Archive for March 2011

I know, I know, this is a blog about glamour and tease photography, not headshots. But I did author an ebook on shooting headshots, Guerrilla Headshots, and I did so because I've shot more than a few of them over the years.

The photo on the left is my ex. It's a scan of a photo I snapped of her, circa 1980, in my garage/studio and processed and printed in my little home darkroom.

Kathlyn, my ex, was pursuing an acting career back then and decided she needed an "evil bitch" shot to add to her portfolio. Unfortunately, the acting career didn't go as hoped. Today, she's a dean of a high school. She's also a psychologist and family therapist with a small practice. (Somewhat to my occasional annoyance, I seem to remain her favorite person to "shrink." But that's not part of this update.)


I thought I'd share some shooting tips for those of you who did not read my Guerrilla Headshots ebook but are interested in headshot photography. Remember, I'm talking about headshots, i.e., those mostly used by performers and business people and others to put their faces in front of others. It's portraiture but it's a different sort of portraiture, one with specific goals: usually to get the subject hired for something or to help sell the subject's products or services or talents or whatever.

1. Backgrounds and Locations: Avoid backgrounds or locations that compete with the subject. Avoid environments that are cluttered, are busy, or might somehow “upstage” the person featured in the headshot. Backgrounds should compliment but should never distract.

2. Props: While props might sometimes be something the subject prefers to use, they should generally be avoided. More often than not, props compete-with and distract from the subject's face and the intent or purpose of the image.

3. Wardrobe: Much the way props and locations can be distracting, so can a person's wardrobe. Wardrobe generally works better when it's closer to neutral in terms of colors and patterns and, to some extent, style. Wild, outrageous, or overly trendy attire also risks being distracting. Fad wardrobe can become quickly dated. While wardrobe can speak eloquently and can sometimes send a desired message to the photo's viewers, it should not compete with the subject for the viewer's attention nor should it be (for most of the headshots you'll probably be shooting) more interesting or dynamic than the subjects themselves. That's certainly not the case for most fashion photography but headshots are not fashion shots.

4. Use the Rule of Thirds: You don't have to use it in obvious ways but subtle nods to this compositional element is often a great idea, adding value and interest to your photos!

5. Be Aware of Symmetry: You might have to make posing adjustments to balance the symmetry in a person's face. You might also exploit asymmetry to add tension and, consequently, more interest in a photo. Remember the equation, Symmetry = Beauty. Since many of your subjects will wish to be photographed in ways that make them appear as beautiful or as handsome as they can be, S = B is a formula that might help you accomplish that.

6. Take Advantage of the Power of Diagonal Lines and Shapes: Lines are the most powerful element of design and diagonal lines are the strongest of the strong. That holds true for shapes as well. A canted camera, that is, shooting with Dutch angles, can also add diagonal dimensions to your headshots. Those diagonals, while not competing with the subject, can increase general interest in your photos and help direct viewers' eyes to where you want them to go: directly to your subject's face.

7. Consider Perspective When Shooting: Consider whether it makes most sense, aesthetically and from the perspective of the “message” the headshot hopes to convey, where you should be shooting from: From below, at equal eye-level, or even from above. For the most part, avoid extreme angles when shooting headshots.

8. Use Easy-to-Employ Lighting Gear Whenever Possible: Unless you're a high-priced pro (I'm not one, by the way, but wish I were) you probably won't be shooting headshots with assistants helping you. Don't allow gear, i.e., more equipment than you need, to multiply difficulty beyond necessity either in its deployment or use. Unless I'm shooting in the luxury of a studio, I try my best to keep my lighting-gear use to one-light or sometimes two. Better yet, if I'm shooting in exterior daylight and I'm able to get by simply employing a single reflector or a single lighting instrument, coupled with direct and ambient sunlight, that's the approach I'll try to take. When it comes to lighting gear for headshots, less can be more.

9. Call on Classic Portrait Styles: Learn the classic portrait lighting styles and how to create them, but don't let the classic nature of those portrait styles trump a contemporary “feel” and “look” to your headshot images. A subtle use, rather than obvious use, of classic portrait-lighting is generally preferable. There's classic for the ages and there's classic for today.

