for portraits. Usually, they tend to dis-
wide. The next step will correct that. tort the face, turning eyes into narrow
slits and causing misshapen facial
contours. However, every subject is
different. Jana's smile in photo 2-5 2-5
works very well. It adds character and
form to her youthful jawline. But
notice that the smile causes the main
catchlight in her left eye to diminish.
Were I to continue shooting this
series with a smile, I would lower the
main light about a foot to compensate
for the catchlight loss.

11
2-6 2-7 2-8

PHOTOS 2-6, 2-7 & 2-8 Consequently, the white background

The lighting setup for these three actually recorded as white.
pictures is very stylized. It typifies All exposure readings were taken in
much of the "magazine-cover''' light- the incident-light mode. The meter
ing used in the late 70s and early 80s. I hemisphere was located at the sub-
used two Versatron 800 power packs. ject's face and pointed toward the
The first pack was used with two wide- center umbrella. To determine back-
angle flash heads. They were directed ground exposure. I took readings
at the white background wall to pro- from the wall, pointing the hemi-
vide even illumination. sphere toward the main light. The
Three flash heads were connected reading was made with the subject in
to the second Versatron 800. One was position, to allow for falloff.
bounced from a 40-inch silvered um- The illumination for these photos
brella and positioned directly above was very soft. Although such lighting
my camera. The other two were in can minimize facial flaws and flatter a
two softboxes— large, diffused light subject's eyes, the lighting was not
sources giving a very soft light. I right for Jana. Notice how wide her
placed one softbox to either side of face looks in photo 2-6. 1 compensated
the main umbrella. Each softbox gave for this in photo 2-7 by asking her to
one exposure step less light on the turn slightly. This narrowed her face
subject than the main umbrella. The somewhat. But photo 2-8 provided
three main units were close enough to what consider the best angle.
I has
I

touch each other. They were located asked Jana to raise her chin. The new
approximately three feet from Jana's angle reveals a more flattering facial
face. shape. Compare photo 2-8 with photo
I balanced the exposure of the back- 2-6 and you'll readily see what a dif-
ground wall with the overall meter ference a slight movement can make
reading taken from the subject. in a subject's appearance.

12
2-9 2-10

PHOTOS 2-9 & 2-10 ed from this norm and positioned the
Contrast increases as the apparent light below the lens of the camera.
size of the light source, as seen from When using a low main light, care
the subject, decreases. Assuming a must be taken to avoid 'monster''''
constant distance between subject and lighting. Jana's face has good skin and
light, a large light source gives softer the roundness of youth. Therefore, I
illumination and less subject contrast wasn't in danger of getting an unflat-
than a small light source. tering result. In fact the photos are
Photos 2-9 and 2-10 illustrate the very dramatic. However, to minimize
point. The main light was a single Ver- the low angle, I asked Jana to lower
satron 800 flash without umbrella. her head while lifting her eyes to look
The resulting light is hard, with sig- at the camera.
nificant contrast. The effect is some- For photo 2-10, 1 asked Jana to turn
what similar to theatrical spotlighting. her head sideways slightly. This en-
Notice that the catchlights in the eyes hanced the effect and the mood of the
are now considerably smaller than in image further. The contrast of spot-
the preceding examples. lighting is apparent in the depth of the
In most cases, flattering portrait shadow along the side of the nose.
light comes from above. It can vary Background lighting was produced
from an angle slightly above the with a single Versatron wide-angle
height of the subject's eyes to an flash head. It was directed at the wall
angle approximately 45° above the from the floor, directly behind Jana.
eyes. In photos 2-9 and 2-10, 1 depart-

13
 '
2-11 2-12

PHOTOS 2-11 & 2-12 step more light to the subject's hair
I returned to a gray
back- than the main light gave to the face.
ground—derived from two steps un- The second edge light came from a
derexposure of a white surface— for Versatron flash head, positioned at a
these two photos. Notice how the 45° angle to the model's back. It
darker background helped to make provided a rim light to the right side
the face appear narrower. The dark- of the model's hair and face, giving
ened background also provided the the image more impact. Photo 2-12
perfect base for the introduction of shows the low-main-light effect I was
edge lighting. aiming for.
Two edge lights were used. The I raised the background light, caus-

firstwas a hair light, mounted on a ing the area of background directly

boom stand above and slightly behind behind Jana to go even darker. Com-
Jana. On the hair light I used a grid pare the drama and impact of photo
spot— a device that concentrates and 2-12 with the straightforward softness
focuses light to a narrow spot. It of photo 2-1. You could be forgiven
enabled me to light the hair without for thinking they were images of dif-
spillage to other areas. The hair light ferent subjects!
was adjusted to give one exposure

14
2-13 2-14

three-quarter view of Jana's face. Al-

though she looks pretty in each,
subtle lighting variations account for
different pictorial results.
Photo 2-13 was taken with broad
tl& 4&W lighting.
I
As indicated in the diagram,
placed the main umbrella light to the
right of the camera. Light struck the
broadest plane of her face, as viewed
from camera position. In photo 2-14,
used short lighting— achieved by
moving the main light far to the left of
the camera. The light struck Jana's
face from the narrow, or short, side,
BROAD LIGHTING ^=^ as viewed from camera position. It
emphasized the frontal plane of the
face.
Short lighting gives a wide face a
PHOTOS 2-13 & 2-14 slimmer appearance by creating light In the examples reproduced here, I
For the final series, I replaced the falloff on the near side of the subject's prefer the version with the short
white background with highly reflec- face. It allows part of the side of the lighting.You may prefer the broad
tive gold mylar. face Closest to the camera to fall into But our opinions are of little
lighting.
Photos 2-13 and 2-14 both show a shadow. At the same time, it empha- consequence! I'm waiting to hear
sizes facial structure on the near side from Jana!
of the face. Broad lighting more ap-
is

propriate for a subject whose face is

naturally narrow.

15
Character Studies:
Photographing
the Man
We talk about glamour for women
and character for men! Is this ter-
minology indicative of the classic
double standard? Do women really
age as men mature*! Let's evaluate
thisquestion in terms of photographic
application.
Men are as concerned about their
looks and appearance as women. They
are also just as concerned about the
aging process. But society has treated
the sexes unequally— which is at once
fortunate and unfortunate.
You can get the first indication of
unequal treatment by looking at a
dictionary. Look up the word feminine
2-15 2-16
and you'll see listed such attributes as
gentleness, weakness, delicacy and
modesty. Next, check the word beauty. PHOTO 2-15 PHOTO 2-16
What you find will leave little doubt Uva Harden one of the country's
is So-called three-quarter lighting illu-
in your mind that, traditionally, typical most successful male models. His clas- minated baseball Reggie
superstar
"feminine" words like soft, youthful, sic good looks are well suited for a Jackson. A single umbrella source
lovely and flawless best define
pretty, variety of lighting applications. In emphasized only the right side of Reg-
the word. photo 2-15, I used a white umbrella to gie's face. This makes the face appear
As photographers, we must use our reflect a single light source. Light narrower. I positioned the light close
talents and techniques to
lighting placement was considerably higher enough to the camera viewpoint to
depict society's view of the fairer sex, than normal to emphasize the struc- create a small triangle of light on the
as long as those views are desired by ture of the subject's face. The high shadow side of the face. I also lowered
our feminine subjects. lighting angle caused a shadow to fall the light sufficiently to cause a catch-
Men are judged by an entirely dif- on Uva's eyes and no catchlights ap- light in theeye on the shadow side of
ferent set of standards. The word peared in his eyes. Reggie's face. This second catchlight
handsome doesn't only imply pleasing The light was metered with a Minol- gives balance to the image.
proportions and symmetry. According ta Flash Meter II. used in the incident- Reggie looked relaxed and at ease.
to Webster's unabridged dictionary, lightmode. I positioned the meter's This helped to complete a fine
the word carries distinct connotations hemisphere at the subject's nose and portrait.
of masculinity, strength and ruggedness, pointed it up toward the main light. I metered with a Minolta Auto-
rather than delicacy and grace. Flash III. placed the incident-light
I

Society's standards allow us far hemisphere at the right side of Reg-

greater flexibility in portraying the gie's face and pointed it toward the
man than the woman. Hard, angular center of the umbrella light.
lighting— which emphasizes texture
— is also far easier to achieve than

lighting designed to subdue all flaws

and imperfections.
In the photos that follow, I'll eval-
uate a variety of different lighting
techniques on an equally wide range
of masculine subjects.

16
2-17 2-18

PHOTO 2-17 PHOTO 2-18 The hair-light reading, taken from the
The face of Kenny Rogers needs no To record the strong features of top of Bob's head, indicated an expo-
introduction. It was captured here actor Robert Urich, I used two Versa- sure of ,/: 16. Therefore, it provided
with classic glamour lighting, which is tron 800 lighting units and a total of 1-1/2 exposure steps more light than
applicable toboth female and male four flash heads. the main light. Because the image was
subjects. The main light — a 1200- The main flash head, positioned to actually exposed at a setting between
watt-second Rollei pan light— was the of the camera, was bounced
left ,/
: 8 and/11, Bob's hair is overexposed
positioned slightly to the right of the from a 52-inch umbrella. An incident- where the hair light struck it. This
camera. The light placement created light meter reading indicated an aper- caused the specular highlights on the
shadows on the right side of Kenny's ture between /8 and f-\\. I placed a hair.
face and nose. small silvered reflector three or four
I took the photograph against a feet in front of Bob. It bounced a little
white, seamless background. The fill light into his face from below and

background recorded as medium gray added secondary catchlights to the

because it received two steps less eyes.
exposure than the subject. Bob was about 20 feet from the
I metered the shot by placing the background. At that distance, the
incident-light hemisphere of my background would receive little light-
Minolta Flash Meter at Kenny's left ing from the main light. So I added
cheek and pointing it toward the um- two background umbrellas. They
brella source. were balanced to produce two steps
less exposure than that of the subject
by the main light.
To graphically separate Bob's dark
hair from the background, I posi-
tioned a small hair light on a boom
stand above and slightly behind him.

17
2-19 2-20 2-21

PHOTO 2-19 PHOTO 2-20 PHOTO 2-21

Talented John James was the sub- The main-light configuration used Time was at a premium during my
ject for this photo. Main facial lighting for this portrait of actor James Brolin session with multi-talentedGene
was provided by a single flash head, was similar to that used in photo 2-19. Wilder. This photo was taken in
bounced from a 40-inch silvered Instead of a silvered reflector, Gene's office at 20th Century Fox.
umbrella. I placed a 27-inch silverer however, I used a seven-foot white I my main light to the right of
set
reflector directly below John's face. It Rocaflector below Jim's face. The the camera, about four feet from
brightened shadows and created large white surface provided a large, even Gene. It's lower-than-normal height
catchlights in the eyes. fill source that lessened contrast and —evident from the two-o'clock catch-
metered the main light by placing
I reduced specular reflections from eyes— accounted for good
lights in the
the incident-light hemisphere of the Jim's sun-tanned face. The large, facial modeling and a shadow-free
meter at John's cheek and pointing it white reflector also lightened the area between nose and upper lip. To
between the reflector and main light. lower halves of the irises in Jim's further lower contrast, I stood a
A second flash head was mounted eyes, adding an extra bit of sparkle. seven-foot white Rocaflector immedi-
on a boom stand behind John. I at- For additional graphic impact, the ately to Gene's right. The unit, just
tached a grid spot to confine the area background was allowed to record as out of camera range, nearly touched
of illumination. The light created pure white. Iaccomplished this by his shoulder. The proximity of the
specular rim lighting on the subject's, placing two 52-inch umbrellas to reflector helped put some light on the
hair and shoulders. The rim light was either side of the white seamless black outfit and accounted for a little
set for a 2-step overexposure, relative paper. edge light on the right side of Gene's
to the face. I metered the hair light The background recorded one expo- face.
from the top of John's head, pointing sure step more light than the main- This is perhaps an appropriate place
the meter's hemisphere directly at the light reading on Jim's face. Exposure, to mention the appearance of shadows
center of the grid spot. however, was based on the main-light on the background. I find background
This photo gets much of its impact reading. shadows perfectly acceptable, as long
from the high lighting ratio between as they have an intended effect. When
the main and hair lights. used properly, shadows can become
John was lying on the floor of the an interesting compositional and
studio and the camera was also at graphic element. However, few com-
floor level. I placed an electric fan in positional elements are more bother-
front of the subject to create slight some than haphazard shadows that
movement in his hair. appear at random due to sloppy light-
ing technique.
Who is to say whether the existence
of shadows enhances an image? The
decision has to be a personal and total-
lysubjective one. As I've said before,
the first key to quality photography is
the ability to produce on film what
you had previsualized.
18
 —
52-inch umbrella was placed about
three feet from Rock's face, slightly
above eye level. The second light — in
another identical umbrella— was five
feet from the subject and at about the
height of his chest. selected the two-
I

light setup because Rock likes free-

dom of movement while he's in front
of the camera. Two light sources not
only provide that freedom but also
minimize contrast.
I metered the exposure by pointing
the incident-light hemisphere be-
tween the two light sources.
Three other lights completed the il-
lumination for photograph. Two
this
background balancing
lights, the
main-light exposure, evenly illu-
minated a gray, hand-painted canvas
background. The final light source
was mounted on a boom
a hair light
stand. was placed to register one
It

2-22 step more exposure than the total 2-23

main-light exposure.

PHOTO 2-22 of each. In doing so, you eliminate the

The photo of the legendary face of PHOTO 2-23 possibility of one source overpowering
Rock Hudson was produced with two Although the organization of this the others. Then, turn on all sources
umbrella main lights. Two main-light essay may seem to indicate otherwise, and meter them as one unit from sub-
sources can be versatile. However, photographic lighting techniques are ject position. For this photo, I placed
when working in this manner, I find it largely interchangeable between the the hemisphere of my Minolta Flash
best to use light sources of equal sexes. Certain applications are often Meter at the tip of John's nose and
output. By balancing the output of the more appropriate for one sex than the pointed it toward the center of the
two lights, I protect myself against other, but many are equally suitable Rollei pan light.
unintentional underillumination of for men and women. For example, Two umbrella background lights
the subject with one of the two lights. the technique used for this photo of completed the configuration. They
The lights can be fired from a single actor John Schneider is similar to that provided a background reading of 1/2
power pack. Alternatively, they can employed for photos 2-6 to 2-8 of step less exposure than the average of
be powered by two separate generators Jana Kay Moore. the main lights. Because the actual
and triggered simultaneously through The photo of John was produced as exposure was based on the main-light
use of a slave unit. a national ad for the Swatch Watch reading, the white background record-
During photography, I normally campaign. To minimize specular high- ed as a light gray.
have the lower umbrella farther from lights on the watch, I used two
the subject than the upper light softboxes, giving diffused, soft light.
source. In doing so, I preclude the One softbox simulates window light;
possibility of creating monster two softboxes used together can give
lighting. You can, however, position the effect of daylight outdoors on an
the two lights at the same level, when overcast day.
this achieves the desired effect. The main-light configuration con-
It helps operational ease if each um- sisted of one Rollei pan light, flanked
brella is mounted on a light stand with by the two softboxes. The softboxes
wheels. It frees you to work rapidly were positioned to either side of the
with a variety of lighting configura- Rollei lightand close enough to touch
tions and facilitates some subject the edge of the pan. The softboxes
movement. were lit by two Versatron flash heads,
The two-light system allows quick powered by a Versatron 800 unit.
evaluations of light patterns on the Each of the three lights gave a 400-
subject's face. Lights may be raised or watt-second output.
lowered as needed. One light can be The finished image has low contrast
positioned close to the subject as the and features three exaggerated catch-
other is moved farther away until it lights in the subject's eyes.
provides the required amount of fill When using multiple light sources,
light. always begin by metering the sources
For this shot, the first light — in a separately to determine the intensity

19
2-24 2-25 2-26

PHOTO 2-24 PHOTO 2-25 frontal to create a catchlight in both

This photo of superstar Lee Majors This photo captures the classic face eyes. This is an important factor in

was taken on the set of The Fall Guy and form of dancer Alexander giving the photograph visual balance.
television show. Although the pose is Godunov. bounced
I a 1200-
casual, the lighting consisted of a clas- watt-second flash from a 40-inch sil-
PHOTO 2-26
sic three-light setup. The main vered umbrella as a main-light source.
Top model Chad Deal is the subject
light— a 600-watt-second flash, It was placed a few feet from the sub-
of the final image in this section. It
bounced from a 52-inch silvered ject and aimed up from a low angle.
represents the simplest and perhaps
umbrella— was positioned about four A second 600-watt-second flash most dynamic of the lighting
feet from Lee and slightly to his right. with grid spot was mounted on a small
techniques— spotlighting.
It modelled the front of his face. boom stand. I placed it behind Godu- A
600-watt-second flash head with
A second 600-watt-second flash nov and to his right. The edge light
a narrow reflector was directed at
head was used with barn doors, which provided 1/2 step overexposure at the
Chad from a distance of about eight
control the spread of light and prevent subject's right shoulder. However,
feet. The subject brightness range pro-
flare. This light was placed about theamount of light falling on much of
duced by the small, specular source
three feet behind Lee and directed Godunov's blond hair provides a little
was nearly five to one. It minimized
toward his head. It provided rim light- less exposure than the facial light.
middle tones and virtually eliminated
ing for the hat and edge lighting to the The abrupt of grid spots
light falloff
shadow detail. However, it produced a
side of the face. can be both an advantage and a
graphically dramatic result. The hard,
The main-light exposure reading disadvantage. I advise you to take
contrasty source emphasized the sub-
was /S. 6. The rim-light meter reading multiple meter readings around spot-
ject's chiseled, classic features.
was between and ,/: ll, indicating
./
: 8 lighted areas to ensure accurate
Notice that I added light to the
1-1/2 steps more exposure than from exposure.
background, behind the shadowed
the main light. Consequently, the rim The relationship of the main-light side of Chad's face. It gave form and
lighting recorded as overexposure. exposure exposure is
to the rim-light
shape to the back part of his head and
The lighting was completed with often should first be deter-
critical. It
added balance to the overall
the addition of a third 600- mined visually and then by metering. composition.
watt-second flash, bounced from an I begin by comparing the tonality of

umbrella. It was used behind the sub- the subject's hair with his skin tone.
ject to illuminate the background. Its Next, I compare the tonality of the
exposure rating was the same as that hair with that of the background. As a
of the main light. The combination rule, theexposure differential be-
produced a strong graphic image with tween main light and rim light is great-
eood tonal balance. er on dark-haired people. Overexpo-
sure of blond hair can tend to make it
appear too sparse.
Notice that, in spite of the extensive
main-light shadow on Godunov's
right cheek, the light was sufficiently

20
Man and Woman
Together
Each person has a unique facial
structureand physical appearance.
Consequently, it is more difficult to
photograph two subjects together.
Lighting that flatters a man may be
totally inappropriate for his female
partner.
Sometimes extremely difficult
it is

on two subjects
to obtain ideal lighting
at the same time. But there are ways
of avoiding an undesirable com-
promise. The best way is to position
the couple in such a way that the same
lighting flatters each individual.
A composition is generally strongest

when it has one center of interest.

This requirement is easily fulfilled
when photographing the individual 2-27 2-28
subject. Confining viewer interest to a
single area is more difficult with two PHOTO 2-27 PHOTO 2-28
subjects. For thisphotograph, a single spot- As I've indicated before, hard,
Metering Two Subjects— The place- light illuminated the dynamic faces of angular light is more appropriate for
ment of your main lighting depends Margaux Hemingway and Uva the man than the woman. In this
on the relative emphasis you want to Harden. Because Uva's eyes are set photograph of Matt Collins and
give each of the subjects. To get the deeper than Margaux's, he required a Katthy Cochaux for Esquire
effect you want, it's important to lower main-light position. The prob- magazine, I used this to my pictorial
meter each subject separately. lem was solved by placing Uva higher advantage.
For example, if I want to record two in the composition than Margaux. The photograph was taken with
faces of similar skin tones equally, I The height relationship between in- flash bounced from a single 40-inch
adjust my lighting so my meter indi- dividuals is dictated not only by silvered umbrella placed to the right
cates thesame exposure for each. If I lighting, but by composition and crop- of the camera. Although Matt was the
wanted to emphasize one subject and ping as well. Subjects should rarely main subject for this shot, the light
subdue the other, I would adjust my appear to be the same height in a was placed with equal concern for
lights to produce an exposure dif- photograph. A height difference cre- Katthy. The angular hard light
ference of about half a step between ates a composition with movement brushed over Matt's chiseled
the faces. and greater visual impact. features, emphasizing them as well as
It's important to also consider tonal Although composition is primarily his facial texture. The result is strik-
differences between subject parts. For a matter of personal vision, certain ingly dramatic. by
Katthy,
example, I might be photographing a guidelines do help. In a detailed por- comparison, was lit frontally and her
man of dark complexion who is wear- trait from fairly close, such as this features appear soft and "feminine."
ing a light-colored shirt. I would allow one, the top subject's nose should be Notice also the relationship between
more light to fall on the face than on opposite the lower subject's eyes. In the subjects' heights. I wanted to iso-
the shirt. My meter enables me to half-length and full-length photo- late Katthy's profile the
against
determine the differential as well as graphs, you can increase the distance shadow sideof Matt's face. Once
the actual exposure. between subject heights. Your aim again, the nose-to-eye relationship
Reducing the effective subject should be to direct the viewer's atten- exists. In order for Katthy to attain
brightness range in the above manner tion to a centralized point in the her required height in the frame, I
is important because film inherently composition. It is confusing to a asked her to stand on a studio cube.
records things with higher contrast viewer to have to look back and forth
than the eye sees them. between two distinctly separate cen-
In the following examples, the rela- ters of interest.
tionship between light, metering and
composition is inseparable.

21
PHOTOS 2-29 & 2-30
The exciting thing about pho-
tographing loving couples is that they
bring a special energy and emotion to
the session. They lend physical and
mental support to each other. The
couple depicted here — Kristina Kin-
caid and John Rusnak— are top profes-
sional models from Washington,
D.C., portraying a romantic role. As is
clear from these photos, good models
tend also to be talented actors. The
feeling conveyed in these images ap-
pears as real as if the couple were truly
in love.
When you photograph a truly
romantic couple, it's often best to let
nature take its course— at least for
part of the shooting session. To take
advantage of a couple's emotional and
physical energy, I minimize technical
constraints. did this even with my
I

professional models in photo 2-29. to

give them maximum freedom for
their acting.
When I lit this couple, I didn't do it

with specific facial modeling in mind.

Instead, I lit the entire scene in a way
that gave the models as much freedom
of movement as possible. To achieve
this. placed the main light farther
1

Irom the subjects than I normally do.

The light-to-subject distance was
about nine feet.
I raised the main light to a height

that would provide both subjects with

acceptable lighting for most shots. It's
more important to capture genuine
but fleeting expressions than to be
preoccupied with "ideal" lighting.
For photo 2-30, I placed the main
light to the right of the camera, allow-
ing falloff to account for a one-step
difference in exposure on the two
faces. I took an incident-light reading
from Kris' face, pointing the hemi-
sphere toward the main light.
I use four primary ways of directing

viewer attention. I can do it with care- the remainder of the frame. I directed
ful composition and the judicious use John away from the viewer as Kris
of accessories in the photo. Or, I can maintained eye contact with the
use selective control of depth of field. viewer. Finally, Iallowed the light to
Thirdly. I can carefully direct eye con- fall off one step on John, reducing his

tact between the subject and viewer. impact in the image.

Lastly. I can use my lighting selective-
ly on each subject.
For photo 2-30.I used each of the

above, with the exception of depth-

of-field control. I positioned Kris so
her eyes were about one third of the
way into the frame— a location of
strong viewer impact. John occupied

22
2-31 2-32

PHOTO 2-31 Because Richard is positioned PHOTO 2-32

This handsome couple is Sue and closer to the camera, his face occupies In many creative endeavors, includ-
Richard Aronoff of Potomac, greater area in the composition. Had ing photography, it can truly be said

Maryland. I made the photograph as this photograph been made with fron- that "less ismore." This photo is a
part of a private portrait session. tal lighting, he would totally overpow- good example of photographic sim-
Sue has a thin face with fine er Sue in the composition. By using plicity in both lighting and posing.
features. Richard has a wide face with side lighting on his face, his image Models Zacki Murphy and Giles
a rugged, masculine look. I placed my and Sue's create a perfect balance. Kohler were photographed for La
main light to the right of the camera, The lighting was completed with Costa Products with one umbrella
nearest to Sue. It lit her from the side, the addition of a wide-angle flash light to the leftof the camera. The
emphasizing her delicate features. head mounted on a boom stand. The cross lighting on Giles brings out his
Richard was in front of Sue and, light was positioned above the subjects rugged features. The nearly frontal
therefore, received more angular and slightly behind them. The spread short light (see also photo 2-14) on
lighting from the same source. The of light from the reflector was wide Zacki is ideal for her classic features.
right side of his faceis in shadow. The enough to rim light the subjects while Giles' suntan made him significant-
lighting visually narrowed his face at the same time providing back- ly darker than Zacki. By placing him
while maintaining the strength of his ground illumination. closer to the light source, this tonal
character. difference was reduced.

PHOTO 2-33
Top New York models Lisa Palmer usable light to model their faces.
and Greg Bauer are the subjects in Notice Lisa's position in relation to
this ad produced for Hart, Schaffner the light. The strongest light enters
and Marx. from her left, creating short lighting
Quality lighting is just as important similar to that used on Jana in Photo
outdoors as in the studio. This photo 2-14. By turning Greg away from the
was taken mid-afternoon on a hazy, light,he received cross lighting, em-
bright day in upstate New York. To phasizing his strong features.
avoid unflattering overhead light, I The scene was metered with a
asked the models to stand under some Gossen Luna Pro in the incident-light
overhanging branches. The branches mode. I placed the hemisphere be-
shielded the subjects from the over- tween the subjects and pointed it

head light and allowed the lower, toward the open sky.

2-33

23
2-34 2-35 2-36

PHOTO 2-34 PHOTO 2-35 PHOTO 2-36

In this image applied basic studio-
I Kay Sutton York and John McMur- Completing this section is a photo-
lighting principles outdoors. Direct ray are the models in this photograph graph Lynn Brooks and Scott
of
sunlight is a prime source of hard taken on the Dutch island of Aruba. MacKenzie. made the image in San
I

lighting.Notice the deep shadows and The shot was part of an eight-page Francisco for Gant Shirtmakers. Late-
contrast in this ad for Brittania jeans, fashion layout produced for Esquire afternoon direct sunlight was used as
featuring top models Kay Sutton York magazine. the sole light source. The effect on the
and Matt Collins. To block the harsh overhead light. I subjects is similar to studio
In the studio, you can position and positioned Kay and John in a doorway spotlighting — producing high contrast
move lights as needed to produce with a small awning. This permitted and specularity.
proper lighting angles and subject only light from a lower angle to illumi- The photo was metered with a
modeling. The procedure is a relative- nate the faces. Their bodies received Gossen Luna-Pro in the incident-light
ly simple one. Outdoors, it's the sub- the direct overhead sunlight to retain mode. placed the hemisphere at sub-
I

jects that must be moved so the light the true feeling of the location. ject position and pointed it toward the
strikes them from the best angle. I took two incident-light meter sun to determine highlight exposure.
Unmodified midday sunlight is readings— one at the subjects' faces Notice the relationship between the
generally unusable for people and one at the highlight part of their heights of the subjects. Because of the
photography. The high, harsh light clothing. Highly reflective sand on the relatively distant viewpoint, the
creates pockets of shadow in the sub- beach in front of the subjects main- height difference can be greater than,
ject's eyes. As the sun moves lower tained a lighting ratio of about four to for example, in photo 2-27.
toward the horizon, it strikes the sub- one. Even that was barely within the
ject from a lower, more flattering film's latitude, as evidenced by the CONCLUSION
angle. This photograph was taken just nearly burned-out highlights on the Photography involves an interplay
before sunset, displaying two classic clothing. of many variable elements. The sub-
faces to their best advantage. ject influences the camera angle
Comparethe use of light in this chosen. Camera
angle influences
photograph with Photo 54 in the port- lighting. Posing influences both
folio section of this book. Both images camera angle and lighting. And so it
were produced within minutes of each goes on.
other but with strikingly different As with any art form, photography
results. is dependent practice upon
and
refinement — technical, visual and
esthetic. I encourage you to
experiment. Always evaluate your re-
sults with care. Record your findings
in a book for future reference. Above
all shoot each image as though
else,
you were using your very last frame of
film.

24
Background Variations

A photographic image is composed SEAMLESS PAPER tone with a seated subject. This is be-
of positive and negative areas. The posi- My medium-gray backgrounds are cause the subject's shadow falls on the
tive area contains the main subject. actually white seamless paper or a floor behind the subject and is not
Negative area makes up the remainder white studio cove. When more light is visible from camera position. A stand-
of the image space and is normally permitted to fall on the subject than ing subject is a different matter
called the background. In a balanced on the background, the white records entirely Because of the subject's
image, the two work in harmony. as gray in the finished photograph. height, shadows due to the main light
Consequently, negative and positive In photo 3-1 model Cynthia Swear-
, will readily appear on the background.
areas are equally important. ingen is seated approximately six feet Moving the subject and main light far-
Negative space can enhance or de- from the white seamless background. ther from the background doesn't pro-
tract from the subject. Therefore, A single light source, placed approxi- vide a satisfactory solution. It only in-
tonality, shape and placement of back- mately four feet from the model, pro- creases the relative light falloff, caus-
ground elements are critical to the duced a subject exposure of f-16. The ing the background to become darker
success of a photograph. background exposure recorded as/8. than you want it, often approaching
The background effects at your Because the photograph was made at black.
command, both in the studio and on f-\6, the background was underex- Photo 3-2 depicts a standing subject
location, are limitless. With modern posed by 2 exposure steps. This against a medium-gray background.
front- and rear-projection systems, we caused the white paper to record as a The subject was lit with a single main
have the pictorial ability to bring the medium-gray background. light. In addition, two background
great outdoors inside. In this essay, It's a relatively simple matter to light sources were used for an even
however, I concentrate on quick and produce a background of uniform background tone.
inexpensive backgrounds for a wide
variety of photographic applications.

