25 Boudoir Looks v1

From the author of
10 Ways to Improve
Your Boudoir Photography Now
25
Amazing
Boudoir
Photography
Techniques
Step-by-Step Instructions
For Creating 25 Beautiful Looks
By
Edward Verosky
25 Amazing
Boudoir Photography
Techniques
Step-by-Step Instructions For Creating 25 Beautiful Looks
EDWARD VEROSKY
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Contents
Introduction............................................................................................ 5
Symbols Used In Diagrams...........................................................................6
Tools & Terminology....................................................................................6
Naughty Fashion................................................................................... 8
Pillow Talk............................................................................................ 10
Man’s Shirt........................................................................................... 12
Beautiful Back...................................................................................... 14
Samantha Who?................................................................................. 16
Hair Fan................................................................................................ 18
Waiting At The Wall........................................................................... 20
Heels In Bed......................................................................................... 22
Shoulders To The Wall........................................................................ 24
Glamour From Above......................................................................... 26
Prone To Be Sexy (The “Butt” Shot).................................................. 28
Love Seat. ............................................................................................. 30
The Look Up, The Look Down............................................................ 32
Shoe Reach. ......................................................................................... 34
Daydreamer......................................................................................... 36
Ready To Be Frisked. .......................................................................... 38
Long Legs.............................................................................................. 40
Rim-lighter............................................................................................ 42
Pin-up In Bed. ...................................................................................... 44
The Crawl. ............................................................................................ 46
Window Light Maternity.................................................................... 48
Wrap Around Light............................................................................. 50
Ed Verosky’s
25 AMAZING BOUDOIR PHOTOGRAPHY TECHNIQUES
Contents, continued...
Cleavage Stool Pose. .......................................................................... 52
Nude In Bed......................................................................................... 54
String Of Pearls................................................................................... 56
Other Books ........................................................................................ 58
4
Ed Verosky’s
Introduction
After the release of my book, 10 Ways to
Improve Your Boudoir Photography Now,
I received so much enthusiastic feedback
that I knew the demand for information
on this subset of glamour was substantial.
Photographers have told me how much
they enjoyed reading the book, and how
it helped them acquire a deeper under-
standing of the business and human side of
boudoir, without going through the months
or years of learning it on their own.
This book is a natural follow-up. While 10

Ways does offer plenty of technical tips,
information and examples of the best-sell-
ing poses, and even detailed instructions
on putting together your own lightweight,
foolproof two-light setup (the exact setup I
use for my boudoir and editorial shoots), it
simply wasn’t designed to serve as a pos-
ing or detailed lighting guide. But that’s
where this book comes in.
In this book I’m presenting a quality list of

25 solid boudoir shot examples. This isn’t
just a sequence of poses to copy; I’ve designed it to serve as a very concise, flexible, and extensible set of
real-world examples to learn from. Each one details, in plain language, what the look is supposed to accom-
plish, the general setup/blocking of the elements, the technique I use to prepare and direct the subject, and
the gear and settings I use to achieve each look.
As you try these examples for yourself, keep in mind that they are only starting points to work from. The set-
tings shown are what I use with my Canon 580 EX II flash units and previously mentioned two-light setup
gear. You’ll also notice I try to keep my settings as consistent as possible; My goal is simplicity. Your style,
gear, and various lighting settings and placements may differ. So, experiment with it all. Adapt these exam-
ples to your own way of working. And remember that all of these looks are within your reach. You can and
will create beautiful boudoir, glamour, and maternity images all your own.
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Ed Verosky’s
Symbols Used In Diagrams

Subject, Top View Subject, Body View
Camera, Top View Wall
Flash Unit, Top View Shoot-thru Umbrella

w/Flash Unit
Tools & Terminology

In this section I’m going to list several terms and 45/45. A classic position for a portrait light where the
describe how they’re used in this book. This is by no light is angled down 45 degrees at the subject and is
means an exhaustive list, of course. positioned 45 degrees to the right or left of the subject.
Most of the tools and concepts below can go by Ambient Light. The light that is already present in the
more than one name, and in some cases, I’m taking environment. Tungsten, halogen, or fluorescent light
a few liberties with the commonly recognized, or fixtures are common sources of ambient light indoors.
technical usage of certain terms. You could say I’m Natural outdoor light is often referred to as ambient.
trading a little technical accuracy for conceptual
simplicity. I’ve left out some terms that are explained Blown-Out (Highlights). Highlight areas of the image
in sufficient detail within the text of the book. that are exposed, or overexposed, in such a way as to
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Ed Verosky’s
contain very little or no discernible detail. Sometimes label for gear, or the sun.
this is an intentional effect.
Main Light. Also called, “Key Light.” This is the light
Desaturation. To bring the color values closer to having the most significant illumination on your subject.
gray. I use this term when I’m talking about making It creates the defining light and shadow areas.
the colors less punchy, not necessarily converting the
image to B/W. Rim Light. The effect of a light source on one side of
your subject. The rim lighting on your subject is that
Direct Light. Light that is not modified, or light rays part that sort of outlines one side of your subject with
that strike the subject without first bouncing off another a highlight. Rim lighting is useful as a way to create
surface. separation between the subject and the background.
The light source is usually aimed directly at the subject
Fill Light. Also called, “fill.” This is a light source or coming in from the side/rear.
effect that “fills in” some of the shadows, and cuts
down on contrast on your subject, when another, Shoot-Thru (Umbrella). A photographic lighting
stronger light is present. umbrella made with fabric that is translucent, allowing
you to point a flash unit into it so that light is diffused
Hand Bra. The subject uses her hands to support coming out the other side. You aim the “top” of
and/or cover up some or all of her bust. the umbrella toward the subject instead of away. It
provides somewhat of a softbox effect on the subject.
Kicker. Essentially the same as rim light, but I also
tend to use it interchangeably with “hair light.” It’s the Snoot/Grid. A modifier that narrows the beam of light
highlight that shows in the subject’s hair or outlining coming from a flash or strobe. This can be a rolled up
one side of the body. The light source is usually aimed piece of foam or dark foil, small flags surrounding the
directly at the subject coming in from the side/rear, end of the flash, or a retail product (snoot or grid) that
and often narrowed or snooted, to achieve this effect. achieves the same result.
Light Source. For our purposes, a “light source” is Vignette. Areas near the edges of an image where
anything that could conceptually take the place of a the image becomes less sharp and/or visibly darker or
studio light. I find it helpful to think of a light source lighter.
in terms of the subject’s perspective. So, sometimes
the “light source” is the virtual “softbox” created from Wrap-Around Light. Highlight areas that are likely
bouncing a flash off the wall, and sometimes it’s the blown-out behind your subject. The effect is that the
flash unit itself (or both). Again, a light source is more subject’s shape is surrounded by areas of light rather
of a conceptual idea to me than a technically precise than visible with distinct edges.
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Ed Verosky’s
#
1
Naughty
Fashion
THE LOOK: This is a very
straightforward way to get a
slick, advertising or catalogue
look with an edge. Fashion
lighting and a neutral back-
ground make your client the star
of her own smoking hot fashion
ad. This, and most wide shots
are appropriate for someone
with the right figure, or at the
very least, very comfortable with
their own physique.
THE SETUP: Hang a neutral

