Four
ingredients are necessary to achieve beautiful looking skin in portrait
photography: a healthy and rested subject, makeup, good lighting, and
talented retouching. Other than recommending a good night’s sleep and
drinking plenty of water, there’s little a photographer can do to change
the given subject. Makeup, however, can balance skin tones, correct
most skin imperfections, and even change the perceived shape of a
subject’s face. Makeup applied well will also boost the effects of good
lighting and minimize the work needed later in retouching.
Fashion
and glamour photographers know the benefits of makeup and usually have a
makeup artist on set. Portrait photographers are often not that
fortunate. Typically, they work with the makeup — or lack of makeup —
the subject wears, then correct for shine, blotches, and uneven skin
tone in post-production. But, with a few makeup supplies and a bit of
practice, any photographer can develop enough skill to apply basic
makeup and improve a portrait right from capture.
This tutorial
suggests what you might want to include in a makeup kit, introduces the
basics of makeup application, and covers the important considerations of
hygiene.
The Tools
Makeup artists
spend hundreds of dollars on equipping their kit, but you will only need
a few items to apply basic makeup before a portrait. That said, there
are two important points to consider.
Cheap products usually give shoddy results. You don’t need to
purchase the very best but I do recommend you shop in a reputable makeup
store, at the cosmetics counter of a department store, or in a pharmacy
with an expanded cosmetics section. Some ideal products can also be
purchased online
More people are demanding cosmetics that are free of animal testing
and animal byproducts. People are also increasingly resisting or are
sensitive to harmful ingredients often found in cosmetics. Anticipate
these potential objections and purchase cosmetics and tools that are
animal friendly and free of the worst of the harmful ingredients
Brushes and Applicators
I recommend
beginning with a kit of three brushes: a face brush, a blush or powder
brush, and a concealer or lip brush. A number of companies now make
animal-free brushes from bamboo. They are soft, durable, inexpensive,
and clean up easily. If you’re looking for brushes that can withstand
some abuse, spend a little bit more money and purchase good quality
synthetic brushes. Be sure, however, that the larger synthetic brushes
are very soft and pliable.
Face brush: the largest and fluffiest of makeup brushes, often about 2 inches wide with the bristles curved in a rounded shape
Blush
or powder brush: a medium sized, soft brush, 1 to 1.5 inches wide with
curved edges. This brush will serve double duty, so avoid purchasing a
small blush brush.
Concealer or lip brush: a small brush, about 0.25 to 0.5 inches wide, with ends tapered to a rounded point
Wedge-shaped
disposable sponges are handy for all sorts of things. Look for these
packaged in a round or square shape, scored to be torn apart into
wedges. (Tip: Disposable makeup sponges are also a great tool for propping up items in a still life.)
Cotton
swabs are indispensable and useful for many tasks. Splurge for a
brand-name product with tightly wound swabs. Budget swabs often cause
more of a mess than they clean.
Popsicle sticks or tongue
depressors are also useful for a number of things. Check your local
craft shop for inexpensive boxes of sticks. This is one product to
purchase as cheaply as you can.
Disposable hand towels are
another indispensable product. Tissues are not strong enough. Paper
towels are a good second choice but they are not as easy to pack in a
small kit.
Blotting film or facial blotting paper is the last
disposable item to add to your kit. The films or papers will come in
small cardboard packages of about 30 sheets. They are inexpensive and
you’ll use these a great deal, even if you don’t apply any makeup at
all.
Cosmetics
You will be able to
apply basic makeup with a surprisingly small kit of makeup. You may wish
to add more or different products if you find you’re often applying
makeup, but begin with just the basics.
Translucent loose setting powder: This powder will have a very light
skin tone colour in the jar but applies neutrally on almost all skin
tones. Mineral-based powder is popular and works well. If you are
feeling adventurous, mineral-based loose powders can also be purchased
with more colour. With practice, you can match almost any skin tone by
blending from a combination of three, perhaps four, basic shades.
Concealer: This is an inexpensive staple for any makeup kit. You can
purchase a small pot of each of three shades of concealer cream (light,
medium, and dark), but if you have the patience for shopping, I
recommend looking for what is often called a “concealer wheel” or
“concealer palette.” This single container will contain light, medium,
and dark skin tones plus yellow, green, and light purple or pink.
Blush or bronzer: It can be tough picking just one blush or one bronzer that will work on most skin tones, but NARS
makes both, which can often be purchased at holiday time as a pair in
one case. Look for NARS Orgasm blush and NARS Laguna bronzer. I have yet
to encounter a situation where this blush/bronzer duo has failed me.
