by Andy Cubin Published 01/12/2013
So far, the Posing Pouch series has closely examined various individual stand-alone aspects of body posing. That done, we shall begin to move away from this pedantry (although we may return at a later date) and begin to look at various photographic topics or genres, where we can practically introduce those lessons we have all absorbed from Posing Pouches 1-9 inclusive. (Shameless plug folks - back copies available!!)
In Posing Pouch 10, we begin to look at posing the nude form. Sadly, for those of us expecting to get an eyeful, disappointment awaits, as I have set myself the challenge of using poses with my male and female models that cover over anything that might be considered 'ooh matron', and thus befits the description of what some call 'implied' nude.
You may have a different definition, but in my humble opinion, 'Implied Nude', is where the model is clearly naked, but nothing is actually showing.
If we're lucky and look very closely, we might just catch a glimpse of a couple of bottom cheeks, and that only on the basis that all of us have got them.
This is a deliberate ploy on my part as I have found, from a business point of view, that this is a very handy skill to have. With popular TV programmes such as How to Look Good Naked and 10 Years Younger, both currently re-running on your satellite TV, implied nude photography is still very much in vogue. Popularising the body image, whatever its shape, has energised awareness of this photographic style and there are many clients looking for this sort of imagery of themselves - implied nude is a valuable portfolio inclusion for the working photographer and quality artistic nude photography is very collectable.
So, in using implied nude as our caveat, we can learn and use poses which are excellent for covering areas of the body which a paying client might be less confident about, so a knowledge of how to shape the body sympathetically is pretty handy to know.
I must also mention that lighting plays a big role in any nude photography and the reader will see evidence of carefully placed lighting in subsequent accompanying imagery. However, the pose comes first and foremost in this article, with the lighting used to hide detail in later Pouches.
We can break it down into three sections for simplicity:
a) high-key lighting, where we will use pose alone.
b) low-key lighting, where we will utilise shadow (Posing Pouch 11).
c) mid-key lighting, where we will use props (Posing Pouch 12).
High-key Lighting On this set, as in the opening shot, I have used a 190cm Octabox on a pure-white paper background. I like a simple life so, I could have used extra lights on the background and on the model but I have found the advantage of the big Octa is that it is a) big, b) soft, c) wrapping and d) filling. On the basis of - 'why use four when one will do nicely'... well, you get the general idea.
Standing Poses Standing poses are definitely the most tricky when the final image is intended to be shown full length. Any body issues are tricky to hide as the model only has two hands. I found that, by turning the body sideways and using the legs to hide the lower region, the hands were left free to cover the chest area as our model Roseanne demonstrates in Figure 1.
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