In the Studio
The medium-gray background has
dominated editorial beauty and fash-
ion photography for many years— and
for many reasons. Gray is a cool, neu-
tral color. By contrast, it emphasizes

the warmth of skin tones. Medium

gray lends itself readily to a variety of
layout and type considerations. For
example, type that is either darker or
lighter than the background will
retain good contrast and legibility.
Consequently, the medium-gray back-
ground gives the advertising and
editorial art director a lot of scope in
planning graphics.

25
 I generally like to use soft light narrow-angle reflectors behind the venly on white seamless paper. An
sources for my background lights models, close to the background. The aperture of./- 11 with a Nikon 55mm
—either soft boxes or large umbrellas. background lights were placed to pro- lens produced significant depth of
They bathe the entire background in vide three exposure steps more light field— and background sharpness. In
even illumination, eliminating than was received by the subjects. The the image, the clusters of black spray
shadows. patches of white light on the dark look like blotches of smoke. The
If you want a medium-gray tone background helped outline the visual effect can be controlled in vari-
from a white background material, it's models and separate them from the ous ways. For example, you can vary
important to maintain a 1-1/2 to 2 background. the amount of paint used, or change
exposure step differential between In the previous essay, I mentioned the lens aperture to control depth of
the main light exposure and the back- rim lighting. I showed how it can be field and. therefore, background
ground exposure. used to separate a subject from a dark sharpness.
Variations— The appearance of seam- background. The spotlight method, Before applying paint to a valuable
less papers can easily be changed with shown here, provides a good background material, test the spray
the introduction of additional light alternative. on scrap paper of the same type. Make
sources. I produced photo 3-3 as a Spray Paint— Seamless paper back- sure the paint sprays on evenly, with-
two-page fashion ad for Rich's in grounds in a wide variety of colors are out splattering.
Atlanta. I purposely placed the back- available from many photo dealers. If you should encounter a faulty
ground off-center to depict studio ele- To give such backgrounds more spray tip, replace it with one from
ments on the right side of the "character," you can work wonders another can of paint. Begin with very
photograph. The background behind with spray paints. With them, you can light bursts of paint. Return to camera
the models is black seamless paper. It produce unique background effects position frequently to check the effect
appears to be dark gray, with white with little effort and even less artistic you're creating. Work slowly. If you
highlights. ability. should apply too much spray in one
The effect was produced by placing To make the background for photo area, add more elsewhere to maintain
three electronic-flash heads with 3-4, I applied black spray paint une- a balance.
3-5 3-6

SIMPLE BACKGROUND PROPS MYLAR gave me a variety of abstract back-

In recent years, photographic style Reflective mylar is a versatile mate- ground configurations.
has become at the same time more rial for achieving dynamic background Many interesting visual effects are
dynamic and more relaxed. This is evi- effects. It is available in a variety of possible with mylar backgrounds. Re-
dent in poses as well as in background colors at most large art- or photo- sults vary with every subtle change in
prop selection. Photo 3-5. for supply stores. lighting and camera angle. If you keep
example, gets much of its informality Photo 3-6 was taken for a Revlon ad one of these variables constant, you
from the ladder. and also appeared on the cover of have much greater control.
The background itself for this shirt Petersen's PhotoGraphic magazine. To A good way to begin a session is by
ad was a large softbox. When this type avoid excessive reflection and the placing the mylar on a background
of light source is directed toward the possibility of flare, I angled the silver stand. I use either BD aluminum back-
camera, excessive flare can result. To mylar background away from the ground holders or Mole Richardson
avoid this, I placed an extra layer of camera. I placed blue seamless paper C-stands. Each is inexpensive, easy to
white fabric in front of the softbox. in front of the camera and also below set up, and lightweight and portable.
This also ensured more even light the model. The blue paper was reflect- Position the subject in front of the
distribution, without hot spots. ed by the silver mylar toward camera background and place your camera on
I adjusted the brightness of the position. In the center of the blue a tripod and in place for photography.
back light to give one exposure step seamless I cut a hole just large enough Set your main light. Then evaluate
less light at camera position than that for my 55mm lens to peek through. the pictorial changes that occur as you
recorded from the main illumination The blue seamless prevented my own vary background lighting.
on the subject. However, the softbox reflectionfrom appearing in the mylar.
light striking the subject recorded one Iused three lights— a main, bal-
exposure step more light than the anced with two background lights. I
main light on the subject. This ac- kept the mylar in constant motion by
counts for the edge lighting around using a small electric fan on the floor
the subject. next to the model. This automatically

27
 For photo 3-7, a background light
with a wide-angle reflector to the sub-
ject's left lit the lower part of the
composition. I allowed the top portion
to record darker. The background was
gold mylar. The dark half of the back-
ground provided good separation for
the subject's blond hair.
Subject lighting was provided by
one main umbrella light, flanked by
two large softboxes. This illumination
gives soft modeling, with minimal
contrast, to the model's face and does
not affect the background. The back-
ground is unaffected because the lack

of specularity in the main-light

sources minimizes reflection from the
mylar.

PAINTED BACKGROUNDS
You needn't be an artist, and you
don't need much special equipment,
to produce a variety of attractive paint- 3-7 3-8
ed backgrounds. I start with wide rolls
of fine canvas or linen, or canvas
window shades five or six feet wide. white and black paints. To make the Both backgrounds used for the
Stop at your local paint store and background for Photo 3-9, I used Frank Gifford photos were painted on
purchase a few cans of latex interior white, yellow, blue and black paints. canvas window shades, using latex
house paint. The same store should Both of these backgrounds were easy house paint. The shades were attached
be able to provide you with an assort- to make. to wooden planks with window-shade
ment of natural sponges. Skin tones usually look best against mounts. They were supported by
A background doesn't take long to cool— or bluish — background colors lightweight stands. This type of back-
paint. In one day, you can easily pro- that tend to emphasize warm skin ground is easily carried, changed and
duce three backgrounds suitable for a tones. Photo 3-10 of Frank Gifford is stored.
wide range of photographic situations. a good example. However, as photo How to Paint a Background— Thin
Photo 3-8, a child's portrait made in 3-11 of Frank shows, warm back- the paint with plenty of water. Latex
the Rembrandt style, was taken ground colors can also enhance paints dry quickly, but dilution slows
against a background made with blue, rugged, masculine looks and coloring. the drying process. Try to work all

3-10 3-11

28
areas of the background at about the
same time, using large sweeping
movements with the sponge. Don't
be concerned with fine detail that will
not be resolved by the camera lens be-
cause of limited depth of field.
I start painting at the center of a
background and work toward the
edges. 1 paint for a few minutes, then
stand back to look at the overall effect
from camera position. By squinting
my eyes, I can envision the back-
ground effect at wide lens apertures.
A more direct test is to set up the

camera, focus at the subject position

and stop the lens down to working
aperture. Then, simply look at the
background through the viewfinder.

TEXTURED BACKGROUNDS-
FROM STUCCO TO CARPET 3-12 3-13
Texture and surface characteristics
can play as important a part in your
photographic backgrounds as color
and tone. photograph is part of a fashion layout ground versatility. They can be
Some of my favorite background that appeared in Esquire magazine. changed quickly and stored easily. I
textures and surfaces are permanently
The set was framed with 1/4-inch ply- took photo 3-14 against a background
available on my studio walls. For
wood on 2x3 studs. A heavy stucco of natural burlap. The burlap was
example, one corner of the studio is was applied to the plywood. hung from a portable BD background
I used a layer of linoleum to protect stand and attached with gaffer's tape.
stuccoed. In addition I've stuccoed
the wooden floor in my New York Photo 3-15, of top model Pam
some plywood cubes to match the
wall texture. They serve as props and
studio during construction. Upon Southern, was made for The Horchow
completion of the shooting, 1 broke Collection. It was shot against a back-
posing supports. Other background
the set apart and used the components ground of pleated cotton. I folded the
surfaces in my studio include high-
as wall surfaces in different parts of cotton, pressed it with an iron, and
gloss enamel paint on a cinderblock
wall and flat, white latex paint on a
the studio. mounted it to a sheet of 4x8-foot ply-

metal garage door. I also have a variety

Fabrics provide tremendous back- wood with a staple gun.
of 4x8-foot masonite-backed surfaces
featuring such materials as imitation
bathroom tile and stained glass.
Most hardware and building-supply
stores offer a wide selection of poten-
background materials. At minimal
tial

cost,you can equip your studio with a

wide range of backgrounds. They
need not be excessively large. A back-
ground need be only slightly larger
than the total picture area. The viewer
won't see what's beyond the borders
of the picture.
My stuccoed wall formed the back-
ground for photo 3-12. The texture of
the stucco effectively complements
the model's rugged looks. I placed a
small spotlight high, to the right of
the camera, to accentuate contrast
and texture in both subject and
background.
Sometimes it's necessary to con-
struct an entire set for a series of
photographs. The corner area of a
room was built for photo 3-13. The 3-14 3-15

29
 THE VERSATILITY OF WHITE
Photo 3-16 was taken against a
metal garage door in my Los Angeles
On Location
studio. I had painted the door white
because a white surface provides
When you're shooting away from
greater background flexibility than
the studio, you must find suitable

any other color. It reflects colors accu- backgrounds shooting location

at the
or bring them with you. Generally,
rately and can be manipulated by
the purpose of shooting on location is
exposure to yield gray and black, as
to show some of the character of the
well as white.
White backgrounds also allow for place. Sometimes, however, you'll
need a neutral, plain background.
rapid background color changes in a
variety of ways. For example, you can
use colored gels on the background
MINI-STUDIO
lights. For photo 3-16, I placed a
FOR LOCATION WORK
3200K. photoflood behind my car and
Photo 3-17 shows a portable back-
ground setup consisting of two large
pointed it at the right side of the
background. The warm light became a
pieces of white cardboard. One piece
is placed on the floor and the other is
beautiful amber against the white wall
used as a vertical background. The
when photographed on daylight-
latter can be secured to two light
balanced film.
stands or other suitable supports. A
couple of stand clamps will hold the
3-16 cardboard in place.
I like to take credit for devising this
remarkably portable background. It
was born from a spur-of-the-moment
need. It provides great versatility with
relatively few, inexpensive elements.
I've used this setup on several loca-
tion sessions, sometimes interchang-
ing the white cardboard with cards of
different pastel shades. Photo 3-18
was made in this "mini-studio."

3-18

30
 ing counter concentrated viewer at-
tention on the foreground and Laura.
Next, I selected a large enough lens
aperture render background ele-
to
ments recognizably but not with great
detail. Finally, I gave the model half
an exposure step more light than the
background. The viewer is subtly at-
tracted to the brightest part of the
photograph— the subject.
Photo 3-20 was made at New
York's elegant Tavern On The Green
restaurant. The restaurant was closed
for the photography session and I had
the freedom to do what I wanted.
However, the background was empty
and did not lend itself to making excit-
ing photographs. I minimized the
view of the background by shooting
from a high angle. In addition, I gave
the background three exposure steps
less light than the subjects. To add a
3-19 little extra emphasis to the subjects

and eliminate the visual blending of

their heads with the background, I
added a rim light. It gave 1-1/2 expo-
sure steps more light than the main
light.
Telephoto lenses and large lens
apertures can work wonders on
location. With them, you can depict
your main subject with sharp detail
but, thanks to limited depth of field,
be assured of a soft, diffused, nondis-
tracting background.

OUTDOOR BACKGROUND
SELECTION
Location background evaluation
and selection is a major undertaking.

It's little wonder that it also is a lucra-

tive business. In every large advertis-
ing city, such as New York, Los
Angeles or Chicago, professional loca-
tion finders operate extremely success-
ful businesses. They serve the needs
3-20 of photographers and motion-picture
makers. It's easy to appreciate their
services. I've personally spent as long
as a week seeking ideal backgrounds
for a simple one-day photography
session.
LOCATION BACKGROUND Pretty Laura White is the subject of To avoid last-minute problems or
CONTROL photo 3-19, taken for Family Circle the need for costly location-search
In much photography, the location magazine. Few backgrounds are services, I make a point of recording
forms an essential part of the images. "busier" than a department-store interesting backgrounds as I drive
Location backgrounds can lend mood cosmetic counter— but that was the re- around doing normal daily chores. I
and reality to photographs. Such quired scene for this assignment. maintain a location directory on
"real-life" backgrounds can be con- I used three basic techniques to pre- computer and also keep notebooks
trolled and varied in several ways. vent the background from composi- and Polaroid photographs. I list gener-
You can select the viewpoint, choose tionally overpowering the subject. al location details, background colors
the camera angle, vary the lighting First, the model was placed at an ob- and textures, how much space is
and control depth of field. lique angle to the counter. The reced- available for photography, the dis-

31
 *" »

3-21 3-22 3-23

tance and traveling time from my I used a different technique for creating strong graphic images. Photo
studio, cost of use of the location, if photo 3-24, taken for Virgin Island 3-25 is a good example. I took it in
any, and the position of the sun at dif- Rum on an overcast day. By using a Queens, New York, in an area that
ferent times and seasons. portable 100-watt-second flash and was less than appealing in terms of
The four backgrounds shown next underexposing the daylight by half an background esthetics. To achieve an
were all selected to simulate the neu- exposure step, I made the background effective, dramatic background for
tral tonality of a medium-gray studio record as a uniform, medium gray. actor-model Steve Shortridge, I raised
background. my camera by standing on two metal
In urban areas, buildings are the BOLD COLORS camera cases. As a result, I got a
greatest source of background diversi- AND DYNAMIC GRAPHICS clean, uncluttered background. The
ty. Photo 3-21, which was taken for You can always find a possibility for subject, in his white outfit, stands out
Hart, Schaffner and Marx, was shot
with an 85mm f-\. 8 Auto-Nikkor lens
at/-4. Limited depth of field softened
the gray background masonry to
almost a continuous tone.
Actor Ted McGinley is the subject
of photo 3-22. It was taken with one of
my favorite Nikon lenses, the 300mm
7-2.8 telephoto. At /-4, the 300mm
lens softens the background of even a
full-length shot. For this photo, the
background was an empty parking lot
beside a highway in Malibu,
California.
In rural areas, space is often virtual-
ly unlimited. When you can place sub-
jectand background farther apart, you
can often use shorter lenses and still
get the limited depth of field you
need. Because of the considerable dis-
tance between my subjects and the
background in photo 3-23, I was able
to shoot with a 55mm Nikkor. At
f-5.6, the background is rendered as
an undistracting, gray blur. 3-24

32
 3-26 3-27

clearly against the dark court surface. it for Max Factor. It was midday. The

Art objects can provide colorful sun was above and just behind the
background variety for many pho- subject. The direct sunlight produced
tographic situations. Photo 3-26, for distracting spots of light behind the
textile manufacturer J. P. Stevens, subject. To soften these spots, I had to
was taken with an 85mm Nikkor at put them out of focus. I did this by
f-\ .8. The wide aperture gave minimal using a 200mm /: 4 Nikon telephoto
depth of field, causing the red sculp- lens at its widest aperture.
ture behind the model to appear even For final printing, the image was
more abstract than the sculptor had cropped at the top to eliminate the
intended. Incidentally, it's no coinci- two large spots of light. The result was
dence that the red background and a pleasing image without any back-
the model's tie are a perfect color ground distractions.
match.
Colorful backgrounds need not be CONCLUSION
sophisticated to be effective. A blue The ultimate aim and purpose of
panel truck by the side of a road in beauty and glamour photography is
Miami, Florida, made an ideal back- subject enhancement. It is possible
ground for photo 3-27. I used a for a background to be magnificent,
105mm f-2.5 Auto-Nikkor at wide yet unflattering to the subject.
open aperture. The limited depth of Therefore, you must be selective.
field allowed me to render the subject Study the images appearing in con-
in sharp focus and the truck with less temporary fashion magazines and
detail. evaluate the reasons for pairing specif-
ic subject types with certain
BACKGROUND FOLIAGE backgrounds. Learn, but remain open
Foliage can be a source of back- to change and experimentation.
ground problems. As light filters During a photography session, try
through leaves, a background can some background changes without al-
become excessively distractive, tering lighting or subject pose and
making viewer concentration on the attitude. Evaluate the results
subject difficult. carefullv. z
To eliminate the distraction caused
by backlit foliage. I need to use a rela-
tively long lens to limit depth of field.
Photo 3-28 is a good example. I took

33
Effective Posing

In many ways, this was for me the subject is often of secondary the result of a combined effort by sub-
most difficult essay of the book to importance. Because of these different ject and photographer. Each must con-
prepare. I know that many photogra- priorities, the rules of classic posing tribute to the creative process. When
phers would like a comprehensive list- are often more important in private the subject's body an appealing
is in
ing of poses from which to select. portraiture. and appropriate position, you can cap-
However, effective posing depends In spite of the above, more and ture a variety of subtle attitude
on many factors and truly doesn't more of today's portrait clients, both changes before asking the subject to
lend itself to a structured, tabulated private and public, find classic posing change the basic position.
approach. I'll try to give you some constrictive and undesirable. I consid- When a subject has difficulty follow-
useful guidelines, based on my own er them correct in their belief that ing my verbal directions, assume the I

practical experience. classic posing— as practiced by the pose myself and ask the subject to
majority of the nation's portrait take my position behind the camera.
CLASSIC PORTRAIT POSING studios— is a relic of the past. It origi- This lets the subject see what I wish to
In my book Pro Techniques of People nates from the time when slow films achieve compositionally. As I dem-
Photography, also published by and long exposures were the order of onstrate the pose I also explain the
HPBooks, Idiscussed the basics of the day. visual effect I'm aiming for. For
classic posing for men, women, and example, I may tell a mature woman
couples. The classic rules provide im- CONTEMPORARY why I'm forcing my head toward the
portant guidelines. When all else fails, PORTRAIT POSING camera: Because it elongates the neck
return to the basics— at least at the Today's lighting technology, and gives a better line to the jaw.
start of a session. camera equipment and films give you When people know the reason for a
In private portraiture and photogra- almost unrestricted control. In a frac- requested pose, they find it far easier
phy of well-known personalities, the tion of a second you can easily capture to assume the position.
subject is the most important factor. the fleeting subtleties in a subject's I find that most subjects become
Therefore, the purpose of a pose is to character. With a motor drive or auto more relaxed as a session progresses.
show the subject to the viewer to best winder and fast flash recycling, you Often, posing attempts that don't
advantage. The subject's body posi- can shoot lively picture sequences work early in a photo session work
tion should be comfortable and easy within seconds. beautifully toward end, when
the
to assume as well as appropriate to the The Natural Pose— In contemporary you've built increased subject
character study desired by both sub- portraiture, the best poses are usually confidence.
ject and photographer. those assumed naturally by the subject
In commercial beauty and fashion or created spontaneously by you, the STUDY CURRENT MAGAZINES
photography, where the main aim is photographer, for a specific situation. As you look through a magazine,
to attract attention to a product, the In effect, successful posing is usually the sheer impact of a dynamic photo-

34
graph may arrest your attention. It
may be difficult to define precisely
which creative element moved you. It
was probably an interplay of many.
Posing is just one of the many impor-
tant aspects of photography that can
"make or break" an image.
Don't hesitate to copy magazine
images that you find appealing. Even
if your particular subject is unable to

assume the exact pose shown, this

provides a fine starting point from
which to experiment with variations.

MALE AND FEMALE POSING

Excluding posing, you generally
have considerably more creative picto-
rial freedom with men than women.

With men you can use extreme

camera angles and harsh, contrasty
lighting. You can see some of this
variety in photos in this book as well
as my other book. Pro Techniques of
People Photography, also published by
HP Books.
Where posing is concerned,
however, women offer greater
flexibility. For that reason, Fve
chosen to illustrate posing a woman in
this essay.

4-2 4-3

35
POSING A WOMAN are significant. The
subject— espe- was shift-
4-1). In doing so, her weight
Many elements affect the selection cially a subject— is astutely
female ed toward her left side. Her hip was
of poses. They include the subject's aware of subtle changes in body and thrust out, adding sensuality to the
age, appearance and physical attitude. Minimal changes— such as image. She looks more elongated and
condition, and the clothing selected the shifting of body weight, the posi- feminine than if she were standing
for the session. tion of a hand, the tip of the head or squarely on both feet.
For the examples illustrating this —
turn of the torso may be barely no- Notice, incidentally, the posing
essay, I selected a casual outfit consist- ticed by the casual observer. cubes I used throughout this series.
ing of a tank top and slacks. The outfit However, they are vitally important It's important to maintain a variety of

provided maximum posing versatility to the subject and the ultimate effec- such props in a range of sizes and
and allowed the model's leg positions tiveness of the photographic image. shapes to satisfy different subject
to be seen clearly. The session, shot specifically for shapes and sizes.
As you look through the images, this essay, was based on a hypothetical From her standing position the
you'll become aware of a distinct pho- assumption: I had been assigned to model sat down, crossing one leg over
tographic flow. One image seems to shoot an ad for a European fashion or the other (photo 4-2). Because the
lead quite naturally to the next. Be cigarette account. Why European? Be- model was wearing slacks, the entire
warned, however, that variations that cause European accounts tend to give shape of her legs is evident in the
work well with one subject may be model and photographer greater flexi- photographs. For that reason, she did
much less successful with another. It bility than their domestic advertising not apply the full weight of her upper
depends on the characteristics and and editorial counterparts. leg to the lower leg. This prevented
abilities of the subject. Evaluate each The photographs in this essay unflattering distortion of either leg.
subject carefully as your shooting ses- depict some basic body positions and As a variation, the model shifted
sion progresses. subtle variations of each basic pose: her weight to her right side (photo
Although the changes from one While standing, the model slid her 4-3). Because her body was no longer
pose to another are often slight, they right foot along her left leg (photo balanced, she supported her weight

4-5
4-6

with her right hand on the cube.

The model remained seated, this
time with her legs parted (photos 4-4
and 4-5). She used a cigarette as a
prop. The only change in her pose oc-
curred from the waist up. Notice that
in photo 4-5, where the model's torso
is thrust forward toward the camera,

her left arm extends down her left leg.

At the same time she moved her right
elbow out to maintain both a com-
fortable physical and pleasing com-
positional balance.
Notice the subtle change in the po-
sitionand height of the model's right
shoulder in the next sequence
(photos 4-6 to 4-9). Each slight altera-
tion created a totally new look.
I take care to avoid photographing
the backs of a subject's hands. Hands,
like elbows, can easily become very
unflattering. Showing the sides of a
hand and the length of fingers pro-
full
duces soft, graceful lines in an image.
In photo 4-9, I had the model
seated in profile position but asked
her to look directly at the camera.
In this book, you'll see several
examples of basic poses on the studio
floor. Photos 4-10 and 4-11 show how
posing cubes of various heights offer
additional scope for pose changes.
The model positioned her legs so both
were visible and created slender,
graceful outlines. It's usually most
flattering if the leg closest to the
camera is bent. Notice how the entire

37
 effect of the photograph changes
when the model moves her hand from
her leg to her head.
The final image (photo 4-12) shows
how facial attitude and expression are
integral parts of the total pose.

CONCLUSION
In beauty and glamour photog-
raphy, a pose need not always be com-
fortable to be successful. What is im-
perative is that the subject appears to
be comfortable in every pose. That's
where your judgment as photographer
and director comes in. Make sure that
the poses you select are appropriate
for the garment, be it an evening
gown, a swimsuit or a pair of slacks.
As I've said before, I don't maintain
an inventory of standard poses. I treat
every situation individually— analyz-
ing the subject's needs and the re-
4-10 quirements of the styling and overall
composition. With a little practice
you, too, can produce striking poses
that are not from the "rule book" but
enhance each subject's body, attitude
and wardrobe uniquely.

4-11

4-12

38
Makeup and Hairstyling

In Essay 6, I discuss the use of

models and stylists. To obtain the
model, as well as the makeup artist
and hairstylist, for the specially made
images appearing in this essay, 1 used
agencies such as I describe.
In Los Angeles, some of the finest
hair, makeup, and fashion stylists are
represented by HMS
Bookings, Inc.
The principals of this agency, Marga-
ret L'Hommedieu and Catherine
Brickley, and agency publicist John
McMurray, helped me select the styl-
ing talent for this beauty session.
Makeup was by Jeff Jones and
hairstyling by Steve Reiley. I was
most fortunate in securing the ser-
vices of these two fine artists on the
same job. Their talent and creativity is
astounding, and their collective client
list reads like an international Who's
Who.
Our pretty subject for the session
was Tracy Bayne, a 22-year-old profes-
sional model and actress. She's repre-
sented by Mary Webb Davis Models,
Inc. of Los Angeles. Margo Law, rep-
resenting this agency, helped me
select Tracy from many models' port-
foliosand composites.
The accompanying photograph Photos 5-1 through 5-19 were lit by
shows the team that made this essay the 800-watt-second Versatron main
possible. I'm standing behind the light pan reflector visible in this
in
camera in silhouette. In front of Tracy photo. Back lighting— one light to
Bayne, our model, is makeup artist either side of the model, each
Jeff Jones. Hairstylist Steve Reiley is bounced from a 52-inch um-
behind Tracy. I thank them all for brella—was provided by two Versa-
doing an excellent job! tron 800s at full power.

39
 Makeup
Here's a step-by-step demonstra-
tion of makeup suitable for beauty
and glamour photography:

PHOTO 5-1
The session began with our model
freshly scrubbed, free from all

makeup. Her hair was unstyled.

PHOTO 5-2
Jeff applies a non-greasy mois-
turizer, creating a moist, smooth sur-
face for application of the makeup.

PHOTO 5-3
Jeff applies a cream concealer
around Tracy's eyes and along the
smile lines, using a medium Windsor-
and-Newton #6 brush. Then, using a
small wedge sponge, Jeff blends the
edges of the concealer with Tracy's
skin.

5-1
PHOTO 5-4
With a clean wedge sponge, Jeff ap-
plies a foundation to further
liquid
smooth the complexion and even out
the skin tonality. Next, a light applica-
tion of translucent face powder over
the entire face and eye area is added
to dull excessive gloss and also give
the makeup a lasting quality. Jeff then
uses a damp sponge to set the
foundation.

PHOTO 5-5
This is how our model looked after
application peach eye shadow
of a
over the eye area from the base of the
lashes to the tip of the eyebrow.
Notice the warmth and allure of the
eyes.

PHOTO 5-6
A soft-brown eye shadow is applied
to the outer half of each eye to appar-
ently raise the ends of the eyes and
visually increase their separation.
This application also adds depth and
drama to the eyes. The eye shadow is
applied with a small brush.
Jeff also applies the same brown
shadow along the eyelids and blends it
5-4

5-5 5-6

41
5-7

to the top of the eye socket, below the PHOTO 5-7 PHOTO 5-8
eyebrow. To locate the area be
to Jeff adds a soft, gold highlighter on Jeff also uses the charcoal black
shadowed, ask the model to "look'" the brow bone below the eyebrow. under each eye, toward the outer
straight ahead while her eyes are Using a damp, soft brush, he blends corner, to add thickness and depth.
closed. Then apply the shadow at the additionalcolor under the eye to With a very thin eye-liner brush, he
start of the fold in the fatty tissue of emphasize the lower lashes and the softens and blends the edge of the eye
the eyelid. Begin by applying the lower eye area. liner on the upper lid and outer edge
shadow at the fold and then soften the After this step, Jeff adds a thin line of the lower lid. A small sponge ap-
edges. of charcoal black above the eyelash plicator may also be used to soften the
Jeff suggests testing the shadow on hairs to accentuate the lash line and liner line. This photo shows in detail
your hand before applying it to the add depth to the upper lid. The line is the eye makeup Tracv has received so
subject's face. The hand serves as a made thicker toward the outer ends of far.

useful artist's palette, indicating the the eyes. This gives the ends of the
depth and amount of color you are eyes an apparent lift.
using.

42
5-9 5-10

PHOTO 5-9
Jeff uses an eyelash curler on
Tracy's lashes. Curled lashes sparkle
and also increase the apparent size of
the eyes.

PHOTO 5-10
Black mascara is applied to the
upper and lower lashes. Jeff prefers
black mascara to brown or brown-
black. It allows less mascara to be ap-
plied and so avoids caking on the
lashes.

PHOTO 5-11
A lash brush separates the eyelashes
and distributes the mascara evenly be-
tween the lashes from root to end.