gray (or darker gray) background
roll of seamless paper. You’ll
place a single 42” shoot-thru at
between 45-60 degrees above
your subject to approximate a
traditional high-fashion look.
You want to be careful with the
shadows to avoid “raccoon
eyes” and too much contrast.
So, your light should be in front
and about 45 degrees to one
side of your subject rather than
directly above or farther off to
her side.
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Ed Verosky’s
THE TECHNIQUE: When the client’s outfits are laid

out, at least a couple of them are selected as candi-
dates for this look. Corsets are perfect because they
tend to look the most natural and flattering with stand-
ing poses. Jeans, T-shirts, muscle shirts, and hand-bra
topless shots all work well here.
The distance your subject is from the backdrop and

the angle of the light will determine whether or not
she’ll cast a shadow behind her. Start with a few very
straightforward poses. I tell my subject to just stand
there with no expression for the first few shots.
• Bend one knee to angle into a hip pose. Try switch-

ing from one hip to the other.
• Do some “rock star” or “tough-girl” poses where legs
are in a strong stance and chin is up in a defiant
manner.
• Bring feet closer together and have one knee bend
forward and cross over the other slightly. This can
start off a series of demure, shy, or coy looks.
• Chin down and eyes projecting forward with a little
smirk for a mischievous look.
• Have her turn to the side and look back over to-
ward the camera. She can use her hands to pull
her hair back, push it up, or twirl it for a flirty look.
MY GEAR & SETTINGS: Background seamless paper:

Savage “Thunder Gray” in the 53”x12 yard roll. Flash
unit at 1/8 power, 42” shoot-thru umbrella. 50mm,
f/4.0, 1/250, ISO 100.
POST PROCESSING: I like to use a light vignette in Note that a lower light,
Lightroom or Photoshop, and often drop the saturation off to the side, can cre-
a bit and tend to prefer cool, rather than warm, tones ate a more dramatic
for these looks. look.
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Ed Verosky’s
Pillow Talk
THE LOOK: Your subject appears to be looking over at the viewer as if she’s happy to
#
2
be waking up next to him. This image is very reminiscent of popular and iconic shots of
celebrities going back to Marilyn Monroe. White on white, and bright backlight coming
in as if through a window as the late morning sunlight wakes her up. Sometimes a wrap-
around lighting effect works here, but usually in a sitting pose. The look is soft, peaceful
and fresh. A light sheet or thin piece of fabric can be used for implied looks. Pillows, a
comforter, and pretty white curtains top off the effect.
THE SETUP: A background stand with 4 semi-sheer curtain panels hanging from it (mine
are almost a tulle fabric). I usually back the panels with a single white sheet of muslin to
make the background a bit more opaque. Setting up the backdrop this way makes it more
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Ed Verosky’s
versatile than being limited to solid opaque curtains.

I use my standard two-light setup for these shots. One
light is positioned at an angle to hit the white fabric
backdrop and the subject at the same time. The other
is set to come in from the front side nearer the top of
the subject’s head. Don’t light from the chin side or
you’ll get unattractive shadows. Note: Think of posi-
tioning the main/front light the same way you would
if your subject were sitting vertically; find where the
45/45 position would be in relation to her face.
If you’re in a small enough room, you can try using just

the one light coming in from behind. You’ll get some
subtle fill with the room bounce and white bedding.
THE TECHNIQUE: Have your subject lie down on her

back looking up at the ceiling. She should be closer to
the camera side of the bed. Then have her slowly turn
her face toward the camera as if looking across her pil-
low to whisper something serious. Below, the subject uses her left arm to cover up just a little.
The main light used here gives us a more commercial look,
You can continue by having her use her hands in her while the single backlight is a touch more natural in the pic-
ture on the previous page.
hair, her fingers to touch her lips, and closing her eyes
and opening them slowly as you take a sequence of
shots.
Next, have her roll over to her side for a few shots,
then almost all the way on her stomach. Happy and
playful expressions work equally well for this look.
MY GEAR & SETTINGS: Flash units & shoot-thrus.

Back light at 1/4+ power, main light at 1/8 power.
50mm, f/4.0, 1/250, ISO 100.
POST PROCESSING: I will sometimes bump up the

exposure, fill light, and/or warmth in Lightroom.
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Ed Verosky’s
#
3
Man’s Shirt
THE LOOK: There’s just some-
thing incredibly sexy about a
woman wearing her man’s shirt,
and nothing underneath. Does
she do it to feel close to him,
even when he’s away? Is it a
way of staking claim to her guy?
Did she have to simply throw it
on because there was just noth-
ing else convenient at the time
to cover up with? Whatever the
scenario, this is a look that is so
easy to get right. A look that
almost every guy loves.
THE SETUP: Setup a single soft-

box or umbrella at the 45/45
position for either a standing or
sitting pose.
THE TECHNIQUE: I often sug-

gest this as the first look to shoot
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Ed Verosky’s
with a client. Since clients are usually nervous at the

start of a session, wearing something like an oversized
shirt allows her to have full control over how much skin
she’s revealing. After a few minutes, she’ll likely be
comfortable enough, with the help of your direction,
to try some variations with the shirt, expressions, and
poses.
Let your subject know that she can start with a casual,
cozy look wearing the shirt as if she just threw it on.
Tell her that from there, you can direct her through pro-
gressively sexier poses, within the boundaries that you
discussed before the shoot, of course.
Have her position her torso as shown in the examples

so that a side-view of the far breast is visible in some of
the shots. She might have to hold the shirt down with
one or both hands if she wants to keep part of the bust
covered. Try some shots with a bare shoulder and tilt
of the head. Some with smiles, parted lips, or more se-
rious looks. Generally, a very comfortable and content
look works best.
I like to use one light and plenty of shadow to accentu-

ate the curves and give the image a quiet feel. How-
ever, shirt shots also work great in high-key for a morn-
ing glow effect (see one of the high-key examples).
MY GEAR & SETTINGS: Flash unit at 1/8 power, 42”

shoot-thru umbrella. 50mm, f/4.0, 1/250, ISO 100.
Alternatively, you can use a softbox or any other me-

dium-size light source (2 - 4 ft. wide) at the same dis-
tance.
POST PROCESSING: Standard.

