Category Archives: Models

Dance of the Seven Veils

When Salome danced for King Herod, there’s some controversy about the number of veils she used in her dance. But there is no controversy in these images: I created them with one beautiful woman and one piece of white fabric and in-camera multiple exposures on a black background. The composition was not changed in Photoshop, although I did routine cropping and processing, and added a texture.

Dance of the Seven Veils #266 © Harold Davis

Dance of the Seven Veils #266 © Harold Davis

Dance of the Seven Veils #267 © Harold Davis

Dance of the Seven Veils #267 © Harold Davis

You can see some of the other images I’ve made using similar techniques in these stories: FallingWheel of LifeDance in the RingsA Rorschach for MFAs and Multiple Exposures. Also check out the Multiple Exposures portfolio page of these images!


Model: the talented and lovely Dasha. Studio: The Lighthouse Berkeley.


Falling is a single, in-camera multiple exposure using the Zeiss Otus 55mm f/1.4 and a Nikon D800 on a tripod. There was a black backdrop, and I used a studio strobe on either side, facing the model who was posing on a suspended hoop. The mechanics of in-camera multiple-exposure photography aren’t too tough to master provided auto-gain is enabled. But creating these images does require precision choreography and communication with the model to get the posing positions right, otherwise the composition doesn’t come together.

Falling © Harold Davis

Falling © Harold Davis

You can see some of the other images I’ve made using this technique in these stories: Wheel of LifeDance in the RingsA Rorschach for MFAs and Multiple Exposures. Also check out the Multiple Exposures portfolio page of these images!

Dance in the Rings

Dance in the Rings © Harold Davis

Dance in the Rings © Harold Davis

Please click here to see Dance in the Rings larger. Also see A Rorschach for MFAs and Multiple Exposures.

A Rorschach for MFA’s

This image, with the working title Gates after Rodin, shows one model many times. The model, Jacs Fishburne, is a self-described “tornado disguised as a woman.” In the studio, Jacs was posing on a large metal hoop, sometimes called a Lyra. The Lyra was suspended by two ropes about six feet above the ground, with a black background. For some of the exposures Jacs was kneeling on the ground “holding up” the Lyra.

Gates after Rodin © Harold Davis

Gates after Rodin © Harold Davis

To make the image, I shot five in-camera multiple exposures, with Autogain turned on so that each multiple exposure was properly calibrated. Each of the multiple exposures consisted of five to eight individual shots, with Jacs changing her pose between each one. I used basic studio lighting for an even, consistent look and my D800 with the Zeiss Otus 55mm f/1.4.

I then combined the in-camera multiple exposures in Photoshop, using both stacking and selectively pasting bits from various versions in using layers and masking. By some ways of counting, this makes for a total of somewhere between 25 and 40 different captures of Jacs, when you multiply the number of files by the number of times she appears in each.

Before finishing the image by adding a texture, I retouched out the ropes from above holding the Lyra, leaving the circular Lyra mostly in place.

A friend writes: “It brings up associations with five or six classic paintings from earlier eras. I see the Winged Victory of Samothrace on the left, and the hand of the Sphinx on the center right. Cardinal Richelieu is in the center. The face in profile at the upper left comes from something I can’t quite place and the depictions of hell by the famous Dutch painter What’s-His-Name are at the bottom [Hieronymus Bosch]. And then there’s the hint of the sumi-e circle of light again [the Lyra]. It’s like a Rorschach for MFA’s! ”

My own association is with Rodin’s Gates of Hell. I saw a casting in the garden at the Rodin Museum in Paris this spring. Maybe the memory of the Gates was lurking in my subconscious, waiting for a chance to emerge!

Related story: Multiple Exposures.

Tender Dance

Tender Dance © Harold Davis

Tender Dance © Harold Davis


We are all sisters (and brothers) and the skin is only the surface. As human beings, let us be tender with each other.

Sisters © Harold Davis

Sisters © Harold Davis

Exposure data: Nikon D800, Zeiss Otus 55mm/f1.4, 1/160 of a second at f/8 and ISO 200, hand held. Two-strobe lighting on black seamless, with large soft box on the left and less powerful unit through an umbrella on the right. Photographed at The Lighthouse in Berkeley, California.

Related images: Multiple Exposures.



I shot this in the studio with my iPhone camera while I was experimenting with multiple exposures on the DSLR, some of which are shown in Solace for the Wild Rest and Being and Becoming.

Models © Harold Davis

Models © Harold Davis

Solace for the Wild Rest

Unlike Being and Becoming, there’s rather little Photoshop in Solace for the Wild Rest. This is an in-camera multiple exposure, using eight individual exposures with auto-gain turned on, using the shooting progression explained in Being and Becoming. True, I finished the image with a Photoshop texture overlay, pretty much the same texture and blending mode that I used in When Dahlias Dream (see the bottom image in this story).

Solace for the Wild Rest © Harold Davis

Solace for the Wild Rest © Harold Davis

Being and Becoming

To make this image, I started by photographing the beautiful models Kira and Merrique together on a black seamless background with studio strobe lighting. The lighting was set up with a big, soft light on the left, and a smaller, less powerful light through an umbrella on the right.

Being and Becoming © Harold Davis

Being and Becoming © Harold Davis

I made ten in-camera multiple exposures. Each multiple exposure consisted of either five or eight individual exposures. I had auto-gain turned on in my camera, so each multiple exposure was automatically adjusted to compensate for the number of exposures in the sequence. I counted out each individual exposure, and the models paused on each shot.

