Even if all camera and photo accessory manufacturers are of a different opinion, there is not just one suitable camera or one suitable lens series or one specific memory card or one specific flash system. Rather, "many roads lead to Rome", so you just have to find the most suitable path for you.
In other words, there is no one-size-fits-all answer as to which equipment is best. But you can find out which piece of equipment is most beneficial for you, and that's what I want to help you with in this article, occasionally also by mentioning certain photo accessories.
However, I will only introduce you to the things that I use myself and that I am convinced offer excellent quality, knowing full well that there are many other things that are worth recommending, but of course I cannot present them all here.
Sketching legend
Even more important than the best equipment in the world is the talent to "see" motifs! But I take the view that as a serious photographer you shouldn't limit yourself, but keep all your options open. At the time of shooting, I usually don't know how I can use the photos later. However, if I take photos in maximum quality, I have no restrictions regarding their use.
Whether a photo is later used for the Internet in low resolution or as a high-quality art print - the quality of my data is sufficient for all uses!
Camera
The (pecuniary) value of your camera does not determine the (artistic) value of your photographs, and there are internationally renowned artists (e.g. Jan Saudek) who have achieved world fame with the simplest of means. The choice of camera equipment is rather determined by the photographer's personal approach and the intended use of the photographs.
The so-called 35 mm SLR cameras, which - as of August 2011 - offer a resolution of between 16 and 20 megapixels, have established themselves worldwide. They have the best price/performance ratio, which results from the high quantities produced. The tough competition in the oligopolistically structured market, especially between Nikon and Canon, is also beneficial.
Even though Sony, Olympus, Samsung, Panasonic/Leica and Kodak and a few other manufacturers are also fighting for market share, it is always the two market leaders Nikon and Canon that regularly set new standards in terms of resolution and quality.
But which of the many amateur models available, which range in price from around EUR 350 to just under EUR 2000, should you choose? If you then extend the possible selection to the true professional models, i.e. the top cameras from both manufacturers, then the range goes up to just under EUR 5000 (Nikon D3) or even over EUR 8000 (Canon EOS 1 Ds Mark III).
At this point, I do not want to take into account the bolides of the medium format class with digibacks with a resolution of around 33 or 45 megapixels. These cameras are for specialists, and with purchase prices equivalent to one or two mid-range cars, the target group will not increase significantly in the future.
This also leaves out the hundreds of "snapshot boxes" in the price segment up to around EUR 400, which are certainly excellent for family and leisure photography, but are absolutely unsuitable for serious artistic demands.
If the image quality is right, then a 400,- EUR viewfinder camera "may" be used. However, such cameras can already be classified as semi-professional models and justify themselves as a second or third camera. For serious photographers, however, there is no way around a digital SLR camera because, with a few exceptions, SLR cameras simply deliver the best results, are the most powerful, and their price-performance ratio is right in most cases.
When buying a camera, the rule also applies that there is no such thing as a camera that makes all photographers equally happy. In my opinion, almost all 35 mm SLR models are - unfortunately! - with functions that could certainly be useful in theory, but are never used by the majority of photographers.
But for the advertising brochures, a variety of functions with several dozen setting options is of course much better than listing just a few useful functions, which is why most photographers will continue to have problems with the quick and confident operation of their camera in the future. In the workshops I run, I notice time and again that photographers don't know their camera technology "blindly off the top of their heads", as should be a matter of course, but sometimes even spend a lot of time leafing through the instruction manuals (which often exceed the number of pages of my favorite novels) because they are looking for certain setting options or, even worse, want to undo others...
(The fact that the model then gets bored and disgruntled and loses the fun of the planned nudes probably doesn't need to be mentioned at this point).
The model won't be able to stay like this for long... So practise enough to master your (new) camera - before the next shoot, of course!
As most buyers still have the mentality of judging a camera almost exclusively on the basis of how many megapixels of resolution it offers, it is worth repeating an old adage that also applies to photography: it's not the quantity that counts, but the quality! In other words: with the 12 megapixel resolution that my Nikon D3 offers, I cover all the uses that my customers currently demand of me. Not only magazine pages, but also 18/1 posters (those are the big city posters on the billboards) are created from my photos, and never has a customer complained that the amount of data was not sufficient. But thanks to the large pixel size, among other things, the D3 can also take pictures at 3200 ISO that are comparable in terms of quality and image noise to pictures taken with other camera models at 100 ISO!
It is up to you to decide which of the many functions are particularly important. It is therefore clear to everyone that simply comparing the points rankings between the camera models is not enough before making a purchase. But what is important when buying a camera?
In my opinion, it is certainly irrelevant for model photography whether the camera "shoots" 3, 6 or 9 shots per second. A motorized drive is certainly helpful, as it enables fast image sequences as well as the possibility of being ready to shoot again at any time, e.g. to capture the moment when the model relaxes after the actual shot. However, unlike in press or sports photography, the number of images per second is of secondary importance in erotic photography. And the fastest shutter speed probably has more academic value, but it is not of practical importance in erotic photography.