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Ed Verosky’s
#
4
Beautiful
Back
THE LOOK: Except for the fact
that the intended viewer of the
final image knows who it’s from,
this has the look of anonymity,
a suggestion of voyeurism, and
the slightest hint of surrender.
My clients request this shot over
and over again. I find it works
great as a clean, high-key im-
age.
THE SETUP: Position your sub-

ject at least 5 ft. away from,
and facing, a white backdrop
(or wall). Use one or two broad
lights, such as umbrellas, pointed
at the backdrop to get a pure
white effect with slight highlight
edging around your subject.
You don’t necessarily want to
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Ed Verosky’s
blow out the edges of her form, so keep it just under

that limit.
For the main light, use a broad, even light just off the
camera’s axis and pointed down 45 degrees or so
toward the subject. It’s similar to the Butterfly or beauty
lighting position.
THE TECHNIQUE: One thing you have to watch out

for are potentially unflattering skin folds around the
shoulders as your subject’s arms are raised. In this
case, it’s best if your client has long hair so it covers up
the inside edges of the shoulders where these lines and
odd dimples can appear.
Also, in order to keep the image visually interesting,

one or more large bracelets can be used to break the
general symmetry and provide textural contrast with the
skin.
Have your subject sit or stand while she consciously torso toward the camera to reveal the side of her
elongates her torso. A slight twist can produce a nice breast. Alternatively, she can hand-bra this pose.
casual curve, but a perfectly straight back may also
look good. She will toss her hair back so it will cas- MY GEAR & SETTINGS: White background seamless
cade behind her and raise her arms up over her head. paper or similar. Two Flash units at 1/8 power, 42”
For variety, have her: shoot-thru umbrellas. 50mm, f/4.0, 1/250, ISO 100.
Note that you might have to power the backlight up to
• Hug her elbows to bring them in close to her head achieve the correct amount of brightness you’re looking
as if stretching out her shoulders and upper arms. for.
• Reach up and have one of her hands grab the wrist
of the other for a slightly “captive” feel. More lights can be used, however, I’ve accomplished
• Use her fingertips to lightly touch her arms for that the example shot shown on the previous page with my
tactile message of touch. usual two-light setup.
• Place one hand at the top of her head and extend
that elbow out to the side, having her turn her head POST PROCESSING: Whiten out any detail in the
in profile, face being framed by her bent arm. background if necessary. Sometimes a boost in con-
• Bring her arms down, partially, as she turns her trast adds a nice touch.
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Ed Verosky’s
Samantha Who?
5
THE LOOK: One of my clients mentioned a scene from the short-lived but popular show,
# Samantha Who? in which one of the main characters displayed a black-and-white figure
study of his ex-girlfriend at a gallery showing. My client asked me if I’d seen the episode
and it just so happened that I had! We were on the same page right away.
This is a very tasteful and classic nude shot with many possible variations. It highlights the
subject’s thighs, bottom and waist/torso. It’s not for everyone as gravity will wreck this
shot at the mid-section if your client doesn’t have a very toned stomach. On the other end
of the spectrum, however, the shot can look amazing for some maternity clients.
16
Ed Verosky’s
THE SETUP: Any fabric that doesn’t have a distracting

print or pattern will do. Place it on the floor. I tend
to use one 42” shoot-thru umbrella to one side of the
camera, pointed almost straight down at the subject. I
use a platform ladder to get some height. As you can
see in the examples, having the light coming in from
the upper part of the body will put the shadows in the
right place.
THE TECHNIQUE: Your subject will be nude for this

shot. Have her lie down on her side with the lower leg
outstretched. Her upper leg (closest to the camera) will
have the knee thrown over onto the floor and brought
up a little, in the direction of her upper body. Find just
the right position for that upper leg for an attractive
curve to her rear.
Arching her back slightly can add nice curves. And

with her arms crossed over her breasts, she can twist
her torso just enough toward the camera to break a
straight profile. Try some shots with her chin up slightly,
and most with her eyes closed. Try to keep her hair
piled and spread away from the main area of the
figure.
I would shoot the image to include as much of the sub-

ject as possible, including her face, then crop later for
best effect or according to her liking.
MY GEAR & SETTINGS: Flash unit & shoot-thru at 1/8

power. 17-40mm, f/4.0, 1/250, ISO 100.
POST PROCESSING: Standard and usually converted

to B/W or sepia tones. Retouching might be required
if the lines created by twisting the torso are too dis-
tracting or if there are some noticeable dimples in the
thighs.
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Ed Verosky’s
#
6
Hair Fan
THE LOOK: It doesn’t matter
if natural wind isn’t a plausible
occurrence in a photography
studio. This is fantasy. And
moving, flying, windswept
hair can be one of the sexiest
glamour looks in your client’s
boudoir album. It’s about a
feeling of motion and abandon,
freedom, breathlessness. The
right expression will make it
incredibly sensual.
THE SETUP: Place a single soft-

box or umbrella at the 45/45
position for a standing or sitting
pose. Have a simple directional
fan (like a basic oscillating fan
in the stationary mode) set up to
blow wind slightly upward to-
ward her face.
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Ed Verosky’s
THE TECHNIQUE: Explain how the shot works before

you get started: Your subject is going to throw all of
her hair forward and let it hang over her face. The
idea is to have her raise her head slowly and let the
wind start working her hair off her face.
She can help by moving her head side to side to even-

tually get most of her hair to work its way off her face.
The entire time, she should keep her eyes on the cam-
era, lips parted.
Strands will occasionally stick to the lip gloss, but it’s

part of the look, so don’t worry about it.
Your best shots are going to happen as she’s working

the hair off her face and peeking through it to see the
lens. You should repeat the shot three or four times to
get a lot of images to choose from. Try to make it bet-
ter with each attempt. There will always be one or two
“winner” shots from this that just look amazingly sexy!
Note that this technique is not for every client. Some The shot below used a second kicker light to add that extra
just don’t have the right hair for the look, and some touch of noir glamour contrast.
are just not into the messy look. I like to wait until near
the end of the session to try this shot, because it could
cause the eyes to water unexpectedly and will certainly
mess up any styling your client came in with.

Any medium size fan that can be controlled by an as-
sistant, or a special-purpose directional fan designed
for photo shoots.
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Ed Verosky’s
Waiting At The Wall

#
7 THE LOOK: A super-hot, glamorous woman isn’t exactly where you’d expect to see her.
It’s those interesting contrasts that work in fashion shots that get the viewer’s imagination to
take over. With boudoir, much of the allure for the viewer is the inner story line they create
for themselves. Maybe this is happening on a subconscious level rather than in any obvi-
ous way, but everyone draws their own conclusions about what they see. Why is she on
the floor, dressed like that? What, or who, is she waiting for?
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Ed Verosky’s
THE SETUP: This one is very simple. A wall of any

kind will do, but preferably one that isn’t too distracting
from the subject. You want her to contrast with her sur-
roundings and stand out.
Use one light source at our favorite position (45/45).