10. Low-Key vs. High-Key: For many headshots, lighting that approaches high-key or is high-key often seems preferable. That's certainly not always true but, often enough, it seems that way. Shooting high-key is not to say you should be photographing your subjects in front of a white or bright background. I'm talking about a reduction in contrast and shadow on subjects' faces for the purposes of the headshot. Low-Key lighting can be used effectively as well but, generally, low-key sometimes seems overly formal or artsy (headshot-wise) and might create unintentional downbeat moods.

11. Go Easy on the Post-Processing and Retouching: How much post-processing and retouching you apply to your images says much about you as a photographer-- more so now in the digital age than ever before. Many photographers' personal styles are built almost entirely on processing techniques. Still, I suggest resisting the urge to be heavy-handed when processing and retouching headshots. While there's a time and place for highly stylized work and utilizing less seen post-production techniques, most of your clients want headshots that reflect their appearances in ways that remain within the boundaries of reality and believability. Excessive processing can create suspicion: Suspicion amongst viewers of the headshot. Suspicion that they're looking at a photo that doesn't honestly reflect the subject's true appearance. Yes, help your clients look as good as they can but don't process and retouch their headshots to the point they no longer appear like themselves. Remember that skin looks like skin! It doesn't resemble the kinds of synthetic materials often used as “skin” on toys and dolls or in the manufacture of plastic trash bags.

Here's another scan of a print of my ex from way back in the day. This one casts her in a friendlier and nicer way.

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I've been working on another ebook. This time out, it's a very different kind of ebook, certainly much different from the two I've already authored and released. This one is called, "Zen and the Art of Glamour Photography."

Yeah, I'm obviously borrowing inspiration (leastwise, title wise) from Robert Pirsig's 1974 best-seller, "Zen and the Art of Motorcycle Maintenance." Pirsig, of course, likely borrowed his title from Eugen Herrigel's popular 1948 book, “Zen in the Art of Archery." And Herrigel likely borrowed his title from, uhhh... well from many writings by practitioners of Zen. So I don't feel as if I'm plagiarizing.

My new ebook has nothing to do with motorcycle maintenance (not that Persig's did either, at least in a big way.) Nor is it about bows and arrows or using archery as metaphor. In fact, this new book has little, if anything, to do with the actual practice of Zen... other than in terms of seeking enlightenment. In this case, photographic enlightenment.

I'm not writing this book in a way that attempts to set myself up as some sort of photo guru or photographic leader on the path to that enlightenment. I am, however, relying on the words of more than a few people who were gurus in the world of photography. People like Avedon and Arbus, Cartier-Bresson and Adams, Eisenstaedt, Feininger, Steichen, Newton and more.

What I'm doing is using the insightful words and ideas spoken by many true masters of photography and then, with those words and ideas in mind, sharing my personal photography experiences and thoughts and ideas in ways that, hopefully, will underscore and validate the words of the masters. I also hope the book will provide more than a few modern-day insights into the many ways photographers might approach their work.

The ebook's focus is mostly on glamour photography, more so than other genres, because that's what I've shot most and know best. But I think photographers who pursue almost any genre might benefit from this book when it's complete. I know I'm benefiting simply by writing it: it's forcing me to put some things in perspective that I might not have consciously thought about or integrated into my photography. Positive things. Possibly game changing things. I should note I'm working to keep the text light and sometimes humorous because I think that's what people expect from me, writing wise, and, more importantly, it's mostly how I roll. This new ebook is more than half-way complete, btw.

Here's a few extracts from the book's intro. Maybe this will give you a better idea of the territories I'm covering in this new ebook:

"The masters of photography, those of whom I've quoted in this book, weren't necessarily speaking directly to all the subjects I'll be covering in this text. Nor were they likely thinking their words might apply to more universal themes. Still, their wisdom rings clear, providing perceptive insights into the many genres of photography and, occasionally, to life itself. Such is the way, I suppose, when true masters speak."

