Etude No. 2: Stana in Studio
I’m a glamNude shooter… and lingerie…and boudoir…and sexy portraiture. OK, even some expressive B&W series every now and then.
But figurative classic nudes? Nope.
Nevertheless, I felt the urge to deal with this style since it actually is a part of the Sexy Women Photography basic elements. Now my reason was not necessarily to add this look to my repertoire but rather to obtain a certain understanding of it and a comparison to my commercial works.
So I forced myself into a self-prescribed lesson regarding this topic earlier this year. In other words, a crash course.
Stana, the Classic Art Nude Model
In order to successfully start such an endeavor, the most important point is to choose the right model (type) to collaborate with.
As you might know, a typical glam model with a pretty face and nice curves rather tends to pose in a more static way. Teasing and alluring expressions is what you can expect, yes. But as a whole concept this shots will end in a more “decorative” result than in an active one.
So the art nude model for my little, private project had to be very experienced with shooting classical (studio) nudes. After all, the aim was for the model to teach me (!) about good poses, shooting flow and other crucial aspects in this specific area.
Luckily I know Stana, the perfect model for this job. Over the past few years, I had the pleasure to work with her at my private master classes. Stana is an excellent, sought-after, bright and outstanding art nude model who works globally for calibers like Guido Argentini, Andreas Bitesnich, Tono Stano and others.
She’s also very tall – simply an awesome body to create striking poses supporting and extending super looooong lines and greatly beautiful (and valuable) for creating abstract forms and shapes.
Poses: Art History Lesson + Muscles + Keywords
When trying to achieve a classic nude series for the first time by implementing figurative (sculptural/statuesque) poses, it immensely helps that the model is full of knowledge and ideas about classical art motifs.
In a long term shooting relation between a model and a photographer (shooting sessions over and over again), the photographer normally brings in his/her visions and concepts while the model contributes her interpretations to the overall work. Together they then develop unique and wonderful studies/series – sometimes even by coincidence. It’s creation, not depiction after all!
But because I was totally new to this style, I had no vision, no concept, no beginning, no end… Stana was my teacher that afternoon. And she was magnificent: Not only does she know all about the traditional sculptors like Michelangelo, Rodin, Antioch, Donatello, painters like Rubens, Goya, Titian, Ingres, photography masters like Stieglitz, Marc de Burgweid – no, she has also studied their body of work intensively and therefore knows pretty much all there is to know!
Stana replicates and evolves the poses – plus she exactly knows their imperfections and how to bypass them. Imperfection example: Wrinkle formation on the back when sitting on the floor. Have a look at Ingres “Grande Odalisque” – see the towel that covers a bit of the back and butt? – https://goo.gl/SYhBU2 
Following the co-creation of some very classical poses, Stana taught me about another acting concept based on keywords. I learned about catch words like force, repose, loneliness, elongation, levity – a concept, that photographers seem to use quite often.
Boiled down: This posing concept requires the photographer to capture tension, curves, lines, muscles, spine, flowing forms and more. All of this is created by means of standing poses and sitting/lying ones on the floor.
This acting-bases session gave me maximal input and was really demanding! Throughout this intense lesson, I was continuously hoping that the shapes I created with the model and the chosen interplay between camera and model would depict and condense the chosen keyword in the best possible way…
Lighting: Creating Plasticity
I’ve setup the shoot in front of a simple white backdrop. And I’ve prepared too much light. My idea was to go with a key and a fill-in. But after the first 3 test images Stana reminded me that this style is all about plasticity. No flat, soft lighting, nope – a rather semi-hard light with a good visible shadow cast.
When Stana appeared on set, I already noticed that something bothered her – but she was polite enough to let me take a few shots first. She probably thought I would notice the mistake myself. But when I didn’t, she intervened…
So I switched off the fill-in and shot just along with a medium-sized octobox from the left side (related to the camera position). This direction is what created the shadow cast and nicely formed the shadow play Stana had recommended in the first place.
What I’ve Learned & Conclusion
The entire shoot was just marvelous! Not only did I take some new images in a novel style, no, I also received an art history lesson and an exploration thereof.
On top of this, I definitely gained more posing insights than I was hoping for, got to implement new shooting aspects and already created some decent results (IMHO).
I was (and still am) deeply impressed by Stana’s art knowledge and the flawless outstanding practical implementation of the poses during this session.
Regarding my commercial work: I’m not sure if this style fits my needs – parts of it probably do.
Figurative/static/sculptural and very compositional posing is something I like a lot, yet the dynamic interplay and teasing part is missing.
What I most definitely will do is to shoot more conceptual-based B&W series – far from glitz and glam but with more flux and allure than offered by classic art nudes…
…classy timeless B&W series with a captivating swing and a sexy twist – so to say.