Of course, it will have to be lowered to match the floor
position of the subject.
THE TECHNIQUE: This look can work well with long

and lean body types. However, note the way you
can extend the body in a semi-reclined pose in the first
example. Here, with the forward knee up, we could To get a completely different look (below) the umbrella is
have used the resulting thigh position to our advantage removed from the flash and our subject is hit with a harsh
if the subject had a little pooch to hide. direct flash on a stand. Distance is about 8 ft. between flash
unit and subject with flash zoom set to 80mm.
Other pose variations:
• Have her look to the side or down at legs, then tell

her to only bring her eyes back to the camera.
• She can bring one hand up into her hair for a more
flirtatious look. Tell her to pretend the room is hot
and that she needs to bring some of the hair off her
neck with one hand.
• If she sits straight back against the wall (photo at the
right) you can still use the legs to hide any resulting
belly rolls in more revealing outfits.
MY GEAR & SETTINGS: Flash unit & shoot-thru umbrel-

la at 1/8 power. 50mm, f/4.0, 1/250, ISO 100.
Image to the right, see caption.
POST PROCESSING: If the wall is patterned I would

throw in some strong vignetting to bring the focus
squarely on the subject.
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Ed Verosky’s
#
8
Heels In
Bed
THE LOOK: I have a book of
example images I show to my
clients to help gauge the type
of style, feel, and boundaries
they are most comfortable with.
It also helps with posing ideas
when a client has something in
mind, but is not quite sure how
to convey the idea to me.
Invariably, the image shown here

is selected as a favorite. I’ve
asked my subjects what they like
about it and they usually have
22
Ed Verosky’s
a hard time explaining what it is about this picture that

appeals so much to them. They just really, really like it.
It’s a leggy shoe shot, if you think about it. And there
is a slight vulnerability and protectiveness to the pose.
It’s magic when you get the legs positioned in just the
right way to create interesting lines and an almost awk-
ward sensuality.
THE SETUP: This one can be a little tricky to light

depending on what you’re going for. You would do
well to place a rim/kicker off to one side. The main
light can be positioned 45 degrees down, just over the
middle of the subject with an emphasis on her legs,
where the focus will be (note the focus starts at the feet
and depth of field starts to give out toward the upper
body). Thus, the face can be de-emphasized as far
as the lighting goes. A lamp or bedside decoration or
plant can be used as a prop, but isn’t necessary for this
shot to be effective. Pillows, or some sort of plausible awkward. And you might have to direct her to bring
head support, are a necessity. her chin up.
THE TECHNIQUE: Your subject will lie down with both Variations on this shot include having her look up or
knees up, one foot extended toward the camera posi- longingly to the side, instead of toward the camera,
tion (the corner of the bed). The other foot is placed bringing feet closer together and legs more in-line, and
back a bit. Have her tilt one knee over to touch the having one arm up over her head on the pillows, or her
other leg’s calf. This not only creates an interesting hand in her hair. The topless feature adds to the vulner-
angle, but also blocks the crotch area, keeping things ability factor.
a little more tasteful, and comfortable for the viewer as
well as the subject. It’s a “safe” sexy picture. MY GEAR & SETTINGS: Two flash units with the rim
at 1/16 or 1/8 power, the main at 1/8 power. 42”
The most important part of the pose is to make sure shoot-thru umbrellas for each, however the rim umbrella
your subject is not creating a double-chin as she re- can be collapsed to be smaller or removed for more
clines. Looking down toward the camera can cause direct light. 50mm, f/4.0, 1/250, ISO 100.
this to happen. You’ll need to make sure the head
support (pillows) are not too low or to high as to look POST PROCESSING: Standard.
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Ed Verosky’s
#
9
Shoulders
To The Wall
THE LOOK: It seems as if she’s
imagining her lover moving
in close, as she braces herself
against the wall. She’s alone,
but the thought of him makes her
feel sexy and wanted. Wow!
This is a really effective shot

when you direct your subject to
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Ed Verosky’s
use hands and expression to say, “I’m here, waiting

and wanting. Don’t make me wait too long.”
THE SETUP: Use a single softbox or umbrella about 45

degrees down just opposite the subject. The camera
position will be off to one side. You’ll use a wall as the
backdrop and posing tool.
THE TECHNIQUE: Because of the type of pose this is,

not every client can pull it off. It requires a fairly slim
figure.
Direct your subject to start by placing her feet about 1’

away from the wall. She will drop back so that only
her shoulders (not her entire backside) touch the wall.
One shoulder can naturally come up off the wall as
she pivots and puts most of her weight on the far shoul-
der and/or elbows.
To create a slim look, I will have the subject turn her

hips only, to a near profile to the camera. She can
bend one knee to add dimension and angle to her
legs. Try one leg straight, then the other, to see which
works best.
Have her place her hands where her guy might be

touching her if he were leaning in to be close to her.
This and a sultry expression complete the look.

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Ed Verosky’s
#
10
Glamour
From Above
THE LOOK: Her eyes peer
deeply. Her hair falls naturally
around her head and face. The
lighting is even and glamorous
making the skin look flawless.
It’s a seduction. This is boudoir
and glamour all at once.
THE SETUP: The subject will lie

on the floor or a bed. You’ll
likely need some sort of plat-
form ladder to give you some
distance to shoot directly down
on your subject. Setup a single
softbox or umbrella at a posi-
tion as directly over the subject’s
face as possible. Position it so
it comes in more from the top of
her head rather than from below.
You want to avoid the shadows
going in the wrong direction.
26
Ed Verosky’s
The camera position will be so close to the umbrella,

you should practically feel like you’re fighting the light
for position to get your shot.
THE TECHNIQUE: Have your subject lie down and

spread her hair out around her head. The idea is to
make it look like her hair just happened to fall beauti-
fully on the bed. Avoid making it look fanned out or
too symmetrical.
You’ll want to shoot this a little wide so you can cre-

atively crop the image later. If she is topless, get some
shots with her hands/arms covering her breasts. Other
poses:
• One hand up near her ear, with some of her hair in

her fingers.
• If wearing a bra or other top, she can slip a finger
or two under the strap, and/or pull the strap off her
shoulder for a tease.
• The looks don’t have to be all demure or serious.
Playful looks work great with this setup, too.
• Try having her coyly put one finger/nail between
her teeth for an extra enticing look.

Alternatively, you can use a softbox or any other me-

dium-size light source (2 - 4 ft. wide) at the same dis-
tance.
POST PROCESSING: In the image on the preceding

page, you’ll notice I’ve desaturated the skin tones.
However, I often like to use strong contrast, deep color,
and heavy vignetting on this shot.
27
Ed Verosky’s
Prone To Be Sexy (The “Butt” Shot)

#
11
THE LOOK: Here we have another look that almost every client of mine points to as a fa-
vorite from my portfolio. Most are so sure they want to try this shot that they bring along a
pair of panties, or a thong that they think will look just right for this pose. This is an image
of a woman relaxing in bed casually unaware of how fabulous her derrière appears.
That’s the idea of course, to draw attention to the rear. The look is almost always done
topless but covered, sometimes with jewelry and/or shoes and sometimes without. This
look is very similar to the “Nude In Bed” example number 24, but what makes it different
is the angle and the fact that it is not intended to look totally nude.
28
Ed Verosky’s
A variation on this popular shot is shown below. Here,

the look is low-key and the “butt” light is a grided or
snooted strobe aimed directly at her bottom. The main
light (in this case a softbox) is placed at the 45/45 on
camera right.
THE SETUP: For the popular high-key version of this

shot shown on the opposite page, you’ll have a white
backdrop of fabric/curtains with a background light
placed at an angle to hit both the backdrop and rim
the subject.
Another light will serve as your main for the subject’s

face, feathering out along the camera side length of
her body.
THE TECHNIQUE: The subject will lie stomach down

and usually have her feet up and crossed at the ankles.
Explain to her that on your mark, she’ll raise her butt
slightly up toward the ceiling and turn the cheeks just a
bit in the direction of the camera. Once you take the
shot, she can relax out of the pose. Note that this is a
hard pose to hold for any length of time.
Vary the expression and the direction of her gaze.

