Whatever artist is reading this, I want you to know. When you're dawing eyes, draw the eyeball first, then cover the eye you aren't working on and place each pupil separately
And a lot of people are happy to hear I am not dead.
I have not stopped posting in over a decade, but I sort of retired from the viral comedy I used to make, so I guess it makes sense that people haven't seen me around as much.
My personal tumblr is @sirfrogsworth where I post more frequently. And I have a photography Instagram here. But I promise I am still alive.
ANYWAY...
This post has made me think deeply about porn lighting.
And I thought even deeply-er about how I would actually light a porn.
I think it would be an interesting challenge but the one time I took a topless photo I was uncomfortable the entire time. I suppose that is something I'd have to get used to with experience, but I'm generally more interested in other types of photography.
But light is light, and I am always happy to help people get better results. I've even thought about starting a consulting business where I help people pick out lighting and gear and advise them how best to use it for their circumstances. I think there are a lot of small creators who could seriously up their production value with a small investment and some knowledge. YouTubers, streamers, and OF models who want an edge.
I'll try to give some general advice in this post. But if anyone is interested in a more specific solution, feel free to message me.
This post is about lighting entire bodies.
Quick review...
Large light source = soft light.
Small light source = hard light.
You can make a light larger by moving it closer, adding a modifier (softbox/umbrella), or bouncing it off a surface.
You make the light smaller by moving it farther away, adding a reflector, a grid, or a snoot.
Most lighting is designed for faces and maybe torsos. But when you need to light entire people, you are going to need more than a ring light. Ideally, you are going to want a light source at least as big as what you want to light. You'll notice a ring light is a little bigger than a face. A beauty dish covers head and shoulders. An octobox is roughly the size of a torso. After that, modifiers can get large and unwieldy, so you may have to think about bouncing light off walls and ceilings.
I was going to show some examples, but then I realized Tumblr would give me the naughty tag for this post. So I'll try to be creative about keeping this safe for work.
First, let's quickly expand on why ring lights are not ideal for photos and videos of entire bodies that are... comingling.
Ring lights are not bad. They were just designed to do something very specific. In the beginning, they were actually used by dentists to help photograph teeth without any shadows obstructing the view.
The magic of a ring light is shining light from all directions from the camera's POV in order to get a shadowless effect. You also get circle catchlights in the eyes which some people enjoy.
In order for this to work, the camera needs to be in the hole, and the light needs to be close enough to be directional.
The inverse square law says that when you move a light farther away, all of the photons start to spread out. Imagine a donut expanding inward. Eventually the hole in the middle closes up. It becomes no different than any other light at that distance. And since it has that hole in the middle, there is less surface area casting light.
Depending on the size of the ring light, you're only going to get those special, shadowless lighting properties for a head and chest photo. You might be able to get the boobies within the effect if you have a larger ring light, but it is mostly meant for faces.
Just to compare...
Ring light on the face, close up, with camera in the hole...
Ring light far away, off to the side, camera not in the hole...
You can see her. She is lit. But that ring light "magic" is no longer happening.
It's less flattering.
"Flattering" in the photography world just means that detail and textures are going to be less prominent. Flattering light is not inherently good or bad. If you want to show off a cool pattern or texture, or even a grizzled old man's face, you might actually want a hard light look. Hard light can also be very dramatic and boost contrast, but you may need heavy makeup or flawless skin (or just retouch it afterwards).
Small, hard light causes dark, crisp shadows. Think about what a wrinkle is. A fold in your skin causing a shadow. Think about what a pore is. A pit in your skin causing a shadow. The darker these shadows, the more apparent they are in the photo.
You can even enhance this effect by using "raking" light. Which is just hard light at a steep angle.
If you imagine this was a face or acne scarring or cellulite or a throbbing, veiny bicep, this might look rather unflattering.
Raking light is still useful in a lot of applications. Art conservators use raking light to analyze brush strokes on paintings.
So all types of light can be used for something cool, but unflattering light usually isn't ideal for skin without expertise on how to leverage it.
The good news... if you use your ring light straight on, even from a distance, you can minimize the crisp, hard shadows in places you don't want them. The more raking or off-axis the light, the more flaws will be exaggerated.
You can also attach a cheap shoot-through umbrella to enlarge the light source and soften it.