Hey Dan,
A pretty good start to your classical figure understanding. Figure nudes don’t always have to be drenched in shadow, but you’ll usually see a higher contrast ratio than you will in most modern glamour work. Based on your lighting diagram, I’d suggest two things: first, make your light more directional – put a grid on the Octa and consider even using a strip box fom that position. Second, move the light closer to your subject. If the light is closer, the fall off to shadow will be more rapid, and you’ll inject more contrast into your shot. Use a bounce, rather than a second light, to open the shadows a bit.
I’ve attached a photo depicting the more dramatic, higher contrast style
Hey Joe, thank you! And thanks for the advice. I will put that into action next time I get the chance to shoot figure nudes.
Great image, thanks for sharing. Very “dramatic” – I like the defined and numerous “rim” light areas depicting all the body lines a lot.
I think figure/form nudes are an excellent expressive form. When done correctly, it shows a respect for women. I don’t think it’s as “static” as described. The mindset for form nudes and glamour nudes are different (a faster pace on glamour then on form). I want to see what else you come up with in this field.
Not all form is standard color and b/w. Some of the worst lit photos I have in form comeback in interesting ways in photoshop.
Matthew, thanks for your POV. You’re right: It’s probably not that static in the images itself. I guess it’s more related to my feeling during the shooting process because I was missing the interaction between the model’s play (direct posing expressions) and camera 🙂
Thank you for sharing your image. Good example to display results in a different way than one automatically is used to (B&W…).
More to come 🙂
Great post Dan,
To answer your questions I actually started shooting figure art nudes before the pin up style simply because the area of the US that I happen to live in has far more of art models readily available to collaborate with than the classic pinup and glamour models. I personally enjoy the active teasing play style more but have an appreciation for the classic art nude and shoot it regularly as there are a bit more opportunities to have the work seen in the local galleries various exhibitions. I do look forward to seeing your future experiments in blending the two styles to create something that is unique to you.
I neglected to mention that the shot was made with a single mono bloc with a standard reflector and grid attached.
Thanks for sharing your shot and insights about your styles (progress), Dru!
Very nice image & shadow play – love the placement at this particular spot in the infinity cove 🙂
Let’s see if and how I can blend the 2 styles – alluring glam and graceful body lines – in a future shot. I just made a note for a small, new project next year 🙂 Thanks for the spark!
Hi Dan.
It’s good to see you doing something different, out of your comfort zone almost. As a long life time Artist foremost to taking up Photography, my personal aesthetic has always been toward this particular artistic style. If has always been about the body form for me. However, I am learning to love the sexier looking style of come hither boudoir and pin-up girls as no man could deny there’s just something about them…. I’d like to see you do more with your personal project and as suggested above a strip-box with grid at a bit closer to your model should give you a bit more drama, but I personally wouldn’t use a reflector to push light back into the shadows. I’ve always been a lover of the more Noir style and would definitely advise you to do it on Black background next time. Sincerely Mark. Thank you for checking out my website and making comment on my FB page as well, it’s much appreciated.
Hi Mark,
Thank you for your insights and advice. Next year I will work more on different areas that are not yet in my repertoire. I’m just keen to explore if a) I will like the different styles myself (like artistic, pin-up, beach etc), b) if I’m capable to adapt my working & lighting approach and c) this will translate to business benefits (appreciation & potential by/with my clients).
I will find out…
Your website/FB: You’re most welcome; always supporting fellow photographers 🙂
I have only shot a couple of artistic nude sessions, but I’m learning.
Hi Matt, thanks for sharing – stunning image and setting!
I always wished to shoot once in an area with a desert/dried-out lake – quite impossible here in Europe…
Keep posting images here please – and all the best on your shooting journey!
Dan,
Most of the time when working with figure art models, they tend to be experienced. This is a good thing, because it helps the photographer and model communicate more effectively.
I have been very fortunate recently to have come to know a young woman who has zero experience in modeling, but wants to learn art modeling. So, I have been coaching and mentoring her. Diane is quite tall at 180 cm (5′ 11″) and has a classically sculptural figure. In just a few short weeks, she has gone from an awkward “what do I do now” beginner to a novice model with increasing confidence. In our last session, we concentrated on classic poses in the European style from the Renaissance and Baroque periods. In keeping with this tradition, I have rendered her in a modified calotype style.
Diane has at least two more years at our local university, so I am hoping to create a well-rounded catalog with her!
Allen
Thank you for sharing another excellent image here on B+, Allen.
I really appreciate to see your work here guys. It’s so fascination, inspirational and insightful.
Diane looks classy and I’m happy you found an adorable person to start a collaboration with! I’m certainly looking forward to more images along the way.
Idea: Think about writing down notes/impressions/steps like a little diary. I would love to publish here a report/best practice/showcase in case you (and Diane?) are up to/interested.
Wishing you great shoots ahead,
Dan