Here's another paragraph excerpted from the book's introduction:

"The chapters of this ebook do not include photographic techniques or lighting diagrams. They don't include gear suggestions or “how-to” tutorials. Instead, they attempt to discover some aesthetic, philosophical, and enlightening truths about this thing we do, this photography thing. I've expressed my version of these truths through personal experiences, observations, and with my opinions. I hope these truths, if truths they be, spark some level of enlightenment within you, helping you integrate into your photographic life the lessons I'm attempting to share and, consequently, help you achieve greater success in all your photography endeavors."

I'm guessing this new ebook won't be for everyone. For starters, it includes no pictures and, as mentioned in the intro extract I just copied and pasted, no lighting diagrams, how-to stuff, or gear touts. But hey! There's no shortage of books that do that! I've even written a few of them and I'm planning to write a few more of those types of photography ebooks. (One of them, already outlined in fact, I plan to begin shooting custom photos for in the next few weeks or so.)

What "Zen and the Art of Glamour Photography" will do, at least I hope it will, is arm you with ideas and insights, photography philosophies and different, more thoughtful ways of approaching your work: ways you might not have previously considered and which might spark a personal renaissance of sorts in your work. We can all use a personal, artistic renaissance once in a while, right? I know I'm long overdue for one.

The three, gratuitous, half-naked, pretty girls at the top (click to enlarge) are (from l. to r.) Ally, Layla, and Ariana. The pic is from a shoot a couple of months ago.

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Photographing models is a collaborative effort. (D'uh.) The collaboration can be between as few as two people, model and photographer, or might be a team effort between a photographer, a model, MUAs, art directors, stylists, assistants, graphic artists and retouchers, as well as clients all collaborating to produce great images.

It's true that photographers get the lion's share of the credit for those images. It's much the same way with motion pictures where most of the credit goes to the director even though so many others were involved: writers, actors, producers, plus a vast array of technical and crafts people.

The Chinese word Ch'i or qi (pronounced "chee" so I'll spell it, "chi") refers to the natural energy of the Universe. While practitioners and proponents of chi might be as diverse as acupuncturists and New Age spiritualists, a key component of chi is harmony. Harmony, as you're probably aware, is often a key element for successful collaborations, including those between photographers, models, and other artists and crafts people.

While it's sometimes easy to think of models as simply subjects (even props) used by photographers to help fulfill their photographic visions -- I'm sometimes guilty of that myself -- subordinating models to that status risks losing the potential of chi (think "harmony") and its impact on producing excellent work. Even inexperienced, first-time models can be valuable team players contributing to a photographer's (and the images') success.

The ancient Chinese sage who came up with the concept of "chi" probably wasn't thinking about photography when contemplating chi but some of the tenets of chi still apply. If you're a photographer and you're leading a team, you should also be working to create harmony amongst that team, that is, working in ways that allows chi and harmony to manifest itself in the process. It can be key to producing awesome photos of models.

How can you, the photographer, promote harmony?
I write a lot about the importance of developing rapport with models. But models aren't the only people you should be developing rapport with when there are more than just you and the model involved in the process. Simply acknowledging the positive contributions of other members of the team can go a long way towards encouraging those people to apply themselves harder (and in more successful) ways to the end result. Listening to suggestions is another way of doing this. That's not to say always incorporating those suggestions is a good idea, it's your vision after all and how you realize it is (or is not) likely going to be (mostly) by your way. That's also not to say you should give away your role as the team's leader. But letting other people know that you consider them valuable assets, even when it comes to their suggestions, even when those suggestions aren't practical or workable or likely to produce the result you're looking for is a good idea for helping to maintain working harmony.

Treating those on your team as important contributors to the overall effort, rather than a bunch of minions or servile pairs-of-hands, can yield very positive results.

Sorry for going all "New Age" on everyone today. For some reason, I'm craving a cup of warm green tea and a bowl of rice for lunch.

The pretty girl at the top is Tara from a shoot about a month or so ago. (Click to enlarge.) She can have chi (and tea) with me any time she'd like.

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Stupid models rock! I'm not talking about models who are stupid, I'm talking about models who get stupid in front of the camera... although probably not in the way you might think I'm saying.