The bad news... small far away lights increase specular reflections. If you have shiny skin, this may cause big spots of glare. It can also reflect harshly off moisture. And if you are hot and sweaty... for reasons... you might end up looking a little rough.
John Mulaney discovered this when he gave an outdoor speech in front of a distant spotlight.
People thought he was back on drugs.
Nope!
It was just a warm night and hard light reflects sweat and moisture very intensely.
The next day under soft studio lights, he either sobered up overnight...
Or people sometimes fail to realize just how much lighting can affect one's appearance. (This was during a rehearsal so he wasn't even wearing makeup yet.)
Soft light is flattering because it reduces and fills in shadows and evens out specular highlights.
Many people think diffused light is soft light. But any large light source will produce soft light. Diffusion is just a tool to help create a larger light source.
But if you put diffusion on a tiny light...
It ain't going to be soft.
People also assume that soft, flattering light is "better" and that isn't always the case. Sometimes soft light is kinda boring.
The hard light photo is much more interesting and dramatic, but you can already see how much shinier her forehead is. If her photo was taken with hard light directly after... sweaty activities... it would probably not be as appealing.
And that is why most pornography is blasted with soft light.
If you actually ignore the porn and pay attention to the quality of the lighting, it is usually pretty boring and flat. But it is very soft and very shadowless.
I call this "sitcom lighting."
Light is blasted everywhere from all directions. Sitcoms did this because they needed every place on the set to have adequate lighting for every camera position.
I suspect porn adopted sitcom lighting for two reasons.
1.) Porn directors want you to be able to see *everything* very clearly no matter what angle they point the camera. No body part is to be mired in shadow.
2.) If you blast light from every direction, you get a super ring light effect where all shadows are minimal. So wrinkles, pores, veins, sweat, moisture are all reduced. It's super flattering but a little dull.
This is accomplished in a few ways.
Have you ever noticed a lot of higher budget porn videos take place in nice rented houses with a ton of windows?
Ted Cruz knows what I'm talking about.
That's because all of that window lighting is essentially one big light source.
Imagine those windows as softboxes. You are just filling the room with soft sunlight. But if you actually go outside, the sun becomes a small light source with harsh shadows. You need the windows to "modify" the light and make it large and homogenous.
So if you have access to a space with a lot of windows and you don't mind being naked in front of them, you're all set to porn.
The next technique is to just use huge softboxes and umbrellas all around the room.
This is my 7 foot umbrella that I got for under a hundred bucks.
I mainly use it for outdoor lighting.
But, I mean... it'd be great for other stuff too.
And then there is bouncing light. This is how you get truly huge light sources. You can shoot lights into walls or up into the ceiling. This is especially good for videos in bed.
You can combine window lights, giant umbrellas, and bounce lights if you want.
I was watching a Gerald Undone video where he toured the Gamers Nexus studio. Steve clearly didn't know anything about lighting. And so he just put lights EVERYWHERE from every direction.
He accidentally porn lit his studio.
One difference you might notice between Steve and the young woman who is innocently talking on the phone and definitely not about to have sex with her stepbrother...
She seems a little more... smooth.
A little less... 4K.
Enter soft focus filters!
Soft focus is sometimes called the Vaseline effect or the Barbara Walters effect.
This is a filter you can put on your lens to knock the detail back a bit. It keeps everything in focus, but smooths out the edges a bit.
An optical Facetune, if you will.
It tends to look a little more organic and authentic than digital smoothing. But you have to pick the right strength or you will end up making everyone seem like they are glowing like Barbara.
If I am being honest, I don't really like standard porn lighting. But it is hard to suggest something better. Video is just difficult to light artistically without a budget and a lighting expert. When you look at how movies are lit behind the scenes, you can see how complicated it can get.
So I'm afraid I can't give specific advice on how to artistically light porn. It depends on the room and the vibe and what gear you have to work with.
The best I can do is to advise you to get a very large light source as your main light. If you don't have a large white wall or ceiling, you'll want a 7 foot umbrella or the biggest softbox you can afford. And then I would add backlighting. I think that is the element a lot of porn is missing. Shining light from behind and creating nice highlights can really elevate things. You can even make the lights part of the video.
Erotic still photography is a little easier to pull off without much experience.
There are two popular forms of boudoir photography.
There is dramatic side lighting as you can see with this pussy.