5-11

43
5-12 5-13

PHOTO 5-12 PHOTO 5-13

Jeff applies a peach shade of blusher Before this photo was made, a soft,
to the high points of the cheek area. mauve, lip pencil had been used to
To determine the area of the cheek to shape and define the lip area. The lip
model to
receive the blusher, ask the pencil prevents consequent applica-
smile.Apply the blusher to the apple tion of lipstick from bleeding. In this
of the cheek — the front part— and photo. Jeff applies a soft peach lip
blend toward the tip of the ear. color on top of the lip pencil. Strange
Apply the excess blusher remaining as it may sound, mauve is the closest
on the brush to each side of the fore- color to actual lip tissue.

head at the temples. This helps main-

tain better unity between the facial
features. Jeff applied a small
also
amount of peach blush to the tip of
Tracv's chin.

44
 1^^

m
** ?%'
K
.
M

^5^^ TS ^
' ,.- 3
"^p^ rl
^^

5-14 5-15

PHOTO 5-14
Jeff adds a small amount of gold,
frosted lip gloss to the center of the
lower lip to give fullness to the mouth
and create a subtle pouting effect.

PHOTO 5-15
With a medium ash-blond pencil,
Jeff fills in small separations in the
eyebrow hairs. The pencil is lightly
stroked in short movements in the di-
rection the hair grows.

PHOTO 5-16
Having had a final brush of the
eyebrows, Tracy's makeup is

completed.

45
 a hair blower, dryers, curlers or crimp- PHOTO 5-18
Hairstyling ing irons, Steve recommends
using a To get a fluffier, bouncy look,
setting lotion designed for blow- Steve tousled Tracy's hair. After Jeff
There's an important difference be- drying. This prevents tangles. Steve added some blue eye shadow to
tween makeup and hairstyling. recommends Tenex, or Pantene's Tracy's eyes. Steve added a scarf of
Makeup involves basictechniques Hot Set. The body
setting lotion adds the same color to her hair. Tracy
concerning facialcontouring, tonal to fine hair but does not weigh the wears earrings to match the eye
enhancement and the emphasis or hair down. shadow and scarf.
suppression of specific features. In
many ways, it is similar to photograph- PHOTO 5-17
ic lighting techniques. Hairstyling, Steve used a waving iron on Tracy's
however, is greatly affected by trends The waving iron— which
straight hair.
in fashion. This means that the art of is two curling irons put
actually
corrective makeup for photography together— produces a soft, wide-wave
changes little, while hairstyles can effect. A crimping iron, by contrast,
change as rapidly as clothing styles. would produce a harsh, zig-zag effect.
Furthermore, hairstyle choice is a The flexible curl produced by the
very personal matter, often based on waving iron lends itself to a wide
subjective considerations rather than variety of styling treatments.
on fashion. For the above reasons, Always start curling from the scalp,
I've avoided specific guidance on working outward toward the hair ends.
hairstyling.
After shampooing and before using
PHOTO 5-19 and colors. Jeff lightened Tracy's
lip

To transform Tracy's daytime hair- skin tone by mixing a light water-

style intoa sophisticated evening based foundation and applying it over
coiffure, Steve wets her hair with her existing makeup with a wedge
water and then applies a sculpting sponge. The result is a striking china-
lotion, available at any beauty shop. like look.
The sculpting lotion allows the hair to Rather than the earthy peach tones
be shaped and formed. used for the daytime makeup, Jeff
Using his fingers and a comb, Steve adds some light and medium pink
sculpts the hair into finger waves tones for the blush and a deeper pink
reminiscent of the 30s. For a little on the eyelids to soften the black eye
extra drama, he adds a few spit curls shadow.
over the forehead.
To transform the makeup, Jeff PHOTO 5-20
begins with black powdered eye This photo shows clearly the result
shadow, applying a little to the outside of the eye and face makeup. Earrings
corner of each eye and blending it into complete the sophisticated evening
the eyefold and fatty tissue. An extra effect.
accent of black is added beneath each
eye, at the corner.
For the best effect, evening
makeup should be applied to a light
base, providing more contrast for
shadows, cheek colors, highlighting

5-19 5-20

47
 PHOTO 5-21
For this photo, was necessary to
it

add body makeup exposed skin

to the
areas beyond the face. The body
makeup provides smoothness and
color continuity between face and
body.
Makeup, hairstyle, dress and ear-
rings all contribute to produce a so-
phisticated evening look. Photograph-
ically, the pose and lighting add to the
effect.

5-21

48
Turning Pro—
Commercial Photography

We all need rewards for our efforts. done for the person photographed, or had the opportunity of working
I've
People involved in creative activities, for relatives and friends. Most of the in both environments. I started in
such as photography, need the fulfill- time, it has no other commercial Washington, D.C. and its surrounding
ment brought by producing something value. suburbs. I now have studios in New
beautiful or meaningful. However, photograph well-known persons
I York City and Los Angeles. Each
the most obvious and basic reward is in entertainment and business
the kind of location has its advantages and
the paycheck. Many talented and am- worlds for both personal and limitations.
bitious amateur photographers "commercial" purposes. Sometimes
eventually want to make their living the photos are made for use in ads, ITS COMPETITIVE
by doing what they love most. This sometimes for the promotion of the When you're an amateur, your ef-
essay is intended for them. client's career, and at other times forts arerewarded with simple acco-
simply for personal use. lades such as a kind word from a
DEFINITIONS friend you had photographed, or a
Basically, this book is about people blue ribbon at a local print
photography. This essay and the next
are about how to become a
The Market competition. As a professional, it's
more difficult to earn your reward. In
professional. In this essay. Til discuss Basic photographic technology is effect, you have to earn it twice. First,
commercial people photography. Essay the same for all photographers. you must get the assignment, some-
f
is about portraiture. What's the However, the professional application times against heavy competition.
difference? of photography can differ greatly. It Then, you must fully satisfy the
Commercial photography is produced depends not only on what you shoot, client, to ensure that he'll call on you
for sales and promotional purposes. but on where you're located. again.
Commercial photos of people are Major advertising cities, such as Buyers of photography can afford to
most often used in advertisements. New York, Los Angeles and Chicago, be highly critical. They know that
The primary purpose of such pho- demand photographic specialization. there are many talented photogra-
tography is not to show the face or For example, a New York art director phers to choose from. Only the best
character of a specific person, but to in need of glamour photographs photographers remain at the top of
use the most suitable face, character would call on someone who has made this competitive ladder. The worst
or body that can be found to sell or a name for himself in that specific soon fall by the wayside altogether.
promote a product or idea. field of photography. He wouldn't ask If your passion for photography is
The and bodies are
suitable faces a general, all-round photographer or a so great that it is as much a part of
provided by professional models. This food or architectural photographer to your life as breathing, you have no
essay is about dealing with models, submit his portfolio and bid for the choice but to enter the ranks of the
model agencies and art directors. It assignment. professional. I'll try and help you
also deals with the preparation of a In the major advertising markets, make it— so read on!
portfolio of your work— your main there's a wealth of beauty- and gla- Professional photography has a
tool in selling yourself. Fll also discuss mour specialists from which to select. painful Catch-22— you can't get hired
the nature of the photographic market Outside those areas, there's more reli- without experience, and you can't get
in different types of communities. ance on general commercial photogra- experience without being hired. In
Portrait photography, the subject of phers who are capable of handling spite of this, many photographers
the next essay, refers to photographs many types of assignments. They may have made it— and so may you! There
taken of people for the main purpose be specialists in some limited areas, are guidelines that can help. What fol-
of depicting their specific appearance but depend for their living on their all- lows is my personal advice. Much of it
and character. Portraiture is generally around capabilities. is based on my experiences as a

49
beginner, my development, and my for getting started are less. asked to call. They are told to pick up
eventual success. To address the Keeping in Touch — In smaller their portfolios a day or two after the
majority of readers first, I'll begin communities, you have the advantage call.

with the secondary advertising- of being able to get to know your While a portfolio is at an agency,
photography market. market more intimately. There are it'sseen by most of the art directors at
fewer clients and advertising agencies. special viewing sessions. If they are
SECONDARY Those having responsibility for hiring impressed by your portfolio, you may
ADVERTISING CITIES photographers are often answerable to expect your phone to ring at some
It is far easier to enter the world of fewer people higher up in the corpo- time in the near future, with the offer
professional advertising photography rate structure. of an assignment. If they are not
in the secondary photographic mar- In a small community, it's easier to impressed, your phone will remain
kets than in such cities as New York, analyze and maintain an up-to-date silent— and you had better try
Los Angeles or Chicago. record of the current status of industry elsewhere.
Definition— The secondary advertis- in the area. Local newspapers indicate Quality and Dependability— The
ing markets in the United States in- major changes in local businesses or major commercial market is not a
clude most areas outside New York, the development of new ones. place for experimentation during an
Los Angeles and Chicago. The areas Consequently, your advertising and assignment. It is a place for pro-
involved may be large cities, small promotion efforts are easier to control. fessionalism, quality and dependabil-
towns or rural areas. For simplicity, Versatility is Important— The com- ity. A good photographer can quickly

I'll call them all secondary markets in mercial photographer establishing a earn the respect of his clients.
the text that follows. business in a secondary market must However, one bad shooting session
Bear in mind, however, that the ad- be capable of taking on many varied can just as quickly lose you a valuable
vertising business is in a constant assignments. Generally, such an area client.
state of flux. Some of the major na- simply can't support specialists. There If you are to survive, you must be
tional advertisers are beginning to isn't enough work. The photographer familiar with every technical aspect of
select advertising agencies in the so- may be called upon to shoot fashion your You must also understand
craft.
called secondary markets. Because of and beauty one day, products the precisely what the client wants, and
this, cities such as San Francisco, next, and portraiture the next. His as- be sensitive to the customs and proce-
Boston, Dallas, Houston and Atlanta signments may include real-estate, dures prevalent in the business world
have an ever-increasing demand for school-yearbook and newspaper you're dealing with.
creative photographers who specialize. photography. He must be a jack- —
Pressures are High An agency's ac-
Advantages— In the secondary of-all-trades. He
should try to be count executives and art directors are
market, the progression from amateur somewhat of a master at all! It's a under great pressure to produce ad-
to professional usually takes less challenging, stimulating life! vertising photography quickly and
money, time and effort. There's economically but with consistently
generally less competition, so there is MAJOR U.S. MARKETS good quality. Top models and stylists
a greater opportunity to secure pho- It estimated that there are three
is can cost thousands of dollars per day.
tographic assignments. or four thousand commercial pho- Locations can rent at thousands of
The level of technical and creative tographers in the 22 square miles of dollars per day. The magazine space
proficiency required to generate an Manhattan. The numbers in Los devoted to an ad can cost as much as
income from photography is often Angeles and Chicago are just as $100,000 for a single page of space for
less in a relatively small community staggering. Obviously, competition is one month. Consequently, the pho-
than in the big city. This doesn't the key word. Each year a crop of new tographers selected are specialists
imply that the small-town photogra- photographers, many from the major who've proven they are capable of
pher has less talent or need try less schools, storm the major markets, producing on demand.
hard than his big-city counterpart. It hoping for a small slice of the pho- Art directors maintain a stable of
does mean, however, that a photogra- tographic pie. There are far more pho- photographers with whom they've
pher whose limited talent and creativi- tographers than the market can worked previously. The strength of
ty is capable of sustaining a business sustain. The prospects of a change to a the existing relationships is based on
in a small town might never make it in "seller's market" are slim. past performance and past successes.
the major photography markets. How to Show Your Work— In the Therefore, it's difficult for the
In the secondary photo market, you major photo markets, it's rare for a newcomer to establish himself in the
enjoy the benefits of variety. The beginning commercial photographer major photography markets.
nature of your photographic assign- to personally encounter an ad agency's Success Breeds Success— I'm often
ments changes on a regular basis. art director. If an art director were to approached by beginning photogra-
Some likewhile others would
this schedule appointments with every phers seeking a solution to a
prefer to specialize in the one area in new photographer that called, he'd predicament. They've talked with ad-
which they know they are best. have little time for anything else. vertising agencies, shown their portfo-
Many secondary-market photogra- Most major advertising agencies lios to art and have had
directors,
phers can operate successful busi- ask photographers to drop off their favorable verbal responses. However,
nesses from their homes, without the work samples, or portfolios, on a they have yet to get an assignment.
need for a separate studio. specificday — sometimes as long as The young photographers are frustrat-
Consequently, their financial needs three months from the time they're ed and confused.

50
 Viewed from the client's viewpoint, isan important part of this team. —
Headsheet A photo of each model
the situation is easily understood. Art To more easily serve the needs of represented by an agency appears on
directors have confidence only in their major clients on a national scale, the agency's headsheet. The
those photographers who have suc- several national advertising agencies headsheet— which is generally in the
cessfully serviced their needs or the have branch offices in secondary- form of a booklet— contains important
needs of other clients. A portfolio market cities. Generally, these branch data with each model's photo. This
alone isn't enough. offices also handle smaller, local data may include height, color of hair
I've looked at beginners' portfolios accounts. and eyes, special features, such as es-
with absolutely magnificent photo- pecially attractive hands, feet or legs,
graphs. But they were nothing more ART DIRECTOR and the model's hourly and daily fee.
than photographic prints. They had The advertising agency is the inter- Comp— As a sales tool, each model
not been published. Furthermore, mediary between the advertiser and carries a comp, or composite — a card
each photo may have taken half a day the buying public. The agency's art containing photos of the model in a
to make— or several shooting director determines the creative variety of situations and poses. The
sessions. You can't tell by looking at course of the advertising. For comp contains similar data to those
the images. example, he decides whether his printed on the headsheet. The agency
A published magazine tearsheet in- client's needs are best served with a generally helps models select the best
dicates a professional success. It indi- freehand illustration or a photograph. pictures for the comp. Photo 6-1, on
cates that— when the money was on The art director is also responsible for the next page, shows one side of pro-
the line, the models were on set, the hiring the talent for ad production. To fessional model Kay Sutton York's
location was reserved, and the pres- be hired for an assignment, you must comp.
sure was on— the photographer pro- impress the art director. Both the agency's headsheet and
duced a successful photograph! That's Make a list of the major advertising each model's comp are used to mail or
the experienced professional's edge agencies in your area. Note the clients carry to prospective clients to enable
over the beginner. each serves and the names of art direc- them to select the most suitable
tors responsible to each client. model for a specific requirement.
I try to familiarize myself with the

People You'll advertising campaign I'm soliciting STYLIST

prior tomaking an appointment at the remember
Work With agency. In doing so, can arrange and
I from
I the day
my home in Washington, D.C.
I took the train

The work of a professional involves design my portfolio with photographs to New York City for rny first appoint-
more than a simple photographer- selected specifically for the target ment with major magazine. My port-
a
client relationship. You must get ac- client. If, for example, I'm approach- folio shots were primarily attempts at
customed to working with advertising ing the art director handling Arm & fashion and beauty photography, with
agencies, art directors, model Hammer baking soda, I'll check maga- a smattering of product photos, and a
agencies, models and stylists. zines such as Family Circle, Woman's few character studies thrown in for
Day, and Good Housekeeping, to view good measure.
ADVERTISING AGENCY their current advertising. The art director flipped through my
An advertising agency is an organi- If the ads contain a typical book without uttering a word.
zation specializing in communica- "housewife" in a kitchen, holding the Coming to my favorite photograph,
tions. functions may include
Its product box, I'll load my portfolio she stopped and asked, "Who styled
market research, sales planning and with pictures that reflect that concept. this picture?" I wasn't sure what she
effective marketing through It would be to my disadvantage to in- meant. I had never heard reference to
advertising. Creative photography clude photographs of teenage girls in styling before. "Who decided to put
plays a major part in these endeavors. studded leather outfits! that particular scarf with that blouse,
Creating and maintaining a desira- and who put that leather bag on the
ble corporate image involves many MODEL AGENCY male model's shoulder?" she asked.
considerations, ranging from logo and A model agency is more than an as- "I guess I did," I replied sheepishly.
stationery design to advertising on sembly of pretty people. It provides She indicated that the clothes and ac-
television, billboard, and in print. comprehensive representation for cessories just didn't go together.
To manage its various accounts, an professional models.
In addition to I felt insulted and frustrated. I told
advertising agency employs account selling the of its models,
services her I had come to show my
executives. A typical account executive many agencies provide legal, account- photographs, not the clothes the
may handle one large account or two ing and contract-negotiating services models were wearing. She corrected
smaller, non-competitive accounts. for the models. me, pointing out that what was in my
He works with a staff of copywriters The successful model has abilities photos was part ofmy photos.
and art directors to develop a creative similar to those of the professional I had learned a valuable lesson that

concept for the client and see it actor or actress. It's not surprising day: The photographer alone is re-
through to completion. that many successful actors began sponsible for every aspect of the
To satisfy a client's needs, an ad- their careers as models. The model finished photograph. Consequently,
vertising agency uses the talents of that can, on command, present a you owe it to yourself to either learn
many people not directly employed by variety of emotions, attitudes and what style is about or work with a pro-
the agency. The creative photographer poses can earn high fees. fessional stylist whenever an assign-

51
6-1

ment warrants it. Much of the credit your advantage to meet with clients cial pie and moved my studio to New
for the clean, finished and contempo- and ad agency executives in person. It York City. Soon after setting up
rary look of fashion and beauty establishes the personal rapport so im- there, I was shooting a lot of magazine
images must go to stylists. portant to lasting business rela- and catalog assignments. Getting
Later in this essay, I'll show how tionships. Your understanding of the around in New York took more time
models and
photographers work photography and advertising busi- than in Washington. And there were
together to produce their mutual nesses will be that much more com- so many clients to see!
work samples, or portfolios. Beginning plete through your agency and edito- Soon after my first few editorial
stylistsof make-up, hair and fashion rial associations. Even in the major ad magazine layouts appeared, I was ap-
are usually equally willing to provide markets, there's no substitute for proached by a top photographers'
their services for your test session in self-representation. agent. I was very flattered because the
return for portfolio photographs. Agents and Representatives — When agent also represented four photogra-
Where to Look — In a large city, you a photographer's workload becomes phers of international fame whose
should have finding
little difficulty so great that he can't afford to "make work I had admired for years.
stylists willing to testwith you. Estab- the rounds" to clients and agencies Naturally, I accepted her offer of
lished stylists are often represented by any more, he should consider hiring representation.
agents or agencies that represent only an agent or representative. In New York, editorial magazine
stylists for photography and film. In a Choose Carefully— The agent or rep layouts photographer's
establish a
smaller city, finding styling services must be your alter ego. He must truly reputation more rapidly than any
may be more difficult. represent your personality and atti- form of public relations. Because a
For hair styling, I suggest you con- tude as well as your photographic printed photo credit appears on each
tact local hair salons. Usually, a salon abilities. Many a job has been lost be- magazine feature, prospective ad-
has not only qualified hair stylists, but cause of a strained agent-client vertising clients can associate a pho-
also makeup artists. It's generally not relationship. Consequently, good tographer's name with his abilities.
difficult persuade them to have
to agents are in great demand. Soon after my pictures began ap-
their creations recorded on film, even I produced a considerable amount pearing in magazines regularly, I was
if they're not interested in pursuing a of photography in Washington, D.C. called by an ad-agency art director rep-
career in photographic styling. without ever using an agent's resenting one of the largest shirt
services. I always found the time to manufacturers in the country. "We
REPRESENTATION meet with my clients personally. In want you to shoot our new fall
At the of your photographic-
start doing so, lasting friendships, which campaign," he said. "Would you
career, I it's important to rep-
believe exist to this day, were established. send over your portfolio so we can
resent yourself. Especially in the After a couple years, however, I prepare some layouts based on your
secondary advertising markets, it's to wanted a bigger slice of the commer- magazine tearsheets 9 " he asked. I

52
asked my new agent to deliver my I've related this story to make an (photo 6-2) and
vertising illustration
portfolio to the art director. important point: Although advertising photographs (photo 6-3) in
editorial
A Useful Lesson — I was with the art photography involves artistry, it's each magazine you see. Advertising
director a few weeks later, when he also big business. Never allow your photography is hired and directed by
related the following story: "Gary, I concern with esthetics to overshadow the advertiser — sometimes directly
think you should be aware of your concerns with the business end. and sometimes through an advertising
something,'" he began. "When your You should retain the ultimate control agency. The purpose of the photogra-
agent came to the agency, she of all activities relating to your pho- phy is to sell the product. An advertis-
brought another photographer's port- tographic operation. ing photograph is usually designed to
folio with her. She tried to talk me leave room for the advertising compa-
into using her other photographer ny's logo and name and some text.
rather than you!" Career An editorial photograph is designed
Later that day, 1 questioned my
agent about her actions. She confessed
Development and produced by or for the magazine
itself. Although a product or fashion

that her other photographer hadn't To begin a successful career, you may appear in the photograph, the
been working of late. Because I had must have direction. You must deter- manufacturer has little, if any, say
been working, she thought I wouldn't mine the type of photography you feel about the production and appearance
mind if she secured the assignment most suited and inclined to produce. of the photograph or the design of the
for him. I severed my relationship If it's beauty, glamour and fashion, page. Consequently, the style of pho-
with my agent that same day— a little make a habit of studying the major tography is often looser and freer than
shocked but a lot wiser. It was the first fashion magazines each month. Publi- it would be for a commercial ad.

and last time I used an agent who rep- cations such as Vogue, Esquire, G.Q. If you love glamour and fashion
resented more than one fashion and and Harper's Bazaar are useful guides photography, you should be aware
glamour illustrator at the same time. to contemporary styling and pho- that assignments in those fields are
Since then, I've enjoyed harmonious tographic technique. likely to be few and far between, espe-
relationships with several agents. Analyze the differences between ad- cially in the secondary photo market.

6-2 6-3

53
ASSISTING have to secure a job. would like to shoot some test photos,
An assistant photographer's
is a Your portfolio grows with the using agency models. The agency will
helper. He is responsible for a wide growth of your career. As you work probably show you a collection of
range of tasks. He may be cleaning a on more exciting assignments and ex- composites and glossies depicting the
darkroom one minute and handing a periment with different techniques, models available for testing.
celebrity a product to be advertised update your portfolio. Let your pros- The best way to select modelsis by

the next. pective clients know what you can do personal interview. Pictures can be
Many of the world's most successful now— not what your capabilities were misleading and don't tell the whole
photographers began as assistants in sixmonths or a year ago. story. Rapport is one of the keys to
established studios. An equally large Your First Portfolio— To prepare strong photography. A personal inter-
number, including myself, have your first portfolio— before you've view enables you to discuss with a
become successful without ever serv- had any assignments— you must rely model the best clothes, hair-styling
ing as assistants. on test shooting sessions. Create situ- and location for the test session. An
The assistant helps the photogra- ations that might call for ads, then agent may arrange a specific day and
pher prepare for his photo sessions. shoot the ads. Of course, you won't be time when you can personally inter-
However, the assistant performs his able to include tearsheets until some view prospective models, either at the
most important function during a of your work has been published. agency or at your studio.
session. He loads cameras, moves Give your test sessions the same When you first begin testing, you'll
equipment and props, positions concern you would give a major probably be offered the agency's least
lights, holds and takes
reflectors assignment. It represents your experienced models. They, too, must
meter readings. He should always be "practice" before the "big game." develop a good portfolio before they
ready when the photographer needs Make tests in many varied areas of are capable of promoting their talents
something, such as another camera photography, especially if you're in a professionally. You won't be offered
body or a different lens. secondary advertising area. Remem- the current agency stars. They are
A Good Start — Although I wasn't an ber, in such an area you may be asked likely to be in constant demand and to
assistant myself, I believe it can be a to shoot a fur ad on Monday, a salad- have little time for testing. Top
great advantage to start a photographic dressing ad on Tuesday, sports photo- models rarely lend their time or talent
career that way. This is especially true graphs on Wednesday, architectural to beginning photographers— with or
if you can work for a successful, well shots on Thursday, and so on. Be without payment. However, today's
established photographer. You can prepared! beginner may be tomorrow's
learn a lot by observing a photogra- Analyze which model type is best superstar, and you may be working
pher's lighting techniques and opera- suited for a specific job. Should she be with better material than you realize.
tional procedures. The knowledge a teenager or older, blond or Talent and Attractiveness Count-
you derive depends largely on your brunette, an athletic type or an elegant Physical attractiveness should be only
rapport with the photographer. You'll fashion model? Professional models one of the criteria you use in selecting
benefit the most if he entrusts you are selected with the same care used your test models. It's important for a
with many varied tasks and is prepared in casting actors and actresses. Use model to convey believable emotions
to patiently answer all your questions. the same selectivity in planning your and attitudes. It's not surprising that
To become an assistant, contact stu- test sessions. many models become successful
dios in your locality. If you can select Pay careful attention to fashion, actors and actresses.
a studio that does the kind of pho- hair stylingand makeup. Use con- How to Pay a Model— Barter is an
tography that interests you most, all temporary magazines as a guide to ideal way of paying for testing
the better. If you can't, start your styling. Determine the best loca- services. The model provides her ser-
anywhere. Once you have "your foot tions and the most appropriate lighting vices in return for your photography.
in the door," you have half the battle for your photography. You provide her with free prints or
won. Don't make an appointment with a transparencies.
single ad agency until your portfolio is When I began shooting, it was cus-
IMPORTANCE in top form. If you have 15 images tomary for the photographer to pay
OF THE PORTFOLIO that are great and three that are for all expenses, including film,
A photographer's most effective mediocre, eliminate the mediocre processing, prints, and even wardrobe
sales tool is his portfolio— a. compila-
ones or shoot them again. Art direc- and location costs, when applicable.

tion of photographs, transparencies tors look for consistency in quality. Now, not unusual for photogra-
it's

and tearsheets, carried in a suitable Their jobs depend on it. Show them pher and model to share expenses.
case. This is your calling card. You only the best you're capable of. Regardless of the method you use,
show it at interviews with potential remember that few successful busi-
clients. It should represent your full SETTING UP A nesses have been established without
range of photographic abilities. PORTFOLIO TEST SESSION some initial financial investment.
Your portfolio must speak for you. Many large towns have at least one
It's not unusual for a busy art director model agency or school. Make an ap- SELF-PROMOTION
to request portfolios, not photog- pointment to see those in your area. When you've had some work
raphers, when hiring for an upcoming Show the interviewer your beginner's published, capitalize on your success
assignment. Consequently, your port- portfolio. You can show b&w or color with self-promotion. There are many
folio may be the only opportunity you prints, or slides. Indicate that you ways of making clients aware of your

54
photography. For example, you can question that a studio is needed
little Booking Models — Models are usually
buy additional copies of magazines when you start out in your career. selected by the art director and pho-
containing recently published ads and "Where's your studio?" was the first tographer together. However, it's the
mail tearsheets to target clients with a question asked of me at every one of photographer's responsibility to book
cover letter. Or, you can have separate my early client interviews in New the models. This is done by calling the
promotional sheets or posters, depict- York City. However, once you've es- appropriate agency and talking to the
ing your best work, printed and tablished reputation for quality
a booking agent. If your first choice is
circulated. photography, that question is rarely unavailable, alternative models of
Purchasing advertising space in asked. In fact, a studio is then the similar type and character will be
some of the many creative directories least of a client's concerns. suggested.
on the market is another effective way Unfortunately, you need a studio Some art directors like the pho-
of self-promotion. Such directories in- most when you are least likely to be tographer to make the initial model se-
clude The ASMP Book, The Creative able to afford it. lection and leave the final decision to
Black Book, American Showcase and Many of the world's top fashion and the client. In such a case, I'll tentative-
The Art Director's Guide. However, beauty photographers rent studios as lybook few different models I feel
a
probably the most effective way to and when they need them. These pho- would satisfy the needs of the
promote yourself is to continuously tographers travel widely. Maintaining assignment. A tentative booking
make appointments with agencies and a studio in each of their regular work- reserves a model's time without
art directors. Show them your newest ing locations would be unnecessary requiring a firm booking commitment
tearsheets and make them aware of and prohibitively costly. with payment.
your progress. I ask the model agency to send the

THE ASSIGNMENT art director two sets of comps of the

THE STUDIO After visiting all the agen- models I had reserved. The art direc-
My first studio was in a suburban cies—maybe more than once— and tor gives the second set to the client.
Maryland high-rise apartment showing your photographs to all of The final booking is made when the
building. The one room was on the the art directors, you wait and hope client has made his selection.
16th floor and had a large north-light for the phone to ring. If an art director Another photographer or client
window. When I didn't want the requests your services for an advertis- may call the requesting a
agency,
daylight, placed blackout curtains on
I ing assignment, what do you do? model you've tentatively reserved.
the window. I generated a lot of pho- There are very few hard and fast rules He'll be told that the model is re-
tography from within the walls of that in the creative advertising business. served for that particular day, but he
9x1 8-foot room. My career has been one of daily can have a secondary. This means he'll
My background was at
seamless variety. Therefore, the following sce- be first in line for the model's
one end of the room and a small client nario does no more than capsulize a services, if you release her.
area was at the other end. Where probable course of events. You should become familiar with
possible, features of the studio served Getting Briefed— When you meet the all model-agency policies. Usually,
multiple purposes. For example, my art director at the agency, he will al- tentative bookings must be canceled
end doubled as posing cubes.
tables ready have met with his client, the within 48 hours to avoid a charge for
The ceiling was less than eight feet advertiser. They will have agreed on a the models that had been reserved. Be
high. I taped seamless paper to the firm direction for the advertising. careful with your clients' money. In
ceiling and the wall, simulating a con- You'll be presented with one or more the long run, it will be to your
tinuous cove. This enabled me to use layouts— drawings produced by the art advantage, too.
a low camera angle without having the director, indicating the proposed ad Your Other Responsibilities As —
wall-ceiling line show in my photos. design, with locations for body copy photographer, you are responsible for
Camera and equipment was
lighting and headlines. setting up the entire photo session.
stored in and the models
closets Your goal is to satisfy the require- You must book locations, stylists and
changed in the bathroom. This crea- ments of the layout exactly. assistants as needed. It's not unusual
tive heaven was mine for a scant $200 Remember, the client has already ap- for job expenses to exceed the fee for
per month. Of course, the price of proved the layout and the agency photography. Before taking action on
commercial and residential rentals must produce what the client wants. behalf of a client, secure an agency
has gone up since then. Be Inventive— When you have satis- purchase order, spelling out responsi-
Although it may not be a necessity fied the needs of the layout, you're and obligations.
bilities
in secondary advertising markets, I sometimes free to shoot variations on Fees— Commercial photography is

recommend that you have a studio the basic theme. However, remember highly competitive and jobs are at a
right from the start— even if it's a that modeling fees are very high, so premium. At the beginning of a
modest place. Agents feel more com- don't waste time. If there's additional career, you're subjected to many
fortable sending their models to a time for variations, the art director pressures, both esthetic and financial.
business address than a home. A will give you the go-ahead. You alone can determine the value of
studio also indicates a commitment to During the course of the shooting, your services. Charge appropriately,
the profession of photography, even if try subtle visual alternatives. Change using the ASMP or APA Guide to
only a financial one. the composition and the model's Photography for guidance. Once
A strange double standard exists in position. However, always satisfy the you've established your rates, it's dif-

the major advertising areas. There's basic needs of the layout. ficult to change them.