I get asked, often enough, about working with inexperienced models. To be sure, they can be a challenge. Even those of them who are so drop-dead gorgeous that you (are I) might think, "How can anyone screw up snapping a pic of a goddess like this?" (Assuming the photo is close to being properly exposed and in focus.)

The truth is, while there will always be some viewers who could care less about any element of a pretty girl's photos other than the "goods" being displayed by the pretty girl herself, they are not the only audience I'm hoping to reach with my glamour and tease photography. I'll bet lots of you are reaching beyond that group with your pretty girl photography as well.

I am, of course, talking about the more subtle elements of glamour and tease photography: pose, expression, attitude, and more. Those are the things that often separate sexy snapshots from engaging glamour and erotic photos. Add to those elements things like lighting, style, environment, makeup, and more and you're on the way to snapping some really great glam and tease shots.

But let's get back to the posing and expressing and that sort of stuff. When models are new or less experienced, that stuff can be a challenge for them to "nail it" and/or for you to help them "nail it."

Obviously, the more you, the photographer, knows about what makes for good poses and expressions and such, the better your chances are of helping the model achieve good poses and expressions and such. Often, what's standing in the way of inexperienced models "nailing it," beyond a simple lack of knowledge and skill, is insecurity. They simply don't want to look stupid. (Because those poses and expressions make them feel stupid when they're doing them.) So they often are unwilling to let it go, get in the groove, drop their inhibitions, and strike poses and expressions and attitudes that makes for winning shots. (No Charlie Sheen pun intended.)

Fortunately, a newbie model's concerns about feeling and looking stupid can be your secret weapon! In other words, your weapon becomes helping her embrace feeling stupid and using those feelings of feeling stupid to own the poses and expressions that make her feel that way... if that makes sense.

I've said this many times: building rapport with models is a huge part of snapping great glamour and tease pics. When I sense a model is holding back because A) she's inexperienced and doesn't really know what to do and B) she's insecure and C) she's feeling stupid when she poses or engages in those model-like poses and expressions and attitudes, I encourage her to really go all out, that is, to go over the top with the poses and expressions that are making her feel stupid. In other words, to really get stupid in front of my camera! (BTW, they rarely will go too far over the top because, after all, the poses are still making them feel stupid even though I've, hopefully, made them feel somewhat relaxed enough to appear stupid in front of me and my camera.)

I explain to them that, with my camera, I'm only capturing a very small fraction of a single second and, although they might feel dumb when engaging in various poses and expressions, those tiny slices of time are where the really cool pics are hiding even though it often feels totally weird and dumb when they're busting those moves and expressions. I let them know that when a bunch of pics are captured in and round one-hundredth of a second there usually lies, in the many pics frozen in those tiny fragments of time, some really great stuff and I ask her to trust in my experience and skill in finding them.

Have you ever seen the movie Zoolander? Yeah! That's what I'm talking about. If I can get a beautiful, sexy, inexperienced model to go over the top in pose and expression the way Ben Stiller's "Zoolander" character does in that flick, as stupid and silly as some of the poses and expressions Stiller mimicked in that film might be, I know I'll get some great pics!

The pretty girl at the top is Lexi from a shoot a month or so ago. (Click to enlarge.) She wasn't overly experienced but she wasn't overly inexperienced. She ain't stupid either... although I asked her to go ahead and act a little stupid.

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As you might know, I shoot a lot of pretty girls. A lot of them are blonds. They range from dirty dishwater blondes to shiny, near-white, platinum blondes with all shades of blonde in between.

As you might also know, I shoot a lot of glamour and tease. Shooting glamour and tease means I often shoot with accent lights. Those accent lights require factoring in things like hair color (and more) when I'm setting and adjusting my lights. Blondes often present the most challenging subjects when it comes to accent lights.

The blonder the hair, of course, the easier it is to blow it out, exposure wise. Yet, I usually want to see pronounced highlights in that hair, even when it's platinum blonde hair. I'd like to say I'm always successful at doing so but, unfortunately, I'm not. Because of that, I'd rather err a bit on the side of under-exposure when I'm shooting blonde chicks. More so the blonder she might be. I should also note that it's fairly common for blondes to have paler skin. Often, the blonder the paler. Another reason erring on the side of under-exposure can sometimes be more of a blessing than a screw-up.