And there is more environmental erotica where you decorate a room like a theater set or find a fancy hotel.
So you can make the lighting cool or the environment cool. Or both.
But if you don't have good lighting and you don't have a cool environment, there is one more aspect that can improve your nudes.
Angles and posing.
I'm afraid this is a concept lost on a lot of straight men—as demonstrated by Reece in this dick pic parody.
Finding good angles and choosing good poses can often overcome bad lighting. The easiest thing to do is copy someone else. Find a pose you like and try to recreate it.
And learn how to take pictures without holding your phone. Get a tripod or a phone stand. There are very few sexy poses you can accomplish when you are tethered to your phone. And if you move the phone a little farther away, you can avoid distortion as well.
And now for my most important advice...
NO MACRO PHOTOS OF YOUR JUNK.
If a doctor could diagnose a medical condition, it's too close.
Most people enjoy seeing nude photos in the context of your entire... you. Your eyes, your smile, your belly, and your various private areas.
Unless the intended audience is specifically into detached, close up photos of your bits and holes, it is usually best to keep things zoomed out. Communicate and verify before shoving a camera between your legs.
I'm just saying, when I can see past someone's asterisk directly into their colon... my light gets soft.
None of this answers the question... how would I light porn?
I'd probably delve into experimental lighting. There is this lighting technique where you put a black background directly behind your subject and block the light so it can only peek around the sides. It creates this perfect outline of whatever you are photographing.
This is my pocket knife sitting on top of a light.
And then in post processing, you just expand the black to the edges of the frame.
I want to try and upscale this effect to work on humans.
Okay, that's a lie.
I mostly want to try it on fuzzy cats.
But naked humans might also look cool.
And I'm just imagining if I were to make a video of two people... wrestling... it would look like two human shaped outlines were merging and separating in all kinds of interesting ways.
So the people would just kinda look like this, but it would be an in-camera effect.
I dunno, I think that would be cool.
If you want to learn more about light...
This is a really cool post I wrote about the Inverse Square Law. I know it sounds mathmatical and complicated, but I promise it is not. And it will help you improvise lighting solutions with a lot less trial and error.
💬 1 🔁 63 ❤️ 134 · Understanding the Inverse Square Law · (Without Math)
When I was first getting deep into photography, I kept running in
In this post I explain more about hard and soft light. I also go more in depth about ring lights and what to do if you already bought one.
💬 9 🔁 299 ❤️ 484 · Epilogue: Why you shouldn't buy a ring light (and why it's okay if you already did). · There are two technological fads
And in this post I recommend pro lights as well as budget lights and even some DIY lighting solutions.
💬 2 🔁 98 ❤️ 212 · One important detail I forgot to mention.
The main light hitting your face is called the "key" light. The key light nee
In that post I link to a big round streamer light, but it is for the white version, which is not in stock yet. The black version is available right now.
i hate that every time i look for color studies and tips to improve my art and make it more dynamic and interesting all that comes up are rudimentary explanations of the color wheel that explain it to me like im in 1st grade and just now discovering my primary colors
“red and green are opposites 🥰” cool now how do i paint a tree with pinks and blues without it looking like a child’s finger painting or incongruous blobs of rainbow vomit
ok i can’t explain it very well but im looking for tips and techniques for rendering art like
with specifically the highlights and colors being hues that compliment each other, don’t distract from the scene, and make it more interesting/visually appealing
gonna drop some sources I have saved on Pinterest! I don’t know if these all link back to the original sources so apologies for that
cohesive but still contrasting
This kind of talks about color and composition
This is a bit about landscape specifically
Values & composition
Contrast in composition
Balance in colors & values
This one’s more for palette building but I think it’s useful and can be applied to the other ones
Cohesion within compositions/lighting
“Chromatic fringe” - I also see people using this with shading, they bring in a transition color that is a different hue than the base color or shadow, it makes it so that less vibrancy is lost and it doesn’t get muddy!
This one specifically has a lot of process behind the style of painting you’re looking for!