Girl photography is action photography! A motor drive helps to be ready to shoot again quickly, which is particularly important if the model is allowed to move freely within the framework of the picture idea.
More important, however, is whether the camera shows a 100% viewfinder image or whether only 92% or 93% of the later photo is displayed in the viewfinder. I myself only work with cameras that guarantee a 100% match between the viewfinder image and the area that produces the image on the sensor. This requires a very precise adjustment process during camera manufacture and is reflected accordingly in the manufacturing costs, which is why only the professional models have this feature. The advantage is that it is possible to work very precisely during the shooting process and maximum quality can be achieved when enlarging without the need to crop the photos.
Only with cameras that really show 100% in the viewfinder image can the image section be precisely planned. Only those who can see the subsequent image section 100% exactly through the viewfinder do not waste valuable space and take photos of maximum quality. Otherwise you will have to crop the photos afterwards, which reduces the image size.
Many camera models no longer have a center contact, but this is a prerequisite for you to be able to conveniently attach a radio or infrared transmitter to trigger the studio flash system, so make sure that the model you prefer has a center contact. This also applies if you are not currently working with flash units at all, as it is often only a matter of a few months before a beginner becomes an enthusiastic semi-professional artist.
Flash systems are the only way to create lighting moods according to your own wishes. Therefore, when buying a camera, make sure that the model you choose has a center contact!
There are certainly many more important and useful functions, but you will only appreciate them when you need them to solve a photographic problem and it would go beyond the scope of this article to list them all here. So, to summarize, my advice at this point is to test the camera models extensively before you buy them, looking for the functions that are important for your working style! And don't accept any compromises that would diminish the technical quality of the images!
At the latest when you take your first professional-looking photos, you will pay attention to the quality of your photographic equipment, because nothing is more annoying than a beautiful motif that has been photographed with poor technical quality.
Lenses
Almost more important than the cameras are the lenses, which are mainly responsible for whether the photos are sufficiently sharp, whether distortions occur, etc. In short: If you buy poor quality here, this will be reflected in all your photographs! I still prefer the highest quality fixed focal lengths (e.g. the 2.8/20mm wide-angle Nikkor for unusual perspectives; the 2.8/105mm macro Nikkor, my favorite lens for portraits; the 1.8/85mm Nikkor, for portraits in available light; the 2.8/300mm Nikkor, for outdoor fashion shots; etc.).), although I now also appreciate the advantages of zoom lenses, especially for photo shoots that take place "on location" (mobility, speed). (I currently own a fine EX 2.8/24-70mm Nikkor, an all-round lens; a VR 2.8/70-200mm Nikkor, for outdoor shots with changing locations in the fashion sector; and a 2.8/17-55mm DX, as an all-rounder for the smaller sensor of my D2x).
Zoom lenses are a great advantage, especially when shooting on location! You can quickly set the desired image section so that you don't lose any time when the model's pose is just right.
However, I am very suspicious of so-called "super zooms", which have focal lengths of up to a factor of 10 (e.g. 20mm-200mm). It should be obvious to everyone that such lenses can only be produced by making "lazy" compromises and, as mentioned above, you really shouldn't compromise on image quality with these lenses! In addition, such zooms are also very slow due to their design, which further limits their intended use.
In short: Only the highest quality lenses should be used in serious (model) photography! It's better to do without your daily pack of cigarettes or wedding anniversary gifts for your wife, but don't compromise on the quality of your lenses!
Only lenses of optimum quality are able to reproduce the finest nuances of color (in black and white: shades of grey) and the smallest details. So don't save money at the wrong end!
Finally, it must be added that - at least in artistic nude and erotic photography - the different focal lengths should be used solely for reasons of design and not, as most photographers do, for reasons of convenience or to bridge or shorten distances. Each focal length has its own character, a different effect. And a photographer who wants to create should also make use of this possibility!
There is a misconception among many photographers that only standard focal lengths and possibly telephoto lenses are suitable for achieving aesthetic photos. But this is wrong! It is precisely the use of exotic focal lengths that can turn an insignificant photo into an unusual and therefore lasting image in the viewer's memory. From the so-called fish-eye to the super-telephoto lens, everything is allowed!
Standard lenses (normal lenses) reproduce reality in terms of viewing angle and perspective representation in a way that corresponds approximately to the impression of the human eye. This means that nude photos taken with a standard lens are seen by the viewer as realistic and far removed from any interpretation. Natural depictions and shots with a reportage-like character are the most common cases for the use of normal lenses in nude and erotic photography.