Digital photography is less forgiving than analog, especially when it comes to highlights. With digital, if you blow out the highlights there's usually nothing left, in terms of detail, to recover in post. That's one reason depending on RAW converters, rather than production exposure, will often fail you. This holds true whether you're shooting landscapes or female bodyscapes.

Here's a couple of things I usually do when I'm shooting blondes:

First, I try to keep my accent lights closer to the model than I might do if she's darker-haired. While that might sound counter-productive to not blowing out details in the highlights, remember that the bigger the light source (relative to the subject) the softer the light. That holds true for accent lights just like it does for main lights. If the light source is smaller (like it becomes the further the light is moved from the subject) it also becomes harder, harsher, and increases specular values. (You might also review Angle of Incidence/Reflection to help you understand how specular highlights work and what you can do, via positioning your lights, to mitigate them.)

Next, since the blonder the hair, the softer I generally want to see the highlights, it also means, (beyond keeping those accent lights closer to the subject) that I'll probably be using modifiers that are large enough to also help keep the light on the soft side. (Again, bigger being softer.)

Finally, the intensity of the light usually needs to be dialed down a bit. When shooting blondes, the contrast values I can get away with are generally lower than when I'm shooting darker-haired models. Why? Well, that blonde hair is often going to exhibit specular reflectivity in more obvious ways than dark hair will. That means greater probability of blowing out the highlights. I'm sometimes surprised, BTW, with how much light I have to throw at some dark-haired models to get some decent highlights going in their hair. That dark hair can really suck up an awful lot of the light! More so the darker and less shiny it is.

Anyway, just some stuff to consider next time you're shooting a blonde model, especially if she's more to the platinum side of blondishness.

The platinum blonde pretty girl at the top is Paris. I had to be careful to keep her hair from blowing out yet still maintaining some highlights in it while also providing distinct highlights on her body. For this set, I used medium-size strip boxes, either side from behind, for those accent lights. Obviously, I was also interested in enhancing the chiaroscuro factor. BTW, here's a short but good article on what constitutes good exposure. Click Here to read it.

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Are you shooting more yet not seeing much improvement? Do you invest more and more time and money into your photography yet don't see the results you're hoping for? Do you sometimes feel like your spinning your photographic wheels? Maybe it has less to do with being determined to improve and more to do with how you're going about the task of improving?

Below are some myths I hope to either dispel or put into context as a means of helping you not suck at photography. Even if you don't suck, but you recognize there's room for growth and improvement, you might find these notions helpful. I know I do. You might have read some of this before, here or elsewhere. Repetition isn't necessarily a bad thing. Certainly not when it comes to learning and improving our skills.

1. Better Gear = Better Photographs: The only people who believe that (and I'm not convinced they really believe that... not really and truly) are the people making and selling that gear. Better gear is cool and it can help you become more efficient and offer you more choices and capabilities but, when it comes right down to it, better photos are products of creativity and skill, not better equipment.

2. Experts Are the Only People Worth Learning From:
While it's true there's much to learn from the experts, there's also much to learn from photographers of all levels of skill and experience. There are more than a few non-expert photographers who are playing around with ideas and techniques and approaches to photography which might be non-expert or lacking in experience or technical know-how but might still include ways of doing things that are fresh and original and capable of sparking some cool ideas, perhaps even an occasional photographic epiphany, in your head.

3. Practice Makes Perfect: There's a lot to be said for the value of practice. Everyone needs to practice. But there are different ways to practice. If you're practicing doing what you're doing the same way, over and over, you'll probably get good at doing things that way but you won't grow and you won't learn how to do things differently. You probably won't produce different results either, including better or more exciting or rewarding results. You might even practice your way into being the best at shooting photos that suck! Instead, try practicing doing things differently. And when you discover different ways to do things that yield promising results, practice doing those things that new way. Then, when you've become comfortable with doing things that new way, move on to something else that's new. (A caveat: If a client hires you to shoot in ways you're quite practiced at, it might not be a good idea to suddenly surprise them with a new style or approach.)

