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Fine Art Nude Photography

Lesson 15 of 15

Nude as Creative Canvas: Splatter Paint Torso

Lindsay Adler

Fine Art Nude Photography

Lindsay Adler

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Lesson Info

15. Nude as Creative Canvas: Splatter Paint Torso

Lesson Info

Nude as Creative Canvas: Splatter Paint Torso

So I did this, a version of this, as a beauty shoot. So what I did was I cut a shape around the outside of the model's face, put it through the canvas and then we painted on it. So I decided, since I call part of this section the "Nude as the Creative Canvas," let's actually put her in a canvas. So what we did is we bought an inexpensive canvas, and we cut out the shape of her body standing straight through it. So what we're gonna do it we're gonna put her in there and then we're gonna maybe add her paint, paint on her, I mean, just have fun, like, that's fine. What I would do is for my own purposes, is I would do, if I had two canvases, I'd do one for the front, and I'd do one for the back. So then I have two different places to try painting. But we're gonna put down some drop cloth. (tarp crumpling) Thanks, guys. Are you gonna do it folded or open it? Okay, this side, great. There we go. Alright, perfect, do you need anything taped or anything or are we alright? Okay, alright, wh...

at next? She wants to hold it instead of standing in it. Oh she wants to hold it? Yeah Okay, if we got people to hold it, then cool. You had to hold your own thing? Okay. We're going with that one. Oh, that one? Yeah. So we cut out two, we did one where she had her leg crossed, but it didn't fit flat because she had a curve. So we did one straight on, in this case, I don't care if she's hidden, well if she's hidden, but we'll paint so it's okay. So she's actually holding it or we have people holding it? She's holding it. Really? But you could have other people doing it if you want. I mean, I just don't want her to get tired holding it. Okay, cool, it's perfect, so it'll be right. There, it looks a little different. Joanna, can you get Adam real quick, who cut it? I'm thinking, I'm just trying to figure out if I need to press her through or what to do. Okay, cool. Alright, thank you. And I'm thinking, let me take a test before we paint anything, so obviously we figure out how I want my light. (camera clicks) And I'm gonna pull it off to the side. Adam, how did that sit? Cause it's shifted, right? Yeah. Okay, thanks, okay set very carefully, thanks. I'm gonna move my light off to the side so there's more dimensions you see the chest. Cause if we cover it in paint, thank you. Okay, alright. Sorry I won't squish you too much. Alright, right there, okay. There it is. Okay, that's it. See, we're like, we're getting there. Okay, is it just a little too tall? Okay. Can I help you? Yeah. Yeah, good, yeah much better, okay cool. So I'm gonna just, yeah push through it there. I like that, great. Only if the apple box is getting dirty, do you guys care? Do you have garbage bags you want on 'em? Okay. Listen, one of my apple boxes has blood on it. Okay, makes for a good story. (giggles) (camera clicks) Okay, so I like the sculpting, but it gets too dark, so John can you add fill on the right? I like that it carves her out, but I don't want it to be darker on one side. So we're just gonna add fill. Again, I think this is the large umbrella white. And I see if I like to shoot it from here. (camera clicks) Okay, cool. (camera beeps) (camera clicks) Alright, I think. (camera clicks) I'm trying to see if I like to shoot it from the side for more dimension instead of straight on, or what. That looks good right there. Okay, so I think, let me just get the one last shift, because I think it's shifted again. I think it's there, and then can we just move your legs a little bit to your right, good? And you can put your feet forward, if that helps. Okay, that's good. I don't know if we can, I think this chest is supposed to be higher. I'm just taking a look, oh right there is, okay so relax, right there! Okay! Let me get a picture, okay, let me get a picture like this. (camera clicks) Okay, good, John can you bring it more out to the front just a little bit, I'm getting a little bit of cross light. (camera clicks) How bad does that ruin all my camera views? (audience laughter) I know you, I'm sorry guys, probably crappy, alright. (camera clicks) Okay, I'm ready for my painters, my lovely collaborators. And I don't know if everyone noticed online, we have a splash zone in the front here. Yeah, or you can put it there, that's fine. Wherever, if you want it to be closer, that's probably better than to drip on the wood floor. Put it on the tarp. Alright, we put it on the tarp instead of the floor. Alright (camera clicks) So I'm gonna shoot wider than necessary cause then I can crop however I want. So, you do you, I'm gonna just shoot the crap out of this. Eek, so those apple boxes are goners, you know that right? Okay, and wait, so when you get it, periodically just step out of the frame, okay? No problem. Cool, thanks guys. Is it alright if I step on this line here? Yeah, totally, just don't step so far, step right here. Good, alright. No tripping, don't die, okay. (camera beeps) (camera clicks) Cool. Alright, hold on, let me get one picture before you do the next one. (camera clicks) Hold on. (camera clicks) Alright, go for it. (camera clicks) That's a good one, that was a serious one. I meant it. I could tell you meant it. Okay, cool. I kinda want to be the one painting, it's super fun. (mumbling) Gosh, we love makin' a mess. That's my favorite, okay. (camera clicks) (giggles) Good. Alright, so can we take one step back for a sec? I'll just make sure it's not in my light. You're