Have her raise her chest a little off the bed to get some
cleavage in some shots. Make sure not to shoot from
an angle too far off to the front as this can create an
odd break in the body line from shoulder to rear.
MY GEAR & SETTINGS: Flash units & shoot-thrus with

the backlight at 1/4 power., the main at 1/8 power.
50mm, f/4.0, 1/250, ISO 100.
POST PROCESSING: This shot looks great with a little

contrast dialed in. The low-key version can benefit
from a little vignetting.
29
Ed Verosky’s
#
12
Love Seat
THE LOOK: Using a couch or
any piece of furniture can add a
touch of plausibility to a shot that
might otherwise only exist in the
viewer’s fantasy. It’s a pseudo-
candid that is just too sexy and
perfect to happen in real life.
A woman relaxing in the most
alluring way, more than a little
aware of the effect she’s having
on the viewer.
THE SETUP: For these two shots

I used a medium-sized sofa
and had the subject sit near the
30
Ed Verosky’s
corner. Lighting was a single shoot-thru at the 45/45,

but I didn’t bother changing the position of the light as
the subject moved. A lamp was positioned on an end
table and turned on.
THE TECHNIQUE: In the first shot, I asked her to sit

as if she were just trying to get cozy. I directed her to
bring her feet off the floor, let the top drop to reveal
one shoulder, and bring one hand up into the hair.
Several shots were taken with her looking off in various
directions, but this one, with this particular expression
and look to her eyes worked best.
In the next series of shots, I simply had her reposition

to show her backside by leaning over the arm of the
couch. Notice the bottle and glass of wine as props.
Other poses to try:
• Combine the couch with a prone shot as with ex-

ample #11.
• Use a man’s shirt
• A wine or martini glass makes an excellent prop
• Combine the couch with “The Crawl,” example #20
by bringing the camera angle down to the near arm
rest, and having the subject peer over it, or rest her
head on it. One knee/leg can partially come over
the side of the couch seat.

POST PROCESSING: In the image on the preced-

ing page, I brought up some of the dark areas of her
face in Lightroom with a little adjustment of the Fill Light
slider. The color and contrast was altered slightly on
the image to the right to give it a less punchy look.
31
Ed Verosky’s
The Look Up, The Look Down

#
13 THE LOOK: Here’s a two-for-one bonus example. In “The Look Up,” the subject can proj-
ect an inviting or coy look. As you can see here, it’s a great way to show off a garter
and accentuate the bust.
“The Look Down,” is another pseudo--candid shot of the voyeuristic variety. In this scene,
the subject is unaware that she is seen as she dresses/undresses at the bedside.
32
Ed Verosky’s
THE SETUP: The subject will be sitting on or near one

corner of the bed, facing outward. In the first example,
“The Look Up,” your main light will be set at the 45/45
and actually provide a near beauty light pattern on her
face as she looks up and back at the camera. This will
provide you with a more dramatic pattern on “The Look
Down.” A kicker may be used as shown in the exam-
ple on this page. I also use a platform ladder (small
step ladder) for the proper perspective.
THE TECHNIQUE: For the first shot, you should be

on a solid support, like a platform ladder, just above
and behind your subject, to one side (position “A” in
the diagram). I like to have the subject push her chest
out, with a slight lean forward, then a bit toward the
camera side. This not only enhances the chest, but also
allows it to block the mid-section leaving only legs to
show beneath.
For the second shot, you should be more in front of

your subject (position “B” in the diagram). Have your
subject extend her torso (sit up tall), and lean forward
slightly. She can then look down at her wedding ring,
a necklace in her hands, or even a spot on the floor.
Your angle should be just above her as if from the
standing perspective of a tall person.
You can vary the angle of the head, expression, and

other elements in both shots. You’ll be surprised at
how almost anything you get from these will look great.
MY GEAR & SETTINGS: One flash unit & shoot-thru

at 1/8 power, the kicker at 1/16. 50mm, f/4.0,
1/250, ISO 100.
POST PROCESSING: Retouching is usually required

with close-ups of the face.
33
Ed Verosky’s
#
14
Shoe Reach
THE LOOK: This one is a real
winner for the subject with great
legs. Here, it’s all about the
legs, and the shoes. A dark-
ened room with the main light
seeming to come in from an
open door or from a neon sign
through the window (depending
on your light color choices or
color balancing). Is she putting
her shoes on, or taking them off?
It probably doesn’t matter to him.
THE SETUP: Very similar to

example #13 except there is no
kicker. The subject will sit at the
very edge of the bed. One light
is used, and can be narrow if
you like.
THE TECHNIQUE: I usually start

by demonstrating this pose for
the subject. While doing so, I
34 explain that she will sit on the
Ed Verosky’s
edge of the bed, knees turned to the side. A shorter MY GEAR & SETTINGS: Flash unit at 1/8 power,
woman, may have to practically bring one side of her 42” shoot-thru umbrella. 50mm, f/4.0, 1/250, ISO
bottom partially off the bed for the proper reach to the 100.
floor.
POST PROCESSING: Since I typically shoot this with
The idea is to try to keep both feet and both legs close the idea of a hotel room scenario in mind, I like to
together as she starts to slide the closer leg (nearest the process it with a bit of contrast, and often some vi-
camera) up to reach her shoe. gnetting to give it the look of a small, low-light room.
I direct the subject to try to keep her torso straight as

there is a tendency to hunch over. You might notice
that in this pose, stomach “rolls” are unavoidable no
matter how thin the subject may be, so raising the leg
this way, creates a way to use the thigh to hide that
problem from view.
35
Ed Verosky’s
Daydreamer
#
15
THE LOOK: A woman dressed in something she knows will be appreciated, when her
someone special comes in. She’s waiting, and daydreaming about being together. This
look can’t be beat. It’s extremely flattering to almost all body types. It’s pretty and slightly
voyeuristic. Who can resist it?
THE SETUP: A bed pose with a main light coming in from the top of the subject as it feath-
ers down to her legs. A side/back/rim light coming in from the lower body upward.
36
Ed Verosky’s
THE TECHNIQUE: I explain that this is a “day-dreamy”

kind of shot. For the most part, all she’ll have to do is
lie down and look up at the ceiling (maybe pretending
there’s a skylight above her), while I just find the angles
to make it work. This lets her know, most of the work is
on me for this shot. Of course, I’ll direct her for varia-
tions on the pose as we go along.
Have her lie down somewhat diagonally as in the

diagram. There should be plenty of space between the
top of her head and the edge of the mattress. Next
have her bring both knees up, feet flat on the mattress.
Tell her to bring one of her knees down slightly, so you
can break the symmetry. Keep the knees and thighs to-
gether to avoid a gap between the legs. What you’ve
created with the thighs is a flattering triangle. It’s often
useful to have her left hand resting on or near her left
thigh, maybe to show off her wedding or engagement
ring, or to help press down on a gapping garter strap,
etc.
Have her take her other hand and place it near her
ear. I like to have her take a strand of her hair and twirl
it in her hand for that extra sense of unconscious flirta-
tiousness. Let her relax into this pose as you find differ-
ent angles to shoot from.
MY GEAR & SETTINGS: Main light flash unit & shoot-