Also one of my favorite artists who makes bright and colorful art like this is Not Sorry Art on TikTok & YouTube, her website is here and it’s<3 my fav. She has some videos where you can see her process
With the oranges painting you put as an example, I noticed they painted the lighter values more toward yellow - they also exaggerated the hues of the undertones of the photo, so I’m guessing they either did it in their head or bumped the saturation up to get a closer look! I really love these paintings you shared and I definitely share your desire to paint/draw like that :)
If you’d like 2 Print books that I absolutely reccomend to every visual artist regardless of Media, Color and Light and Imaginative Realism by James Gurney are basically religious texts for artists, even the 3-D people because his understanding and explanation of how light and form work is that damn good.
If you’re wondering about Mr. Gurney’s chops:
James Gurney is the Dinotopia Guy (that link includes his Dinotopia books, prints and online classes too)
i know we joke about cis artists having the weirdest sense of anatomy, but also even when the anatomy is fine, no one seems to want to draw women doing normal things
this is exactly why i’m a huge fan of posemaniacs!
you get 3d model pose references with the option of having a male or female anatomy for each pose
they have a WIDE VARIETY of poses that you can search for using a TAG SYSTEM
(as you can see by the scroll bar in the second image there is Even More Tags)
you can select a pose you like for larger viewing and the convenience doesn’t stop!!!
you have full 360 viewing range of the pose plus zooming in and out
and what’s that? a TOOLBAR?? MENU?? THING??
Correct!
the eye button hold a very fun menu
negative space blacks out the background and fills the pose with a solid white silhouette
the “texture” refers to the skin situation of the model with the “color” and “grey” shown below
(i usually use color personally)
then there’s the option of different sized drawing grids(4 and 16 below)
idk wtf bounding box is about but it looks like this if it matters to you
“floor” toggles all shadows on the floor, “floor grid” you guessed it puts a like perspective guide grid on the floor that goes to forever, and “shadow” toggles ALL shading. there is NO lighting happening if you turn that off. NONE.
NEXT ITEM! that box thing with the line through it? flips the pose horizontally.
the little person symbol? lets you switch anatomies
camera icon? you can choose from a selection of preset camera angles PLUS an option for … idk what to call it but you can do this!
less flat right!! i’m sure there’s a word i just don’t know but this is maximum *that* so there is less *that* if you want it
the lightbulb gives you a menu like the camera one but it offers a selection of lighting styles with variable intensity
CHARMING!
and that’s not even everything this site provides!!!!!!! they have tutorials, instructional videos, lessons, all sorts of shit!!! (although they are vast majority if not all in japanese just a heads up)
AND ITS ALL FREE
DONT EVEN NEED TO SET UP AN ACCOUNT OR APPROVE OF COOKIES JUST GET IN DO YOUR THING GET OUT NO STRINGS ATTACHED
and if you don’t have ad blocker or are on mobile(like me) NOT TO WORRY
the ads are few and far between! ZERO video ads, NONE take over your screen or glitch you at all, they are of no concern i forget they’re there!
(this is not at all sponsored btw i’m just a genuine fan of this site and i’m happy to spread the good word unprompted)
local colors!!!! relative hues!!!! listen I love a good adjustment layer they are so helpful especially when you need to work fast. but I also love picking special colors myself so here is a crash course in that--as I understand it, anyway.
Cool painting tip I learned: do your rough sketch in the same color (doesn't have to be exactly the same) as the under paint color. Draw clean line art over in a darker color (I used blue). Add your under paint and the rough sketch is basically gone.
I posted this to Bluesky and folks found it helpful, so I thought I'd share here as well.
The simple act of drawing can change the way you look at the world—and the way you understand birds. Get started with this video series.
The simple act of drawing can change the way you look at the world—and the way you understand birds. Get started with this video series.
People often ask me which came first: my interest in drawing birds or watching birds. I have to answer, “both.” The two things have always gone together for me, and they complement and support each other. Drawing forces me to look at a bird more completely and to ask questions that I would not have considered if I were just watching. In that sense, drawing becomes a way to interact with the bird.