okay. Alright, now I'm gonna change my angle, gonna shoot from over here real quick. (camera clicks) And I'm gonna try one with this off. (camera clicks) Cause I will probably go in and Photoshop out any of the creases, so you'll see it in a second. And then I turn off the light, So I kind of like that, but I think maybe I like it but really low, that lowest power. Alright, well we'll see, I might do a reflector instead. Okay, so can you take your right foot and just squish to the right just a little? Good, and now, yeah, and now push through again. Alright, back up a little bit. Hold on, don't move. Good, right there, okay, let me just test. (camera clicks) Yeah, I think a reflector is probably better. And Jess, can you help move this one? Oh here, here I'll cover it, can you just help move the strip out? Thanks, Jess. (camera clicks) Alright, there we go let's try that. Good, that's better fill, good. So we're using a weight reflector. Cool, let me get some from over here. And just a tiny bit down, just a little bit. Cool. (camera clicks) Alright, cool, so you're ready for more mess? Yeah. Okay, got for it. (camera clicks) So yeah, if you wanna do a couple real close to the edges and so just don't move, because I want to see the fact that it overlaps. So it shows she's in a canvas, like right around, yeah. Good, cool. Oh yeah, I really got ya that time. We got the floor more than her. Cool, that's alright. Alright good, let me test that. I hope that there's not too much light, here. Oh yeah, thanks. Cool, alright, let me try a couple angles here. Alright, so take the stomach real quick, squeeze, good. (camera clicks) Oh wait, move. Okay, sorry. No, moving the lights is not a problem. Okay here we go, good let me try that again. (camera clicks) Make sure that all looks good. Yeah, I like that, alright let me just take a few more. I'll do one from over here. Let's see, push through just a little more. (camera clicks) There's a space on your right-hand side. Right there, yeah, try that, I'm gonna try to stick it in. There, try to put the pressure there. Okay, good. (camera clicks) Okay, cool, okay wanna do one more set? And then we'll wrap it up? Heck yeah. Okay cool. And so what I'm gonna do when they're done, I'll have them step out and I'm gonna do close-ups, body parts, abstract, I'll try it from the right, I'll try it from the left, and the reason is, is that I like this when I'm shooting from the right because it gives more dimensions so I can see she's actually pressing through it. But I do want to try some on the left, and then I'm gonna try poking in the canvas a little bit so it's more form-fitted but I didn't want to mess it up before it was ready, okay. You guys think, good? Anything, I think it's good, so I'll just shoot it. Thank you guys, cool. Alright and, it's on your shoe, And now you just have purple shoes, it's good. Yeah, cool, thank you guys, you did an excellent job. (mumbles) Cool, thank you, alright. Thank you, Opal (giggles). Hope you're okay! (camera clicks) Good, alright let's see this, it looks so cool! Alright, let me shoot. Cause what I'm gonna do, I'm actually gonna crop out the bits, the top and the bottom, so here we go. (camera clicks) Yeah, like that's super cool. For abstract, like I like it, I think that's super cool. So let me shoot more of those. (camera clicks) And I like that the paint is now dripping so it's not so perfect. Oh, also, I'm gonna be like them. I don't want my shoes to get dirty, okay. Let me shoot one from over here and see how I feel about it. (camera clicks) Hmmm, I think I like the short light side better. It's cool though, for a couple. (camera clicks) Okay, let's see, so this is when I shoot, I get really excited, can you tell? Alright, so I'm gonna switch a couple angles, and then I'll wrap it up. Let me do a couple more short light, and I'm gonna try to push it against your skin. How's your arms? The arms are fine. Okay. How's whatever else? Yeah, no I'm good. Okay It looks great. So she's like, "it's good, it's worth it," okay. Good, I'm almost done. (camera clicks) I really want this stuck in, John? Can you do something to make that stay in? I don't know if you can. So what I would do with more time is I'd probably take fashion tape, something like that. No, I want it flush against her skin, 'cause it's stretching out. So there actually is something that you can do, to put on canvas to make it firmer so it doesn't, it doesn't bend. So what I would do is I would do that the next time as I try it with the firmer. That's it? It's okay, don't worry, it's fine. I'll wrap up now, alright so here we go. I'm gonna have you push this way, a little less. Come right there, okay good, right there. Let me take a couple more of the chest. (camera clicks) And can you pop this out, it just shifted a little. Okay, alright, and I see the paint's getting kind of squishy so it's probably, it's probably good. Alright, awesome, okay, so now what? Okay, so, hold on let me help you. Alright, I'm gonna hold this, then you can step back. Cool? Mm-hmm. Alright, thank you, this has been actually, so I'd probably just shoot that too if I were shooting this but, okay, thank you so much, you're wonderful. Oh, see that's cool! So you've got slippers on? See that's super cool, I love it. Alright, great, so looking at this, I'd probably go with you know, I like this kind of thing. Get the close ups, like those, thought that was cool with the paint. But that still looks great. And I crop in to get rid of the edges. Let's do something like that. And I'd probably set it off-centered, try to figure out what composition cause I don't like it being so in the center. And then I can play with my saturation, play with my vibrance, pump up all of that. So you get the idea of the direction I was going.

