[ENG] Nude & Photo, Nude & glamur
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No. 1/2003__
United States: $9.50
United Kingdom: £5.95
Europe:
C
8.95
NUDE PHOTO
PORTFOLIOS
JILL ENFIELD
RUDOLF HILLEBRAND
ANDREAS WEIDNER
JENS WERNER
WORKSHOP
BETTER NUDE PHOTOS
STEP BY STEP (1)
HAND-COLORING
BLACK AND WHITE IMAGES
EASY COLORING: SPOT PENS
CREATING IMAGES
FROM THE MOTIF
TO THE PHOTO
PRO REPORT
JENS WERNER –
BODYSCAPES
CAMERAS
TACHIHARA 4X5“
DARKROOM
CREATIVE TONING TECHNIQUES –
COLOR FOR B/W IMAGES (1)
Magazine for sensual photography
PHOTOGRAPHY FOR THE SENSES
Another new photography magazine? Aren’t
there enough magazines devoted to photo-
graphy? On closer examination the number of
photography magazines has decreased rather
than increased in recent years. New maga-
zines, mainly devoted to new digital media,
have come onto the market. I by no means
wish to call these into question – both ways
of taking photographs have their place, so
this question is superfluous.
I would like this magazine to promote the
peaceful coexistence of analog and digital
photography – with equal status. It’s not the
means to the end which counts, but the end
itself – and the two routes to the goal can be
equally interesting. Practiced with knowledge,
care and commitment both methods of pic-
ture-taking can convey all the art, mood and
beauty that this medium is capable of.
Photography for the senses – this is the de-
fining theme of this new magazine. Naturally
it is concerned with erotic photography to a
large extent (although there are many bad
examples in this field), but the thematic net
will be cast wider: sophisticated, esthetic
nude and erotic photographs on the one
hand, but also sensual photography in other
fields such as landscape, portraits, still life
and experimental photography on the other
hand. This ambitious aim is emphasized by a
fitting standard of presentation: a clear, un-
fussy layout on the one hand and outstanding
paper and printing quality on the other hand
– to present artistic, demanding photography
in the way it deserves. This respectful
approach also means that no typesetting is
allowed to destroy the impact of a photo-
graph, a practice which can be widely obser-
ved in countless publications – including,
unfortunately, many photography magazines.
If the sensuality which the photographer felt
at the moment when he pressed the shutter
release is revealed in the resulting photo-
graph, if it is composed with devotion and
photographic skill, and processed with care to
the highest technical standards, the criteria
for a publication in this magazine are fulfilled.
If you believe that your photographs meet
these criteria you are cordially invited to share
their sensuality with the readers.
The editorial concept will also include didactic
articles about techniques of taking and pro-
cessing photographs – both conventionally in
the darkroom as well as digitally; about the
creation of outstanding photographs; and
background information about the ideas and
philosophy of individual photographers.
Information on exhibitions and workshops as
well as book reviews will round off the edito-
rial spectrum. The major focus however will
be on portfolios of outstanding photogra-
phers, enabling you to build up a valuable
collection of exceptional photographic works.
In each of these fields your contribution is
warmly welcomed.
NUDE
PHOTO 1/03
03
CONTENTS
06___
THE BASICS OF NUDE PHOTOGRAPHY
Michael Hein, a keen semi-professional photographer with long
experience in nude photography, presents the first part of a
series devoted to this demanding theme.
12___
HAND-COLORING B/W IMAGES
This technique from the early days of photography still has a
special appeal today.
18___
PORTFOLIO RUDOLF HILLEBRAND
NUDE
PHOTO publisher Rudolf Hillebrand presents a
selection of hand-colored black and white nudes.
24___
HAND-COLORING WITH A SYSTEM
To complement the article on hand-coloring in this edition,
this article introduces the SpotPens made in the USA.
26___
PROFESSIONAL REPORT
Many amateur photographers dream of their own photo studio.
Professional photographer Jens Werner shows how excellent
results can be achieved even when space is limited.
30___
PORTFOLIO JENS WERNER
With his classic nudes, the photographer from Rodgau near
Frankfurt demonstrates a mastery of lighting.
36___
FROM THE MOTIF TO THE PHOTO
Andreas Weidner, a leading expert in perfect black and white
photography and darkroom work, looks at a number of his
photos and how they were created in this and the following issues.
