Duncan Evans, Iain Banks. Classic Glamour Photography. Techiques of The Top Glamour ...

162 Pages·2014·45.09 MB·English

DUNCAN EVANS*IAIN BANKS

REVISED EDITION
CLASSIC GLAMOUR
PHOTOGRAPHY

CLASSIC GLAMOUR
PHOTOGRAPHY
‘AQUARTO BOOK
CCoomiaht © 2003 Quarto ple

Fit pubished inthe Intec Kno in 2008,
‘oy Agentur

‘on mpi of Aur Press irited

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Ionelon

WeR sar

Al ights reserved No pet of ths publication may be
Feprecuced or used in any foro by eny means
‘olaehie elacron, or mechenied, ncluaing
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toon: 1-902822-81-5

‘Acotalogue copy of this bookls avaiable fom the
Bist Loney

GUAR Asr2

‘Concenedt designed, ond produced ty
‘Quote Puolehng ok

Ine Oe sreuery

lund Sheet

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Editors: Ace Ta Kate Tackett
Senior ArtEciter Aenny Cobb
Designer Ress George
liastaror: Kuo Kang Chor
Procteader:Clate Wate Bow
Inoexer Diora Le Coe

2 Dlector Maia Cinch
Pusher: Pers Spence,

Manufse"wres by Universal Graphics Pie) Lic.
Singocore
Penina by lastung.Asco Mnfrs Lc, China
CONTENTS

FOREWORD 6

‘SECTION ONE: THE CLASSIC PHOTOGRAPHERS 8
(CLIVE AUSTIN. 10
BOB CARLOS CLARKE 14
WIEN CLERGUE 18
JAN cose 22
EMMA DELVES-BROUGHTON 26
ROBERT FARBER 32
NIGEL HOLMES 36
(CHAS RAV KRIDER 42
FRIC KROLL 46
PATRICK LICHFIELD. 52
CRAIG MOREY 56
TREVOR WATSON 42
‘BEN WESTWOOD 68
TREVOR AND FAYE YERBURY 72

SECTION TWO: WORKING PROFESSIONALLY 78
INTRODUCTION 80
PHOTOGRAPHIC EQUIPMENT: CAMERAS 68
PHOTOGRAPHIC EQUIPMENT LENSES 92
PHOTOGRAPHIC EQUIPMENT: FLM 96
PHOTOGRAPHIC EQUIPMENT: ACCESSORIES 98
LIGHTING CONDITIONS 108
SHOOTING INA STUDIO. 124
SHOOTING ON LOCATION 128
comosmow 138
THE MODEL 148,
POST PRODUCTION 156

INDEX 158

ACKNOWLEDGEMENTS 160
FOREWORD

CClassle glamour is « phrase that encompasses many disciplines, from the
brightly it and sunny smiles of he fabloid newspaper or calendar git, to
the classic nude by way of the leather-clad fefishist. Classic Glamour
Photography focuses on the work faken from a group of photographers
whose subjects span these categories and definitions. in Interviews with
‘each one, we find out how they came fo work in thelr respective fields
‘and what motivates, drives, and enthuses them. The second saction of the
book includes everything you need to know about becoming ai classle
glamour photographer yourselt. You can find out about camera
‘equipment—both fim and digital, lighting—both natural and studio, and
fim stock and digital media. There is also a chapter on fincing and using
models and studios, and the problems and pitials of mounting a shoot
yoursell. he book concludes with a section on post-production
fechniques using photo-sdiing software.

‘Apart from equipment, studio space, and models, wha! separates the
‘great and the good from the ordinary isthe abilly fo see a picture before
the frst prop is assombled. A creative eye isthe most important skill fo
have, and while technique can be learned through experience, and
equipment collected over time, the fact remains hat f you don't have @
singular vision betore picking up the camere, you won't have something
‘memorable by the time you put i own again.

‘fall he photographers in this book, Robert Farber and Lucien Clergue
are the most distinctly artic purveyors of the rt, imbulng a lightness
«and texture fo their photography where form and color reign supreme. Jon
Cobb and the Yerburys—Tievor and Faye—produce more modem, but
refined and siyized color work, presenting ihe naked form cs a thing of
beauty, within carefully considered surroundings. f anything, Cobb has a
‘more minimaiist feel that is olso token up by Chas Ray Krider, Eric Krol,
‘and Craig Morey, but Kroll has more of © foo in the fetish world of eshaint
‘and bondage. His images can be darker and more menacing. Tevor
Watson aio uses shadows and lighting fo great effect, within a
‘predominantly black-and-white environment but unlike Kioll nd Morey,
fis photos contain a good deal of subversive humor. As part of the 905
‘boom in fetish-inspired erotica, Watson can both stimulate and
simultaneously enteriain. Bab Carlos Clarke is a man whose career and
output have been constantly 1e-invented due fo the requirements of
‘advertising cllents, where his work is based. Sex is an integral pair of of his
work, at times cousing controversy as witnessed in a recent advertising
‘campaign set in a nightctub, pushing the boundaries of what is
‘acceptable in adveriising,

for classical glamour, the Lichfield shots for the Unipart calendar are
synonymous with expensive, stylish sotings inhabited by nubile young
Jactes whe a more down-to-earth commercial approach has been
‘employed by Nigel Holmes fo fil magazine after magazine with raclfonal,
brightly tt happy glamour girs. Clive Austin Is olso @ commercial
‘photographer, but uses the internet fo help promote his glamour and
photography training sessions for models and photographers. Recently, the
olor work of Ben Westwood and Emma Delves-Broughton, with thelt
Inclination foward fetishism but incorporating the bright colors and kitsch
style reminiscent of David LaChopell, has given yet another flavorsome
strand to the photographic art of classic glamour. Detves-Broughton also
brings the female perspective to what has largely been a male domain

All these people and different styles are represented in this book and I

‘hope that they will inspire you in your own photographic endeavors, or at
the very least, present you with an interesting insight info the world of the

he

Dunean Evans

Bzeule Ne)
THE CLASSIC PHOTOGRAPHERS

10 CLIVE AUSTIN
14 BOB CARLOS CLARKE

18 LUCIEN CLERGUE

22 JAN COBB

26 EMMA DELVES-BROUGHTON
32 ROBERT FARBER

36 NIGEL HOLMES

42. CHAS RAY KRIDER

46 ERIC KROL

52 PATRICK LICHFIELD

56 CRAIG MOREY

62 TREVOR WATSON

68 BEN WESTWOOD

72 TREVOR AND FAYE VERBURY