Class Description


Fine Art Nude Photography is about capturing the beauty of the human form. Using light, shadows, posing and creative expression, you can bring out the beauty of your subjects and the human body. Since communication is of the utmost importance when photographing nudes, Lindsay Adler will discuss the etiquette of preparation, setting expectations, directing and working with your subjects. She’ll cover posing techniques and tips on what to emphasize and what to avoid, and discuss the importance of lighting and how it affects the body form. Lindsay will also discuss how to push yourself creatively while maintaining a tasteful and artistic vision.
You’ll learn:

  • Common posing mistakes and what to watch for in your subject while directing 
  • What modifiers and lighting setups work and how they impact the appearance of the human form 
  • How to accentuate muscles, shapes, and lines with light and camera angles 
  • Exploration of creativity with the use of body paint and fabric and other props
Whether you are pushing yourself in your boudoir photographing, offering a unique portrait session or exploring your personal fine artwork, this class will elevate your creative process, both technically and artistically, when photographing the nude form. 

Included with the purchase of this class are videos that were not aired during the live broadcast. These additional lessons will continue to further your fine art education. You can download all additional videos by clicking on the "Class Materials" tab.



Amazing speaker, instructor and great photographer. The lighting and posing technique is imperative but she gives a lot of small tid bits and tricks that have already set me apart from other photographers. I love her work but I love her teaching style more. I recommend all her classes!

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It is a delight to watch someone who has so much passion for her art and Lindsay exudes passion and accompanies that with a great teaching style. She shares her knowledge and has a lot of great tips. I think this class makes a great intro to the subject. For me, this was time well spent.


I love Lindsay's teaching style and all the insights she gives. I did my first fineartnude photoshooting applying everything I learned on this course! Thanks Lindsay you are a true inspiration and a great help during my photography journey.