The use of a normal lens often leads to the reportage-like character of the shots. Incidentally, I wasn't at all enthusiastic at first when my favorite model at the time, Agnes, asked me if I could take her wedding photos - until she informed me in more detail that they were to be erotic wedding photos, which of course I was very happy to do!
The distortion typically inherent in wide-angle lenses, which manifests itself in a marked emphasis on the foreground, means that the extent of this needs to be carefully controlled. And if you use a (strong) wide-angle lens, be sure to explain the effect to the model beforehand so that they are not surprised at the short shooting distance.
Wide-angle lenses distort everything that is close to the edge of the picture. When used Schick, they "lengthen" the model's legs. In this photo, the model was standing at the top of a staircase in my studio. This meant I could easily choose a low camera position without having to lie on the ground myself (which I don't mind!).
Telephoto lenses, due to the shallow depth of field at full aperture, effectively free the model from the background, drawing the viewer's eye to the essentials. Great for atmospheric shots in nature! Telephoto zooms are ideal because of their flexibility, e.g. 2.8/70-200 or 2.8/80-200. Telephoto fixed focal lengths are of course of higher quality, we recommend the 2.0/200mm or 2.8/300mm lenses.
However, you will then need at least a monopod to achieve blur-free shots. And even if you buy lenses with an image stabilizer (with the designation VR = Vibration Reduction or IS = Image Stabilizer), it makes sense to use a tripod in order to be able to hold the exact image section, because a heavy telephoto lens will shake too much when taking freehand shots. The question of whether to use lenses with an image stabilizer is controversial. Quite a few photographers are of the opinion that a really "crisp" image sharpness cannot be achieved with them. In this respect, it may make sense to set a higher sensitivity on the camera in order to avoid using the stabilizer.
Telephoto lenses "compress" the image in terms of perspective, which, as in this photo, can contribute significantly to the mood of the image. Incidentally, I had only spoken to the model 2 days before our shoot while out shopping in the street.
Reflectors and diffusers
In my opinion, the most important photo accessories are reflectors and diffusers. They are needed to direct/reflect or soften the available light according to the photographer's wishes. Indispensable not only in Ibiza: the reflector from California Sunbounce. As you can see, I never go to a shoot without it! Photo: L.I. Design
We particularly recommend the products of the German company California Sunbounce, which specializes in these photo accessories and offers reflectors and diffusers in all possible sizes and in various designs (including the color of the reflector material).
Reflectors - as the name suggests - reflect the light, i.e. the photographer or an assistant (or the reflector can be mounted on a tripod) "directs" the light according to their wishes. The initial light source will usually be the sun, but their use is also recommended in the studio because they "make" a very beautiful light, i.e. reflectors also change the light characteristics at the same time.
When used correctly, reflectors create interesting lighting accents. Your photo is thus "tuned" and you become less dependent on the prevailing lighting conditions.
Reflector fabric surfaces in the colors gold/silver (arranged in thin zebra-like stripes) are recommended for erotic photography. Gold alone as a reflector color usually comes out too "warm" (looks orange) in the photos, while silver-colored fabrics look too "cold" (pale).
Although originally designed for outdoor use, reflectors are also ideal for use in the studio. They replace an additional light source and the reflected light has a very unique and, in my opinion, very beautiful character.
Diffusers are used to soften the direct sunlight, which is particularly harsh in the summer months or at exotic locations and therefore unfavorable for the models, i.e. to make it "softer" or "more diffuse". Clouds have a similar beautiful effect, but you can't "conjure them up" when you need them, which is why we strongly recommend buying a diffuser!
A diffuser should not be too small, otherwise you will only be able to keep your face out at best. Diffusers that are attached to a long pole and held over the model by a helper (or attached to a tripod) are ideal (i.e. between the model and the direct sun) without appearing in the frame themselves (such as the Sun Swatter from California Sunbounce).
Diffusers help, as here in Ibiza, to soften the strong contrasts that would arise if the direct sunlight were to shine harshly and mercilessly and, above all, unfavorably on the model.
System flash unit
Almost every photographer owns a system flash unit (which is usually attached to the center contact of your camera), although only very few are able to use it in such a way that the results meet halfway semi-professional standards. What is the mistake that millions of amateur and professional photographers make when using a system flash unit?
The biggest mistake is when photographers want to use a system flash unit to "make light" and then point the unit "directly" at the model. The direct flash looks "hard" and "flat" and is simply unflattering for models with imperfect make-up.
It is better to use the system flash unit indirectly, i.e. use a neutral-colored (preferably white) surface (wall or ceiling) and illuminate the model not directly, but indirectly via this reflector surface. However, if you are in a room with colored (brightly colored) walls and, for example, a wood-paneled ceiling, you can still get your reflector (see above!) out of the car and set it up and use it as a reflective surface.