4. Auto Modes Make Photography Simpler and Easier: That's definitely true, especially if your goal is becoming the king of mediocre and pedestrian photography. Yeah, there's times when shooting in auto mode is your best choice for more than a few reasons. But always shooting that way stymies your growth as a photographer. When you move into the worlds of semi-auto (like aperture or shutter priority) and manual, it forces you to think about light and exposure and aperture and shutter speed and many things that will enhance your work. Shooting in semi-auto modes or in manual is the surest way to learn what works, why it works, and how to make things work.

5. Invest As Much Time As Possible Mastering Photoshop: It's true that in today's digital photography world, knowing your way around Photoshop or other processing software is important, but not at the expense of knowing your way around your camera, lighting, and production in general. If you're spending most of your time trying to process photos that suck, or photos that aren't that good, into photos that are, good that is, you're not progressing on the photography learning curve. You'll probably spend most of your time frosting turds or trying to dress-up otherwise lackluster photos. That might be fun for some... but a good photographer it does not make.

The demurely posed naked pretty girl at the top is Arianna from a shoot about month ago.

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Kimono is one of traditional clothes in japan.

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Cute and hot girl, she have talent to be great model

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She is one of Indonesian model. she came from Surabaya and nos she
live in Bali. Don't say if you never came to Bali. In Bali she work as
Model for one company. In Bali she live in Nusa Dua.

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When I first started using the 4th floor as a studio as opposed to the 2nd floor, I was both looking forward to new shooting possibilities and lamenting the loss of others at the same time. I was losing the tall windows that people could stand in, as well as the shower that I built from scratch and loved so much. On the other hand, I was gaining a much larger shooting space, as well as access to the adjacent rooftop. At first I wasn't sure how to best utilize the rooftop. There is a stucco wall which looks pretty nasty because there is a vent that blows exhaust from the restaurant below. At first I really despised this, because it represents everything that I dislike about Chinatown. Someone with some respect for others could have easily blocked and/or diverted the exhaust. Instead it just blasts away directly at my bathroom window (and the surrounding wall), so that the window had to be permanently sealed up a long time ago. Looking at this wall just pissed me off. Actually, I initially tried shooting on that wall- with a flash fill-in because it's in the shade. I didn't like that look. So later I tried shooting with out the flash, and the raw images looked very flat. Thanks to the wonders of Photoshop, I was able to really give the wall some pop- and make the grime look as grimy as it deserved! That awful wall is now one of my favorite places to shoot against.

Adrian Louise is someone that I just recently started working with. I have not really taken on anybody new in the past year, and I tend to be apprehensive about doing so. This is because I'm very happy working with the few muses that I now work with, and who never let me down. Well, Adrian Louise is awesome! I've worked with her twice now, and plan to keep working with her! As a side note, she really dislikes her scar from an abdominal hysterectomy. Of course, I really like it. I love scars- they tell a story, and the more extreme the better. So I remove the scar for her pics, and leave it in for myself. Oh, by the way, Adrian Louise is a very serious foot fetishist- more to come with that...

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More explorations of texture. I'm not looking forward to winter ending, as goose pimples will be much harder to come by.

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Mara had seen some of the photographs that I took of Meredith, and mentioned that she would really, really want to shoot with her. The feeling was mutual for Mer, so that was easy. In fact it always seems to be easy to get two girls to do a shoot together- I can't recall ever getting a decline after suggesting it. It's actually much harder to get a guy to do a shoot with the girlfriend or wife. The woman is always game- it tends to be the guy who is apprehensive. Guys tend to not like having their performance documented. I actually had a few shoots not materialize because the guy got cold feet. It was something that was a bit frustrating at first- getting guy/girl shoots was something that I really wanted to add to my portfolio for a couple of reasons. One reason was aesthetic- I wanted some balance, since a lot of girl/girl looked unbalanced. The most important reason was that I knew that once either a woman and/or couple viewed my portfolio, and saw some images like that, then they would be inspired to try it as well. Which is exactly what happened. People don't always know what they want until they see it. Not everyone has the imagination to envision possibilities, nor do they necessarily want to be the first to try something new. But when they see a good example of how it will turn out- it definitely breaks the ice. That's how I wound up doing so much erotic photography in general. It's a domino effect. When people see my work, they often get a very visceral reaction- "Oh, I want to be involved in that!".