38___
PORTFOLIO ANDREAS WEIDNER
High-class large format photography: NUDE
PHOTO
introduces the well-known photographer from Abstatt with a
selection of pictures from his book „Coastal Romance“.
44___
PORTFOLIO JILL ENFIELD
Jill Enfield, one of the best-known women photographers in the
USA, colors black and white photos. Her work can be seen in
many exhibitions and publications, and she also gives workshops
on this and other alternative techniques.
50___
LARGE FORMAT PHOTOGRAPHY
The deluxe wooden Tachihara cameras from Japan are a low-cost
way to start large format photography.
52___
DARKROOM TECHNIQUE
This first article by darkroom expert Wolfgang Moersch presents
some fascinating developing and toning techniques.
Front cover: Jens Werner
Back cover: Rudolf Hillebrand
NUDE
PHOTO 1/03
05
WORKSHOP
Better Nude Photos – Step by Step (1)
NUDE PHOTOGRAPHY
MANY AN AMBITIOUS AMATEUR PHOTOGRAPHER WOULD SURELY
LIKE TO TRY HIS HAND AT NUDE PHOTOGRAPHY BUT DOESN'T
KNOW HOW TO APPROACH THE SUBJECT.
MICHAEL HEIN, WHO INITIALLY HAD THE SAME PROBLEM, HAS
TAUGHT HIMSELF AN ASTONISHING AMOUNT, AND PASSES ON HIS
KNOW-HOW TO OTHER INTERESTED PHOTOGRAPHERS IN THIS
SERIES. IN THIS FIRST ARTICLE HE DISCUSSES GENERAL POINTS
WHICH EVERY PHOTOGRAPHER SHOULD TAKE NOTE OF.
06
NUDE
PHOTO 1/03
THE BASICS OF
WORKSHOP
Standard reflector as the only
light source
Film: Agfapan APX 400, exposed as ISO 160/23º
(with yellow filter 2x = 80/20º ASA)
Camera: 35mm with 55mm lens
make efforts to appear as photogenic as pos-
sible. She may even have been to the hair-
dresser, in order to make a good impression.
Now she is placed alone on a „stage“ flooded
with light - that is, in a situation she has
never yet experienced. Last but not least a
camera is there too. She perceives it as her
opponent, its black eye as something merci-
less and unrelenting, ready to reveal every-
thing. The advice „just relax“ leads to the
exact opposite in this situation, of course. The
photographer, obscured by darkness, gives
instructions which are heard but not under-
stood. The stress felt by the model is especial-
ly apparent if she confuses instructions for
left and right or arms and legs.
In a home studio, where smaller
reflectors are normally used, it
is necessary to pay attention to
differences in brightness. A vari-
ation of just half a stop within a
surface can make the skin
appear gray. On the other hand,
do not flood the shot with
reflecting screens, or the image
will seem flat and uninteresting.
The only approach is to take
measurements and reposition
the lights constantly.
EVERY SUCCESSFUL PHOTO IS
based as much on your ability to make perso-
nal contact and work well with your model as
on your technical photographic skills.
If you enjoy working with people you should
not find it difficult to increase the impact of
your photos by using a little psychology. This
is not simple, as every model has her own
personality and individual traits of character.
The most important point first: you must help
your model to relax!
So that you can put yourself in the model‘s
position it is absolutely necessary to have por-
traits, or better still nude photos, of yourself
taken by a person you do not know.
Reflector for reducing the contrast
and for lighting the background
What? Me in front of the
camera?
The photo top left:
When this was taken I owned
only a Multiblitz Minilite 200
with a silver-coated standard
reflector. The light is similar to
that of a compact flash – but
much less „inhibited“.
Why not? It is the only fast and honest way
to experience what goes on in the model‘s
mind. As an old hand with the camera you
will find that being in front of the lens and
being behind it are completely different situa-
tions. Although you operate with cameras
and lighting equipment all the time, even you
will feel a certain nervousness take hold.
Many people have their photograph taken
professionally only once in their lifetime, if at
all. It is therefore truly a special occasion,
which makes them tense. The model will
Softbox als main
light
Film: Agfapan APX 100, exposed as ISO 100/21º
Camera: Mamiya RB 67 Pro-S with Sekor-C 50 mm
NUDE
PHOTO 1/03
07
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