The Micro-Mini is ideal for this in conjunction with the Flash Bracket from California Sunbounce: A mounting arm for one system flash unit (or two if desired) is attached to a handy 60 x 90 reflector.
This combination can then either be attached to a tripod or held by an assistant or - if necessary - by the photographer himself (with his left hand).
Used indirectly, however, system flash units can certainly deliver appealing results!
Incidentally, even windows against which you can flash and which, depending on the angle of incidence, reflect the light of your system flash unit quite well, are not unsuitable if the room in which you are photographing does not have neutral white walls or ceilings and you have also forgotten your reflector at home. In short: anything is better than direct flash!
The system flash unit is, however, perfectly suitable for light brightening in sunshine. Set the exposure compensation to approx. minus 2/3 so that the character of the flash is barely noticeable.
Flash system
The number of dedicated amateur photographers who can call a (studio) flash system their own has risen steadily in recent years. The reasons for this are falling prices, increased (professional) demands on their own photographic work and, last but not least, the realization that photography means "painting with light", in other words: light is the decisive factor in the success of almost all successful nude and erotic photos!
Photography is painting with light. However, nature or the available light does not always provide us with the lighting moods that suit our image idea. That's why we need flash units. This is the only way we can be creative if we have an image idea and a suitable model.
A general distinction is made between generator-based solutions and compact flash units. Generator-based flash systems require one (or more) generators that are connected to the mains.
The so-called "flash heads" are then connected to these. The structure is different for systems with compact flash units, which are often offered as a set. Here you can buy 2 or more compact flash units, which are all connected individually to the socket(s).
In short: With the generator system, the technology is located in the generator, which also controls the output of the entire system as well as that of the flash heads individually. Compact flash units are different: Here, the technology is located in each individual unit, and power controls are therefore also carried out separately on each unit.
With generators - the picture between the legs of the model shows one of the broncolor brand - the power is controlled centrally. In addition to fast control of the lamp heads, the advantages include fast flash response times, large control ranges (over many) and a strong modeling light.
Generator solutions are usually more powerful, easier to operate and more versatile; compact flash units are less bulky and therefore more flexible to use and better suited for transportation. They are often offered as a set, including tripods (the tripods should be air-cushioned!), light shapers (the attachments that are responsible for the light characteristics), several units (3 would be ideal to start with) and a carrying bag (make sure that the bag is equipped with wheels!).
But what should you look out for when you decide to buy a flash system? The most important selling point for many manufacturers is the power, which is measured in joules or watt-seconds.
However, it is just as wrong to focus solely on a high performance figure as it is to focus solely on a high megapixel count when buying a camera. (Incidentally, a total output of 1200 - 1600 joules is perfectly adequate for demanding erotic photography).
More important for a flash system are, for example, a powerful modeling light (ideal: 650 watts for generators; compact flash units usually only have a maximum of 250 watts modeling light), fast flash recycle times (less than 0.8 seconds at low power setting, less than 2.5 seconds at full power setting), large accessories of light shapers, long durability or The most important factors are the durability of the units, their good workmanship, low weight, good transportability for use on location, flexibility in terms of whether the flash unit can only be used indoors or outdoors (battery-powered generators for outdoor use have become fashionable in recent years) and, of course, the price.
More important than the question of whether generator or compact flash units is the selection of suitable light shapers. The narrow softbox used here helped me to realize the picture idea according to my ideas.
My recommendation is to spend a little more money on a flash system in order to purchase a high-quality one that you will enjoy for decades to come! You can find more information on this and other important purchasing criteria in my book "Moderne Erotische Digital-Fotografie" (Modern Erotic Digital Photography), the second edition of which was published in February 2011!
Other accessories
The world of photographic accessories is almost infinite, and it is impossible to list all the items that are worth recommending. A glance at the catalogs of established photo retailers (such as Brenner Foto Versand) quickly gives an idea of the wide range of options available to both the dedicated amateur and the professional.
The light meter is still indispensable, but unfortunately it is used far too little by photographers because many now simply prefer the - inaccurate - view of the camera display to an accurately measured value from the light meter.
Only with the help of an exposure meter can correctly exposed images be created from the outset. This is especially true when using flash units. Unfortunately, however, only a few dedicated amateur photographers own a light meter.
If you have a flash system, radio triggers (e.g. Pocket Wizzard is recommended) are the first choice for triggering the flash system. Unlike with sync cables, you are not "tied" to the system and do not trip over wires lying on the floor.
When using studio flash systems outdoors, good radio triggers are particularly important. I have been using the "Pocket Wizzard" for a few years now, which reliably triggers the generator or compact flash system even over long distances!
The data memories with a sufficiently large display are also great, on the one hand as an additional data backup, but also to view the results without blocking the camera. Ideal if you are taking photos for third parties who want to be able to check during the shoot whether the photos are being taken as desired.
A sample contract for a model release is available as working material.