Here are some tips I’ve learned over the years, as well as 10 video tutorials to help you get started…
are you or a loved one expecting to use a fountain pen for the first time this holiday season? you need this information.
fountain pens are making a comeback, with good reason. fountain pens require virtually no pressure to write, and many people used to ballpoint, gel, or rollerball pens will actually damage a fountain pen on their first use because of how much pressure they are accustomed to using. on the flip side, many people with joint pain will find that they can only write without pain when using a fountain pen.
fountain pens are customizable, reusable, ergonomic, comfortable, and utilize fantastical fountain pen inks containing shading, sheening, and shimmer.
using a fountain pen correctly for the first time just elicits that ever elusive and emphatic "oh." you will, with likelihood, understand why people use fountain pens just by using one yourself. it cannot be put into words.
but before you learn how to use a fountain pen, you need to learn how NOT to use a fountain pen.
here are my top 3 tips for how not to use a fountain pen.
first, what makes a fountain pen. a fountain pen is defined as a pen with an internal resivoir that feeds ink through a feed and to a nib. they do not require dipping.
the internals of the end of a fountain pen look like this. fountain pens are a lot of different parts. although this diagram shows a pen using a converter, most first time fountain pen users will use a cartridge, which is a pressurized pouch of ink.
the slit in the metal nib forms two tines, and the end of which is tipping. ink flows from the converter (or cartridge or other filling system) down the feed and through the slit in the nib, down to the tip.
since fountain pens are a bunch of very closely fitted different parts, they take specialized, thin, water-based ink.
which leads me to the first major thing to not do with a fountain pen.
#1: do not use anything other than 'fountain pen ink' in a fountain pen
so let me tell you a little story here. I got into dip pens before I got into fountain pens. years and years ago. I found out that a converter allows you to use bottled ink with a fountain pen, and I already had some decent ink I was using with my dip nibs. I bought a converter, a fountain pen, and then did one of the worst possible things you can do to a fountain pen: I loaded it with dip ink. if I remember right, it was some kind of india or sumi ink.
the pen no longer wrote, and I could not even replace the alleged easily replaceable parts. what happened?
ink is more than just liquid and color, it involves complicated chemical formulas. dip pens can be dipped in just about anything and then write to some degree, but fountain pens can only safely be used with ink designed specifically for fountain pens. dip ink is usually thicker and can clog the slits in the fountain pen's feed, preventing the ink from reaching the tip of the nib. but diluting dip ink is not good enough. the chemicals in dip inks can melt or rust the internals of a fountain pen. this damage is often irreparable without paying a specialist a lot of money to restore the pen, which can cost more than just buying a new fountain pen. in my case, the internals of my fountain pen melted slightly and got glued together.
unfortunately, many sellers on websites like amazon, etsy, ebay, aliexpress, and more will claim that their ink is fountain pen ink, when in reality it will destroy your fountain pen.
until you are used to which types of inks are safe for fountain pens, use a dedicated and reliable stationery website like jetpens, gouletpens, or cultpens to tell you which inks are designed for fountain pens. jetpens in particular will also tell you which cartridges and converters are compatible with the fountain pens they sell, which is essential, because many fountain pen cartridges and converters are proprietary and only fit certain pens.
when in doubt, just buy compatible cartridges.
#2 do not expect the fountain pen to flex
calligraphy videos are really popular right now. many of them involve fountain pens and dip pens using flexible lines to create gorgeous cursive. in reality, most modern fountain pens do not flex, and trying to make them flex can break them.
this is a dip nib. if you try to do this to a fountain pen nib, you will damage it. this is what NOT to do to a fountain pen nib.
there are two main materials used for making fountain pen nibs: steel and gold. steel is harder and stiffer, gold is softer and generally more bouncy or flexible. vintage gold fountain pens gained a reputation for writing like "wet noodles" and creating fantastic line variations. they are very desired for calligraphy. but vintage flex fountain pens start at hundreds of dollars each. and virtually no modern fountain pen with any degree of flex will skip on the chance to advertise themselves as flex pens. anything not blatantly advertised as a flex pen should never be flexed.
and honestly? your first fountain pen should not be a flex pen.
fountain pen nibs, as mentioned above, are metal pieces with a slit to form two tines. where the tines meet together is where the ink is dispensed. since most modern fountain pen nibs are NOT designed to flex, trying to use them like flexible dip nibs or even just using the fountain pen at the wrong angle can cause the nibs to splay and not be able to go back together without some skilled repair. there are fountain pens worth thousands of dollars with shining gold nibs that will promptly get fucked up if you try to flex them.