55
Turning Pro -
Portrait Photography

More professional photographers duction portrait studios. Esquire,Glamour or any of the other
practice portraiture than any other Individual Treatment — I tried a dif- fashionand beauty publications on
photographic specialty, making the ferent approach by photographing the market and start reading— and
field highly competitive. Each city, each student in the natural environ- looking.
big or small, has a selection of pho- ment of the fraternity or sorority. I
tographers who call themselves used available light. The photographs
portraitists. were candid and casual, allowing the BUSINESS CONSIDERATIONS
Added to that competition are the subject to express his or her In the previous essay I defined the
mass-production portrait studios in individuality. The Bernstein portrait basic differences between portrait and
many department stores. These opera- program became a grand success. commercial photography. Let me
tions offer fixed-light, fixed- After being in commercial pho- make some further comparisons.
background, fixed-exposure portrai- tography for about 15 years, I have re- Consumer Product— The commercial
ture that does not call for skilled, crea- cently returned to portraiture. It hap- photo is a business product, paid for by
tive photographers. Such studios pened by accident and with some ini- business. The personal portrait is a
make low-cost portraiture available to tial reluctance on my part. consumer product and is paid for by
virtually everyone. At a party, a businessman asked if I individuals— in all income brackets.
would photograph his wife. I declined As such, personal portraiture is more
the offer, indicating that I shot com- subject to fluctuations in the national
QUALITY IS IMPORTANT mercial assignments only. He was economy. When times are good, the
As is the case with many products, very persuasive and I yielded. Since portrait market thrives; during
the quality of the photos received that time, display of the portrait I economic recession, it suffers.
from the mass-production operations made has led to many other private As a safeguard against economic
is commensurate with the price
often portrait sessions. I now shoot a few fluctuation, many portrait studios
paid. Unfortunately, many private private portraits each month. It has couple the portrait business with wed-
portrait studios offer a product that's become a permanent, self-generating ding photography. The wedding
not much better. For this reason, I be- part of myphotographic business. market is relatively constant. Photo-
lieve that portrait photography offers I don't believe my success in por- graphs of the memorable event are as
good, creative photographers excep- traiture is due to luck. I have given a standard and essential as the wedding
tional potential for business success. lot of thought to the philosophy and cake.
My earliest professional photogra- technique that have led me to a prof- Self-Sufficiency — All participants in
phy was portraiture. I began shooting itable portrait business. Perhaps the a commercial photo session are paid
portraits as a college undergraduate at most important key to success is for their efforts. This includes the
Penn State. I used my hobby to earn being totally interested in, and sym- photographer and the subject— usual-
money. At that time, it was customary pathetic toward, each subject you ly a professional model or celebrity. In
for the many fraternal organizations photograph. private portraiture, only the photogra-
on campus to be photographed by one Be Familiar With Fashion and pher is paid. The client relies totally
of the local studios each year. Makeup— It's not easy to style a glam- on thephotographer's skills.
Except for the faces, the images our or beauty photograph if you aren't Consequently, the man or woman
were all identical. Expression, knowledgeable about fashion and behind the camera must accept full re-
background, lighting, camera angle makeup. Up-to-date instructional sponsibility for the subject's motiva-
and clothing style varied little from guides exist at reasonable cost in the tion and for the technical and creative
photo to photo. In many respects this form of modern fashion magazines. quality of the result.
school portraiture constituted the Simply pick up copies of Vogue, Har- Payment— The commercial photogra-
forerunner of today's mass-pro- per's Bazaar, Gentlemen's Quarterly, pher bills for services after completion

56
of the job. If he's fortunate, he'll re- THE STUDIO My own portrait displays consist of
ceive payment within 90 to 120 days The average smal-
portrait studio is canvas-bonded prints finished with a
of his billing. When I shoot a private ler than its commercial counterpart. high-gloss spray. The canvas is
portrait session, I require a 50% The commercial photographer is laminated to masonite or stretched on
deposit prior to the date of the session often confronted with assignments a canvas frame like a painting.
and the balance of my fee upon com- that require large sets and
pletion of the shooting. Any additional backgrounds, extensive lighting, and EQUIPMENT
photographs desired by the client several professional models. He often The community of portrait pho-
after viewing the proofs must be paid needs assistants and stylists. He must tographers seems to love tradition,
for when the print order is placed. also be prepared to accommodate art sometimes to the point of regarding
There are two reasons for advance directors and account executives who outdated equipment and techniques
payment. First, quality photographic must attend the photography session. as a virtue rather than a limitation.
prints, retouching and finishing ser- Most portrait studios use relatively The equipment needs of the commer-
vices are expensive. I learned the hard small backgrounds. There are rarely cial photographer are often assumed
way that portrait clients have a diffi- more than five or six individuals at to be quite different from those of the
cult time making final print se- one sitting. Consequently, the portrait portraitist.
lections—particularly when
confront- photographer's rental, utility and These generally accepted fallacies
ed with a variety of good images. They other expenditures are relatively low. include the belief that the commercial
may have a change of heart after plac- Studio Not a Necessity— Just as in photographer who portrays people re-
ing the order for finished prints. By the commercial field, the successful quires greater lighting power and
the time the lab is informed of such a portrait photographer with an estab- faster flash-recycling times than the
change, it's often too late, the order lished reputation may not require a portrait photographer. This shortsight-
having already been completed. If so, studio at all. Many leading portraitists edness is a joy to equipment manu-
the photographer bears the cost of work without extensive studio facturers because it provides them
unused prints and services. facilities. They do most of their pho- with a secondary equipment market
The second reason for advance pay- tography in the clients' homes. Other and added income.
ment is more psychological. For the photographers operate successful por- Such attitudes not only contribute
photographer, the check will clear the trait businesses from their own to the propagation of second-rate
bank prior to delivery of the finished homes. equipment, but are a direct cause of
product, so payment is assured. For However, the majority of photogra- the low standing of the portraitist on
the customer, the prints are fully his phers prefer the convenience and the professional photographers'
and he'll take them home and enjoy standard lighting provided by the economic ladder.
them. Were the photos not fully paid familiarity of their own studios. The If you plan to be a portrait
for, the customer would be much studio is also a logical center for meet- photographer, get the finest, most up-
more likely to scrutinize them— and ing with clients, storing and organizing to-date equipment you can afford.
perhaps request a change in his print equipment, backgrounds and props, Each of my cameras is equipped
order. and displaying past efforts in a gallery with a motor drive or auto winder.
setting. They enable me to shoot fast and cap-
ESTABLISH YOUR ture many subtleties of expression, a
TARGET MARKET SAMPLES AND DISPLAYS critical factor for the success of a por-
As I indicated previous
in the As you saw in the previous essay, trait session.
essay, a commercial photographer's the commercial photographer needs a I use Nikon cameras and accessories
potential clientele and portfolio re- portfolio of samples before he can ap- and so, naturally, recommend this
quirements differ with location. The proach potential clients. The portrait equipment to the newcomer to 35mm
same is true for a portrait photographer must also shoot test ses- portraiture. Buy the top model, if you
photographer. Selecting the studio lo- sions and accumulate a variety of por- can afford it. Or, buy whatever else
cation is a vital part of business trait samples. Shoot your test sessions suits both your pocketbook and taste.
strategy. the same way you plan to photograph I use 35mm Kodachrome 25 color-
Every city possesses potential paying clients. slide film for nearly all my color
clients in each income bracket. Only Begin with your friends and portraits. Slide film enables you to
the larger metropolitan cities, relatives. Ask them to pose for you. shoot large quantities of images at
however, offer enough potential Select the most attractive, photogenic minimal cost per image. Kodachrome
clients in each of the income brackets individuals you can find. No one can 25 gives results of exceptional quality.
to allow just one to be selected as a resist pure, natural beauty. All your Many long-established portrait pho-
target market. In areas of lesser subjects will aspire to look like the at- tographers still feel the need for a film
population, the portraitist must find tractive samples you show. format larger than 35mm. Some use
clients in all walks of life. After shooting, you must make the 2-1/4-inch-square or other medium-
The nature and income of the important decision of how to finish format cameras. Many others shoot
clientele determines precisely what your display prints. Of course, each on 4x5 sheet film. They have yet to
you should offer, how much you additional lab application adds to your experience the image quality possible
should charge, and what your ad- expenditure. However, the money is with 35mm cameras and films.
vertising and publicity strategy should well spent if your samples stimulate More importantly, they fail to real-
be. large print orders and healthy profit. ize the most essential factor about por-

57
trait photography: A subject is only Clothing and Props — If a woman are also suitable for private
impressed with photographs in which wants to be photographed in formal portraiture. The only difference is

he or she looks good. It's that simple! attire, I suggest she bring three dif- that the commercial photographer
Most photographers are impressed ferent formal outfits with complete often requires to illuminate a larger
with an image in which every strand accessories— fur, jewelry, bags, area and, therefore, needs wore light.
of hair is rendered sharply, but it gloves, and so on. Most subjects like a Purchase lights that accept a variety
won't sell portraits. A subject won't diversified session in I photo- which of head configurations, including
look for a 3:1 lighting ratio, either. graph them both formal attire and
in wide- and narrow-angle reflectors,
Nor will he measure shadow densities casual clothing. In such cases, I may focusing spots, softboxes and
with a densitometer. However, he will shoot them in as many as four dif- umbrellas. Versatility is the most im-
admire and appreciate an image that ferent outfits. portant consideration. Recycling capa-
has captured the essence of his charac- Hair and Makeup— Most of my bility is also important. I need lights
ter and personality. And that, in my female subjects visit their hairdresser that recycle to 200 to 400 watt-seconds
opinion, is best captured with a 35mm prior tophotography session.
the in no more than 1.25 seconds. This
camera because of ease and speed of Some willhave their makeup
also enables me to use my camera's auto
handling. done at a beauty salon. Others feel winder or motor drive to full
capable, and more comfortable, doing advantage, so that I can capture fleet-
their own hair and makeup. In any ing changes in a subject's expression.
KNOW YOUR CLIENT event, always ask the subject to
I Another essential factor— so obvi-
The modern woman who visits a bring her personal makeup with her to ous it shouldn't require mention— is
portrait studio is astute. She is a maga- the session. This way, touchups and dependability. If your lights fail to

zine reader and knows about current corrections are possible. function, their versatility and recy-
trends in fashion and design. Some Final Touches— On arrival at my cling abilities mean nothing.
American publications now rival their studio, shown to the
the subject is There are several manufacturers of
European counterparts in size and by dressing room. I'm shown the ward- good, reliable electronic flash

the amount of advertising featured. robe and accessories brought for equipment. I use the Versatron and
I believe that many a woman's photography. I make the clothing se- Porta-Master lines produced by Pho-
secret dream is, or was, to be a profes- lections and pick the accessories for togenic Machine Co. of Youngstown,
sional model. Only relatively few each series of photographs. If hair or Ohio. I have four Porta-Master 400
meet the stringent requirements. makeup corrections are needed prior units. These are small, portable and
There is no reason, however, why the to photography, to complement an self-contained. They have a capacity
remainder can't be photographed like outfit, they are suggested and directed of 400 watt-seconds.
professional models. by me. Each Porta-Master 400 is shipped
With this thought in mind, I devel- Background — While my subject is with a flash head and standard
oped what I call fashion portraiture. I dressing, my assistant and I select reflector, a light stand and a sync

provide the subject with a series of backgrounds that complement

the cord. This constitutes a great setup for
images similar to those I produce for outfit. Sometimes prepare aswe'll the beginning photographer and is
fashion magazines and celebrities. For many as three backgrounds, so a tran- ideal for location assignments. Each

many of my subjects, it is the fulfill- sition can be made rapidly and the Porta-Master 400 unit is capable of
ment of a fantasy. photography can proceed without firing three additional flash heads.

Men, too, are aware of current undue delay. When I need more light than the
trends in fashion— and in photograph- Porta-Master 400 can provide, I use
ic style. In general, they find the style the Versatron 800. It provides 800
of editorial and advertising photogra- LIGHTING watt-seconds of power, features fast
phy they see appealing and appreciate In most portrait situations, I use recycling and has a full line of
being photographed in a similar way. four lights or less during an entire accessories.
session. Sometimes a single umbrella For more information about
light enough. At other times, I may
is equipment, see the list on page 160.
PREPARING FOR A SESSION use a main light, two background
I discuss a session with each client lights, a hair light, and a reflector.
before I begin photographing. This Only when photographing a group of SHOOTING THE PORTRAITS
general discussion covers moods and several people would I sometimes I ask the subject to assume a
attitudes, poses, props and clothing. I need more than the basic four lights. relaxed pose on the set. I begin by
also use the conversation to eliminate My assistant and I plug in all lights posing myself in the way I want the

any pre-photography jitters the subject and place them at their approximate subject to pose. I start most sessions
may have and build up her positions at the start of the session. by evaluating the subject's appearance
confidence. In most probability, the Everything is organized for ease and under a single light source. If all looks
subject has never experienced a glam- rapidity of operation. I may begin with well, I check the lighting balances
our or beauty portrait session of this a single light and. as I see the need, with my flash meter, taking incident-
kind before. I want her to have the add others. light readings from various parts of
pleasure of discovering that the ex- Buying Lights — As I mentioned the subject. I also check the lighting
perience is every bit as exciting as it earlier, the types of lights suitable for relationship between subject and
appears on television or in the movies! commercial photography of people background. Then I begin shooting.

58
 When the subject makes a change PRICING PORTRAITS 60 inches long. My pricing for prints is
in clothing, I often change background The commercial photographer the same for original orders and reor-
and lighting, to provide a wide variety enjoys the benefits of numerous pric- ders at a later date.
of images to select from. ing guides in determining approximate
In one session, I usually expose 10 charges. There are no similar guides ADVERTISING
to 15 rolls of 36-exposure 35mm slide for the beginning portraitist. Your AND PROMOTION
film. This means I make an average best avenue is to find out from other The most obvious way you can ad-
total of more than 400 exposures. portrait photographers in your area vertise your work is through displays
what current prices are. This gives in your studio and window. Anoth-
its

you some ideas as to where to start. er effective methodis by word-

PROOFS As your abilities, clientele and reputa- of-mouth. People will hear from satis-
1 receive my
processed film uncut tion increase, so will the fees you can fied customers or from those who
and unmounted. I cut each film into demand. have seen and admired your work.
six strips of six frames each. My lab My sitting fee includes photog- Other avenues for promotion in-
places these strips in an 8x10 negative raphy, proof sheets, two 8x10 enlarge- clude local portrait exhibits at banks
carrier and enlarges the 36 shots on a ments and one 5x7 enlargement. The and public buildings, as well as direct
16x20-inch piece of Type-R paper. enlargements may all be of the same mail advertising with color mailers.
The result is a 16x20 proof sheet, image or of different images. Whatever approach you select,
showing each of the 36 images at The images selected by the client remember that your best publicity will
almost wallet size. are converted from 35mm slides to be your known quality and depend-
When viewing the 16x20 proofs, 4x5-inch internegatives. Any desirable ability.Be sure your photography is
the subjects see every exposure retouching is done on these negatives consistently good. Be sure that you
made — including the shots in which before they are enlarged onto an un- conduct both the business and pho-
they blinked. Occasionally, they'll see textured paper. Final retouching can tographic side of your operation in a
a light meter next to the face, when be done on the print. The print is manner that makes customers feel at
my assistant moved in for a reading. sprayed for a lustre finish. ease and enjoy the session.
In short, they see the good and the Most of my clients want more than Success comes only with experience
bad of the session. From proof
this the small prints included
relatively and dedication. If your main ambition
sheet, the subject selects and orders with my fee. They order large canvas- is to be a beauty and glamour
enlargements. I include a copy of my mounted prints, beginning with the photographer, make everyone look
price list with the 16x20 proofs. 11x14 size. I offer prints in sizes up to beautiful!

59
H
Portfolio

Subject: Margaux Hemingway

Client: Faberge Cosmetics
Art Director: Richard Barrie
Location: Gary Bernstein Studio,
New York City
Camera: Nikon F2
Lens: 105mm./-2.5 Auto-Nikkor
Lighting: Three 1 200-watt-second
Thomastrobe electronic flash units
Film: Kodachrome 25
Exposure Metering: Minolta
Auto-Flash II, incident-light mode
Exposure: /-8 (shutter at 1/60
second)

For photo of beautiful Margaux

this
Hemingway, I used a white, seamless

background that had been spray-

painted to create the illusion of
smoke.
I needed enough depth of field to
allow Margaux freedom of movement
but also wanted to record the back-
ground out of focus. I achieved this by
placing the subject approximately 10
feet from the background, using a
short telephoto lens, and setting my
subject and background lighting for
anf-S exposure.
Notice the white fabric in the lower-
left corner of the frame. What you see
is just a corner of a large piece that I

had draped over half a dozen pillows. I

keep a variety of random fabrics in the
studio— everything from silk to
burlap— to harmonize or contrast
with any outfit. The pillows can be
raised or lowered at will to give me
complete posing and
composition
flexibility. They also tend to provide a
subject with comfort and a feeling of
security.

60
 Television commercials pho- Nikon focusing screen marked specifi-
tographed with 35mm still cameras, cally for television-screen cropping. A
rather than movie or TV cameras, are
called photomatk commercials. They
tripod-mounted
essential.
camera is also
fcl
are an inexpensive way of shooting Photos making up a sequence of Subject: Professional models
test commercials. Because the images this —
kind are sorted or edited— and Client: Alberto-Culver, Inc.
form an animated sequence, viewfind- music and a voice track are added. If Ad Agency: Lee King and
er accuracy is imperative. The image the photomatic commercial is a Partners, Inc., Chicago
must be cropped to conform with the success, the client has one of two Producer: Sharon Sturgis
Art Director: Deborah Pavitt
proportions of a TV screen. I use a choices: He can air the photomatic
Location: Zuma, California
commercial as it is or convert it into a
Camera: Nikon F3
movie version. Lens: 180mm./-2.8 Auto-Nikkor
The photo shown here is part of a Lighting: Late-afternoon sunlight
sequence in which the male model ap- Film:Kodachrome 25
HORSE
proached the woman and helped her Exposure Metering: Gossen Luna
off the horse. I positioned the woman Pro, incident-light mode
for best modeling from the sunlight Exposure: 1 /250 second at /-5.6
because we were "selling'''' the beauty
of her hair. The harsh late-afternoon
sun created excessive contrast on the To determine exposure, I pointed
male model, causing his face to fall the hemisphere of my incident-light
into deep shadow. To avoid this, I meter directly at the sun from subject
asked the man to glance over his position.
shoulder as he approached the horse,
as shown. Eventually, he had to turn
back toward the female model. To
brighten the shadow on his face, I
used a silvered reflector.
62
 Using the spray-paint technique de- that the subject received equal illumi-
scribed in the essay on backgrounds nation from each head. I then metered
(page 25), I prepared a seamless back-
ground of blue sky and white clouds.
the total illumination on the subject
by placing the hemisphere at the
Ec]
The background was placed in my center of the subject's face and point- Subject: Professional model
living room, supported by a portable ing toward the camera. It recorded
it Client: Pro Arts, Inc.
BD background holder. f-S — the exposure I used to make the Art Directors: Gary Bernstein and
I connected two flash heads to a picture. Kay Sutton York
1200-watt-second power pack. Each Notice the directional, yet soft,
Location: Gary Bernstein home,
600-watt-second head had a wide- Beverly Hills, California
quality of the lighting and its evenness
Camera: Nikon F3
angle reflector. The lights were posi- throughout the composition. The
Lens: 85mm./- 1 .8 Auto-Nikkor
tioned at a height of about six feet. setup is ideal for use with a couple of Lighting: Two 600-watt-second
I used two white, V-shaped reflector small, portable flash units, too. You electronic flash units
panels— one on each side of my can control the lighting effect by Light Control: Two white reflector
camera— and aimed each flash head at simply increasing or decreasing the panels
the center of the "V" in the standing angle of the "V" in the reflectors. Film:Kodachrome 25
reflectors. Two large sheets of white foamcore Exposure Metering: Minolta
Placing theincident-light hemi- board make excellent reflectors. Auto-Flash II, incident-light mode
sphere on myMinolta flash meter at Score the vertical center line of each Exposure :J-8 (shutter at 1/60
subject position, I metered each light board with a razor blade and bend the second)
source separately, carefully shielding board into a V-shape. Or, cut each
the meter's hemisphere from the board along its vertical center line and
other light. In this way I established then tape the two halves together.

HAND-PAINTED BACKGROUND

LARGE WHITE LARGE WHITE

REFLECTOR CARD REFLECTOR CARD

63
 El
Subject: William Shatner
Client: Jean-Paul Germain, Ltd.
Art Director: Gary Bernstein
Location: Gary Bernstein Studio,
Los Angeles, California
Camera: Nikon F3
Lens: SSmm.fl .8 Auto-Nikkor
Lighting: One 800-watt-second
Photogenic Versatron electronic
flash unit
Light Control: One 40-inch
silvered umbrella; one small
Photogenic Silfoil silvered reflector
Film:Kodachrome 25
Exposure Metering: Gossen
Ultra-Pro, incident-light mode
Exposure:/- 11 (shutter at 1/60
second)

I would call this photo of talented

actor William Shatner a casual, yet
elegant, portrait. was taken against
It

a canvas background which I had

painted with black, white and gray
latex house paints. Using large natural
sponges and lots of water, I painted
the entire 10x30-foot backdrop in
about four hours. That was a few years
ago and the background has provided
me with a wide variety of uses since
then.
You need not be an artist to produce
a of
variety attractive painted
backgrounds, but you do need the
right tools. I began my background
painting by using 5x6-foot canvas
window shades. The shades were
large enough for most portrait
situations, yet compact enough to be
easily portable.
Using latex paints mixed with
water, work all areas of the back-
I

ground at the same time. I take regular

breaks to view my efforts from a typi-
cal camera distance. You can mount a
camera on a tripod, focus on a fixed
PAINTED CANVAS BACKGROUND
object at subject position, and evaluate
your efforts with a variety of lenses
and apertures. Just keep on painting
until the background looks the way
you want it. SILVERED
The greatest advantage of an une- REFLECTOR
/ A (LOW)
venly painted background is that it
can be lit unevenly or exposed incor-
rectly and still look spectacular in a
photograph.

64
 M
Subject: Professional models
Client: Saks-Takada Salon, New
York City
Location: Saks-Takada Salon,
New York City
Camera: Hasselblad 500EL/M
Lens: 1 50mm ,/-4 Zeiss Sonnar
Lighting: Two 1 200-watt-second
Thomastrobe electronic flash units
Light Control: Two 40-inch
silvered umbrellas
Film: Kodak Plus-X Pan
Exposure Metering: Wein
Electronic-Flash Meter,
incident-light mode
Exposure:/- 2 2 (shutter at 1/250
second)

Saks-Takada is a specialty salon in

New York City. This photo was pro-
duced to depict not only the talent of
the salon's hairstylists, but also some
of the jewelry available at the gift
department. I took the shot at the
salon, against four-foot-wide white,
seamless background paper supported
by a portable BD background holder.
Notice the position of the male
model. He is behind the woman and
partly hidden by her. To maintain his
impact in the composition, I asked
him to bring his head well forward.
His importance is further emphasized
by his eye contact with the viewer.
I used a separate main light for each

of the subjects. A small umbrella light

to the left of the camera provided the
beautiful profile on the
lighting
woman. A second source, placed to
the right of the camera, illuminated
the male model from the side. Each
source recorded f-22 with my
incident-light meter placed at the sub-
ject positions.
There are no catchlights in the
models' eyes. This departure from the
norm was intentional. I wanted the
bodies to appear sculptural and
impersonal, acting merely as supports
for the intricate jewelry. By avoiding
catchlights, I toned down the vibrancy
of the models, allowing the jewelry to
be dominant in the composition.
I printed the final image through a

coarse-grain texture screen to further

enhance the abstract effect of the two
bodies.

65
 M
Subject:
Client:
Two body builders
Paramount Fitness
Equipment Corporation
Art Director: John Nicholson
Location: Gary Bernstein Studio,
Los Angeles, California
Camera: Nikon F3
Lens: 85mm./-1 .4 Auto-Nikkor
Lighting: One 800-watt-second
electronic flash unit; Two
1 200-watt-second electronic flash

units
Film: Kodachrome 25
Filtration: Blue gelatin filters on
background lights
Exposure Metering: Minolta
Auto-Flash III, incident-light mode
Exposure: ,/-5. 6 (shutter at 1/60
second)

These two shots for Paramount Fit-

ness Equipment illustrate that picto-
rial continuity can be maintained in
spite of considerable lighting changes.
The photos are part of a continuing na-
tional advertising series.
The layout called for a series of
active figures against a vibrant blue,
seamless background.
Nine-foot-wide blue seamless paper
was supported by two stands at a
height of about 12 feet. I used two
1 200-watt-second flash units with
wide-angle reflectors as background
lights. Over each reflector I taped a
blue gelatin filter. The blue filtration
caused the normally bland paper to
glow like blue neon light.
To emphasize the chiseled contours
of the male subject, I placed the 800-
watt-second main light — with wide
grid spot— on a boom stand to the sub-
ject's right. This point-source light
created high contrast and gave the
muscled torso dramatic specularity. I
metered the highlighted side of the
body by placing the incident-light BLUE FILTER BLUE BACKGROUND BLUE FILTER BLUE BACKGROUND
hemisphere at the subject's right side
BLUE FILTER
and pointing it toward the main light. BLUE FILTER .^X/
The meter recorded f-5.6— the same
as the light falling on the background.
c
Without changing the background
lighting, I replaced the spot main light
with a flash in pan reflector for the
^b
photo of the female subject. This light
was in a frontal position. The relative-
ly soft illumination emphasized the FLASH WITH GRID
feminine charm of both face and SPOT (HIGH) (HIGH)

body. Again, the light was set to bal-

ance with the /-5.6 recorded from the
background.
# A
66
67
68
 Subject: Eleven-year-old girl
Location: Gary Bernstein Studio,
New York City
Camera: Hasselblad 500EL/M
Lens: 80mm /-2. 8 Zeiss Planar
Lighting: One 1 250-watt-second
Rollei flash in pan reflector
Film: Ektachrome 64
Exposure Metering: Minolta
Auto-Flash II, incident-light mode
Exposure ./- 1 6 (shutter at 1 /250
:

second)

The best portraits of adults usually

project some emotion, such as joy,
humor, and even anger.
affection,
Sometimes the emotion is spontane-
ous and sometimes it has to be elicited
through the photographer's skillful
direction.
Photographs of children are a dif-
ferent matter. The charm of a child's
portrait often lies in the innocence
and spontaneous sense of wonder dis-
played by the child. This portrait of
my oldest daughter at the age of 11 is
a charming example. To enhance the
WHITE BACKGROUND
drama of her unreserved stare, she re-
ceived eye makeup and a bit of rouge,
courtesy of my wife. The subject's
direct confrontation with the camera,
and the huge rag doll, further help to
attract viewer attention.

""j^KJ3 I used a standard lens and shot from

a low angle. This helped to further

exaggerate the size of the large doll
because it was closest to the camera.
For the same reason, the child's
hands also appear disproportionately
large.
A pan reflector provides very uni-
form light distribution. In spite of

3<r
J^
\^
this,

doll's
I metered the
locations— the subject's face and the
head— to be sure that each re-
ceived equal lighting and, therefore,
scene at two

^5^ equal emphasis in the composition.