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Martina Tasevska for Biljana Karan Fashion Editorial

Martina Tasevska for Biljana Karan Fashion Editorial
Martina Tasevska for Biljana Karan Fashion Editorial

Model: Martina Tasevska
Photographer: Osiris Ramirez
Make up: Cska
Designer/Stylist: Biljana Karan
Editorial: Spring/Summer 2011
Place: Miami Beach

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Watch Online Monica Bellucci Values Respect and Loyalty in Her Marriage
Mon, 14 March 2011 04:21:58 ET

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The Italian actress always puts respect and loyalty before fidelity in her twelve years marriage life with Vincent Cassel.

Monica Bellucci wouldn't mind her husband being unfaithful if they were apart for a while. The 46-year-old actress, who has daughters Deva, six, and 10-month-old Leonie with spouse Vincent Cassel, values respect and loyalty more in a relationship than fidelity.

She said, "Passion you can feel for the worst man you ever met. But that has nothing to do with a deeper partnership. In such a one, passion stays, but more important is confidence, respect, knowing a man is not just loyal in a sex way, but that they will be there for you. That is more important than just fidelity. It would be ridiculous to ask [fidelity] of him if I hadn't been there for two months. You can't ask such things as who has he been seeing, what has he been up to? It is more respectful and realistic to take the view that you'll be with me when I see you."

The brunette beauty insists she is still besotted with her husband, who she married in 1999, but admits there are times when they don't get along.

She told Style magazine, "I think he's sexy. It's important to go on thinking that about your husband. But Vincent is not a normal man. Sometimes I love him so much, sometimes I want to kill him."

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Kim Kardashian: It doesn't matter if you have a valentine or not - just love yourself and be your own.

Kim Kardashian: [on Jessica Simpson] LEAVE HER ALONE!!! She is so drop dead gorgeous, and the fact that the media is sending this message out to young girls is mind blowing!

Kim Kardashian: I love curves. Being super skinny just isn't attractive to me.

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We're fast approaching the point of too much Kardashian (quite frankly, I think we may already be past that point). Ryan Seacrest and his minions need a new formula, because the current one of Kim plus Kourtney and too much of Scott Disick isn't working.

Once upon a time Kris and Co. were a guilty pleasure, and we'd happily wait around for Khloe to tip Kourtney upside down like a teapot.

Here in the city that never sleeps, though, the viewers find ourselves dozing off during Kourtney & Kim Take New York. Why are we so bored, you ask?

K&K Take NY

It's the dynamic between Kourtney and Kim. We've been over this a few times. As sultry (and a bit slutty) as Kim Kardashian might appear on print, she doesn't have much on-screen appeal.

The only time we get a chuckle out of the buxom brunette is when Kourt and Khloe make a joke at her expense. We're all well aware now why Kourtney and Khloe play favorites with one another - it's because Kim is snoozy and a little self-centered.

If we're going to be forced to endure more Kardashian invasion, let's at least bring in the players that entertain us. Even Kourtney's struggling to keep our attention this go-round, and giving Scott more airtime isn't helping things.

It was much better when he tinkered around in the background. Remember season one of Keeping Up With The Kardashians? He was just Kourtney's younger boyfriend, sometimes around for tapings, but oftentimes on the other coast.

Let's revisit that formula, because it worked well for everyone.

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Not a fan of the show, but defiantly a fan of her body. And at 30, she’s looking better and better.

these sexy new snaps of KIM KARDASHIAN are simply jean-ius.

The new magazine shots show the Keeping Up With The Kardashians star in a string of sexy poses.

In one saucy pic, Kim, 30, poses in unzipped denim with just her arms covering her from exposure.

In another shot, the
curvaceous reality babe makes the breast of her natural assets in a frilly red bra and denim waistcoat.

