Kinbaku-bi (緊縛美?), Shibari, bondage….whatever, it is beautiful.

One of the highlights of 2010 for me was being introduced to, and having the opportunity to work with, a local chap who professionally calls himself Lord Morpheous (http://www.lordmorpheous.com/).  ”Morph” is a local boy who worked local farms and got pretty good at handling rope.  Those skills, combined with an obviously kinky mind, led him to develop a talent for what is often called Shibari, or more simply bondage.  But beautiful bondage.  Really beautiful.  He is now a well known sex educator, and is the author of a successful book:  How to be Kinky:  A Beginner’s Guide to BDSM, and is soon releasing his second book How to be Kinkier. The first book has done very well on Amazon.com where you can get a copy:  How to be Kinky.  It is also available at Indigo, Chapters, and at better kinky stores in Toronto.

The first time I met Morpheous he came to my studio and we did two kinds of images:  a suspension and a partial suspension of one of my favourite local models.  For the suspension, two of my heaviest studio stands were set up and a two-by-four was clamped between them so that Morpheous could  suspend the model (Elle, a.k.a Elle Kingsley on the naked news) as if in space.  Morpheous spent a great deal of time with Elle, being sure she was comfortable and safe at every step of the way.

As he prepared Elle, I set up my lighting and framed the shot.  I was looking for a “fine art” feel, and so had set up a black backdrop and two profoto 1×4 foot strip soft-boxes with the external diffuser removed.  This rim lighting is one of my favourite was to light the nude figure.  When Morpheous was done rigging Elle, he gave her a gentle spin and I captured as many images as I could for about five minutes before we gently brought Elle down.  One of my favourites, is what I call:  ”I can’t come to the phone, I’m a little tied up”.

 

I can't come to the phone right now, I'm a little tied up.

 

Another great shot from that shoot is the partial suspension.  For this, Elle was placed on a table with similar lighting, though with a little more intensity.  The strop soft-boxes were brought a little closer to the camera position to provide more wrap around Elle’s body.   In addition, a widezoom reflector was placed behind the table and angled up to provide some pop to her hair blowing from a large studio fan.

 

Elle, I can't come to the phone right now, I'm a little tied up.... (II)

 

This was my first of two shoots with Morpheous, and I hope to have many more.  His art is incredible, he is very generous with his knowledge, and has worked well with me and my models.

If you like this post, let me know and I’ll follow up with my second Morpheous shoot with a fine Asian model at the Hazelton Hotel.

 

Bodyscapes with one light – part 1 (the strip light)

When I was a teenager my father had two lovely bodyscapes on his wall.  Each were black paint on metal.  The artist painted black where the shadows lay, and left metal where he saw light on two female figures.  They were wonderful, and I wanted them for myself, but he would not give them to me.  Now I make my own with light and shadow and models.

My favourite bodyscapes typically use just one light and of those, my favourite one light bodyscapes use a profoto 1×4 foot strip soft box, with the external diffuser removed.  If you place the strip light beside your subject, then some of the light will wrap around the subject.  Alternatively, a little mystery is created by placing the strip light slightly behind the subject so that the shadow side disappears into darkness.  In extreme cases, putting the strip light primarily behind the subject will just carve out the outline or “rim” of the subject’s body.

In the following examples, the lovely model Elle (Elle Kinglsey on the naked news) was lit with the strip only slightly behind her body.  Rather than move the light, I ask a model to step closer to me, or slightly away until I get the light I am looking for.  Here, we get a the most light on the outside edges of her body, and the light falls off into darkness as we approach the shadow side.  I love this effect.  It reminds me of those wonderful images my father had on his wall.

Clamshell lighting with backlight

A local photographer that had rented my studio sent me a message last night complementing me on my studio lighting skills and asking whether she could tag along on a studio shoot.  I have had other photographers express the same interest.  So, perhaps a post or two on lighting setups I like would be of interest.

One of my favourite lighting setups for a glamourous head shot uses three lights and could probably be called “clamshell with backlight”.

 

April and Stephanie both shot with a P45+ digital back on a Mamiya 645 AFD II.

 

The clamshell:  the clamshell is the main light(s) that will provide  soft uniform lighting and it looks like a clamshell.  A large softbox (or beauty dish, or whatever) is placed directly in front of the subject and above the head (about six feet high) and is aimed down toward the subject and is the key light.  A smaller softbox is placed below the key light at about knee to waist hight and is aimed up so that, combined, the two softboxes are like a clamshell opening to eat up the subject.  Of course, the uvula of the clamshell is my camera.  Note that the second softbox is powered about a stop or two below the main or key light and serves to fill in the shadows somewhat.  This lighting is also great for more mature models as the clamshell will fill in shadows from lines and wrinkles, softening their impact.  This is the clamshell part.

The backlight: is a standard reflector situated directly behind  (perhaps four feet) the subject and at about shoulder hight.  This will add a glow to blonde hair, and is set about a stop or two above the key light.

In the samples above you can see the clamshell lighting in the eyes of the models (April and Stephanie).  And I love the glowing highlights from the backlight.  Very glamourous.