69
 [:]
Subject: Professional model
Location: Aruba, Netherland
Antilles
Camera: Nikon F2
Lens: 55mm./-3.5 Micro-Nikkor
Lighting: Late-afternoon sunlight
Film: Kodachrome 25
Filtration: Homemade diffuser
Exposure Metering: Nikon
through-the-lens, center-weighted
Exposure: 1/125 second at./: 4

Many factors play a part in the crea-

tion of photographic impact. They in-
clude lighting, lens selection, shutter
speed, lens aperture, camera angle
and the film type used. An important
non-technical factor is styling. This in-
volves the selection and proper use of
clothing, accessory items and props
appearing in a picture. Even in the ap-
parently simple case of a nude on a
beach, styling is a major consideration.
This is one of the photographs I
made for my first book. Burning Cold.
I wanted all the images to remain
"contemporary" for many years. To
achieve this, the model and I made
certain styling decisions. First, the BEACH BACKGROUND
model's hair was to be either wet or
dried naturally throughout the series.
Not a trace of hairstyling would be
evident. Second, makeup would be
minimal, with no trendy or fashiona-
ble
would
quality
colors or designs.

— the
be

1 '
elegant
Last, jewelry
and of high
kind that remains forever </
&
'
'classic.
Prior to leaving for location, we pur-
chased a variety of towels and natural
fabrics in a wide range of colors and
textures. For this photo in late-
afternoon sunlight, we selected a
\^
melon-colored towel and draped it LOW SUN
across the model. Its tone is slightly
lighter than the model's skin. It acted WBN
55
almost like a vignette, directing
viewer attention back toward the Wk (HIGH)
""
center of the image. D

70
71
 M
Subject: Paul Anka
Location: New York City
Camera: Nikon F2AS
Lens: 105mm./: 4 Micro-Nikkor
Lighting: One Balcar
600-watt-second electronic flash
unit
Film:Kodachrome 25
Exposure Metering: Minolta
Auto-Flash II, incident-light mode
Exposure: /-8 (shutter at 1/60
second)

It was wonderful working with

musical genius Paul Anka. I was anx-
ious to capture his extraordinary
energy on film. Paul has a full face
with wonderful skin tone— a combina-
tion that's perfect for spotlighting. I

used a single light in a 14-inch silvered

umbrella. Because the source was a
long way from the subject— about 10
feet— it acted like a spotlight.
Spotlighting creates specular high-
lightsand high contrast. Placing the
light at an extreme angle to Paul's
right caused a deep shadow on the left
side of his face. This visually narrowed
his face while emphasizing his strong
facial features. Notice that the light
was sufficiently frontal to record a
catchlight in both eyes. The second
catchlight is important because it

gives balance to the image.

The background was gray industrial
carpeting. Its vertical striation provid-
ed a visual balance with the horizontal
An f-% aper-
stripes in Paul's sweater.
ture on my short
telephoto lens
provided sufficient depth of field,
with the background softening
slightly.
I placed hemisphere of my
the
incident-light flash meter at the high-
light side of Paul's face and pointed it
at the single light source. The famous BACKGROUND OF GRAY CARPETING
Anka smile recorded as "pure
music." <&>
Vic
ft.
_Bjo5wm

14-IN UMBRELLA

72
 iM
Subject: Professional model
Client: Fire Magazine
Location: Gary Bernstein Studio,
Los Angeles, California
Camera: Nikon F2AS
Lens: 85mm./1 1 .4 Auto-Nikkor
Lighting: Midday sunlight
Film: Kodachrome 25
Filtration: Orange filter
Exposure Metering: Nikon TTL,
center-weighted
Exposure: 1 /250 second aty: 8

I took this image in the early after-

noon on the my Los
street outside
Angeles studio. It was produced for
the cover of a trade fashion magazine.
The model's low placement in the
frame allows for the addition of the
magazine's logo and a cover blurb.
Perhaps the most difficult form of
light to use for people photographs is
a high, overhead sun. The light angle
and contrast render eye sockets as
deep pockets of shadow. I asked the
model to turn his head away from the
sun and tip his head slightly, allowing
the sun to fully illuminate one side of
the face while producing a triangle of
light on the far cheek.
I mounted a Venetian blind between

the sun and the background to get

some interesting shadows on the wall.
By using an orange filter on the
camera lens, I was able to simulate
the "warmth" of late-afternoon sun-
light much earlier in the day. I me-
tered through my Nikon's center-
weighted meter, thereby avoiding any
filter-factor calculations.

WALL
^
VENETIAN BLIND

o
V Ksc

^X HIGH SUN

73
74
 fil
Subject: Professional models
Client: Intro Magazine
Art Director: Linda Homier
Location: Gary Bernstein Studio,
Los Angeles, California
Camera: Nikon F3
Lens: 85mm /-1 .8 Auto-Nikkor
Lighting: Three 800-watt-second
Photogenic Versatron electronic
flash units
Film: Kodachrome 25
Exposure Metering: Minolta
Auto-Flash III, incident-light mode
Exposure: ,/-22 (shutter at 1/60
second)

This photo was taken for the cover

of Intro magazine's fall football issue.
Using readily available props and
basic lighting, I created an image that
depicts great energy and excitement.
The models were wonderful. They re-
sponded beautifully to my yelling,
cheering and screaming from behind
the camera. Excitement isn't as easy
to generate in a single frame as in a
picture sequence or movie. You have
just one split-second chance to express
the mood.
Because I expected the models to
be relatively active during the
shooting, used enough main lighting
I

to provide an f-22 aperture. The ex-

tensive depth of field this provided
enabled me to shoot without constant-
ly worrying about critical focus. Ex-

tended depth of field also ensured

sharpness of all the props.
Notice the low position of the sub-
ject elements in the composition. This
gave the art director flexibility in the
placement of the magazine logo and
cover headlines and text.
I used two umbrella lights to illumi-

nate the background evenly. The

background lights were set for 1/2
exposure step less light than that re-
ceived by the subjects. Consequently,
the white wall recorded as a light gray.
I asked the models to tip their
heads toward each other. In doing so,
they formed a single entity in the
composition. In spite of the activity of
the photograph and the abundance of
props, the viewer's attention is direct-
ed toward the models' faces.

75
 IW
Subject: Private portrait session
Location: Beverly Hills, California
Camera: Nikon FM2
Lens: SSmm/l .4 Auto-Nikkor
Lighting: Indirect sunlight
Light Control: White walls
Film: Kodachrome 25
Exposure Metering: Nikon TTL,
center-weighted
Exposure: 1 /1 25 second atf-5.6

On sunny days in large cities like

New York, I like to shoot on streets
adjacent to tall, light-colored build-
ings. The sunlight reflected from the
expansive building surfaces yields a
beautifully soft, yet directional, light
that's ideal for beauty and glamour
photography.
I used the same principle to make

this indirect-sunlight image on a

street in Beverly Hills, California. The
direct sunlight was too harsh and
struck the subject from too high an
angle to be useful as main-light
source. I found an ideal location for
bouncing the light from three adjacent
walls. I positioned my model with her
back to a wall uniformly illuminated
by skylight and reflected sunlight.
Two frontal walls reflected the sun-
light onto the model, providing soft
and uniform illumination.
brought the subject forward from
I

the background wall sufficiently to

allow the direct overhead sunlight to
reach her hair and arm.
A word of warning: When you're
making color photos, the reflective
walls you use should be white or light
gray. If the walls were colored, they
would reflect that color onto the
subject, causing an unwanted color
imbalance in the image.

76
 i(c]
Subject: Professional model
Client: Garfinckles, Inc.
Ad Agency: Barra Graphics, New
York City
Art Director: Bob Barra
Location: Gary Bernstein Studio,
New York City
Camera: Hasselblad 500EL/M
Lens: 80mm f-2. 8 Zeiss Planar
Lighting: One 200-watt-second
1

Thomastrobe electronic flash unit

Light Control: One 40-inch
silvered umbrella
Film: Kodak Tri-X Pan Professional
Exposure Metering: Wein
Electronic-Flash Meter,
incident-light mode
Exposure :./-1 6 (shutter at 1 /250
second)

This classic fashion image was pro-

duced as an ad for a Washington, DC.
department store. It shows the ele-
gance you can convey with single-
source lighting. To make the image, I
selected the 2-1/4-inch-square format
instead of 35mm. The larger negative
ensures the best possible enlarged
image. Clients also prefer to select
from the larger contact prints pro-
duced from these negatives.
I used a standard-focal-length lens
for two reasons: The lens elongated
the model's form without the perspec-
tive distortion caused by a wide-angle
lens. The lens also provided extensive
depth of field, allowing the subject
freedom of movement during the
session. My camera position was at
floor level.
Notice the movement in the
model's gown. I asked her to stand
with her back to the camera and then
spin toward me. At the end of her
180° spin, she stopped but the dress
continued to swirl. I exposed the film
at the precise moment the gown had
opened to its fullest spread.
The main light— a 1 200-watt-
second bounced from a 40-inch
flash,
silver umbrella— was placed on a
boom stand about eight feet in front
of the model. The apparent vertical
cone of light was caused by the very
high placement of the main light.
Few faces— especially those with
deep-set eyes— can accept such a high
lighting angle. In this case, I had the
perfect face to work with.

77
 iBI
Subject: Professional model
Client: Winona School of
Professional Photography
Location: Winona School of
Professional Photography,
Mt. Prospect, Illinois
Camera: Nikon F3
Lens: 55mm./-3.5 Micro-Nikkor
Lighting:Three 400-watt-second
Photogenic Porta-Master
electronic flash units
Light Control: One 32-inch Halo 3
on main light; two 45-inch Halos WHITE BACKGROUND

k
on background lights
Film: Kodachrome 25
Exposure Metering: Minolta HALO N^^k
Auto-Flash III, incident-light mode
Exposure :./-5.6 (shutter at 1/60
second)

FEMALE MODEL
I made this shot while teaching a
class at the Winona School of Profes-
sional Photography. love teaching.
I

The contact it provides with other

photographers, both young and old, is

stimulating. Teaching also affords me

an opportunity to add special new
photographs to my own portfolio. HALO
And, as this example shows, I also
have a lot of fun at these sessions!
I decided to exploit photographical-

ly the decidedly adolescent manner

conveyed by my young male model. I

thought the sophomoric "leg-grab-

bing" antics would complement per-
fectly his dressy, "preppy" attire.
The main light was a single Halo,
placed to the left of the camera. Two
background lights in 45-inch Halo um-
brellas were positioned to overexpose
the main light by about 1 exposure
step to provide a pure white
background.

78
79
 ftt
Subject: Professional model
Client: Hart, Schaffner
and Marx, Inc.
Art Director: Scott Davis
Location: Gary Bernstein Studio,
Los Angeles, California
Camera: Nikon F2AS
Lens: SSmm/l .8 Auto-Nikkor
Lighting: One 600-watt-second
electronic flash in umbrella
Film: Kodachrome 25
Exposure Metering: Minolta
Auto-Flash II, incident-light mode
Exposure :/-8 (shutter at 1 /60
second)

Reflectivemylar is perhaps the

most of all background
versatile
materials. It's unfortunate that, so
far, I've been unable to find rolls
wider than four feet. For this photo, I
used a long piece of silver mylar hori-
zontally in a corner of my studio. The
mylar extended from just above the
model's head to a couple of inches
below the bottom of the frame. To
maintain the composition accurately,
I placed my camera on a sturdy Gitzo

tripod.
Reflective surfaces are beautiful.
However, they can cause unwanted
reflections in the form of flare. To
avoid this, I placed the main light well
to the right of the camera. When
using highly reflective surfaces, I con-
sider modeling lights essential. They
enable you to view the lighting effect
before exposure. Also, remember the
basic law of physics: The angle of re-
flection equals the angle of light
incidence.
The main light bounced off the
background to the model's right,
producing beautiful edge lighting
along the side of the face. Notice,
incidentally, that the highlight side of
the model's face and the highlight on SILVER MYLAR
the background are almost equally
bright— an indication of the reflective
efficiency of silver mylar.
erp

4*

80
 fta
Subject: Professional model
Client: Revlon, Inc.
Ad Agency: 50th Floor Workshop
Art Directors: Mirella Forlani
Buchanon and John Revson
Location: Gary Bernstein Studio,
New York City
Camera: Nikon F2
Lens: 85mm /-1 .8 Auto-Nikkor
Lighting: One 1 250-watt-second
Rollei electronic flash unit in pan
reflector
Film:Kodachrome 25
Exposure Metering: Minolta
Auto-Flash II, incident-light mode
Exposure:./- 16 (shutter at 1/60
second)

Beauty photographs are used to ad-

vertise a wide variety of prod-
ucts—not only those associated direct-
lywith cosmetics and hair products.
This is because of the universal appeal
of a beautiful face.
This photo was shot for Revlon to
promote a special offer on Aldo Cipul-
lo's Friendship Bracelet.
To avoid perspective distortion in
the head-and-shoulders shot, I used a

short telephoto lens. used a small

I

lens aperture to get sufficient depth of

field to allow the model some freedom
of movement without giving me ex-
cessive focusing concerns.
I wanted the clean, crisp quality of

Kodachrome 25 to record the model's

flawless complexion. To be able to
shoot at f-22 with this slow film, I
needed a lot of light. I used a 1250-
watt-second Rollei flash in pan reflec-
tor at a distance of about four feet
from the subject.
The model was approximately four
feet from the white, seamless
background. The main light fell off by
2 exposure steps, accounting for the
medium-gray background requested
by the client.
Normally, I avoid photographing
the back of a woman's hand. It tends
to look broad and unfeminine. In this
case, I had to shoot the back of the
hand to display the bracelet clearly. By
placing the main light to the left of the
camera, I achieved a 1/2-step light
falloffon the hand, giving it less
emphasis than the face.
Before photographing, I sprayed
the bracelet with a dulling spray to
tone down specular reflections.
 ItA
Subject: Professional model
Client: Winona School of
Professional Photography
Location: Winona School of
Professional Photography,
Mt. Prospect, Illinois
Camera: Nikon F3
Lens: 180mm./-2.8
Lighting: Three 400-watt-second
Photogenic Porta-Master
electronic flash units
Light Control: One 32-inch Halo
formain light; two 45-inch Halos
forbackground lights
Film: Kodachrome 25
Exposure Metering: Minolta
Auto-Flash III, incident-light mode
Exposure: /-5. 6 (shutter at 1 /60
second)

I used three Halo lights— one as

main light and the other two on the
background. The background Halos
were set for about 1 step more expo-
sure than the main light, giving a pure
white background. This was essential
for the graphic effect I wanted to
achieve with the hat, face, earrings
and checkered outfit.
The camera angle was low. I direct-
ed the model to look at the main light
above the camera rather than at the
camera lens. On viewing her eyes
through the camera, however, I saw
too much white below the irises. I
then asked her to look about six
inches below the main light. This
slight change centered the irises in the
eyes beautifully. Because the model
doesn't make eye contact with the
camera lens, the viewer of the photo-
graph is able to study the subject with-
out inhibition.

82
 f[s]
Subject: Professional model
Cone Mills, Inc.
Client:
Ad Agency: The Marschalk
Company, Inc.
Art Directors: Noel Rosenbower
and Barry Pohorence
Location: Reno, Nevada
Camera: Nikon F2AS
Lens: 50mm /-1 .4 Auto-Nikkor
Lighting: Mid-afternoon hazy sun
Light Control: Gold Rocaf lector
Film: Kodachrome 25
Exposure Metering: Minolta
Auto-Flash II, incident-light mode
Exposure: 1 /250 second at./-5.6

There was a glorious time when

client budgets seemed limitless. If
something was needed, the money
was available to do it— and do it in the
best possible way. Before making this
shot, for example, I had photographed
a series of eight fashion ads for Cone
Mills sunny and warm Los
in
Angeles. We had two outfits left to
shoot— a ski outfit and the Marlboro
cowboy shirt shown here. Someone
suggested that we "sure could use
some snow" for the ski-outfit shot. So
we dashed to the airport and hopped
on a plane for Lake Tahoe. After
completing the ski shot, we drove to
Reno, where we produced this final
photograph.
It was cold and overcast in Reno.
From time to time, hazy afternoon
sunlight peeking through the clouds.
The natural light was wintery and
blue— similar to open shade. I placed
a large, highly reflective gold reflector
on the ground in front of the model.
As the sun appeared— rimming the
top of the hat— the gold tonality was
reflected into the subject's face,
giving warmth to the resulting image.
HAZY SUN ^\ The reflector also bounced a specular
/ \
catchlight into the model's left eye.
/ I
This little sparkle is critical to the
^V photograph's success.

GOLD REFLECTOR
(ON GROUND)

-a'

£*,^
83
 its]
Subject: Six professional models
Client: Winona School of
Professional Photography
Location: Winona School of
Professional Photography,
Mt. Prospect, Illinois
Camera: Nikon F3
Lens: 55mm./-2 8 Micro-Nikkor
Lighting: Two 2400-watt-second
Speedotron flash units with four
1 200-watt-second flash heads

Light Control: 32-inch Halo on

main light; barn doors on back and
side lights; Photogenic Silfoil
silver reflector
Film:Kodachrome 25
Exposure Metering: Minolta
Auto-Flash III. incident-light mode
Exposure : ./- 1 6 (shutter at 1 /60
second)

I made this photo while was teach- I When I'm working with a large
ing at The Winona School of Profes- group— especially if the posing is

sional Photography. The models, going to be difficult — I try to have the

provided by The Arlene Wilson- basic lighting set up before placing the
Casablancas Agency in Milwaukee, models on the set.The placement of
Wisconsin, couldn't have been better the lighting for this shot took about an
to work with. I "hey were wonderful! hour. The photography took about 10
It's not easy holding a precise pose for minutes.
an extended period of time— especial-
ly when there are to be six models in
the same image
I wanted the entire image to be in BLACK BACKGROUND
sharp focus. To get the needed depth (HIGH) ^Bt.
of field. used 4800 watt-seconds of
1

lighting power, allowing exposure at

/ \
BARN DOORS
f-\6. connected two flash heads to
I

each of two 2400-watt-second gen-

erators Each head was used at its full
1200 watt-seconds of power. One * 1 BARN DOORS P\7 V-V ^V^/-^ BARN D00RS 1 I
flash head, placed in a 32-inch Halo
umbrella, was the main light. Another
provided the rim lighting from the
rear.
/ \
I connected two flash heads with
SILVERED REFLECTOR
narrow-angle reflectors and barn (LOW)
doors to the second 2400-watt-second
power pack. These lights were posi-
tioned to either side of the set to give
additional edge lighting to the three
models at the rear This helped to
graphically separate their forms from
32-INHALO
the black background "I he barn doors
confined the rim lighting to the edges
of the models, preventing the light
from striking my lens and thus avoid-
ing flare The edge lights provided
^F
1-1/2 exposure steps more light than
the main-light Halo gave to the
subjects

84
85
 «•]
Subject: Professional model
Location: Central Park, New York
City
Camera: Nikon F
Lens: 105mm/-2.5 Auto-Nikkor
Lighting: Open shade
Light Control: Small silver
reflector on stand
Film: Kodak
Tri-X Pan
Exposure Metering: Gossen Luna
Pro, incident light mode
Exposure: 1/250 second at./-8

This shot is part of a test session I

conducted in my early years in New

York City. It was raining at the time
the photo was taken, so I placed my
subject under the thick, protective
overhang of trees in front of the Plaza
Hotel. By asking my subject to lift her
head, I was able to achieve beautiful
facial modeling from the open sky
area.
Unfortunately, the top of the dark
hair was lost against the dark
background. I placed a portable
27-inch silvered reflector on a light
stand to the right of the camera. The
reflector bounced a bit of edge light
along the left side of the model's hair,
but the top of the head still lacked a
clear outline. My subject mentioned
that she had sunglasses with her.
Holding them on top of her head
provided the needed graphic
separation. D

OVERHANGING TREE

SILVERED
REFLECTOR

86
 Wl
Subject: Rosemarie Stack
Location: Gary Bernstein Studio,
Los Angeles, California
Camera: Nikon F3
Lens: 85mm /-1.8 Auto-Nikkor
Lighting: Three 800-watt-second
Photogenic Versatron electronic
flash units
Light Control: Pan reflector on
main light; 40-inch white
umbrellas on two background
lights; one small Photogenic Silfoil
silvered reflector
Film: Kodachrome 25
Exposure Metering: Minolta
Auto-Flash III, incident-light mode
Exposure: /-8 to/- 1 1 (shutter at
1/60 second)

This portrait of beautiful Rosemarie

Stack,perfume entrepreneur and wife
of Robert Stack, adorns the living
room of Bob and Rosemarie's Bel Air
home. The photo was taken in my Los
Angeles studio against a continuous,
white background illuminated by two
800-watt-second flash heads in
umbrellas.
The background lights were set to
deliver 1/2 exposure step more light
than the main light in pan reflector.
Below Rosemarie's face, I placed a
small Photogenic Silfoil reflector to
soften shadows slightly.
Rosemarie was posed on the studio
floor for the shot, leaning toward the
camera. I, was on the floor,
too,
assuming a low camera angle.
Rosemarie's white sweater and
golden tresses frame her fine features.
The gentle breeze of an electric fan
helped to complete a vision of
loveliness.

WHITE COVE

SILVERED
REFLECTOR (LOW)

%
37
88
 fcW
Subject: Morgan Brittany
Client: Swatch Watch USA, Inc.
Location: Gary Bernstein Studio,
Los Angeles, California
Camera: Nikon F3
Lens: 85mm /-1.4 Auto-Nikkor
Lighting: Six flash heads, powered
by three 800-watt-second
Photogenic Versatron electronic
flash units
Light Control: One pan reflector
and two softboxes for main
lighting; two wide-angle reflectors
for background lights; one grid
spot for hair light
Film:Kodachrome 25
Exposure Metering: Minolta
Auto-Flash III, incident-light mode
Exposure: /-1 1 to ,/-1 6 (shutter at
1/60 second)

I used six lights to make this photo-

graph of lovely Morgan Brittany. To
produce soft, frontal lighting, I used
one flash in an 1 8-inch pan reflector at
camera position, flanked by two
medium-sized softboxes. This ar-
rangement provided relatively soft
lighting on the watch surface, while
adding sparkle and large catchlights to
Morgan's blue eyes.
Notice that Morgan's face received
more exposure than her body. This
was done to direct viewer attention to
the face and the watch. To get abrupt
light falloff like this, place the main
light very close to the subject.
The uniform, light-gray background
tone was created by lighting white,
seamless paper with two flash heads in
wide-angle reflectors and underexpos-
ing by 1/2 exposure step. The hair
light delivered 1 exposure step more
light than the main light. The final
touch of glitter, however, was provid-
ed by Morgan herself.

89
 KM
Subject: Actress/model (Private
portrait session)
Location: Gary Bernstein Studio,
Los Angeles, California
Camera: Nikon F3
Lens: 105mm/1.8 Auto-Nikkor
Lighting: One 800-watt-second
electronic flash in pan reflector;
one 400-watt-second umbrella fill

light
Film: Kodachrome 25
Exposure Metering: Minolta
Auto-Flash III, incident-light mode
Exposure:/-8 (shutter at 1/60
second)

I took this photo as part of a portfo-

lio series commissioned by the
subject. I used a basic two-light setup.
The main Versatron 800 was bounced
from a pan reflector. I also used a
Porta-Master 400, bounced from a
small umbrella, as fill light.
I positioned the main light on a
boom stand in front of the subject.
The light was set to deliver an/5.6 to
/8 exposure on Kodachrome 25 film.
To brighten the subject's pretty eyes
and lighten the eyelid area, I placed
the fill light slightly below camera
position. The two lights together gave
an/8 meter reading.
Every lighting change, addition or
subtraction alters the resulting image.
Consequently, an infinite variety of
lighting effects is at your disposal.
Lighting decisions are personal and
the only way to plan lighting is by eval-
uating its effect on each specific
subject.
There are times when a separate fill

source is more valuable than a silver

reflector. The difference is primarily
in the direction of the light. Reflectors
are frequently placed to provide fill

lightfrom below. Light from a secon-

dary source, such as the umbrella
source used here, is usually more
directional and from a higher angle.
Notice that the model is leaning
forward. She was lying on the floor
with her weight on one forearm. The
resultant weight shift gives the image
a sense of motion.
The gray background is a result of
1-1/2 exposure steps less light on
white, seamless background paper
than on the subject.

90
 YZA
Subject: Doug Henning
Client: Jean-Paul Germain, Ltd.
Location: Gary Bernstein Studio,
Los Angeles, California
Camera: Nikon F3
Lens: 105mm./: 2.5 Auto-Nikkor
Lighting: Three Balcar
600-watt-second electronic flash
units
Light Control: Three 40-inch
white umbrellas
Film:Kodachrome 64
Exposure Metering: Minolta
Auto-Flash II, incident-light mode
Exposure:/- 11 (shutter at 1/60
second)

There are relatively few situations

in which precise electronic-flash dura-
tion is critical. However, it was an im-
portant consideration for this shot of
Doug Henning, that genius of magic.
I wanted a flash duration short
enough to freeze Doug's image, yet
long enough to allow the moving
cards to blur. A Balcar Monobloc,
used at full-power, has a duration of
about 1/800 second. The speed was
perfect for the desired effect with the
fast-flying cards.
used a 600-watt-second main light
I

in umbrella, mounted on a boom

stand in front of Doug. The light was
positioned close enough to Doug to
give an/11 exposure. This aperture
provided sufficient depth of field to
record at least some detail in nearly all
the cards.
Behind Doug, I placed two addition-
al 600-watt-second flash units, also
with umbrellas. The background
lights overpowered the main light by
about 1 exposure step, ensuring a
pure white background that would
allow the cards to record clearly.
Doug's wonderful sense of humor
WHITE BACKGROUND shows in the photograph. I remember
having jokingly suggested that we
should use a deck of cards containing

TO only jokers. The fact that one appeared

so prominently in front of Doug's
face, however, was pure coincidence!
At least, I think it was!

91
92
 6

km
Subject: Professional model
Client: Virgin Islands Rum
Ad Agency: Mathieu, Gerfen and
Bresner, Inc.
Art Director: Bill Berenter
Location: Pacific Palisades,
California
Camera: Nikon F2AS
Lens: 105mm./-2.5 Auto-Nikkor
Lighting: Direct sunlight
Light Control: Black card
Film: Kodachrome 25
Exposure Metering: Nikon
through-the-lens, center-weighted
Exposure: 1/1 25 second at. /-5.

Photography involves a careful bal-

ance of lighting. In a studio, you have
total control. You can add light where
you need it and remove it where you
don't want it.
Outdoors, you sometimes have too
much light coming from too many
directions. As this example shows, it
isn't difficult to remove light that you
don't want to affect the image — even
on a bright, sunlit beach.
The reflective sand caused the sub-
ject to be illuminated uniformly from
too many directions. To remedy this,
I placed a large, black card to the right
side of the subject. This eliminated re-
flected light from a sand bank next to
her It improved the modeling and
contrast in the face.
BLACK CARD The scene was photographed for
Virgin Islands Rum to advertise Old
SANDBANK Mr. Boston Rum. LJ

93
 KM
Subject: Gabrielle,
countess
German
Gabrielle,
professional
German
model in
countess
New York
was the subject for this picture series.
I shot the sequence to illustrate the
variety of usable portrait images that
and
City,
clock, the
most
most
subjects
flattering lighting for
tends to produce a
catchlight located between 10 and 12
o'clock or 12 and 2 o'clock.
The shadow of the subject's nose
can be made with a fixed main-light should point downward or sideways
Location: Gary Bernstein Studio,
position. and not touch the upper lip. If the
New York City
The best location for the main light shadow touches the upper lip, the
Camera: Nikon F2
varies not only from individual to light is too high.
Lens: 105mm/-2.5 Auto-Nikkor
Lighting: One 250-watt-second
1
individual, but also with the move- This series of photos shows how the
pan reflector
Rollei flash in ment of the subject. basic lighting requirements can be
Film: Kodachrome 25 Light usually looks best when it retained without movement of the
Exposure Metering: Minolta strikes the subject from above eye main light, even when the subject
Auto-Flash II, incident-light mode level. The eye sockets should be illu- moves. Sometimes, for optimum
Exposure :y-1 6 (shutter at 1 /60 minated equally unless one side of the results, a slightadjustment of the light
second) face is deliberately placed in shadow. position may be called for as the sub-
Generally, each eye should contain a ject changes position.
catchlight. If you view the eye as a

94
95
96
 k*J
Subject: Lee Majors
Client: 20th Century Fox
Ad Agency: PMC, Inc.
Art Director: Denny Bond
Location: 20th Century Fox
Studios, Los Angeles, California
Camera: Nikon F3
Lens: 55mm /-3. 5 Micro-Nikkor
Lighting: One bare
600-watt-second electronic flash
unit; one 600-watt-second
electronic flash unit in white
32-inch umbrella
Film:Kodachrome 25
Exposure Metering: Minolta
Auto-Flash III, incident-light mode
Exposure: >8 (shutter at 1/60
second)

I made photograph of Lee

this
Majors on Western set at 20th Cen-
a
tury Fox Studios. I wanted the lighting
impression of a bare bulb
to create the
hanging from the ceiling at the top of
BARE FLASH (o) the stairs. I placed a single, bare,
electronic flash appropriate
in the
STAIRS position, just behind Lee. To simulate
frontal room lighting, I added a
second flash, low to Lee's right. The

^U^ ^7 \^ :=
light was bounced from
32-inch umbrella.
Each was metered separately.
light
In metering the bare flash behind Lee
from subject position, I had to shield
a white

the meter's hemisphere from the

main light to get an accurate reading.
The bare flash recorded f-\l to
f-\6.To create a rim of highlight
around Lee, the main light was set for
an exposure of ^8 on Lee's face.
Exposing at f-8 created 1-1/2 steps
overexposure on Lee's hair and
shoulders. The result is a detailed
image with believable location
lighting.

