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.That said, a smile only happens for a second, so you must also masteryour shooting skills and be ready to release the shutter at just the rightmoment.It takes a lot of practice, but eventually you ll be able to elicit andcapture perfect smiles without even thinking about it.This is an importantachievement in glamour photography and with digital cameras, you cansee it right away on your LCD screen.This is instant gratification for bothyou and the subject, so use this to reinforce your rapport.As you become amore experienced photographer, the process will start to come naturally andyou ll know instinctively when you have the shot in the can. TeethAre your subject s teeth straight, white, crooked, or stained? Obviously, ifthe subject insists on smiles (or just smiles all the time) and her teeth are notpearly whites, you might want to correct this in an image-editing programlike Adobe Photoshop.While I don t shoot a lot of teeth photos, I do capture them from timeto time especially when my subject has perfect teeth.Perfect teeth are abig asset, but even if your subject has them, if she can t provide anythingbut a forced smile, you ll have to forget about the teeth and concentrate,instead, on her overall facial look.In glamour photography, it s alwaysabout the look; even subjects with not-so-perfect teeth photograph well ifhandled properly.100 Rolando Gomez s Glamour Photography BELOW Often, models come up with greatEarsideas.I was photographing Playboy PlaymateIf a subject has protruding ears, you can often hide them with her hair.YouHolley Dorrough when I noticed her flip thevisor down to check her makeup and earrings.can also pose her face at an angle to the camera so that her far ear disappearsI realized that was, in fact, the photograph Iand the ear closer to the camera is flattened out by the lens perspective.Ifwanted.The problem was how to light theshe has more average-looking ears, you can add diamond, pearl, or gold-image to look as though the light was comingfrom the vanity mirror.hoop earrings to accent them.(Note: Jewelry always draws attention in aGordon and I used a Hensel Integra 500photograph, so it s best to avoid it on the hands or wrists.Earrings, howev-Pro monolight fitted with a 7-inch reflectorand two grids (a 10-degree grid in front of aer, can add a little sparkle that draw the viewer s eyes right to the model s20-degree grid).We then blocked the light offface.)with Cinefoil until we had only a tiny slit open.That is what lit Holley s face.A Hensel Integra500 Pro monolight with a Hensel beauty dishNoseattached was then pointed toward the car toadd some ambient light.Look at your model s nose.If it s small no problem, you can shoot with-I then shot the images from a ladder.(Leicaout concern.If she has a larger nose, you should avoid profiles and lightingR-9 camera with a Leica Digital Modul back andLeica Vario-Elmarit-R 100mm lens [eff.137mm]; setups that emphasize or define its shape.You ll be better off shooting the1ISO 100; /125 second shutter speed at f/8.0; whiteface straight on.Avoid lighting that creates hard shadows on the side of thebalance 6000K)face away from the camera; this will prevent the nose from contrasting withFACING PAGE Here, Erin poses in the samecar.For more images on this set, see page 35.the shadow.The Face and Hair 103 Often I will use my Hensel Integra 500 Pro Plus monolights with the flash itself turned off.The advantage of this is that each monolight comes witha 300-watt quartz-tungsten lamp balanced at 3200K.While tungsten light is a beautiful light source if using black & white panchromatic films, it s a hor-rible light with color film and especially with digital cameras when the light source is specular and used straight-on.To help curb some of this harsh-ness, I bump up my ISO to a higher speed, creating a grainy effect in the images.I also use light modifiers, such as softboxes and reflectors with twogrids (one on top of the other) placed in the reflector housing
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