in my opinion, your first fountain pen nib should be steel. gold nibs are softer and way more easily damaged, while steel nibs are firmer, can be just as smooth in writing, and are a lot friendlier to beginners. not to mention, a lot more difficult to damage. the smoothness on paper is mostly determined by the grinding of the tip of the nib, not by the material the nib is made out of. there are plenty of steel nibs that write smoother than gold nibs, and they are a hell of a lot cheaper, too. a slight impact to a gold nib can cause them to bend to the point they cannot write, but a steel nib has a greater chance of surviving a drop.
fountain pens require very little pressure to write. you want to write with as little pressure as possible, without separating the tines (for the majority of pens).
flex pens are also not the only way to do calligraphy with a fountain pen. since flex pens required varied pressure, flex calligraphy is way more likely to cause joint pain and hand strain than doing italic calligraphy, which uses angle-based line variation at a steady pressure. there are a ton of fountain pens out there that come in italic nibs that are great for this type of calligraphy. a cheap way to try out italic fountain pen calligraphy is by grabbing some pilot parallel pens, which come in up to 6mm nibs, and are sold in many retail stores.
for a more practical daily use fountain pen that comes in both rounded and italic, grab a pilot metropolitan in medium (rounded) or cursive medium (italic).
and if you do still want to try out flex nibs, fountain pen revolution makes affordable steel ultra flex nibs that work better than most modern gold nibs.
#3: do not expect any paper to work / DO NOT USE MOLESKINE
with this post now apparently at over 75,000 notes, I am one of the most prolific moleskine haters in the world. and with good reason, I know a thing or two about fountain pen paper. moleskine is garbage. there is nothing it does that other paper companies do not do better and/or cheaper, aside from maybe the brands that agree to collaborate with them. they have some notebooks with hello kitty, pokemon, james bond stuff on the cover among other things.
if you roll into any fountain pen community and say you are trying to use moleskine with a fountain pen, you will get laughed at and/or pitied. yes, even though moleskine literally sells kaweco fountain pens on its website. kaweco is not exactly known for being ethical.
as I mentioned before, fountain pen ink is thin and water-based. most ball-tipped pens have thicker ink made up of completely different chemicals. ballpoint ink is made of oil and alcohol, gel ink is made of a thick water-based ink, rollerballs often use ink that is almost as thin as fountain pen ink. basically, most writing utensils use thicker ink than fountain pens. which means, paper that works well with any other writing utensil might still work very badly with fountain pen ink. most paper sold in united states stores, as an example, will probably not work well with fountain pen ink. even if it is an expensive notebook. trust me on this.
there is no way to tell whether or not a paper will work with fountain pen ink without trying it first. do not rub paper to try and guess if it will work well with your desired ink, rubbing paper just damages the paper. there are tissue thin papers that work better with fountain pen ink than heavy art papers, there are rough papers that work better than smooth papers, there are ugly papers that work better than pretty papers, there are cheap papers that work better with fountain pen ink than expensive paper.
fountain pen ink looks best when it dries slowly rather than absorbing into the fibers of the paper. and since fountain pen ink is so thin, it can often cause feathering (fuzzy spreading of lines) and bleeding (going through the page). if your lines look fuzzy or if they go through the page, it is almost definitely a problem of the paper you are using, and not the problem of the pen or the ink.
some examples of showthrough, bleedthrough, and feathering from a jetpens article on fountain pen paper. while showthrough is not necessarily a problem depending on how you want to use the paper, if you have high bleedthrough or high feathering, you are definitely going to want different paper.
fountain pen lines should look crisp. paper that can handle most fountain pen inks is considered "fountain pen friendly paper". the best way to find fountain pen friendly paper is to look up reviews of paper online. there are a lot of fountain pen enthusiasts who test out fountain pen inks on different types of paper.
one of the reasons I really like jetpens is they test fountain pen ink on all their paper, and show the results. as far as stationery stores go, jetpens has the most testing of their products that I have ever seen. the information and testing from jetpens can be used no matter where you wind up buying stationery supplies.
if you are getting a fountain pen, or if you are gifting a fountain pen, expect to need fountain pen friendly paper to go with it. ink problems are usually actually paper problems.
I recommend products like midori md, maruman mnemosyne, rhodia, clairfontaine. if you want the best possible color for fountain pen inks, check out tomoe river paper and cosmo air light/snow, but they feel very different from typical types of paper.
do not ever get moleskine.
with these 3 tips, you are way less likely to flub your fountain pen. happy inking!
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