97
 «2]
Subject: Professional model
Location: Beverly Hills, California
Camera: Nikon FM
Lens: 105mm/-2.5 Auto-Nikkor
Lighting: One 40-watt tungsten
desk lamp; one 1 0O-watt tungsten
table lamp
Film: 3M 640T color-slide film
Exposure Metering: Nikon
through-the-lens, center-weighted
Exposure: 1 /1 25 second at/4

Successful images are a conse-

quence of mastering technique and
learning to see the effect light has on
film.The amount or cost of equip-
ment has little to do with creative
photography. This photograph, taken
as a personal test for my portfolio, is a
perfect example. shot it at my house
I

late one evening, using an inexpen-

sive 35mm camera and two domestic
tungsten lamps.
I envisioned a photograph of an ele-

gant woman smoking a cigarette in a

chic restaurant. I seated the subject on
the floor, with her back toward a wall
mirror. The main light— a small desk
lamp with a 40-watt bulb— was placed
on a coffee table in front of the
subject. I located the light and adjust-
ed my camera position so the light
was reflected in the mirror. A table
lamp, with 100-watt bulb, was behind
the subject. I determined the lighting
balance visually, without a meter.
Shallow depth of field played a criti-
cal part in creating an abstract, dynam-
ic background for this photograph. At

an aperture of/4, the lens recorded

an indistinct reflected background.
The visual effect suggests distance,
size and grandeur.
For adequate exposure, I rated the
ISO/ASA 640 film at EI 1500 and had WALL MIRROR 10 QW
it push-processed. This also gave the
TABLE LAMP C
image its characteristic grainy
appearance.
WHITE COUCH

<CP
COFFEE TABLE
40W
DESK LAMP

C5

98
 W2]
Subject: Susan Lucci
Client: Swatch Watch USA, Inc.
Location: New York City
Camera: Hasselblad 500EL/M
Lens: 150mm /-4 Zeiss Sonnar
Lighting: Three Photogenic
Versatron 800-watt-second
electronic flash units
Light Control: One pan reflector;
two white 40-inch umbrellas; one
Photogenic Silfoil reflector
Film:Ektachrome64
Exposure Metering: Minolta
Auto-Flash III, incident-light mode
Exposure: ./-1 1 (shutter at 1 /250
second)

Often, the backgrounds and props

used for major ad campaigns are little
more than remnants and scraps of
fabrics, plastics, or other interesting
random materials— used with
imagination. When there are no suita-
ble remnants lying around the studio,
they can easily be purchased at mini-
mal cost.
In the case of this watch ad, featur-
ing beautiful actress Susan Lucci, the
subject's natural exuberance inspired
my choice of props. I envisioned
Susan entering a room through a
beaded bamboo curtain. To feature
the client's product, I replaced some
of the bamboo strands with strands of
watches.
A quick trip to a Manhattan import
store provided me with a selection of
beaded Oriental curtains in a variety
of styles and colors. I chose the plain-
est in color and design to allow Susan
and the colorful watches to steal the
show. The watch strands were at-
tached to a portable BD background
holder, out of view of the camera.
Two lights in white umbrellas illu-
minated the background. The single
WHITE BACKGROUND main light waspan reflector. I
in a
placed a Photogenic Silfoil
small
reflector below Susan's face to give
additional sparkle to her eyes. The
exposure on subject and background
BAMBOO
/ \ CURTAIN
recorded f-11, giving a perfect
SILVERED REFLECTOR subject/background balance.

99
 KM
Subject: Professional models
Location: Dallas, Texas
Camera: Nikon F3
Lens: 85mm./- 1 .8 Auto-Nikkor
Lighting: Three Photogenic
Versatron 800-watt-second
electronic flash units in 40-inch
umbrellas
Film:Kodachrome 25
Exposure Metering: Minolta
Auto-Flash III, incident-light mode
Exposure:/-8 (shutter at 1/60
second)

I made these four photos at a pho-

tography seminar I conducted in

Dallas, Texas. The main-light source
was an umbrella light, positioned in
front of the two models at a distance
of about three feet. Because we didn't
have a boom stand, a special
"thanks" must go to the gentleman
who held the light in perfect position
while the series of images were shot.
Two background lights— bounced
from umbrellas to either side of the
models— produced 1-1/2 exposure
steps less light than was received by
the subjects. Consequently, the back-
ground recorded as a medium gray.
A short telephoto lens— such as the
85mm used for this series— is perfect
for intimate photographs of couples.
The lens is sufficiently long to avoid
perspective distortion, yet short
enough to give significant depth of
field at medium apertures.
First, I posed myself. Then, I asked
the models to take my position on the
set. I stressed that they should main-
tain their relative positions, equidis-
tant from the camera, to avoid poten-
tial depth-of-field problems.
When the models were in position,
I described the series of shots I was
looking for: The man glances at his
pretty partner; he then gives an overt-
ly confident look toward the camera;
his stare returns to his partner— this
time with mischief and humor in his
glance; finally, he turns toward her
and an argument begins. She angrily
points her finger and he bites her
glove. The models that enacted this
series for me were absolutely
wonderful.

100
 Imagine how a series of shots such
as these could service the needs of
many potential clients— including, for
example, liquor advertisers, clothing
companies, perfume manufacturers,
and even marketers of orange juice! If
private portraiture is your goal, with
some subtle variations same
this
theme could be used for a humorous
series with a loving couple. With
imagination and enthusiasm, you can
do it, too!

101
 fell
Subject: Professional model
Location: Gary Bernstein Studio,
Los Angeles, California
Camera: Nikon F3
Lens: 55mm./-3.5 Micro-Nikkor
Lighting: Four 400-watt-second
electronic flash units
Light Control: Pan reflector for
main light; grid spot for hair light;
two wide-angle reflectors for
background lights
Film: Kodachrome 25
Filtration: Green filters on
background lights; Harrison &
Harrison diffuser
Exposure Metering: Minolta
Auto-Flash III, incident-light mode
Exposure:./-8 (shutter at 1/60
second)

These photos are two of a series

taken as a test for a client. I liked the
results and wanted to use one of the
images in this book. I showed the
model my choice for publication — the
photo on the opposite page. After
viewing all of the shots, she selected
the photo on this page. An interesting
discussion about the differences be-
tween the two images followed.
Although one shot was taken right
after the other, two totally different
subject personalities are apparent.
The image on page depicts a
this
strong woman. She confronts the
camera and viewer with confidence —
leaning toward the camera with her
weight on the front foot. The strength
of her attitude is reflected in her pose
and facial expression.
As recorded on the opposite page,
the woman is more introspective —
perhaps a bit more reserved and shy.
Such is the essence of people
photography — the ability to derive a
wealth of different character portrayals
from a single subject. It's of equal sig-
nificance that the model and I each en-
visioned the results differently— in
spite of our unity of purpose and direc-
tion during the course of the session.
The photos were made with a single
main light in a pan reflector. I rated
the main light at 1 exposure step less
than a hair light with grid spot. Two
background lights with green acetate
filters were balanced with the subject
exposure.

102
103
 tt»
Subject: Billy Dee Williams
Client: Jean-Paul Germain, Ltd.
Art Director: Gary Bernstein
Location: Gary Bernstein Studio,
Los Angeles, California
Camera: Nikon F3
Lens: 105mm./-2.5 Auto-Nikkor
Lighting: One 1 200-watt-second
electronic flash unit
Light Control: One 24-inch
silvered umbrella
Film: Kodachrome 25
Exposure Metering: Gossen
Ultra-Pro, incident-light mode
Exposure: /-8 (shutter at 1/60
second)

The great face of Billy Dee Williams

and a simple lighting setup enabled
me to produce this dynamic image for
a Jean-Paul Germain ad campaign. I

wanted to emphasize Billy's features

and avoid the hand detracting atten-
tion from the modeling and specular
lighting on the face. I used a small um-
brella and brought it within two feet
of the actor's face, on his right side.
This created sufficient light falloff on
the hand— with Billy's face metering
at/8 and his hand at/5. 6.
Billy was seated on the floor in my
white studio cove. A falloff of 2 expo-
sure steps caused the white wall to
record as gray on film.
Even in a simple, one-light setup
such as this, I meter all critical ele-
ments before beginning photography.
In this case, I metered the highlight
side of Billy's face, his hand, and the
white background.

104
105
 Subject: Professional model
Client: Echo Scarves for
Woodward and Lothrop, Inc.
Ad Agency: Colopy-Dale, Inc.
Art Director: Bob Sands
Location: Gary Bernstein Studio,
New York City
Camera: Nikon F
Lens: 105mm. ^-2. 5 Auto-Nikkor
Lighting: Three 1 200-watt-second
Thomastrobe electronic flash units
Light Control: One 27-inch silver
reflector
Film: Kodachrome 25
Exposure Metering: We in
Electronic-Flash Meter,
incident-light mode
Exposure: /-8 (shutter at 1/60
second)

If a dark subject is to stand out from

a dark background, a graphic way of
separating the two is essential. I used
a single, wide-angle light source
above and behind the subject to rim
light her black hat and the outfit.
The main light— bounced from an
umbrella slightly to the right of the
camera— was placed low to allow light
to reach the face from below the hat
brim. To lighten facial shadows, I
placed a relatively weak fill light near
camera position.
I placed a large silver reflector
below the model's face, slightly to the
left of camera position. It added a
catchlight to the shaded eye.
The metering was done in stages.
The fill light recorded f-5. 6, the main-
light reading was/8, and the rim-light
metered f-ll. I made the camera
exposure with the aperture set at/8.
Notice the position of the model's
hand. It is turned so the edge of the
hand faces the camera. This gives the
hand a delicate, feminine appearance
BLACK BACKGROUND
from camera position.

SILVERED
^
(HIGH)

REFLECTOR (LOW)

(LOW)

<%

106
 tc&!
Subject: Professional model
Client: Paul Davril, Inc.
Location: Gary Bernstein Studio,
Los Angeles, California
Camera: Nikon F2AS
Lens: 85mm. /-1 .8 Auto-Nikkor
Lighting: One 600-watt-second
electronic flash unit
Light Control: Focusing grid
Film: Kodachrome 25
Exposure Metering: Minolta
Auto-Flash II, incident-light mode
Exposure:/- 11 (shutter at 1/60
second)

I took this photograph as part of an

advertising campaign for a line of
French designer shirts. I positioned
the model with his back to the camera
to show important detail in the back
of the shirt.
To emphasize the delicate stitching
across the shoulders, I used a spotlight
with a focusing grid as the only light
source. The angular lighting clearly
delineates important detail in the shirt
and accentuates the model's strong
features.
Because the subject doesn't make
eye contact with the viewer, it appears
as though he has been photographed
without his knowledge. The approach
gives the photograph a candid, edito-
rial type of appeal. The lack of eye con-

tact also encourages the viewer to

scrutinize the subject without self-
consciousness. This technique is

often used effectively in advertising

photography.
Careful metering is critical when
you use a focusing grid. This is be-
cause light from a grid falls off sharply
outside the immediate area being lit
by the focused light. I always take
several readings in and around the
highlighted area to ensure exposure
LIGHT BRICK WALL accuracy.

A *
FLASH WITH
GRID SPOT (LOW)

107
 fclsi
Subject: Professional models
(Test session)
Location: Gary Bernstein Studio,
New York City
Camera: Hasselblad 500EL/M
Lens: 1 50mm. f-A Zeiss Sonnar
Lighting: One 1 250-watt-second
Rollei electronic flash in pan
reflector
Film:Kodak Plus-X Pan
Exposure Metering: Minolta
Auto-Flash II, incident-light mode
Exposure :/-5. 6 (shutter at 1/250
second)

Two of New York's finest models

appeared in this series of test photos
taken for our respective portfolios.
The three images were produced with-
out the help of hair or makeup stylists.
There are important similarities in
these images: Each was produced with
a single mainbounced from a
light,
flat pan Each was shot with a
reflector.
medium telephoto lens on a 2-1/4-
inch-square camera, giving limited
depth of field.Each image exemplifies
the ease and simplicity of
male/female posing. Each photo uses
subject/camera rapport rather than
visual communication between the
subjects for impact. However, the di-
rection and purpose of each image
was totally different.
Because this test session was to
satisfy both subjects, each required
personal attention. Both had to end
up with usable portfolio images.
In the photo on this page, I gave
,,
"main billing to the female model.
Her male counterpart merely adds
background support to the image. For
a tightly cropped head shot of the
woman alone, the man could easily be
removed from the image. In the left
photo, opposite page, I featured the
male model. Again, by selective
composition, I gave him the option of
cropping the photo to produce a single The man's skin appears darker than
head shot. the woman's in each of the photos.
The photo on the far right features The darker tone suggests a masculine
both models equally. Although the tan and ruggedness while the lighter
subjects maintain eye contact with the tone effectively represents a woman's
camera, the viewer aware of the sub-
is "porcelain" femininity. This effect
jects' unity. Subtle elements, such as can be produced with about 1/2-
a hand on a shoulder or a slight tip of a exposure-step light falloff between
head, as well as the basic position and the faces. I determined exposure for
proximity of bodies, convey a these photos with an incident-light
message of oneness. reading from the woman's face.

108
109
 Taken as part of a 15-page editorial
layout for Ski magazine, this photo il-

fcfti lustrates the beautiful light quality

you can get with a small, portable
Subject: Professional model The title of the
electronic flash unit.
Client: Ski Magazine layout was: "Getting Away— To Go
Art Director: Pat Doran
Skiing." In this shot, the model
Location: New York City
Camera: Nikon F2
departs luxuriously — in the back seat
of a Rolls Royce. I was in the front
Lens: 35mm_/-2 Auto-Nikkor
Lighting: One 100-watt-second seat with my Nikon.
Sunpak electronic flash unit I was careful to keep the film plane

Light Control: White tissue parallel to the car seat and the line of
diffuser the model's body to avoid any obvious
Film: Kodachrome 25 perspective distortion with my wide-
Exposure Metering: Minolta angle lens. To give the light a slightly
Auto-Flash II, incident-light mode diffused quality, I taped a small piece
Exposure: /-8 (shutter at 1/60
of tissue to the front of the portable
second)
flash.
This shot was taken in a Rolls
Royce showroom. An amateur pho-
tographer can often receive the same
cooperation from a salesperson in ex-
change for a couple of photographs. D

110
 To create the intimate atmosphere

KM
You'll notice that departed from a
I

of this scene, I deliberately exposed standard compositional rule — I placed

daylight-balanced color film by tung- the subject's head in the center of the
sten lighting. This resulted in the frame. This added a feeling of peace
overall reddish tone. This is because and tranquility to the scene. You, too, Subject: Professional model
the light from a tungsten lamp con- should break rules when it means get- Location: New York City
more red than does average Camera: Nikon F
tains ting a more effective picture!
Lens: 85mm /-1 .8 Auto-Nikkor
daylight. To record this scene
Lighting: One 1 0O-watt tungsten
"normally" with a 100-watt bulb and lamp
daylight-balanced film, I would have Film:Ektachrome 200
needed a combination of blue 80A Exposure Metering: Gossen Luna
and 82B filters on the camera lens. Pro, incident-light mode
In this scene, I thought the deliber- Exposure: 1/60 second at. /-4

ate color shift gave the photo a beauti-

1

ful "warmth/ The lamp was about

five feetfrom the model. I used a
handheld incident-light meter at sub-
ject position to determine exposure.
For sufficient exposure in the dim
light, I rated the Ektachrome 200 film
at double its speed (EI 400) and had
the lab push-process the film.

111
112
 KM
Subject: Professional model
Location: Gary Bernstein Studio,
Los Angeles, California
Camera: Nikon F3
Lens: 105mm/3.5 Micro-Nikkor
Lighting: One 1 250-watt-second
Rollei flash in pan reflector; two
800-watt-second flash heads in
softboxes; one 800-watt-second
flash in standard reflector
Light Control: One small
Photogenic Silfoil silvered reflector
Film: Kodachrome 25
Exposure Metering: Minolta
Auto-Flash III, incident-light mode
Exposure: /-8 (shutter at 1/60
second)

A pretty, talented model and triple

main lights accounted for this classic
3
beauty portrait.
SILVER MYLAR BACKGROUND
To provide fullness to the face and
add sparkle to the eyes, I placed a
Rollei flash in a pan reflector near the
camera position and flanked it by two
large softboxes. Main modeling came
(HIGH)
from the Rollei light, which was posi-
tioned for an /: 8 exposure. Each of
the softboxes metered f-4 to f-5.6

L \ —enough light to
destroying the modeling.
fill shadows without
SILVERED
REFLECTOR (LOW) To add even more sparkle to the
eyes, I placed a silvered reflector
below the model's face.
I lit the silver mylar background
from a high position to avoid a direct
reflection back to the camera. The
model's head was nearly on the studio
floor, and so was my camera position.
Close cropping provided a clean,
graphic image.

113
 Next, we wetted the runway to

KM
Subject: Professional models
Client: Chrysler Aviation
achieve a pleasing reflection of the jet.
Great care was taken to keep the
water well away from our high-power
flash generators. We were now ready
to bring the couple into position.
Art Directors: John Mercado and Notice that the man's dark hair is
Jack Chrysler against the white background while
Location: Van Nuys Airport, Van blond head silhouetted
his partner's is
Nuys, California
against a dark background. Her black
Camera: Nikon F3
dress is subtly outlined against the re-
Lens: 85mm/- 1 .8 Auto-Nikkor
Lighting: Three 600-watt-second flection of the plane.
electronic flash units; three The light metering along the
800-watt-second electronic flash plane's fuselage indicated an /8 to
units; two 1 200-watt-second f-\\ exposure. To illuminate the
electronic flash units couple, I used one umbrella light,
Light Control Umbrellas
: and slightly to the right ofmy camera. It
wide-angle reflectors was set for an f-l\ exposure — the
Film:Kodachrome25 exposure I actually used. This caused
Exposure Metering: Minolta
the jet to be overexposed by 1/2 expo-
Auto-Flash III, incident-light mode
Exposure: /-11 (shutter at 1/60 sure step. It ensured emphasis of my
second) main subject— the plane.
I used a short telephoto lens, so the

plane would appear slightly closer to

Although I'm generally an advocate the couple than it actually was. With
of "less is more" where lighting is the 85mm lens, I needed the small
concerned, times when
there are f-\\ aperture to get sufficient depth of
there's no substitute for sheer power. field.

Such was the case in the production of

this ad for Chrysler Aviation. I used
6600 watt-seconds of light to illumi-
nate the plane, the two models and
the foreground.
The client required an evening shot
depicting a chic couple about to leave
on a charter jet. Due to the nature of
the scene and because I wanted to
record the image on high-resolution
but slow Kodachrome 25 film, a tre-
mendous amount of light was needed.
Lear Jet was towed into
First, the
position. Next, a chauffeurbrought in
the limousine. After choosing approx-
imate camera angle and composition, WET RUNWAY
I mounted my Nikon on sturdy a
Gitzo tripod. There was considerable
jockeying and shifting of plane and car
as I studied the scene through the
viewfinder. I envisioned the final ad
with the cop cropped just above the
tailof the plane and dark type running
across the bright trunk of the
limousine.
We placed seven flash heads parallel
to the line of the jet's fuselage at a dis-
tance of approximately 30 feet. Each
flash had a wide-angle reflector and
52-inch umbrella in overlapping con-
figuration to bathe the plane in even
illuminai •
without objectionable
reflections

114
115
 EM
Subject: David Brenner
Client: Jean-Paul Germain, Ltd.
Art Director: Gary Bernstein
Location: Gary Bernstein Studio,
Los Angeles, California
Camera: Nikon F2AS
Lens: 105mm/-2.5 Auto-Nikkor
Lighting: Two 600-watt-second
electronic flash units
Film: Kodachrome 25
Exposure Metering: Minolta
Auto-Flash III, incident-light mode
Exposure :/-8 (shutter at 1/60
second)

As a former east-coast city boy, one

of the first things I installed in my Los
Angeles studio was a basketball net. It
came in handy for this shot of brilliant
comedian David Brenner.
I was shooting David for the Jean-
Paul Germain Winners campaign.
David is also a big-city boy— so I

decided to photograph him "slam-

dunking" a basketball. To get him to
the right height, I asked him to stand
on a stepladder. I produced the illu-
sion of movement by blowing his hair
with an electric fan.
Instead of using a fancy or uniform
background, I decided that the shot
would look more realistic if I simply
shot the studio wall and roof as it is.
By using a medium telephoto lens at a
medium aperture, I was able to put
the background a little out of focus.
To emphasize David's height, I
shot from near floor level. To avoid
unflattering low lighting, however, I

placed the main light at a height of

nearly 12 feet. I lit the portion of the
background that would appear in the
frame with a second light.

116
 ZA\
Subject: Professional model
Client: Paramount Fitness
Equipment Corporation
Art Director: John Nicholson
Location: Gary Bernstein Studio,
Los Angeles, California
Camera: Nikon F3
Lens: 85mm./- 1 .4 Auto-Nikkor
Lighting: Three 800-watt-second
electronic flash units and
umbrellas
Light Control: One Photogenic
Silfoii reflector
Film:Kodachrome 25
Exposure Metering: Gossen Ultra
Pro, incident-light mode
Exposure: /-8 (shutter at 1/60
second)

John Nicholson, Paramount's direc-

tor of advertising, and I agreed that
the best way to sell fitness equipment
was by emphasizing well-developed
bodies. We wanted to create an image
that showed strength and beauty in a
clean, uncluttered composition.
The gym equipment was wheeled
into the center of a white cove in my
studio. The background behind the
equipment was lit uniformly by two

800-watt-second flash heads in

52-inch white umbrellas. I used a
third 800-watt-second flash, bounced
from a 40-inch umbrella, for main
lighting. It was positioned approxi-
mately four feet in front of the model.
I placed small Photogenic Silfoii
a
reflector below the model's face to
give additional sparkle to her eyes.
We selected a male bodybuilder's
impressive thigh, with skin tone that
nearly matched the color of the leather
exercise chair to the model's right.
Notice the placement of elements
within the composition— how they
"contain" and frame the main
WHITE ALCOVE subject.

BODYBUILDER'S
GYM EQUIPMENT THIGH

L A
SILFOIL REFLECTOR (LOW)

117
 EM
Subject: Tom Berenger (Test
session)
Location: Gary Bernstein Studio,
New York City
Camera: Hasselblad 500EL/M
Lens: 1 50mm/4 Zeiss Sonnar
Lighting: One 1 200-watt-second
Thomastrobe electronic flash unit
Light Control: Grid-spot
attachment
Film:Kodak Royal-X Pan
Exposure Metering: Wein
Electronic-Flash Meter,
incident-light mode
Exposure :/-22 (shutter at 1 /1 25
second)

With men, you can take liberties

with lighting and camera angles that
would be totally unacceptable when
photographing most women. In this
photograph, I've emphasized the mas-
culine features of actor Tom Berenger
with a variety of techniques.
Using a single spot source from far
to the left of the camera, I've lit
mainly the right side of Tom's face.
The shadow on the left side of the face
and body lacks detail. Image balance
is maintained by ensuring that there is

a small area of light on the shaded side

of the face. The light placement also
ensures a small catchlight in each of
Tom's eyes, further strengthening the
balance of the image.
I used a coarse-grain b&w film and

made a high-contrast print from the

negative. This almost gives the ap-
pearance of a granite sculpture.
Notice the subject's placement in
the composition. His eyes are placed
high in the upper third of the
composition, lending dominance to
the face. The body and neck chain pro-
vide a graphically balanced support
for the head.
My exposure-meter reading was
made for the highlight area. With the
high com, I of the scene, this en-
sured that ali shadow detail would be
lost.

118
 Efc]
Subject: Anthony Hamilton
Location: Gary Bernstein Studio,
New York City
Camera: Nikon F2AS
Lens: 105mm /-2.5 Auto-Nikkor
Lighting: One 200-watt-second
1

Thomastrobe electronic flash unit

with narrow-angle reflector
Film: Kodachrome 25
Exposure Metering: Minolta
Auto-Flash II, incident-light mode
Exposure:/ 11 (shutter at 1/60
second)

Tony Hamilton has always been

one of my favorite male models. In ad-
dition to his obvious good looks, he
has a fine ability to take direction and
emote in front of the camera. His sub-
sequent acting success has come as no
surprise to me.
In this photograph, I chose to
emphasize Hamilton's strong features
by using a spot as the only light
source. The small source caused
dense shadows with little detail. It's
an ideal way to bring out classic lines
such as are evident in Tony's face.
I emphasized Tony's body and high-

lighted hair against a dark-gray

background— created by underexpos-
ing white seamless paper by about 3
steps. With a model having darker
hair, I would have added a hair light
from the rear to separate the head
from the background.
I generated subtle hair movement
with an electric fan, set at a slow
speed.

119
 incident-light reading from the top of move. Precision was necessary to

££!
Subject: Natalie Cole
Natalie's head recorded between f-%
and/-ll.
Next I placed the main
ensure that Natalie would be at the
right location for best rim lighting and
back lighting. Her grace and ease
light— another 600-watt-second flash, completed an attractive image, n
Client: Posner Cosmetics, Inc.
bounced from a 40-inch white
Ad Agency: Hicks and Griest, Inc.
umbrella. The light was set to give an
Art Director: Ralph Parenio
Location: Gary Bernstein Studio, /5.6 meter reading at the subject. (ABOVE BACKGROUND)_&3
Los Angeles, California This allowed the back light to over-
Camera: Nikon F2AS power the main light by 1-1/2 expo-
CLAPBOARD BACKGROUND
Lens: 55mm/-3.5 Micro-Nikkor sure steps. The overexposure created
Lighting: Four 600-watt-second the white halo around Natalie's image.
electronic flash units Finally, the background was lit by
Film: Kodachrome 64 two 600-watt-second flash units,
Exposure Metering: Minolta placed to either side of Natalie. The
Auto-Flash II, incident-light mode
background light to the left of the
Exposure: /-5.6 (shutter at 1 /60
second)
camera gave an average exposure
reading of f-5.6, balancing with the
main-light exposure. The background
This photo of beautiful songstress light to the right of the camera was
Natalie Cole was taken for a counter rated one exposure step higher, at/8.
display for a cosmetic company. The The area it illuminated was purposely
clapboard background was built spe- overexposed to allow for surprinting
cially for the session and painted to of copy on the completed ad.
match the color of Natalie's gown. Natalie and I rehearsed her move-
First I positioned the rim light— ment She perfected
prior to shooting.
600-watt-second electronic flash with it to the pointwhere she could take
wide-angle reflector. It was on a 20- one step and end up in the right posi-
foot-high light stand, above and tion at will. To be sure to capture the
behind the background and aimed to precise correct moment, I exposed
rim Natalie's hair and form. An every time she nearly completed her

12C
 EM
Subject: Lauren Hutton
Client: Swatch Watch U.S.A., Inc.
Location: Gary Bernstein Studio,
Los Angeles, California
Camera: Nikon F3
Lens: 105mm/2.5 Auto-Nikkor
Lighting: One Rollei 1 250-watt-
second electronic flash with pan
reflector; two 400-watt-second
Photogenic Versatron background
lights; one 600-watt-second flash
with grid spot on boom stand
Light Control: One 27- inch
silvered reflector
Film: Kodachrome 25
Exposure Metering: Gossen Ultra
Pro, incident-light mode
Exposure:/-11 (shutter at 1/60
second)

It was a pleasure to photograph

fabulous Lauren Hutton. As she en-
tered the studio, visions of former
Vogue covers ran through my mind.
The main light, at 1250-watt-second
output, required an exposure of f-\\
when placed three feet in front of
Lauren. The aperture provided ade-
quate depth of field, so I could shoot
without worrying about critical focus.
Two Photogenic Versatron back-
ground lights, each in an umbrella,
were set to deliver an/ 16 exposure.
The one-step overexposure of the
white-cove background ensured that
it would record as pure white.

A fourth light completed the light-

ing setup. It was fitted with a focusing
grid spot and positioned on a boom
stand above and slightly behind
Lauren. This light delivered one expo-
sure step more light to the hair than
the main light did to the face. It added
a highlight to Lauren's fan-blown hair.
As I mentioned earlier in this book,
during my early days in New York I

V
WHITE BACKGROUND

N.
FLASH WITH
GRID SPOT
(HIGH)
learned some useful lighting tech-
niques from top models.
While
assistant
I answered a phone call, my

had placed a reflector to Lau-

<XP ren's left side. She immediately
asked, "Gary, does he know what
L A he's doing?" Lauren's doubt was
SILVERED REFLECTOR (LOW)
well-founded— the reflector was not
positioned properly. I am grateful to
Lauren for her professionalism— on
both sides of the camera!