thru umbrella at 1/8 power, kicker/rim at 1/8 - 1/4
power. 50mm, f/4.0, 1/250, ISO 100.
POST PROCESSING: Generally, I like a softer look for

this, so I make sure the contrast isn’t too high. I usually
add some vignetting.
37
Ed Verosky’s
#
16
Ready To
Be Frisked
THE LOOK: Anytime a wall is
part of the shot, there seems to
be a sense of tension. Maybe
it’s the idea that it physically
leaves the subject with nowhere
else to go. So, in that sense
there is a vulnerability at play.
At the same time, it’s obvious
that she’s really the one in con-
trol. She’s made the first move.
The first image is a little more

aggressive, while the second
example is more of a peek-a-boo
38
Ed Verosky’s
version of the pose.
THE SETUP: You’ll use any wall and a background

that is not too distracting. Two lights work best. The
main light will be positioned at the 45/45 in relation
to her face. The rim light will be far back, and coming
in at about 45 degrees from the wall, with the subject
as vertex.
THE TECHNIQUE: I tell the subject that we’ll start off

the pose by pretending she is about to be “frisked”
(searched with her front toward the wall). I have her
turn her face toward the camera and direct her to posi-
tion her chest to a point where it is just barely touching
the wall.
She will bend one knee toward the wall, keeping the
other leg straight, arch her back so her bottom sticks
out a bit.
Hand position is key here. Have her place the hand

nearest the camera in a lower position to help hide a
pooch, or in a higher position to block a protruding rib
cage. Just make sure the hand and arm aren’t block-
ing the bust area. The other hand can be in a different
position but shouldn’t show behind her in an awkward
way. Fingers sticking out from behind her head will just
look weird.
MY GEAR & SETTINGS: Main flash unit at 1/8

power, 42” shoot-thru umbrella, rim light at 1/8 - 1/4
power. 50mm, f/4.0, 1/250, ISO 100.
POST PROCESSING: I will bump up the contrast in

these shots because they are a little more aggressive
and direct. The right post processing can finish off a
slick magazine-style look.
39
Ed Verosky’s
#
17
Long Legs
THE LOOK: For a maternity
client, this look can highlight the
baby-belly as well as a great
pair of legs. For many men,
there are few things sexier than
their wives at the later stages of
pregnancy.
But the look is requested by

many boudoir clients for the way
it draws attention to the breasts
and legs primarily. The look
is classic, bordering on cliché.
Still, it’s a favorite.
THE SETUP: For the first exam-

ple, you’ll use only one light po-
sitioned down toward the subject
but broad enough to illuminate
her entire body. The diagram
shows the light position that will
give you a broad and soft sort of
sidelight.
40
Ed Verosky’s
To reproduce the second example, you will use a white close. But, as you can see, other leg positions can
backdrop several feet from your subject’s legs when work just as well.
they are raised. In this lighting setup, the second light
becomes a hybrid back/side/rim light. Your main MY GEAR & SETTINGS: Flash units at 1/8 power,
light can be brought around to camera left. The sub- 42” shoot-thru umbrella. 50mm, f/4.0, 1/250, ISO
ject will be illuminated by the light all coming in from 100.distance.
the camera left side, however, using a white wall (or
large panel/reflector) you’ll get plenty of fill coming in POST PROCESSING: Standard.
from the other side as shown.
THE TECHNIQUE: There is no rule to this except to

have your subject raise her legs up, feet touching. For
topless shots, she can use her arms or hands to cover
her breasts, which can also help give them a little sup-
port if need be. I like to vary the poses to give her a
variety to choose from. In general, break the symme-
try with a bend in the knee, while keeping the thighs
41
Ed Verosky’s
#
18
Rim-lighter
THE LOOK: The magic of this
look is in the rim lighting. If the
form and figure are beautiful,
highlighting the edges really
tends to bring the shape out, in
a dramatic way. The highlights
draw the eyes in to the parts
that, well, deserve to be high-
lighted.
The image on the left is a big fa-

vorite with clients who know they
can pull it off. But even if they
aren’t quite made for this version
of the shot, they can always do
the upstairs version; a corset or
great-fitting bra allows you to use
the same lighting to great effect.
See how the light hits the cheeks
here? It can work the same
magic for the breasts.
THE SETUP: In order to make

the form really stand out, I like
to use a completely black back-
drop. A large roll of seamless
black paper does the trick. Two
or three lights are positioned as
shown in the diagram. For the
42
Ed Verosky’s
sort of an in-between to me, because sometimes I only

want a light touch of it to fill in the shadows.
MY GEAR & SETTINGS: Flash units at 1/8 power,

direct flash. Fill is a shoot-thru at lower power, maybe
1/16 or so. 50mm, f/4.0, 1/250, ISO 100.
POST PROCESSING: A little bump in contrast.
first example, only light “A” and the main/fill light are
used. For a set of shots we did in the as shown in the
second example, both “A” and “B” were used, along
with a fill coming in from camera right.
THE TECHNIQUE: The leggy image on the left is very

simple. The subject is directed to stand straight and tall
with feet just slightly apart. She’ll be at an angle that
allows you to see the rear half of her farther leg.
The high heels make all the difference in any shot fea-
turing the legs, even when the feet/shoes aren’t in the
shot. Here, the perfect stockings and garter combina-
tion essentially “frame” her bottom. The bra keeps the
theme consistent and balanced.
The image on this page uses both rim lights (and a

slight bit of baby oil and water spritz).
Note that I identify the main light also as a fill. It’s

43
Ed Verosky’s
#
19
Pin-up
In Bed
THE LOOK: The modern pin-up
look with a classic feel. She’s in
a colorful outfit against a plain
backdrop. The pose is obvious.
The hair is being hit with a fan.
It looks like she just climbed onto
the bed, got up on her knees
and started striking poses. It’s
tongue-in-cheek, playful, sexy,
and fun.
THE SETUP: This is very similar

to example #11. A back/rim
light on one side, and a main
light on the other. You can have
a backdrop as shown and the
subject can pose at the center of
the bed.
THE TECHNIQUE: Once your

subject is positioned on the bed,
you’ve got to encourage her to
really go over-the-top with pin-up
44
Ed Verosky’s
poses. Explain that in order to get the look, she’s got shoot. For that reason alone, it can be a very worth-
to have fun and not take it too seriously. while look to shoot.
Unlike many of the other poses here, these are sup- MY GEAR & SETTINGS: Main flash unit at 1/8
posed to look somewhat exaggerated and “posey.” power, 42” shoot-thru umbrella, back/rim at 1/4
Tell her that once the fan is on, she should toss her hair, power. 50mm, f/4.0, 1/250, ISO 100.
be ridiculously flirtacious, blow kisses at the camera,
laugh, pout, and really just have fun with the idea of POST PROCESSING: Straight processing is perfect,
it. Sometimes it helps to tell your subject to “mock” the but I sometimes use retro/vintage coloring if it fits the
pin-up posing she’s seen elsewhere in order to get into subject.
character.
Make sure you have music with a good dance beat