Blending the two shades will work on skin tones that don’t take either
the blush or bronzer on their own.
Rice powder: This is a very fine, light, loose white or very pale
powder used for absorbing excess oils and highlighting features. Be sure
to purchase the real thing and not a chemical substitute. Real rice
powder will go on almost invisibly; chemical substitutes will add or
change colour. If you’re unable to find rice powder in the cosmetics
shops, try a theatre supply store. This is not an expensive product.
Lip gloss or cream: As with blush and bronzer, it can be difficult
to find just one lip colour that will look attractive on all skin tones.
It’s rare that a woman will arrive for a photograph without her
lipstick in her purse, and most men would rather give lip treatments a
pass. Still, I recommend keeping a pot, squeezable tube, or stick of
clear lip gloss, and if you wish, a few tinted lip balms. Do not
purchase lip gloss in a long container with a stick applicator. It is
almost impossible to use gloss this way without contaminating it.
Cleaning Products
It is absolutely essential that you keep your hands, brushes, and cosmetics clean.
Hand sanitizer: Any one will do, although I recommend avoiding any
sanitizer with a heavy scent. Wipe your hands well with sanitizer before
and after every makeup application.
Brush cleanser: Look for a conditioning brush cleanser in a spray
bottle, or purchase a small spray bottle and fill it with isopropyl
alcohol. Spray every brush thoroughly when you are finished a makeup
application. Let the spray sit for a minute or two on the brush, then
wipe the brushes clean with a disposable hand towel. Brushes that have
been used with blush or contour may need a few cleanings to remove all
of the makeup.
Cosmetic sanitizer: Isopropyl alcohol in a spray bottle will also
work as a cosmetic sanitizer, but it will discolour makeup with repeated
use. A better choice is a sanitizing mister made especially for
cosmetics. Makeup artists swear by a cosmetic sanitizer made by Beauty So Clean.
It can even be purchased in very small portable spray bottles. Lightly
spray all cosmetics with sanitizer after every makeup application and
leave the cosmetics open for a few minutes to air dry.
Applying Makeup to Women
Most
women will have taken some care to apply at least the minimum of makeup
before being photographed. To be sure they have, suggest when arranging
the photography session that they apply face cream and foundation before
arriving for the shoot. Also remind them to be certain to bring their
lipstick with them.
When your client arrives, assess each step
before applying or correcting your client’s makeup. Your client’s makeup
may be just fine or may only need some minor touchups. Only add or
repair what’s needed.
Blot and Conceal
This
is a critical stage of applying makeup for photographs. Done well,
blotting and concealing will transform skin irregularities and save a
great deal of retouching later. Done poorly and you’ll spend moretime retouching.
Your
first step is to use blotting paper to blot up any obviously oil spots.
Simply press the blotting paper to the oily area, lift, and repeat as
necessary, using a clean section of blotting paper each time. Do not rub!
Then,
using your smallest brush (the lip or concealer brush), dab concealer
on blemishes, dark under eye circles, and any other area needing a bit
of correction. Dab on a bit of concealer with your brush, wait a minute
or so, then use a clean finger to lightly dab the concealer to begin to
blend it in. (You will finish blending in the next stage.)
Applying
concealer demands that you think about colour theory and shading. Apply
green to red blotches, yellow to purple-blue under eye circles on olive
or tan skin, and light purple or pink to under eye circles on fair
skin. Then use a flesh-toned concealer the same as, or slightly lighter
than, your client’s skin to even out the corrections. Consider using a
darker flesh-toned concealer to make areas recede (for example, on a
prominent nose bump) or a lighter flesh-toned concealer to bring areas
forward (for example, on sunken skin below under eye circles).
Correcting or Balancing Foundation
With
excess oil removed and any blemishes covered, check your client’s
foundation. Some women are generous in applying foundation or fail to
adequately blend foundation along the jaw line. If this is the case with
your client, dampen one of your wedge sponges and use it in light
gentle strokes to even out the foundation. Pay particular attention to
her jawline and hair line, ensuring any makeup lines are smoothly
blended out.
Some women may not have applied quite enough
foundation. If this is the case, use your largest brush (the face brush)
and brush on lightly tinted setting powder. This is also when you might
apply tinted mineral powders if you’re experimenting with those. Or, if
your client has very dark skin, use a popsicle stick and scrape a tiny
bit of contour into some tinted setting powder. Powder will not provide
deep coverage, but it will supplement a thin application of foundation.