121
 moved

EM
This photograph of pretty, talented as it's farther away, contrast
Pam Dawber was taken for the cover increases.
of Good Housekeeping magazine. Pam To add extra sparkle to Pam's eyes,
changed wardrobe, makeup and I placed a 27-inch silver reflector on
Subject: Pam Dawber hairstyle three times during the the floor below her face.
Client: Good Housekeeping session. The lighting configuration, The background was lit by a 600-
Location: Gary Bernstein Studio,
however, remained basically the same. watt-second flash. I positioned a
Los Angeles, California
Camera: Nikon F2AS
Main light was a 600-watt-second large, white reflector in a manner that

Lens: 105mm./-2.5 Auto-Nikkor electronic flash, bounced from an ensured uniform illumination on the
Lighting: Two 600-watt-second umbrella. The light was about four background wall. The light on the wall
electronic flash units feet from the subject. It provided soft metered /4— which was 2 exposure
Light Control: 27-inch silver light with delicate facial modeling. steps less light than the f-% registered
reflector; large, white reflector Lighting contrast depends on the rela- on the subject's face. Exposing for the
Film:Kodachrome 25 tionship of light-source size and its face, I got the medium-gray
Exposure Metering: Minolta distance from the subject. As the light background.
Auto-Flash III, incident-light mode is moved closer, contrast is reduced;
Exposure :/-8 (shutter at 1/60
second)

1 1

WHITE BACKGROUND

K
\\
WHITE
REFLECTOR

v^ '

<^P
/ \
SILVERED
REFLECTOR (LOW)

^^
.^

122
 ZttA
Subject: Robert and Rosemarie
Stack
Client: Rosemarie Stack, Ltd. for
Les Grains
Art Directors: Rosemarie Stack
and Gary Bernstein
Location: The Stack's home,
Bel Air, California
Camera: Nikon F3
Lens: 105mm./-4 Micro-Nikkor
Lighting: Three electronic flash
units
Light Control: 27-inch silver
reflector
Film: Kodachrome 64
Lens diffuser
Filtration:
Exposure Metering: Minolta
Auto-Flash III, incident-light mode
Exposure: /8 (shutter at 1 /60
second)

Photographing a beautiful couple

like the Robert Stacks is a wonderful
occasion. The photo was to promote
Rosemarie's new line of romantic
French perfumes. What better sub-
jects than a couple who has been
romancing for nearly 30 years!
Our initial concept was of "a sophis-
ticated couple returning home after a
chic party." Of numerous variations
on this theme, this charming, sponta-
neous shot was the First photo selected
for use in the campaign.
I set uphand-painted background
a
in the Stacks' living room. The back-
ground was evenly lit by two flashes
in 40-inch umbrellas— one on each
side of the subjects. Next, I positioned
my main light— another flash
bounced from a 40-inch, silvered
umbrella. The subject illumination
metered at /8 and the background at
f-\\. The additional exposure on the
background allowed
the colors to
record with soft, pastel shades.
PAINTED BACKGROUND The lighting was completed with
the addition of a silver reflector,
placed below the subjects' faces to
lighten shadows. The reflector also
added secondary catchlights to
Rosemarie's pretty eyes.
The session was candid. I positioned
L ^ Bob and Rosemarie as I wanted them
SILVERED REFLECTOR (LOW) and then let them talk, cuddle and
frolic— which they did with ease!
Their spontaneity and believability
are evident in the result. The photo
truly represents two warm, loving
people.

123
124
 EM
Subject: Professional model
Location: Aruba, Netherland
Antilles
Camera: Nikon F2
Lens: 105mm./: 2.5 Auto-Nikkor
Lighting: Midday sunlight
Film: Kodachrome 25
Filtration: Blue Nikkor B1 2 filter;

star filter; homemade diffuser

Exposure Metering: Nikon
through-the-lens, center-weighted
Exposure: 1 /250 second at/-5.6

Without modification, direct

midday sunlight is too high to be suita-
ble as a main-light source. Normally,
its use results in unflattering shadows

and deep, dark sockets where the eyes

ROCKS should appear.
For this photo, I wanted to use
direct, unmodified sunlight. I could
only do this effectively by placing the
model so the light struck her from a
suitable, flattering angle. I asked the

model to arch her back over a large

rock.
To get the best camera viewpoint, I
stood on a large rock. My back was
toward the sun.
I placed a deep blue filter over the

lens and bracketed exposures in steps,

from the indicated meter reading to
four exposure steps less than the
(HIGH) reading. By selecting one of the bluish
images of appropriate density, I was
able to achieve a dreamlike image.

125
 These are very different images, yet

EM
Subject: Professional model
Client: Charles of the Ritz
there are

ard lens on
many
made them. For
similarities in
both, I used a stand-
a 2-1/4-inch-square
camera. The large image size provides
better resolution at high enlargement
how I

Ad Agency: Daniel and Charles than the 35 mm format. The square

Advertising, Inc. format also provides great composi-
Location: Gary Bernstein Studio, tional versatility.
New York City Both images were taken from a low
Camera: Hasselblad EL/M
camera viewpoint, adding prominence
Lens: 80mm/-2.8 Zeiss Planar
Lighting: One 1 200-watt-second
to the subjects. The viewer of these
1

Thomastrobe electronic flash unit photos must "look up '

to the
Light Control: Silvered reflector subjects.
Film: Kodak Tri-X Pan Professional Both photographs were made with a
Exposure Metering: Wein single main light, bounced from a
Electronic-Flash Meter, 40-inch white umbrella. The umbrella
incident-light mode was approximately eight feet from the
Exposure :./-1 6 (shutter at 1/1 25 subjects. The great flash-to-subject
second)

WHITE BACKGROUND

SILVERED
REFLECTOR (LOW)
ELECTRIC FAN

^^>
126
distance allowed the subjects some
freedom of movement without exces-
sive exposure fluctuations. It also
created a bit of extra contrast. For
each photo, I used a silver reflector
t=M
Subject: Couple (Private portrait
beneath the faces to soften and fill the session)
shadow areas.
Location: Gary Bernstein Studio,
Both images were taken against a
New York City
Camera: Hasselblad EL/M
white, seamless background that ap-
Lens: 80mm f-2. 8 Zeiss Planar
pears gray because it received two Lighting: One 1 200-watt-second
exposure steps less light than the Thomastrobe electronic flash unit
subjects. Light Control: Silvered reflector
Notice the hair movement created Film: Kodak Tri-X Pan Professional
in each image by an electric fan. It Exposure Metering: Wein
adds graphic excitement. In each Electronic-Flash Meter,
photo, the subjects were seated on ad- incident-light mode
justable stools and asked to position Exposure:./- 16 (shutter at 1/125
second)
themselves comfortably. The results
look totally natural.

WHITE BACKGROUND

SILVERED
REFLECTOR (LOW)
ELECTRIC FAN

127
 HI
Subject: Professional models
Client: Rainbow Video
Corporation, Washington D.C. and
Gary Bernstein Productions, Inc.
Culver City, California
Executive Producer: Stanley R.
Zupnik
Art Director/Producer: Gary
Bernstein
Location: Gary Bernstein Studio,
Los Angeles, California
Camera: Nikon F3
Lens: 55mm f-3.5 Micro-Nikkor
Lighting: Three 400-watt-second
Photogenic Porta-Master
electronic flash units
Light Control: Photogenic 32-inch
Halo on main light; two 45-inch
Halos on background lights; two
seven-foot gobo panels
Film:Kodachrome 25
Exposure Metering: Minolta
Auto-Flash III, incident-light mode
Exposure: /5.6 (shutter at 1 /60
second)

These two images were made for

my 40-minute instructional video,
The Magic of Photography. They were
used to demonstrate how a back-
ground can be changed from medium
gray to pure white.
The light positions were the same
for both photographs, The main light,
in a 32-inch Halo,was about six feet
from the models. Two background
lights, in 45-inch Halos, were on
either side of the models. To avoid
spill light on the subjects from the
background lights, I placed a seven-
foot gobo panel between each light
and the models.
To achieve the gray background, I
set the background lights for about 2
steps less exposure than the main
light. To achieve the white
background, I simply increased the
power of the background lights,
giving the background about 1/2 step
more exposure than the models.
In my video, each of these images is
part of a picture sequence, telling a
story.Here, they appear singly and
out of context. For this reason, the
content of the photos may appear
somewhat puzzling. D

128
 WHITE BACKGROUND
;, HALO
HALO

GOBO PANEL GOBO PANEL

HALO (HIGH)

129
 l=M
Subject: Professional model
Client: Munich Machine
Ad Agency: Art Hotel, Inc.
Art Director: Chris Whorf
Location: Gary Bernstein Studio,
Los Angeles, California
Camera: Nikon F3
Lens: 55mm./-3.5 Micro-Nikkor
Lighting: One 1 200-watt-second
electronic flash unit; two
600-watt-second electronic flash
units
Light Control: One 40- inch
silvered umbrella; two wide-angle
reflectors
Film: Kodachrome 25
Filtration: Harrison & Harrison
diffuser
Exposure Metering: Minolta
Auto-Flash II, incident-light mode
Exposure: f-5. 6 (shutter at 1/60
second)

This photo is part of a series made

for arecord-album cover and accom-
panying ads and billboards. I painted
clouds on sky-blue, seamless back-
ground paper. I describe the process
in the Background Variations essay on
page 25.
I rented a C0 fog machine from a
2

Hollywood prop house. Unfortu-

nately, I had no way to adequately
vent the machine, so I had to halt
shooting after each roll of film and
manually fan the fumes from the
camera room.
The model was on her knees on a
pillow. The 1 200-watt-second main
light, in a silvered umbrella, was on a
boom stand approximately four feet
in front of the subject. It was set for an
f-5.6 exposure. I added two back-
ground lights with wide-angle
reflectors. One was on each side of the
subject. Because I wanted the back-
ground to record its actual tone, I bal- PAINTED SKY-AND-CLOUD BACKGROUND
anced its light for an/5.6 exposure.
I wanted ample depth of field to
clearly record the swirls of "smoke"
%
as well as the painted background. I

achieved this by using a 55mm micro

lens rather than a short telephoto.
The wild, tousled look of the
model's hair adds to the sensuality of
the image. Using an electric fan to
blow the hair was out of the question
because the "smoke,''' so the
"
V
FOG MACHINE
i lei's hair was teased into its con-
figuration and heavily lacquered with
hair sora\

130
 Mc]
Subject: Lee Horsley
Client: Jean-Paul Germain, Ltd.
Location: Gary Bernstein Studio,
Los Angeles, California
Camera: Nikon F3
Lens: 85mm./-1 .8 Auto-Nikkor
Lighting: One 1 250-watt-second
Rollei flash in 14-inch pan reflector
Film: Kodachrome 25
Exposure Metering: Minolta
Auto-Flash III, incident-light mode
Exposure: /-8 (shutter at 1/60
second)

I seated actor Lee Horsley against a

large piece of painted canvas. The
closer a subject is to the background,
the more the background dominates
the photograph. It basically shares
subject illumination and focus. In this
case, the rough appearance of the
backdrop harmonizes with the rugged
look of Lee and his outfit.
Notice that Lee's head and shoul-
ders are squared toward the camera.
This body position, confronting the
viewer, is best suited for photographs
of men.
The single main light at left of the
camera created a dark shadow along
the left side of Lee's head and
shoulder. This adds to the rugged ap-
pearance of the photograph.
Background shadows can add to or
detract from a photograph. I like using
shadows as an obvious design element
in a composition. However, random
shadows on a clean background often
appear like the result of carelessness
on the part of the photographer.
I determined exposure by placing
the incident-light hemisphere of my
flash meter at the right side of Lee's
face and pointing it toward the single
light source.

131
132
 Ls£!
Subject: Professional models
Client: Brittania Jeans
Ad Agency: Wells, Rich and
Greene (West), Inc.
Art Director: Bob Grimaldi
Location: Hollywood, California
Camera: Nikon F3
Lens: 105mm./-2.5 Auto-Nikkor
Lighting: Late-afternoon sunlight
Light Control: Silver Rocaflector
Film: Kodachrome 25
Exposure Metering: Minolta
Auto-Flash II, incident-light mode
Exposure: 1/250 second alf-4

To advertise Brittania jeans, the art

director wanted a candid-looking
photograph of a couple enjoying the
,,
"good life. The copy for the ad
would read, "My house is in Paris,
but I live in Brittania." After having
my request for three round-trip tickets
to Europe emphatically turned down,
I searched Hollywood for a suitable al-
ternative location. A small cafe
seemed perfect.
Wewaited until just before sunset
to shoot the photograph because I
wanted the warm tone of late-
afternoon sunlight. With the models'
//I \ LOW SUN backs to the sun, I placed a silvered
reflector in front of the models, to the
left of camera position. The reflector
bounced the sunlight back into their
faces.
Because only the male model was
dressed in the product to be
advertised, the need for depth of field
was minimal. Controlled depth of
/ field is only one way of directing

/ / viewer attention to a particular place

' / in the composition. Using a short tele-

// SILVERED photo lens, I opened the lens to f-4.

REFLECTOR Notice that the female model and the
background are recorded with a slight
blur.
f\ 7 SUN SHIELD
OVER LENS
I metered the scene by placing the

hemisphere of my incident-light
meter at subject position and pointing
it toward the reflector.

133
 Wsl
Subject: Joe Montana and
professional model
Client: Schick, Inc.
Ad Agency: William Esty
Company, Inc.
Art Director: Stan Swensen
Location: Semi Valley, California
Camera: Rolleiflex SLX
Lens: 80mm./: 2.8 Zeiss Planar
Lighting: Two 800-watt-second
Versatron 800 electronic flash
powering four flash heads
units,
Film:Ektachrome Professional 64
Exposure Metering: Gossen Ultra
Pro, incident-light mode
Exposure:/8 (shutter at 1/250
second)

Professional player Joe

football
Montana has representing
been
Schick for several years. I took this
photo as Joe was finishing a television
commercial in an old, dusty ghost
town. We set up a small, makeshift
studio at the town's saloon. The
saloon was very small barely wide —
enough to contain my portable nine-
foot seamless background and not
more much than 12 feet long. I did,
however, manage to set up four 400-
watt-second lights in the confined
space. The two background lights
were behind the subjects and
slightly
placed to avoid light spillage onto the
subjects. The two other lights— one
on each side of the subjects— provid-
ed main lighting. All four lights were
in 40-inch umbrellas. The back-light
umbrellas were white; the main-light
umbrellas, silvered.
Veteran art director Stan Swensen
asked for a pure white background to
allow for placement of type. I asked
Montana to sit on a bar stool and had
pretty Jennifer Wallace stand behind
him. Montana's position remained
stationary throughout our session.
Jennifer moved around, providing va-
riations in composition and attitude.
The main lights on each side provid-
ed even subject illumination. Uniform
lighting was essential to allow for
rapid compositional changes and
Jennifer's wide-brimmed hat.

134

i
 MsJ
Subject: Professional model
Location: Gary Bernstein Studio,
New York City
Camera: Nikon F2
Lens: 50mm./-1 .4 Auto-Nikkor
Lighting: One 1 250-watt-second
Rollei electronic flash unit
Film: Kodachrome 25
Exposure Metering: Minolta
Auto-Flash II, incident-light mode
Exposure: /-8 (shutter at 1/60
second)

Things are not always what they

appear to be. To simulate perspiration
in this portfolio test shot, we sprayed
a mixture of glycerin and water on the
model prior to photography.
I asked the subject to lean toward
the camera. I elevated my camera
angle by standing on a short
stepladder. In this way, using a stand-
ard camera lens, I achieved the slight-
ly enlarged size of the model's head in
relation to his body.
The model's attitude was critically
important to the success of the
photograph. His haggard "confron-
tation" with the viewer gives the
image its impact and appeal.

135
136
 \stA
Subject: Professional model
Client: Casablanca Record and
Filmworks, Inc.
Ad Agency: Art Hotel, Inc.
Art Director: Chris Whorf
Location: Gary Bernstein Studio,
Los Angeles, California
Camera: Nikon F2
Lens: 50mm/1 .4 Auto-Nikkor
Lighting: Two 600-watt-second
electronic flash units
Light Control: One grid spot; one
silvered reflector
Film: Kodachrome 25
Exposure Metering: Minolta
Auto-Flash II, incident-light mode
Exposure :/-8 (shutter at 1/60
second)

This photograph was taken for an

album cover for the rock group
Munich Machine. It dramatizes the

impact of skin tone against black.

Beautiful model Kay Sutton York de-
signed and styled the outfit she's
wearing— a piece of sheer, black
fabric, gathered at the flower by her
shoulder and taped to her body.
Kay's slick hair is courtesy of John-
son & Johnson baby oil— not water!
It's the best way to get a wet look with-
out the problems of dripping water
and constantly drying hair.
The main light was reflected from a
40-inch white umbrella, placed about
four feet in front of the model and to
BLACK BACKGROUND the left of the camera. The main-light
exposure reading was/8.
4. FLASH WITH
GRID SPOT
To avoid Kay's dark tresses blend-
ing with the dark background, I used a
(HIGH)
600-watt-second flash with grid spot
high and behind her. It provided rim
lighting to the top of the hair and
L \ shoulder to give the needed graphic
SILVERED REFLECTOR (LOW)
separation. The rim light metered at
f-\ 1 at the top of the model's head.
I added extra sparkle to the model's
eyes by placing a 27-inch reflector
below her face, just out of camera
range.
Because used a standard camera
I

and
lens relatively close to the subject
because the face is near the image
edge, some facial elongation
occurred. This deliberate, but subtle,
distortion helped create a truly strik-
ing image of a face of classic beauty.

137
 &:]
Subject: Professional model
Client: DuPont& Co.
Ad Agency: Ted Bates, New York
City
Art Director: Jack Jones
Location: Gary Bernstein Studio,
New York City
Camera: Nikon F2
Lens: 105mm/-2.5 Auto-Nikkor
Lighting: Three 1 200-watt-second
electronic flash units
Light Control: One 40-inch
silvered umbrella; two wide-angle
reflectors
Film: Kodachrome 25
Exposure Metering: Minolta
Auto-Flash II, incident-light mode
Exposure :/-8 (shutter at 1/60
second)

This photograph is part of a series

of ads I shot for DuPont. Each ad con-
sisted of a full-length fashion shot,
showing a garment made from a
Dupont fabric, plus a head shot of the
same model to further enhance the
appeal of the ad.
The photo represents a basic setup
for a high-key portrait against a white
background. used one frontal main
I

light, bounced from

a 40-inch silvered
umbrella. I also used two background
lights, one on each side of the subject.
The white background received 1/2
exposure step more light than the
subject, ensuring a clean, white back-
ground in the photo.
Using a short telephoto lens gave
me limited depth of field. This sof-
tened the background to eliminate
any unevenness that may have existed
in it.

Because I use slow Kodachrome 25

film for most of my work and like to
work small apertures for extended
at
depth of field, I require a lot of light. Most of the images in this portfolio
You could produce similar images could have been produced with signifi-
with thre portable flash units of signi- cantly less sophisticated and less ex-
ficantly les i wer, but you'd have to pensive lighting equipment. The one
make some s For example, if s. thing you can't do without, however,
you used Koda< ime 25, or any is creative thinking and a lot of
other slow film, \ ». ould need to . practice!
shoot at a larger aperture. In doing so,
you would lose some depth of field. If
you wanted to use a small lens
you would have to use a cor-
aperture,
respond^ gly faster film. Another al-
ternative i be to reduce the dis-
tances from light to subject and sub-
ject -id.

138
 K5J
Subject: Professional model
Client:Max Factor, Inc.
Ad Agency: Wells, Rich and
Greene (West), Inc.
Art Director: Bob Cole
Location: Gary Bernstein Studio,
New York City
Camera: Nikon F2
Lens: 1 05mm./-2.5 Auto-Nikkor
Lighting: One 1 250-watt-second
Rollei electronic flash unit
Light Control: Two black panels
Film: Kodachrome 25
Exposure Metering: Minolta
Auto-Flash II, incident-light mode
Exposure:/- 2 2 (shutter at 1/60
second)

This is an outtake from a cosmetic

series used by Max Factor. It's an

example of subtractive lighting, involv-
ing the elimination of light to produce
the desired modeling and contrast.
The main was directional, yet
lighting
soft. The light "bathed" the surface
of the model's skin, producing mini-
mal contrast. Soft lighting reduces the
need for retouching.
To add modeling to the face and
emphasize the cheekbones, I placed a
black seven-foot panel on each side of
the model. These black "reflectors"
shielded her from side light. This
created shadows and yielded greater
contrast.
The dark background was created
by deliberate light falloff. The actual
background surface was white, seam-
less paper. The fair hair is graphically
separated from the dark background.
To complete this dramatic shot, I
used an electric fan to blow the hair.

ELECTRIC FAN
<%

139
 Simple, contrasty lighting, dynamic partly cut off lighting in this way, take
composition and a viable story are the new meter reading.

[sM key elements of these photographs. I

provided the models with a simple
story line to help them convey the in-
a
These two photos are part of
series that would be appropriate for
perfume, clothing or jewelry ad as
a
a
Subject: Professional models
Client: Winona School of tended attitude: She tells him that the well as being fine examples of con-
Professional Photography person he's confronting is a threat to temporary portraiture. D
Location: Winona School of her. As they turn to walk away, they
Professional Photography, give a wary backward glance.
Mt. Prospect, Illinois The only light came from a single WHITE
Camera: Nikon F3 flash head.Placement of a single spot BACKGROUND
Lens: 105mm./-3.5 Micro-Nikkor
source, such as was used here, is criti-
Lighting: One 400-watt-second
cal because there is no fill light to
Photogenic Porta-Master
electronic flash unit compensate for inaccurate placement.
Film: Kodachrome 25 To create a dramatic lighting
Exposure Metering: Minolta pattern, Iallowed the hard, black
Auto-Flash III, incident-light mode shadows to fall on the white BLACK CARDBOARD (HIGH)
Exposure: /-8 (shutter at 1/60 background. For further impact, I
second) shielded the tops of the subjects
1

heads from the light, using a large

piece of black cardboard between the
light and the subjects. When you

140
 [31
Subject: Victoria Principal and
Uva Harden
Client: Esquire
Art Director: Max Evans
Location: Mahbu. California
Camera: Nikon F
Lens: 55mm./-3.5 Micro-Nikkor
Lighting: Midday sunlight
Light Control: Overhanging pier
Film: Kodachrome 25
Exposure Metering: Gossen Luna
Pro, incident-light mode
Exposure: 1 /250 second at/-8

I photographed top model Uva

Harden and beautiful Victoria Princi-
pal for a fashion layout for Esquire
magazine.
Midday sun is suitable as main-light

source only when the subject is

deliberately positioned to receive the
light from the proper angle. For this
photo, the subjects were on a sandy
beach and I shot from the top of a
nearby lifeguard stand. By placing the
subjects under an overhanging pier, I

shieldedthem from the direct over-

head sun and lit them frontally with
skylight. This gave a flattering soft
light and good modeling of the
features.
The compositional interplay of the
two bodies completed the delightful
image.
Exposure was based on an incident-
light reading, taken with a Gossen
meter pointed toward the frontal
skylight.

-K x
HIGH SUN /
/

OVERHANGING PIER

BEACH

HIGH, ON
IHi LIFEGUARD STAND

141
 GM
Subject: Professional models
Client: Jean-Paul Germain, Ltd.
Location: Acapulco, Mexico
Camera: Nikon F3
Lens: 85mm./-1 .8 Auto-Nikkor
Lighting: Late-afternoon sunlight
Film:Kodachrome 25
Exposure Metering: Gossen Luna
Pro, incident-light mode
Exposure: 1/125 second at/5.

The lush tropics surrounding Aca-

pulco were the setting for this dramat-
ic fashion double. The models were lit

from the side by the late-afternoon

sun. The cross lighting emphasized
the texture and folds in the garments
and the chiseled features of the faces.
I used a short telephoto lens at
medium aperture. The depth of field
was sufficient for total sharpness of
the subjects, while causing the back-
ground to soften to a slight blur.
Some clouds in the sky reflected
light into theshadows and lowered
subject contrast. The film was able to
record detail from the sunlit whites to
the deep shadows. I metered the sun-
light with my Gossen Luna Pro, plac-
ing the incident-light hemisphere at
subject position and pointing it toward
the sun.

MOUNTAIN AND PALM TREES

REFLECTIVE
CLOUDS

142
 r*i
Subject: Professional models
Client: GantShirtmakers, Inc.
Ad Agency: Waring and
LaRosa, Inc.
Art Director: Howard Title
Location: Brooklyn Bridge, New
York City
Camera: Nikon F2AS
Lens: 55mm./-3.5 Micro-Nikkor
Lighting: Afternoon sunlight
Film:Kodachrome 25
Exposure Metering: Gossen Luna
Pro, incident-light mode
Exposure: 1/250 second aty-5.6

This action fashion photo was shot

on a hot, humid day in New York
City. To avoid unwanted shadows,
caused by the cables on the bridge, I
had to choose a specific location for
photography. I marked the spot with
gaffer tape on the ground in front of
the models' feet. If the models were
slightly in front of or behind the
mark, shadows on their faces would
render a shot unusable. We rehearsed
the models' run several times, slowly
building up speed.
My camera was on a Gitzo tripod. I

instructed the models to start running

about 10 feet behind the mark and to
run past the mark by a few feet. An
aperture of f-5.6 gave me sufficient
depth of field to record the runners
sharply while allowing the background
to retain a softened recognizability.
Because the featured product was
on the male model, I placed him clos-
est to the light source. For best facial
modeling, I asked him to turn his
head slightly toward the light as he ap-
proached the point of photography.
I set my motorized Nikon on four

frames per second and shot the

models as they ran toward me. The
first burst of shots was exposed at the
meter-indicated exposure of 1/250
second at f-5.6. I shot four other
sequences, bracketing exposures 1/2
and 1 step over and under f-5. 6. This
assured me of an ideally exposed
photo and, unfortunately, a couple of
tired models!

143
144
 [££!
Subject: Rae Dawn Chong
Client: Jean-Paul Germain, Ltd.
Art Director: Paul Winter
Location: Gary Bernstein Studio,
Los Angeles, California
Camera: Nikon F3
Lens: 55mm./: 3.5 Micro-Nikkor
Lighting: Three 800-watt-second
Photogenic Versatron electronic
flash units
Light Control: One 32-inch Halo
on main light; two 45-inch Halos
on background lights; one small
Photogenic Silfoil silvered reflector
Film: Kodachrome 25
Exposure Metering: Minolta
Auto-Flash III, incident-light mode
Exposure:./-8 (shutter at 1/60
second)

For photograph of actress Rae

this
Dawn Chong, I painted a cloud back-

ground on sky-blue seamless paper,

using white spray paint. The method
of application is fully described in the
Background Variations essay, page 25.
I used a 55mm f-3.5 lens. It allowed
me to record a relatively large expanse
of "sky" and also created an illusion
PAINTED SKY-AND-CLOUD BACKGROUND of great distance between subject and

k
HALO
A
HALO
background. A longer lens would not
have achieved those ends.
To get a realistic sky effect, I bal-
anced the amount of light reaching
the background with the light received
by the subject. Consequently, the
background recorded with its natural
L
SILVERED
\ color and tonality.
REFLECTOR (LOW) If my subject had been blond, I
might have wanted a deeper back-
ground tone to provide greater separa-
tion between the subject's light hair
and the background. In such a case, I
would have adjusted the background
lighting to deliver less light than the
HALO amount of light reaching the subject.
I used the main light in a 32-inch
Photogenic Halo and placed a small,
silvered Silfoil reflector below Rae's
face.

145
 L3*I
Subject: Diane Lane
Client: Family Weekly
Art Director: Robert Altemus
Location: Gary Bernstein Studio,
Los Angeles, California
Camera: Nikon F3
Lens: 105mm/-2.5 Auto-Nikkor
Lighting: Three 800-watt-second
Photogenic Versatron electronic
flash units
Light Control: One six-foot
silvered umbrella and one five-foot
softbox for main light; two 50-inch
white umbrellas for background
light
Film:Kodachrome 25
Exposure Metering: Minolta
Auto-Flash III, incident-light mode
Exposure :f-5. 6 (shutter at 1/60
second)

As soon as a subject enters my

studio, begin evaluating potential
I

lighting. In the case of talented actress

Diane Lane, I had originally decided
to use a single main light of medium
to high contrast. The decision was
based on two factors— my desire to
emphasize Diane's fine features and
her flawless, youthful complexion.
Both are capable of enduring relatively
hard lighting.
I began by asking the actress to
assume a relatively static pose, suita-
ble for one specific main-light
position. As I began shooting, I no-

ticed a shyness in my young subject

and realized that she would be more
comfortable in a less constrictive light-
ing environment.
I replaced the hard, single main
light with two softer sources. I placed
one light, in a six-foot silvered
umbrella, approximately four feet to
Diane's right and a five-foot softbox
at the same distance from her left. I I lit the background from both
metere I the main lights separately, al- sides, using two flash heads in WHITE BACKGROUND
lowing ^rella light one expo- umbrellas. This light was balanced to
sure ste t ower, for slight facial give a clean, white background.
modeling.
With this . Diane could
move freely in f; of the camera
without cor* ernonmj part for precise
modeling be^ contrast had been
reduced dramatic rnange was
idea! Diane mo autifully,
providing ny client with a variety of
images from •
hich to select.

