Boudoir photography: Couples boudoir – gesture and connection
With portraits of a couple, the way they connect with each other is often the main factor whether the image is compelling. It could be through gesture and touch. The gesture might even be subtle – if a couple snuggles in, they don’t have to look at each other – it’s entirely possible to give that sense of connectedness, even with a downward glance. As long a it looks like they are concentrating on each other or responding to each other, it works.
With the image at the top, Olena and Austin are directly looking at each other, hands intertwined and legs touching. Connection clearly there.
Compare these three images – there’s a definite sexiness that exudes from the couple, but only in first image where Austin’s chin touches Olena’s head, does the connection really kick in. He need not look at her for him to appear attentive. But with the distant gaze in the middle photo, the connection is lost – it just looks like he wants to be elsewhere.
In the last image, the connection has been (somewhat) regained. I had asked him to drop his gaze so he doesn’t appear to be looking away.
This instruction, “just drop your gaze”, is one that I frequently use. It somehow seems more clear to people than telling them to “look away, or look down’. The instruction to look somewhere, is too specific, but telling them to change the direction of their gaze, is more easily understood.
Photo gear (or equivalents) used during this photo session
The main image at the top, with them facing each other, is just available light.
- Nikon D4;
- Nikon 24-70mm f2.8G AF-S /equivalent Canon 24-70mm f/2.8L II
- 1/160 @ f/4 @ 800 ISO
The three subsequent images, with Olena leaning into Austin, most of the light here are just window-light streaming in. But I did add a touch of light from a speedlight in a gridded soft box. The pull-back shot here was taken with different settings, so the flash dominates here. We have options.
- Nikon D4
- Nikon 24-70mm f2.8G AF-S / Canon 24-70mm f/2.8L II
- Profoto RFi 1’×3′ softbox with the Profoto 50 degree 1×3 grid
- Nikon SB-910 Speedlights in the gridded softbox
Direction & Quality of Light
I wanted to distill the essence of what we, as photographers, work with – light! Before we can truly grasp on-camera flash and off-camera flash, and really, any kind of photography, we have to be aware of the direction and quality of light. We need to observe the light that we have, and then decide how best to use it, or enhance it.
With this book, I try my best to share those “aha!” moments with you, and I do believe this book can make a difference to your photography.
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Related links
- Lighting a vintage styled boudoir photo session (model: Olena)
- Boudoir photography: tips on posing & dealing with mixed lighting (model: Jessica J.)
- Boudoir photography – an intimate photo session (model: Carly Erin)
- Lighting a boudoir photo session (Carla Starla)
- This photo session was held at the studio of Je Revele, New Jersey Boudoir Photos
Books on Boudoir Photography
I love the image, the composition, etc., but I wrestle with the assignment of boudoir as the genre.
(What a fabulous location, too!)
I’m just feeling like there is a great deal of connection missing, because SHE is looking at the photographer. The connection is with the viewer, not her partner. Because of this, the image still feels staged (to me), as opposed to having the feel of a clandestine encounter to which the viewer/photographer is secretly privy.
I guess I’m having a problem with the loose interpretation of the whole concept of boudoir photography, these days.
(More like MY interpretation doesn’t seem to match anyone else’s lol)
It’s a genre I’m currently exploring photographically and learning to narrow down my understanding/expectations of, as well. To that end, I’ve been following the work of many photographers who specialize in this… but most of their work feels little more than “bikini model-ish”.
This is only the second boudoir set I’ve seen of yours.
The first felt very “fashion model-ish” , although stunning as always. This one kinda feels more editorial and headed in the direction I expect from something falling under the boudoir heading, but still not what I expected.
I love your photographic/editing style and have always admired your work… so I’m thinking this is an example of your unique, visionary style for boudoir photography, more than an example of what boudoir photography-in-general is.
And for that… I applaud you! :)
Interesting observations. I hadn’t thought about it like that, but I do agree that with her looking at the camera, there’s a shift in focus, and a shift in intimacy.
The photos here were part of a longer photo session. But even in the other photos, there were some where I asked Olena to look at the camera and some where I told her to change her gaze.
The end result is perhaps less boudoir than that of a fashion styled shoot.
Here’s another example.
I guess the other thing to think about is the final viewing audience. If the session will be for the consumption of the couple only then the connection with the ‘viewer/camera’ is ultimately going to be themselves. Let’s be honest, a large portion of boudoir shoots are probably of women making a present for their men. So by looking at the camera they are in turn looking at their man when he is viewing the photos. The other portion is for women who just want to feel sexy and intimate. Looking at the camera in such a way will result in them looking at themselves in that way. Makes sense in my head when I think about it.
Hi Neil, really like what you’ve accomplished here… but I’m left wondering if you had ‘already’ seen the B&W interpretation of these photographs during/prior to your setting up? I feel it’s just so much more impactful without the colour information. BTW – I also started immediately thinking of a light mist or haze to add a bit of mystery to the colour images, do you ever use a fog machine to add to the mood with this sort of photograph?
Steve
I’ve used a fog machine in the studio with models, but never for this kind of shoot.
Interestingly, I felt the reverse… the warm colors, far more than the B&W, pulled me right in.
They reminded me of the original Romeo and Juliet movie from way, way back.
Sean
Neil,
I have an equipment question about that ProFoto RFi softbox. What bracket/ring are you using to mount the speedlight? I took a look at the product page you linked, but it seems it does not come with a bracket/ring. I notice that ProFoto sells a RFi 2-speedlight ring, but I don’t think that is what you are using in the pull-back shot.
I ask this, because some of the more expensive softboxes do not seem to come with brackets/rings. (i.e. they must be purchased separately.
Stephen … the key word there is “or equivalents”. In this case, the Creative Light range of light modifiers (which were a Profoto line), has been discontinued. But since they were a Profoto line anyway, the closest equivalent is as stated there. You could use any speed-ring with the soft box.
Neil,
Ah, I didn’t know that any speed-rings could be used on these softboxes. I’m still on the Lastolite Ezybox Hotshoe, so I’m used to using the ring provided with the softbox.
What a great window! I especially like the photo you added in the comment section. As I am doing an engagement shoot next month (which is not a usual gig), I am very happy to see these poses. With a little more clothing, they could work for an e-shoot as well. Thanks!
Great photos. What is your B&W post processing process? Do you use for example and S curve?
The lights were amazing… Great works of art! ^^
Those pictures are beautiful! A true artist with a camera painting a beautiful picture.