In Photoshop, I stacked the ten multiple exposures (as if they were star trails!).  I tweaked the result a little to get rid of anomalies, like fingernails appearing in mid-air, but mostly this image comes from an “out of the box” in-camera multiple exposures followed by stacking in Photoshop to create a composite.

That makes Being and Becoming a combination of old and new techniques, one of my favorite themes in photography. In-camera multiple exposures are about as old as photography, but the ability to create stacked composites over time is an artifact of the Photoshop era.

Photographing a model in Paris

Yesterday I photographed a model in Paris. Kira is an American professional model, but she could pass for Parisian (and indeed has some French ancestry). We met in the morning, and started with some shots with the Eiffel Tower in the background. I was looking for backgrounds that said “Paris,” but more of everyday life and not so much the Eiffel Tower, so we got on to the Metro.

Kira on the Metro © Harold Davis

Kira on the Metro © Harold Davis

At the Passy Metro station, just across the Seine from the Eiffel Tower, Kira’s natural elegance was on display. But in the court at the Louvre in the front of the equestrian statue of Louis X IV, I made her loudly proclaim “Liberté, égalité, fraternité,” as though she were heading to the barricades (the tourists in the background seemed unmoved, as did the statue).

To the barricades! © Harold Davis

To the barricades! © Harold Davis

After some time photographing (and posing) we were both eager to get out of the chill wind. So we retired to a cafe (where of course the photography and posing continued).

Kira in a cafe © Harold Davis

Kira in a cafe © Harold Davis

Models are people—not things

In the Pixar movie Finding Nemo one of the characters is a shark named Bruce in a 12-step program. Bruce has extremely dangerous looking teeth, and clearly has an appetite for fish. In a meeting of his 12-step program Bruce loudly chants, “Fish are friends, not food” in an Australian accent—although if I were a smaller fish I wouldn’t want to tempt this particular shark by getting too close!

Jade by Harold Davis

Jade © Harold Davis

I try to keep a mantra similar to Bruce’s in mind when I photograph models. Models are people, not things. If one takes the time to get to know the person behind the model facade even a bit, the results can be inspiring. After all, people have character, and capturing this character is an important part of what model photography is about—even (or particularly) when the camera is pointed at a subject who is model and is a beautiful woman.

A case in point is the shot of the beautiful model Jade, shown above. Jade is best known for her fetish look. You can visit her website by clicking here. When I shot Jade as a person I was pleased to get a somewhat different look: personal, playful, and somewhat sexy but without the hard edges seen in most of the photos of her.

Repeat after me, models are people—not things!

Click here to see the models category on my blog, and here to see a gallery of my model photography.


The idea behind Within the Canvas (below) is to show the model emerging from a background. It is not clear where the model begins and where the model ends. Model and canvas seem to flow together. The fabric the model is wearing is part of the canvas. Or, is it?

Even as an issue of three-dimensional spacial relationships consider: Is the model is in front or in back of the canvas? Depending where you look in the image, both are possible—leading to potential paradox and visual impossibility. A potential solution is to assume there is a slit in the canvas, but this doesn’t really work (observe her hand).

Within the Canvas by Harold Davis

Within the Canvas © Harold Davis—Click to view larger

To make this image I shot the model on a white background. She was wrapped in sheer, white gauze. In post-production, I placed the model image as a layer on a canvas background, then added a series of textures on top of the Photoshop composite.

Related stories that show images with models and textures: Everything in Moderation; Like a Titian.

Also see: Impossible gallery; The eye believes what it thinks it sees; Models category; Models gallery (some models are NSFW).

Everything in moderation—even moderation

I shot Kirsten using a large, strobe-powered softbox as the single source of illumination. The softbox was on a low setting and positioned above and to the right of the model. You can see the reflection of the light in Kirsten’s beautiful eyes. The low-level of very diffuse lighting, and the position of the single light, account for both the overall attractiveness of the light and the radical light fall-off on the left side of the image.

Kirsten by Harold Davis

Kirsten © Harold Davis

To process the image in Photoshop, I used a number of textured overlays on top of the background image of Kirsten. For example, one of these overlays was of linen canvas with a very definite texture. Another was the scanned papyrus that I’ve used in my Floral Tapestries (the background shown in Thistle While You Work is an example that uses this scan of a piece of papyrus).

The trick with this kind of post-processing is not to overdo it. As Oscar Wilde put it, “Everything in moderation, including moderation.” I wanted Kirsten to look as gorgeous as she is naturally, and slightly abstract—but I didn’t want the post-production work to make her look artificial.

See Like a Titian for a related post-production treatment of a model.

Like a Titian

With this image featuring the travelling model Kellie my idea was to recreate something of the feeling of a Titian painting, particularly in the folds of red velvet draped on the couch. Besides the studio model shot I used a desaturated image of the setting sun (and bird). To complete the image, I add several layers of virtual textures (I will be writing about digital textures in a future story) and a small margin of background.

Kellie by Harold Davis

Kellie © Harold Davis

I’ve printed Kellie on canvas to reinforce the visual reference to historical masterworks, and am experimenting with adding by hand an actual (rather than virtual) coat of varnish that I can work to recreate the craquelure of an old oil painting.


This is a shot of professional model Liz Ashley. The lighting is from one strobe, hand-held to the left of the camera.

Liz by Harold Davis

Liz © Harold Davis