146
 [33
Subject: Professional model
Client: La Costa Products
International, Inc.
Location: Gary Bernstein Studio,
Los Angeles, California
Camera: Nikon F3
Lens: 105mm./-4 Micro-Nikkor
Lighting: Two 400-watt-second
electronic flash units
Light Control: One 50-inch silver
umbrella; one focusing
variable-angle reflector
Film: Kodachrome 25
Exposure Metering: Gossen Ultra
Pro meter
Exposure :J-5. 6 (shutter at 1 /60
second)

Two and a very simple set

lights
enabled me produce this striking
to
glamour image. A background of
silver mylar was suspended behind
the model. I used two 400-watt-second
flash heads. The main light, approxi-
mately four feet from the subject, was
bounced from a 50-inch silver
umbrella.
The second light was in a variable-
angle reflector set for wide-angle
coverage. It was on a boom stand,
above and slightly behind the subject.
It created the rim lighting on the
model's hair and shoulder, and added
highlight value to the silver mylar. I
took care that no unwanted spill light
reached the subject's face.
I took an incident-light reading of
the model's face. The reading was
f-5.6. On my 105mm lens, this aper-
ture gave sufficient subject sharpness
while allowing the specular mylar to
record as a blurred abstraction.
The rim light was metered and ad-
justed to deliver 1-1/2 exposure steps
more light than the main umbrella.
An infinite variety of background
configurations and colorations can be
achieved with seamless mylar. When
working with highly reflective
backgrounds, avoid specular reflec-
tions back to the camera lens.
It's important to isolate the subject
graphically. Notice that the light edge
of the model's face is again? the dark-
est part of the mylar while the top of
her dark hair falls against a light back-
ground area. The only location from
which to accurately evaluate the tonal
relationship of subject to background
is the camera position.

147
 These two images were purchased image. The
gray tonality of the back-
as stock photos by the Photogenic Ma- ground was achieved by a 2-step un-

[s*J chine Company of Youngstown,

Ohio, manufacturers of Photogenic
derexposure of the white seamless
paper.
Subject: Professional models lighting equipment. Both images were These two photos indicate the ease
Client: Photogenic Machine shot with one Photogenic Porta- with which a full-length photo may be
Company, Youngstown, Ohio Master 400 flash head in a 32-inch transformed into a stunning head-
Art Director: Gary Bernstein Photogenic Halo. Notice the beautiful and-shoulders portrait. For better
Location: Washington, DC light quality produced by the Halo. composition in the close-up, I asked
Camera: Nikon F3
The light is not as soft and nearly the female model to stand on some
Lens: 85mm./- 1 .4 Auto-Nikkor
Lighting: One 400-watt-second
directionless as it would be from a boards to raise her more closely to the
Photogenic Porta-Master large softbox, and not so hard and height of the male model. The heads
electronic flash unit specular as to eliminate middle tones. are at sufficiently different heights to
Light Control: One Photogenic Both photos were taken against a provide an interesting composition.
32-inch Halo white, seamless background. For each They are also close enough to each
Film:Kodachrome 25 photo, the Halo was placed slightly other in height to be viewed as a
Exposure Metering: Minolta closer to the male model than to the graphic unit.
Auto-Flash III, incident-light mode female. This lighting position com- The reflection of the Halo in the
Exposure:./-8 (shutter at 1/60
pensated for the man's slightly darker man's sunglasses is deliberate.
second)
skin tone, producing a more balanced

148
 Hs]
Subject: Professional model
Location: Gary Bernstein Studio,
Los Angeles, California
Camera: Nikon F3
Lens: 85mm./-1 .4 Auto-Nikkor
Lighting: Two 200-watt-second
Photogenic Porta-Master flash
units
Film: Kodachrome 25
Filtration: Green gelatin filter;
Harrison & Harrison diffuser
Exposure Metering: Minolta
Auto-Flash III, incident-light mode
Exposure :./-5. 6 (shutter at 1/60
second)

For this photo, I powered two flash

heads from a portable 400-
watt-second power supply. Each flash
head was in a Five-inch reflector. The
main light, with barn doors, was
slightly to the left of the camera. The
barn doors narrowed the light spread,
as you can see from the light falloff at
the top, bottom and left side.
The subject's shadow on the back-
ground added to the pictorial effect.
However, as I viewed the image
through the viewFinder, it appeared
too monochromatic. I altered the
lighting to provide a green background
shadow. I taped a green gelatin filter
to a second flash head and aimed this
flash at the background from behind
the subject, on her left side.
Main-light exposure was f-5.6
—determined by placing the incident-
light hemisphere of the meter at the
subject's face and pointing it toward
the main light. Whenever you're
using barn doors or grid spots, it's im-
perative that you take several subject
readings. It's the only way to be sure
of exposure accuracy in spite of the
abrupt falloff of the focused lighting.
I positioned the background light
SUBJECTS SHADOW
for an exposure of f-4. 1 took the read-
GREEN FILTER, ing by placing the meter's hemisphere
at the center of the shadow and point-
ing it toward the background light. Be-
cause the intensity of the background
light was less than that of the main
light, the shadow on the wall remains.
However, the light in theshadow was
sufficient to give the shadow a distinct
BARN DOORS green appearance.
To diffuse and soften the image,

^ ^
I

used a diffuser on the camera lens.

149
 I made this series of photos for the meter toward the side I took an
lights.

EM
Subject: Professional mode!
Client: Rainbow Video
opening sequence of my 40-minute in-
structional videotape, The Magic of
Photography. The images are accompa-
nied by an audio track of / Put a Spell
on You, recorded by Screamin' Jay
incident-light reading from
subject
the model's face, pointing the meter
toward the main spotlight.
A large electric fan blew the strips
of mylar and the model's hair.
Corporation, Washington, D.C. and Hawkins (CBS Records). The images Therefore, each image has a different
Gary Bernstein Productions, Inc., complement the music. The leather background and subject appearance.
Culver City, California
outfit and background of smoke and Each image reflects the reddish light
Executive Producer: Stanley R.
fire are ideal for the heavy blues differently from the constantly
Zupnik
Art Director/Producer: Gary rendition. moving gold and silver mylar.
Bernstein The diagram shows the set. There
Location: Gary Bernstein Studio, were three layers of cut silver and
Los Angeles, California gold mylar strips, supported on porta- BLACK BACKGROUND
Camera: Nikon F3 ble BD stands. Behind them was a m/iii'/ii/iwiiiiirwMMi'/i/ili/iitfii

Lens: 105mm/1.8 Auto-Nikkor black background. On each side,

Lighting: Seven 400-watt-second facing the mylar layers, I placed 400-
Photogenic Porta-Master flash
watt-second Photogenic Porta-Master
A
W^» iwilf'Ufi>li;ii|iui//ll/iifiir/U//'l/M
units GOLD AND SILVER *
flash heads— six lights in all. Each L
Film: Kodachrome 25 i\ . -^ MYLAR **W
Filtration: Red acetate filters on light had a red gelatin filter.
RED FILTER
^^TRIPS
lights
The subject was lit by a single 400- ON EACH V-^
Exposure Metering: Minolta watt-second flash spotlight on a boom SIDELIGHT
Auto-Flash III, incident-light mode stand. All lights were balanced for an
Exposure: ,/-5.6 (shutter at 1 /60 f-5.6 exposure. I took incident-light
second) background readings from the center
of the mylar curtains, pointing the
*A ELECTRIC FAN

150
151
 n»]
Subject: Professional models
Location: San Diego, California
Camera: Nikon F2AS
Lens: 1 05mm./: 2.5 Auto-Nikkor
Lighting: Two Balcar 600-watt-
second electronic flash units
Film: Kodachrome 25
Exposure Metering: Minolta
Auto-Flash III, incident-light mode
Exposure: /8 (shutter at 1 /60
second)

This was the first shot taken during

a two-day photo seminar I gave in San

Diego, California. I wanted serious

subject attitudes, appropriate for the
harsh, directionalmain lighting. The
models, who had only met each other
moments earlier, responded perfectly.
I began by posing the the man with

his head and shoulders facing the

camera. In classical portraiture, this
body position is regarded as a mascu-
line pose. Next, I directed the woman
to turn her body toward the man
while looking toward the camera. This
created a typically feminine body
position. By tilting her head slightly
toward her partner she effectively
enabled the couple to record as a
unit— graphically and emotionally.
The photo was lit with two
spotlights— one to either side of my
camera. The multiple background
shadows are an intended part of the
graphics and composition. The two
conflicting shadows on the wall add a
sense of movement to the image— an
effect I enhanced with the addition of
a small fan toblow the subjects' hair.
I metered the shot by placing my
incident-light meter between the two
subjects and pointing it between the
two main-'ight sources.
All 'uals — not only profes-
sional actors and models— possess WHITE WALL
some acting potential. Getting
the
desired re or the moment of
photograpi photographer's
responsibility. effectivenessof
the attitudes of tl ^dels is largely
attributable to the and com-
rt

munication between ss. At the

moment this photognu- was taken,
they were aware of our
relationship.
ELECTRIC FAN

152
 1

mi
Subject: Professional models
Location: San Diego, California
Camera: Nikon F2AS
Lens: 85mm./- 1 .8 Auto-Nikkor
Lighting: Midday sunlight
Light Control: Silver Rocaf lector
Film: Kodachrome 25
Exposure Metering: Minolta
Auto-Flash II, incident-light mode
Exposure: 1/250 second at/1

This natural-light photo was taken

at thesame San Diego seminar as the
photo on the opposite page. Not only
do I enjoy teaching photography
seminars, but they also provide the
opportunity to produce new images
for my portfolio.
This photograph illustrates the con-
trol of midday sun afforded by an effi-
cient reflector. The shot was for a
make-believe ad for sunglasses. The
ad depicted a guy and his lady having
fun in the sun.
The black background consisted of
a group of palm trees in deep shade. I
asked my models to sit in the sun, im-
mediately in front of the palms.
Direct sunlight rim lighted the
subjects, accentuating their forms
against the dark background.
The sun, reflected by a large silver
reflector just to the left of my camera,
was the main-light source. I metered
the shot through the lens of my Nikon
camera, bracketing a full exposure
step in either direction.
I asked the models to play and have

fun, without concern for lighting or

camera angle. As they played, I made
a series of shots. The result repro-
duced here is a "planned candid"
with believability and impact. D

HIGH SUN
/;/ i
\
PALM TREES / '

DEEP SHADE

/ /

'/ LARGE
,'/ SILVERED
^ REFLECTOR

153
 Subject: Professional model
Client: La Costa Products
International, Inc.
Art Directors: William Randall and
Russ Heinze
Location: Carlsbad, California
Camera: Nikon F3
Lens: 50mm./-1 .4 Auto-Nikkor
and one
Lighting: Daylight
600-watt-second electronic flash
unit
Film:Kodachrome 64
Exposure Metering: Minolta
Auto-Flash III, incident-light mode
Exposure: 1 /8 second aty-4.5

Synchro-sunlight photography com-

bines electronic flash with daylight. It
is commonly used outdoors when the

sun is high in the sky, giving poor

facial modeling to a subject's face. At
such times, a subject's eyes fall into
shadow, devoid of catchlights or
detail. Adding electronic flash from a
lower angle brightens the eye sockets,
adds catchlights to the eyes, and cre-
ates more pleasing facial modeling.
For this photo, I used synchro-
sunlight indoors. The ambient light in
the scene came from large skylights in
the ceilingabove the model. This
light served as fill light. I used a hand-
held incident-light exposure meter to
determine the amount of available
light falling on the subject. Holding
my meter at waist level and pointing
the incident-light hemisphere at the
ceiling, I got a reading of 1/8 second
at/4 for Kodachrome 64 film.
For main light, I placed a 600-
watt-second electronic flash, bounced
from a white umbrella, to the left of
the camera. The resultant light on the
right sid »f the subject's face was ad-

justed highlight exposure of

f-4.5. The Dackground was underex- WALL MIRROR
posed lend additional
emphasis
to
iect.
COUNTER
—T^T^S^S
In sync >ht photography,
the flash can
or, as in this exa,
When you phc
ther as
main
fill

light.
a structural
light
>\"
setting such is thi ne, including
walls,
keep
vert'
achieve
!
mirrors
vertical

i
>rders
s

element
of the image. You
by aiming your SLR in a
us, try
Mel to the
to

V \^
Oi^
J
CEILING SKYLIGHT
true I iri direction, or by using
a special perspective-control lens.
A
154
 Wc]
Subject: Professional model
Location: Aruba, Netherland
Antilles
Camera: Nikon F3
Lens: 105mm Z-2.5 Auto-Nikkor
Lighting: Overcast daylight
Film: High-Speed Ektachrome 160
Exposure Metering: Nikon
through-the-lens, center-weighted
Exposure: 1 /500 second at./-4

Pictorial continuity in a photo se-

quence is important, whether you're
preparing an editorial layout, a
catalog, or a picture story. This conti-
nuity involves maintaining the same
basic atmosphere and light quality
throughout.
This photo is from a series I pro-
duced for my first book, Burning Cold.
I maintained pictorial continuity in
several ways. used a homemade lens
I

diffuser, prepared by spraying a sky-

light filter with plastic fixative. To
ensure limited depth of field, I used a
short telephoto lens at a large aperture
setting. I maintained a continuity in
styling and a similarity in subject
attitudes.
I took this photo at midday, using
natural overcast daylight as the only
source of illumination. Light from
above, even when diffused, can throw
a subject's eyes into shadow and yield
unflattering facial modeling. By seat-
ing my subject on the highly reflective
white sand on the beach, I was able to
bounce a lot of overhead light up into
her face to lighten shadows.
As a final touch, I selected a fast
film of relatively coarse grain and low
contrast.

CACTUS BACKGROUND

OVERCAST
DAYLIGHT

REFLECTIVE SAND

155
 t£A
Subject: Stacy Keach
Client: Jean-Paul Germain, Ltd.
Art Director: Gary Bernstein
Location: Burbank Studios,
Burbank, California
Camera: Nikon F3
Lens: 85mm./: 1 .8 Auto-Nikkor
Lighting: Two 600-watt-second
electronic flash units
Light Control: 40-inch silvered
umbrella on main light; wide-angle
reflectoron background light
Film: Kodachrome 25
Exposure Metering: Minolta
Auto-Flash III, incident-light mode
Exposure:./-8 (shutter at 1/60
second)

My client desperately needed a

photograph of Stacy Keach for a
magazine-ad deadline. Keach was in
the middle of shooting an episode of
the TV series, Mike Hammer. After
discussing several options, all of
which would have caused us to miss
the dealine, I opted to photograph
him in a very small office at Burbank
Studios. I was allowed a maximum of
15 minutes to get the shot before
Stacy would have to return to the set.
We quickly set up a white, seamless
background on a portable BD back-
ground stand behind a desk. Next, we
placed a 600-watt-second flash head
with wide-angle reflector on the floor
between the seamless and the desk.
The flash was pointed at the
background. We set up a 600-
watt-second main light in a silvered
umbrella. By the time Stacy arrived,
everything was set. I asked him to sit
on the edge of the desk. He couldn't
have been more cooperative or better
in front of the camera. It made the
rushed s on much easier for me.
I deck:. -hoot Stacy as his T.V.
character. Mike Hammer, and asked WHITE BACKGROUND
him to clon his hat and shoulder
holster. W d for the gun, he
realized it hav. ; left on the set. We
found a cigare in the shape
of a small auton. istol. Stacy's
hand carefully red the SILVERED REFLECTOR
"giveaway" parts of the lighter. ON POSING STOOL
After just five we had
r

recorded a series of wonderful images

with that ssic Keach look.
'

^>
156
 fctf
Subject: Professional model
Client: Max Factor, Inc.
Ad Agency: Wells, Rich and
Greene (West), Inc.
Art Director: Bob Cole
Location: Gary Bernstein Studio,
Los Angeles, California
Camera: Nikon F2
Lens: 105mm./: 4 Micro-Nikkor
Lighting: One 250-watt-second
1

Rollei electronic flash in pan

reflector
Film:Kodachrome 25
Exposure Metering: Minolta
Auto-Flash II, incident-light mode
Exposure:./- 11 (shutter at 1/60
second)

Posing for pictures is an everyday

occurrence for this top New York
model. However, most subjects are
nervous during a photo session. Use
every means possible to relax the sub-
ject and build his or her confidence.
Background music and the availability
of beverages are a "must."
It helps the subject if you start with

basic and simple poses. I begin most

sessions by having the subject seated
on my studio floor. Regardless of a
subject's age, this seems to give lots
of support— both physically and
emotionally.
As a further posing aid, I have a
couple of stools that can easily be
raised or lowered. The stools, made
by The Adjustrite Company, Bowling
Green, Ohio, work in unison, one
providing a seat and the other a resting
surface for hands, elbows, or even the
head.
The posing-stool system provides a
lot of versatility. For example, you
can tape a pillow to the front stool and
cover it with a variety of fabrics, from
silk to burlap. This can provide a per-
fect head and forearm support for
tight headshots. The stools are com-
pact and easily stored.
To make beauty shot advertis-
this
ing a cosmetics product, I taped a Pho-

togenic Silfoil reflector to the top of a

stool in front of the model. It bounced
the main light back into the model's
face, reducing contrast and lightening
her blue eyes. The single light record-
ed / 1 1 on the subject, with a falloff of
2 exposure steps on the white back-
ground to produce the gray tone.

157
 r/3
Subject: Professional model
Client: Bullock's Department Store
Ad Agency: Harrison Services, Inc.
Location: Los Angeles, California
Camera: Nikon FM
Lens: 35mm./-2 Auto-Nikkor
Lighting: Two 1 200-watt-second
electronic flash units
Light Control: Two seven-foot
V-shaped reflectors
Film: Kodachrome 64
Filtration: Homemade diffuser
Exposure Metering: Minolta
Auto-Flash III, incident-light mode
Exposure :./-5. 6 (shutter at 1 /60
second)

This photo one of a series I made

is

for a lingerie catalog for adepartment

store. To subdue subject detail in
these "intimate'" photographs, the
client wanted avoid the super sharp-
to
ness possible with modern lenses. To
satisfy this requirement, I used a lens
diffuser, which I made by spraying
acrylic fixative on a haze filter.
Toward the same end, I also used soft
lighting.
I placed a bare flash head close to
each of two seven-foot-high V-shaped
reflector cards. One reflector was ap-
proximately five feet from the model,
to the left of the camera. The second
reflector and light were behind the
model and directed toward the melon-
colored fabric. Each light source in-
dicated an exposure of/: 5.6.
I posed the model on the studio
floor, allowing her body to curve
toward the camera position in a long S-
shape. I exaggerated the composition

by using a 35mm wide-angle lens.

This gave me the graphic effect I
wanted -*d also provided depth of
field ovc entire garment featured.
Althc image was taken for
advertising purposes, it would be just
as appro part of a personal
portrait se to your advantage
to try manv r
aphic variations
with your sub]-, specially in pro-
fessional portrait, ven a subject
who originally wante only a head-
and-shoulders portrait uld find it

difficult to turn do\ md beau-

tiful full-figure rendition si ch as this
one.

158
Models Appearing in this Book
The professional models and other subjects not named on the picture pages are listed below. I want to express
to each of them my sincere gratitude.

COVER: 3-28 Kay Sutton York for 30 David Cullinane, Johanna

Kay Sutton York
Max Factor Weiting
4-1 to 31 Kay Sutton York
4-12 Kay Sutton York 33 Nancy Dutiel
6-1 Kay Sutton York 34 Matt Collins
ESSAYS: 6-2 Kathy Speirs 35 Lynn Brooks, David Olander
3-2 Mary Maciukas for Truform 6-3 Kathy Speirs 36 Kay Sutton York
3-3 (left to right) Heidi Lane, 37 Kay Sutton York
Thed Ostindien, Bob Pitard, 38 Darlene Fluegel
Joe MacDonald, Dennis 39 Gunnar Magg, Kate Nyberg
LaMarsh for Rich's/Atlanta 41 Debbie Fares
3-4 Linea Hogan PORTFOLIO: 48 Kay Sutton York
3-5 Matt Collins for Paul Davril 2 Liz Miller, Bill Simpkins 49 Linda Kelly
3-6 Kay Sutton York 3 Kay Sutton York 51 John Rusnak, Kristina Kincaid
3-7 Darlene Fluegel 5 Susan Scott, Frank Telfer 52 Kay Sutton York
3-9 Scott MacKenzie 6 Jeff Henry, Linda Karecki 54 Kay Sutton York, Matt Collins
3-12 Ted Dawson 7 Rome Bernstein 55 Jennifer Wallace (w/Joe
3-13 Paul Garcia, Joseyann for 8 Kay Sutton York Montana)
Esquire 10 Bob Menna 56 Kalani Durdan
3-14 Matt Collins for Esquire 11 Donna Keegan, Paul Rich 57 Kay Sutton York
3-16 GregSeton 12 Rome Bernstein 58 Janice Dickenson
3-17 Cynthia Cypert for La Costa 13 Patty McGuire 59 Kathy Speirs
Products /14 David Connell 60 Alan Elsmo, Pamela Miller
3-18 Cynthia Cypert for La Costa IS Ron Hays 62 John McMurray, Jiles Kirkland
Products 16 Nancy Pianta 63 Lynn Brooks, Scott MacKenzie
3-20 Bill Looke, Lynn Hollbrook 17 Pam Miller 66 Diane Marie Manzo
for The HorchowCollection 18 Scott MacKenzie 67 John Rusnak, Kristina Kincaid
3-21 Pamela Hensley for Hart, 19 (clockwise from top left) Kim 68 Kay Sutton York
Schaffner & Marx Goodwin, Allan Elsmo, Sherry 69 Kay Sutton York
3-23 Lynn Brooks, Scott Bahr, Kerrie Clark, David 70 Brenda McKinley, Terry More
MacKenzie for Gant Monroe, Pamela Miller 71 Brenda McKinley, Terry More
3-24 Kay Sutton York for Virgin 20 Susan Scott 72 Giles Kohler
Islands Rum 23 PattyRoseman 73 Kay Sutton York
3-26 Roy Sumerset for J.P. Stevens 25 Kay Sutton York 75 Will Russell
3-27 Bob Pitard for J.P. Stevens 28 Kay Sutton York 76 Nancy Bleir

159
Equipment
Listed below is equipment I have Nikon Cameras and Lenses Balcar Lighting Equipment
found useful in my beauty and Nikon, Inc. Balcar-Tekno, Inc.
glamour photography. I recommend 623 Stewart Avenue 221 West Erie Street
these quality items. For information, Garden City, NY 11530 Chicago, IL 60610
write to the addresses supplied. Or,
Gitzo Tripods and Ball Heads Thomastrobe Lighting Equipment
see your local photo dealer.
Karl Heitz, Inc. Thomas Instrument Co., Inc.
34-11 62nd Street 1313 Belleview Avenue
Qpssen Light Meters Woodside, NY 11377 Charlottesville, VA 22901
Rolleiflex Medium-Format Cameras
and Lenses Hasselblad Cameras and Lenses Bannister Stand Clamp
Rollei Lighting Equipment Victor Hasselblad, Inc. Bannister Enterprises, Inc.
Sunpak Flash Units 10 Madison Road Temple City, CA 91780
Berkey Marketing Companies Fairfield, NJ 07006
25-20 Brooklyn-Queens BD Seamless Background Paper
Expressway West Photogenic Porta-Master 400 and BD Background Supports
Woodside, NY 11377 Versatron 800 Lighting The BD Co.
Halo Light-Control Systems P.O. Box 3057
Minolta Light Meters Silfoil Reflectors 2011 West 12th Street
Minolta Corporation Sibern International Erie, PA 16512
101 Williams Drive 419 Main Street
Ramsey, NJ 07446 Rochester, IN 46975

Rainbow Video Corp. & Gary Bernstein Productions Presents

Gary Bernstein's

Thf
am
^gic of Photography is a comprehensive
Parti

With Appearances by: Lee Majors, Kay Sutton York, Top International Models

Each sequence features finished photographs

video oduction designed for all photogra- stressing composition and clean graphic design.
phers—from beginning to seasoned profession- A 12-page instructional booklet is included free
als. Using readily available equipment and props, with each cassette.
Bernt ?rs 8 instructional sequences from
model - and posing to lens selection, The Magic of Photography is available on VHS
camera a composition, lighting placement
and Beta formats at your local video store, camera
store and major booksellers. If your dealer doesn't
andexposuu os.
carry it, order from:
Complete lightin., diagrams appear at the begin-
ning and end of each instructional sequence. SIBERN INTERNATIONAL
Watch how Be. sin works with his models to RR #3MonticelloRoad
produce dynamic photographs. This professional Rochester, IN 46975
production assures complete understanding. You
also g Toll-free 1 -800-348-251
to see each sequence through the lens of
Bernstein's camera. Major credit cards accepted.

160
 HP Photo Books— Take Your Best Shot
Pro Techniques
Pro Techniques of Landscape Photography— Muench $14.95
Pro Techniques of People Photography — Bernstein 1 2.95
Pro Techniques of Beauty & Glamour Photography— Bernstein 1 2.95

General Photo Guides

Cibachrome Printing— Krause & Shull $1 4.95
Close- Up Photography 7.95
Electronic Flash— Bailey 1 1 .95
Flowers, Plants & Landscapes— Fell 7.95
Great Pictures with Your SLR— Jacobs 9.95
Home Video Equipment— Costello & Heiss 9.95
Improve Your Photography 1 4.95
Photographing People— Busselle 14 .95
Photograph Landscapes & Scenic Views— Brooks 1 1 .95
Photographic Lighting— Brooks 10.95
Nature & Wildlife Photos— Freeman 1 4.95

How to Photograph Sports & Action— McQuilkin 1 1 .95

SLR Photographer's Handbook (Revised Edition) — Shipman 1 2.95
Understanding Photography— Shipman 9.95
Use and Display Your Pictures— Kirkman 9.95
How to Photograph Water Sports— Sammon 7 95
Weddings, Groups & Ceremonies— Burk 9.95
Zone System for B&W Photography— Schaefer 1 4.95

Learn Photography Series

B&W Darkroom Techniques $7.95
Make Better Color Photos 7.95
Color Darkroom Techniques 7.95
How to Compose Better Photos 7.95
Creative Darkroom Techniques 7.95
Take Pictures Like A Pro 7.95
Use Light Creatively 7.95
How to Photograph Pets & Animals 7.95
How to Photograph Women 7.95
How to Photograph People 7.95
How to Select & Use Your SLR System 7.95
SLR Tips & Techniques 7.95

SLR Camera Guides

Canon SLR Cameras*— Shipman $12.95
Med-Format Cameras— DiSante 12.95
Minolta SLR Cameras*— Shipman 12.95
Nikon SLR Cameras*— Shipman 12.95
Olympus SLR Cameras*— Shipman 12.95
Pentax SLR Cameras*— Shipman 12.95

Computer Books
35 Amazing Games/Commodore 64 — Mihalik $9.95
Basic Program Conversion— CSB/Crider 12.95
Commodore 64 Basic for Beginners— Shipman 12.95
Program IBM PC Advanced— Shipman (r) 14.95
Program IBM PC Beginners— Shipman (r) 14.95
Program IBM PC Color & Graphics— Shipman 21.95
Quick and Easy WordStar 2000-Crider 14.95
VisiCalc Apple II, II+, lle-Craver (r) 14.95

*SLR camera guides are updated regularly to include most up-to-date camera models.
(r) = ring bound

All other books are paperback.

HP photo books are available wherever fine photography books are sold, or order direct from the publisher. Send check or money
order payable in U.S. funds to:

HPBooks, Inc., P.O. Box 5367, Dept. BAG-75, Tucson, AZ 85703

Include $1.95 postage and handling for first book; $1.00 for each additional book. Arizona residents add 7% sales tax. Please allow
4-6 weeks for delivery. Prices subject to change.
 HP Photobooks
HELP Y<)U SUCCEED!
See these fine books in camera shops
and bookstores everywhere.

CAMERA
MANUALS
thoroughly explain how
to selectand use
today's most popular SLR
cameras-CANON, MINOLTA,
NIKON, OLYMPUS and
PENTAX. MEDIUM-FORMAT
CAMERAS covers nine popular
systems in this format. Each
camera system is completely described and illustrated,
^1 with facts about metering, lenses, flash, close-up ac-
cessories, winders, and more. Each book is packed with
photographs, charts, diagrams, and tables to help you
select and master the equipment you need.

LEARN
1o PHOTOGRAPHY
EC with this series of
>.
-O basic, non-technical
o
o photobooks. Each is
c written in simple, straight-
Q-
forward style and fully
GARY BERNSTEIN a professional photographer
is
illustrated with brilliant color
of beautiful and glamorous people. In this book he photos that entertain and teach.
shares methods and secrets developed through Learn how to use your SLR syster
years of experience. Each of the superb portrait, photograph people, use light, make better compositions,
glamour and fashion photos reproduced in the use color effectively, and improve your photography.
book is accompanied by technical data and
explanatory text so you can see exactly how it was
made. PHOTOGRAPHIC
You too can make similar images — in the studio
or with natural light. You'll learn how to bring out
TECHNIQUES
are explained by
the beauty and glamour of any subject— woman,
experts in each of these
man, child or couple. fact-filled books. You'll learn
You'll enjoy the beautifully illustrated essays on important techniques for
essential aspects of beauty and glamour making money with your camera,
photography: planning a session, lighting and creative lighting, using gadgets,
metering tips, background control, posing and selecting films and paper, using a
makeup. The essays show you, step by step, how darkroom, and how your camera
a successful pro works. You'll also learn some of works. Other books in this series improve your skills in
the secrets of becoming a professional yourself. travel photography, special effects, nature, weddings,
close-up and macro work, and much more.
Gary Bernstein is author of Pro Techniques of
People Photography, also published by HPBooks.
In this book, he continues what he does so
well— sharing professional techniques with all
BECOME A
photograpr, rs. Whether you are an amateur or an BETTER PHOTOGRAPHER
experiences r o you'll get great results after
s

reading and using this gorgeous book.

WITH HP Photobooks.

ISBN D-o1Sab-3bM-2
Il
75478"63642" BIPAD bfl3^P $12.95