playing. Have her up on her knees, put her hands in
her hair and tug on her outfit a little. Some of my more
reserved clients really let loose once we start shooting
this look. It can really change the mood of the whole
45
Ed Verosky’s
The Crawl
#
20
THE LOOK: This is a woman who is ready to make her move. She quite literally appears
to be about to pounce on her prey, but in a good way. As you can see, the pose can
be aggressive, or inviting. This is another look that is perfect for almost any body type.
The bust, the bottom, or both can be the stars of this shot. This also is the basis for similar
nude poses where dropping the torso a bit can leave more to the imagination.
THE SETUP: You’ll need a bed, or the floor, for the subject to lie on. Provide an atmo-
46
Ed Verosky’s
sphere for the background in the form of ambient light,

pillows, a headboard, curtains, etc. In other words,
don’t use a plain backdrop for this shot.
Use one light source at the 45/45 in relation to the

corner of the bed. Another light can be positioned as
a backlight or kicker as shown.
THE TECHNIQUE: This isn’t the easiest pose to explain

to your subject, so it might help by showing her an
example, or demonstrating it yourself.
I direct my client to start by lying down on her stomach,

torso supported by her elbows. Next, she’ll roll her
hips to one side and bring her knee out and up. This
will give shape to her bottom.
Finally, she can slide her hand back as if she’s about to

prop herself up.
By varying your camera angle, you can show more or

less of the lower parts of her body. The pose gives you
the ability to use her arm to block the view of the stom-
ach area which gravity will not be kind to except with
the flattest abs.
As you can see here, the back/rim light is not always

necessary. You’ll get a slicker look with it. A more
natural look without.

thru umbrella at 1/8 power, back/rim light at 1/8 -
1/4 power. 50mm, f/4.0, 1/250, ISO 100.
POST PROCESSING: I like a little contrast in these

shots, with varying degrees of vignetting.
47
Ed Verosky’s
#
21
Window
Light
Maternity
THE LOOK: Many of my
boudoir clients return wanting
boudoir-style, or glamorous,
maternity photos at some point.
This is a very popular look. The
mother-to-be looks radiant as she
stands by the window. It can be
a sexy look, or simply a beautiful
and serene image.
THE SETUP: I use my previously

mentioned curtains on a back-
drop stand for this effect. Four
sheer curtain panels are looped
onto the background stand rod
and one large white sheet of
muslin is clamped behind the
panels to add some opacity.
I position a light behind the
backdrop for a sunlight effect.
Another light is placed in front of
the subject at camera right.
48
Ed Verosky’s
The shot works well at a wider crop, too, where her

face and legs are shown.
MY GEAR & SETTINGS: Main light flash unit at 1/8

power, 42” shoot-thru umbrella, backlight at 1/4 -
1/2 power. 50mm, f/4.0, 1/250, ISO 100.
POST PROCESSING: Standard or often with a little

less contrast for a softer look.
THE TECHNIQUE: I tell my subject that despite how

everything looks in the studio, the shot will appear to
show her standing in front of a window with bright sun-
light pouring in. So, I ask her to imagine she is on the
second story of her home (whether she has a second
floor or not), looking down at the street in her neighbor-
hood.
I have her stand at an angle turned toward the camera

and bend her knee to make sure the shot doesn’t look
stiff. She can pull the “curtain” to the side to get a bet-
ter look outside.
Some of the shots in the sequence will have her turning

her head and gaze back at the camera, too
For the “belly” shot shown here, she simply places one
hand above and one hand below in a loving way.
49
Ed Verosky’s
#
22
Wrap
Around
Light
THE LOOK: Another beautiful
way to light for maternity shots,
the wrap-around high-key look is
just magical. In this shot, we’ve
gone past the real and into the
etherial. Because of the strong
backlighting, we can use a
sheer fabric and see through to
her form.
This look is a winner for any

boudoir style where a clean,
glowing, fresh and full of light
look is desired. Sexy is going to
be determined by the subject’s
50
Ed Verosky’s
pose, expression, and level of undress. So, whether

your client is looking for angelic or hot, this one always
works.
THE SETUP: You can create this look by shooting light

directly through some semi-translucent material, or by
bouncing it off a light colored wall or backdrop.
In this case, I used the latter. One strong and broad

shot of light hits the wall at an angle for the most cov-
erage. There is no main light, and only some room
bounce for fill.
THE TECHNIQUE: After you’ve setup the light, deter-

mine the best angle to achieve a balanced overblown
background for your subject. See the diagram for
my typical positioning. Try profile poses, and straight This image clearly
ahead shots. shows the bal-
ance of light is on
I like using a sheer piece of fabric so the subject has the subject’s right
side (camera left).
something to hold in front of her, and wrap around her
Still, it is so pow-
as the light shines through. It’s a very x-ray-vision kind erful that a good
of effect. This allows, for example, her to do nudes amount of light is
without too much detail showing, or to use her hands reflecting off the
and arms to cover up some areas while others show other side giving
through. the appearance of
a two-light setup.
MY GEAR & SETTINGS: Background: Savage brand
white seamless paper in the 53”x12 yard roll. Flash
unit at 1/2 - 1/1 power, 42” shoot-thru umbrella.
50mm, f/4.0, 1/250, ISO 100.
POST PROCESSING: I always adjust my wrap-around

lighting in post. For the image on the previous page,
I bumped up the exposure to my liking and brought
out the shadows in Lightroom (Exposure slider, Fill Light
slider). In the second example, I left the sliders alone.
51
Ed Verosky’s
#
23
Cleavage
Stool Pose
THE LOOK: With the creative
use of a wooden stool, our sub-
ject can make the most of her
bust. It’s a twist on traditional
portraiture turning a pose that is
otherwise sweet and innocent
into something rather sexy and
provocative.
The look says, “hey, I’ll bet you’d

like some of this...”
52
Ed Verosky’s
creases to appear in the abs, which may or may not

be avoided if she makes sure to keep her torso tall and
extended. Otherwise, just crop in past that area to
what is really the main interest of the image.
MY GEAR & SETTINGS: Main light flash unit at

1/8 power, 42” shoot-thru umbrella. 50mm, f/4.0,
1/250, ISO 100.
THE SETUP: Hang a neutral gray (or darker gray)

background roll of seamless paper. Place a stool with
one of its legs angled toward the camera. A single
light is placed at the 45/45 portrait position.
THE TECHNIQUE: Tell your subject that this is essential-

ly a cleavage pose. It can be done topless or with any
garment that allows the resulting cleavage to be visible.
Your subject will sit on the stool and place her legs at
two different levels so as to avoid stiff symmetry. Next,
she’ll push her butt back far enough to bring both
hands together, grasping the edge of the seat.
The position of her arms will naturally squeeze the

breasts together. A slight forward lean also adds to the
effect.
Be aware that this pose can cause some unflattering