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We were tempted to spell “clothing” and “coming” with a ‘K’ in the title in true Kardashian fashion, but we refrained. And you’re welcome. First came Kardashian Konfidential…now comes Kardashian Kollection available at Sears!

i love kim kardashian so sweet

Kim, Kourtney and Khoé Kardashian’s new

Kardashian Kollection available at Sears will feature approximately 40 clothing pieces, 20 lingerie styles, 60 pieces of jewelry, 30 bags, 25 hats and gloves, and 12 pairs of shoes,”

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Reuters - Steven Soderbergh says he's done with Hollywood.

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Kim Kardashian
c/o Representative
City, State Zip

Reality TV Star, Actor

Birth Date: October 21, 1980 Age: 30

Charitable Causes:

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Watch Online Mila Kunis Is Not to Be Blamed in Justin Timberlake's Split,
Mon, 14 March 2011 02:02:24 ET

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A source close to Justin has confirmed that his 'Friends with Benefits' co-star is not responsible for the break-up of the actor from Jessica Biel.

Contrary to swirling speculation, Mila Kunis didn't come in between Justin Timberlake and Jessica Biel. People magazine reported that a source close to Justin has slammed the rumor, insisting that "Mila had nothing to do with their break-up" before adding, "In fact, no one came between them. They decided their relationship ran its course and it was time to move on."

Responding to suggestion that Justin made his move on with Mila after the split, the insider was adamant that the "Friends with Benefits" co-stars are "not in a relationship." The source explained, "They star in a movie called 'Friends with Benefits' but they're just friends. That's it. They are not together."

In the meantime, Justin's ex Jessica has been spotted all smiles when leaving Cafe Entourage in Los Angeles on Saturday night, March 12. Enjoying a night out since announcing her break-up from the singer, the 29-year-old was dressed in jeans and a leather jacket with a long feathery earring. She was celebrating the birthday of her younger brother, Justin.

E! News also reported on another of Jessica's night out post the break-up. It took place at Soho House one night earlier on Friday, March 11. Words are, she and a group of friends enjoyed some male company. "She was sitting in between two guys who both seemed to be vying for her attention," so an observer shared.

"She was laughing and talking animatedly with both of them until another girlfriend wedged in on one side, and then the two began talking closely," the witness continued on. It was said that Jessica and her friends stayed there for several hours. They were seen laughing, drinking and eating.

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Kimberly Noel "Kim" Kardashian (born October 21, 1980) is an American socialite, television personality, actress, model, and recording artist. She i

s the daughter of late attorney Robert Kardashian, and is known for a sex tape with her former boyfriend Ray J as well as her E! reality series which she shares with her family, Keeping Up with the Kardashians.

Kardashian's prominence has increased as of January 2011 with the premiere of Kourtney and Kim Take New York, the second spin-off of Keeping Up with the Kardashians (the first being Kourtney and Khloe Take Miami), debuting on E!, with the series following Kim and sister Kourtney Kardashian as they leave Los Angeles to open a third D-A-S-H store in New York City.

Kardashian has launched multiple fragrances, guest starred on numerous shows, competed on ABC's Dancing with the Stars, and has had roles in movies such as Disaster Movie and Deep in the Valley. In 2010, Kardashian, along with her sisters Kourtney and Khloe, released an autobiography, Kardashian Konfidential, and plan to launch their own fashion line.

Kardashian was born in Los Angeles, California, the daughter of late attorney Robert Kardashian and Kris Jenner (née Houghton). Her father was a third generation Armenian American and her mother is of Dutch and Scottish descent. Her paternal great-grandparents immigrated to Los Angeles from historic Armenia (then part of the Ottoman Empire, now in Turkey). Kim's last name in Armenian (spelled Քարտաշեան in Armenian) means "son of a stonemason.

" Although only half Armenian, she states she was raised with a huge Armenian influence, always hearing Armenian stories, eating Armenian food and celebrating Armenian holidays.

Kardashian has two sisters, Kourtney and Khloé, and one brother, Robert. She has stepbrothers Burton Jenner, Brandon Jenner, and reality TV star Brody Jenner, stepsister Casey Jenner, and half-sisters Kendall and Kylie Jenner.

She attended Marymount High School. During high school, Kardashian worked at her father's music marketing firm, Movie Tunes.

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