Like any genre of commercial portraiture, Boudoir styles will vary slightly from shooter to shooter. Creative differences in lighting, sets/location, and posing, as well as the marketing image of the photographer, are the way clients make choices about whom they’ll hire. But, as it is with wedding clients, for example, most Boudoir clients are in the market for something very similar to what they’ve already seen elsewhere. In a sense, they’ve “learned” what good (and bad) Boudoir portraiture looks like, to them anyway, by browsing the web. And according to photographer Will Tompkins, what they’re seeing is mostly boring.
“Most of today’s approaches to boudoir are like decaf coffee,” says Tompkins. “I mean what’s the point, where’s the sex? Terrible technique, peculiar posing, and plastic photoshopping make me feel like I’m revisiting The Stepford Wives. They all look the same: same sexless poses; same blank stares; same frozen smiles. Why is that? Because the photographer didn’t take the time to develop a relationship that allows for that all-important temporary pass.”
While most Boudoir portraiture being marketed today is arguably just like fashion Bridal portraiture, minus the clothing, Tompkins defines the style differently: “Boudoir is erotic photography of, and for, one.” Whether you agree with him, prefer the light glamour approach, or find yourself somewhere in-between, it’s nice knowing that there probably is a market for your style of shooting. It’s just a matter of putting it out there and letting people know how you work best, and why.
I asked Tompkins, an experienced Boudoir photographer located in the San Diego area, to explain the “temporary pass” and for his opinions on how Boudoir should be approached to achieve the proper look. I should say at the outset that his approach is not for everyone, and not for every type of client. As a matter of fact, it goes against much of the advice given by other, similarly experienced professionals. See “Building Rapport with Models, and Clients,” a previous post.
EV: How important is communication between model and photographer, and how do you approach it?
Your relationship with the woman in front of your camera is the most important element in boudoir photography. Period. Nothing — not your gear, not her looks, not her outfits, not her hair and makeup — will impact the outcome of the shoot more. Once established, I use that relationship to bring her intimate feelings to the fore and then to bring those feelings into synchronicity with her face and her body.
EV: Any advice about how to keep your subject encouraged and feeling good about the session as it’s going on? Your take on providing direction and feedback?
When I move beyond conventional portraiture to boudoir, which is more intimate and more sexual, I ask for what I call a temporary pass. The granting of this temporary pass is based on her trust and is only valid while I’m behind the camera. In the case of a private client who has come to us for a “his-eyes-only” gift, the pass allows her to be an exhibitionist for a surrogate, and that surrogate is me and my camera. And the trust? Well, she’s trusting that the images I produce will have the desired results.
When the pass is in affect, our language changes — it’s more flirtatious. It allows me to tell her how sexy she is, or how hot she looks, rather than some nondescript pablum like “oh, that’s pretty” or “you’re doing good.” And it allows her to respond in ways that match the intent of the photograph. If you want to create great boudoir images, you must give her the feedback she wants and needs to hear. That said, when I move away from the camera, our demeanors change and the conversation reverts to normal.
As for posing, I don’t, but I do direct. I give her something to do: brushing back her hair; unbuttoning her blouse; slipping off her sweater; rearranging the sheets — anything that keeps her in motion. Then we shoot it two or three times. At the end of the first set, I’ll show her an image or two — for encouragement as well as for instruction. After that, we shoot through the subsequent sets without stopping. Why? Two reasons: first, the click of the shutter becomes like a metronome, giving her an audible clue to change her expression or momentarily pause; second, there are few things more distracting or annoying than a photographer so unsure of himself that he has to stop after each shot to examine his work.
It’s important to point out that while I am the only male at the shoot, my wife is always there to assist the client with clothing and set changes, and my female hair and makeup person is always there for beginning preparations. No one else is allowed: no guests, no visitors, no escorts. It’s simply too distracting. To further minimize distractions, as I move behind the camera, my wife and makeup person move outside of the client’s line of sight.
EV: Would you say that educating and preparing the client is key to the temporary pass idea?
Yes, absolutely. I ask each client to read selected articles on my website before our first interview. Then we talk about their reactions and what they learned. I also ask what words they’d prefer to hear as they perform for the camera. I’ve had some fascinating conversations.
EV: Would it be fair to say some clients are never going to be comfortable with it, which forces you to change your approach? After all, someone might really want those pretty boudoir pictures their friends have, but not want to do it your way. Would you turn them away?
I have no way of knowing how many women have read the articles on my blog and said, “This isn’t for me.” But I can tell you this: The women who’ve read the articles and met with me to see actual samples of my books and prints have all become clients. They saw what they really wanted: strikingly sensual images that would turn on their significant others. If they’d wanted “pretty” pictures, they wouldn’t have gone to a boudoir photographer. Boudoir is about sex, not [being] pretty. I have [turned them away], but only once. I do this work because I’ve seen how it changes lives for the better. At my age, I have no time for doing less.
Visit Will Tompkins’ site: The Boudoir Photographer