53
Ed Verosky’s
Nude In Bed
#
24 THE LOOK: Very similar to #20, “The Crawl,” while taking on a whole new dimension.
This image leaves no question in the mind of the intended viewer what the intention is.
Here, a woman is simply revealing herself in the bedroom. The eye contact is direct. She
is in a quiet dialog with her lover. The invitation has been made. This is one of those im-
ages that says so much while actually revealing very little.
54
Ed Verosky’s
THE SETUP: This shot can be illuminated effectively in

several different ways. But here I am using a grid to
essentially put a spot light on the subject’s bottom. A
main light is placed in a position to provide a some-
what dramatic shadow to one side. Notice I have the
subject oriented diagonally which puts the opposite
corner and ambient table lamp light in the background.
THE TECHNIQUE: Similar to “The Crawl,” have your

nude subject stomach down, propped up on her el-
bows. Use varying positions that bring her knee up
along the sheets. This will give a nice curve to her bot-
tom and raise it up off the sheets a bit.
You can get a great variety of shots by adjusting the

height of your shots, too. By doing this, more or less of
both sides of her bottom can be in the shot.
Her hands, arms, and a bunched up sheet or pillow

can be used to cover up any areas she would like to
keep from view.
Optionally, try:
• Using a sheet to cover up part of the leg, or mid-

section for an implied shot.
• A shot with heels or a string of pearls.
• Having her bring one hand up to her mouth, with a
finger lightly touching her lips.

thru umbrella at 1/8 power, spot/grid at 1/8 - 1/4
power. 50mm, f/4.0, 1/250, ISO 100.
POST PROCESSING: Standard. A vignette also works

well to make the room seem a little more confined.
55
Ed Verosky’s
#
25
String Of
Pearls
THE LOOK: This look is request-
ed by about 50% of my clients.
Once they see it they just have to
have themselves in a photo just
like it. That’s understandable.
It’s amazingly glamorous and
feminine.
The look itself is one of the least

likely to occur in real life, mak-
ing it plausible only in a situation
where a woman would be cov-
ering herself in a string of pearls,
just for fun.
Does she just like the feeling of
56
Ed Verosky’s
the strands rolling across her body? Is she adorning

herself in opulence to seduce her man? Or is this just
a private fantasy?
THE SETUP: We are using our muslin-backed panels

of translucent curtains again for this shot. One light will
provide a backlight/sidelight while the other serves as
the main light. I like to use a platform latter for a little
height in the camera perspective.
THE TECHNIQUE: Unless you have plenty of your

own, make sure your client brings along several pearl
necklaces of substantial length. They don’t have to
be genuine pearls, or course. Costume jewelry works
great. As a matter of fact, they don’t even have to be
pearls. Any similar strands of jewelry work. Some
clients even bring metallic chain jewelry.
Your client can dress herself, or an assistant can help

put them on. For the “back” shot, your subject will face
her body away from the camera at an angle, then turn
her head back to look over her shoulder toward the
camera. Shoot wide enough to get her bottom in the
shot and crop to taste later.
Facing forward, let her decide how much she’d like to

reveal using the jewelry and/or her hands.
MY GEAR & SETTINGS: Main light flash unit at 1/8

power, 42” shoot-thru umbrella, back/sidelight at 1/8
- 1/4 power. 50mm, f/4.0, 1/250, ISO 100.
POST PROCESSING: These shots look amazing with a

cool sepia tone applied. I like to soften everything up
using various glow effects and skin smoothening. Con-
trast is bumped up a bit and some vignetting is nice.
57
Ed Verosky’s
Other Books
If you like this book, you might also be interested in the following:
10 Ways to Improve
Your Boudoir Photography Now
Tools To Help Make You A Better & More Profitable Boudoir Photographer
by Edward Verosky
http://www.veroskyphoto.com/boudoir-book.html
100% Reliable Flash Photography

How To Get Amazing Light In Any Situation
by Edward Verosky
http://www.veroskyphoto.com/flash-photography-book.html
Adobe, Acrobat, Photoshop, Lightroom and Reader are either registered trademarks or trademarks of Adobe Systems Incorporated in the
United States and/or other countries. Canon and Canon product and services names are the Trademark or Registered Trademark of Canon
Inc. Nikon name/symbol is a registered trademark of Nikon Corporation in Japan and the USA.
Clients and friends have graciously given us permission to use the photos shown. Some photos may not have been created
using the exact method shown, but they were chosen as good representations for the techniques they illustrate.
All Text and Images Copyright 2010 Ed Verosky

Please do not duplicate or share this copy. It is intended to be viewed by purchasers only.
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From the author of

VIEW IN ADOBE READER - SETTINGS

This book is a natural follow-up. While 10

In this book I’m presenting a quality list of

Symbols Used In Diagrams

Camera, Top View Wall

Flash Unit, Top View Shoot-thru Umbrella

Tools & Terminology

THE SETUP: Hang a neutral

THE TECHNIQUE: When the client’s outfits are laid

The distance your subject is from the backdrop and

• Bend one knee to angle into a hip pose. Try switch-

MY GEAR & SETTINGS: Background seamless paper:

versatile than being limited to solid opaque curtains.

If you’re in a small enough room, you can try using just

THE TECHNIQUE: Have your subject lie down on her

MY GEAR & SETTINGS: Flash units & shoot-thrus.

POST PROCESSING: I will sometimes bump up the

THE SETUP: Setup a single soft-

THE TECHNIQUE: I often sug-

with a client. Since clients are usually nervous at the

Have her position her torso as shown in the examples

I like to use one light and plenty of shadow to accentu-

MY GEAR & SETTINGS: Flash unit at 1/8 power, 42”

Alternatively, you can use a softbox or any other me-

POST PROCESSING: Standard.

THE SETUP: Position your sub-

blow out the edges of her form, so keep it just under

THE TECHNIQUE: One thing you have to watch out

Also, in order to keep the image visually interesting,

THE SETUP: Any fabric that doesn’t have a distracting

THE TECHNIQUE: Your subject will be nude for this

Arching her back slightly can add nice curves. And

I would shoot the image to include as much of the sub-

MY GEAR & SETTINGS: Flash unit & shoot-thru at 1/8

POST PROCESSING: Standard and usually converted

THE SETUP: Place a single soft-

THE TECHNIQUE: Explain how the shot works before

She can help by moving her head side to side to even-

Strands will occasionally stick to the lip gloss, but it’s

Your best shots are going to happen as she’s working

MY GEAR & SETTINGS: Flash unit at 1/8 power, 42”

POST PROCESSING: Standard.

Waiting At The Wall

THE SETUP: This one is very simple. A wall of any

Use one light source at our favorite position (45/45).

THE TECHNIQUE: This look can work well with long

• Have her look to the side or down at legs, then tell

MY GEAR & SETTINGS: Flash unit & shoot-thru umbrel-

POST PROCESSING: If the wall is patterned I would

Invariably, the image shown here

a hard time explaining what it is about this picture that

THE SETUP: This one can be a little tricky to light

This is a really effective shot

use hands and expression to say, “I’m here, waiting

THE SETUP: Use a single softbox or umbrella about 45

THE TECHNIQUE: Because of the type of pose this is,

Direct your subject to start by placing her feet about 1’

To create a slim look, I will have the subject turn her

Have her place her hands where her guy might be