Blush and Contour
If
you’ve never applied makeup to another person, this stage will
initially feel awkward using a brush and makeup in this way. Practice in
advance by brushing makeup onto white sheets of paper. Watercolour
paper is ideal for practising because it mimics the feel of skin. To get
the most out of your practice, download a blank face sketch from the
Internet, print it on watercolour paper, and practice applying makeup to
the sketch.
When you are ready to apply blush and contour to your
client, ask her to smile broadly. Use your medium-sized brush (blush or
powder brush) to apply blush from the apex of the apple of her cheeks
in a very slight curve down and then up, almost to her ears. Brush the
blush on in light strokes, brushing on more makeup in layers until
you’ve achieved a look that is slightly more dramatic than natural.
Next,
ask your client to suck in her cheeks. Use your blush or powder brush
with your bronzer to lightly apply a bit of contour in the sunken area
of her cheeks from about mid-cheek back to hair line. A little
contouring goes a long way. When you begin feeling more confident
applying contour, consider applying it down the middle of a woman’s
nose, at her temples, and on the tip of her chin. This will make your
client’s face look a bit thinner.
Blending
For
good makeup application, blend, blend, and blend some more. Begin with
your large face brush and lightly sweep in circles to begin to blend in
the edges of the blush and contour you’ve applied. Finish blending by
using your face brush to lightly brush on some light flesh coloured
translucent powder.
Highlight and Manage Shine
Rice
powder can be used at this stage both to add some highlights to your
client’s face and to tone down any shiny areas. To add highlights, use a
clean blush or face brush (be sure you’ve cleaned it of blush and
contour), dip the tip of the brush in some rice powder and gently touch
the rice powder onto the areas you wish to highlight. Then use your face
brush to blend.
Adding highlights to either side of the bridge of
your client’s nose — near the inside corners of her eyes — will
brighten her eyes. To lift a tired look, add a bit of highlighting to
the very top of her cheek bones near the bottom of her eye sockets,
particularly toward the outer corners of her eyes toward her temples.
If
your client has some shiny areas — and this may be all you need to
correct for some clients — apply some rice powder on the shine using
your face brush. Go lightly; it’s easy to over-correct and end up with
overly pale looking skin.
Lips
Finish
by ensuring your client’s lips are smooth, polished, and moist looking.
If your client has brought her own lipstick, have her use that. If,
however, she did not bring it or her lips need a bit of moisture or
shine, use a popsicle stick (or tongue depressor) to scoop a bit of lip
gloss out of a pot or to scrape a bit of tinted lip balm off the tube.
Apply the gloss or balm from the stick with a clean concealer or lip
brush. Don’t use your fingers or let your client use her fingers; more
gloss or balm will remain on your fingers than on your client’s lips.
Assess
At
each stage, step back from your client to assess what you have applied
or corrected. You can always layer on a bit more makeup where needed,
but it’s difficult to neatly remove too much makeup. Before and after without retouching. (I asked my model to apply her own mascara.)
Applying Makeup to Men
To
my surprise and delight, I have never had a man refuse my suggestion of
a bit of corrective makeup. Typically, I limit makeup application for
men to concealing and managing shine.
Blot and Conceal
Always
use blotting paper on a man’s skin before applying any concealer. Men
naturally produce a heavier oil on their faces. If the oil is not
blotted, concealer will easily slip off with every attempt to apply it.
Otherwise, the same principles for applying concealer to women applies
to men. You may only need to be a bit more diligent in blending
concealer over shaved facial hair.
Managing Shine
Rice
powder works wonderfully to matte shine on a man’s face, especially on
high foreheads and bald spots. Even if you are not able to completely
matte shine in those areas, rice powder will bring the shine down enough
that you will have texture to work with in those areas of the
photograph when retouching. As with women, apply rice powder to men
lightly with a large face brush, blend well, and check to be sure you
have not created pasty-white areas.
If your client’s skin tone is
dark and you are trying to matte significant shine, blend a little
tinted translucent powder with the rice powder before applying.
Alternatively, Arbonne
makes a powder (FC5 Mattifying Powder) that works wonderfully. It’s a
pressed powder and looks light green in the compact, but goes on neutral
with every skin tone. It will matte shine but won’t lighten skin or add
highlights.
Lips
Some
men, particularly those who spend a great deal of time outdoors, have
dry or flaking lips. Ask if you might apply a little clear lip balm in
this case, or offer it to your client to apply with his finger. This is a
circumstance when applying lip balm does work better with a finger. Rub
the balm in well; you typically don’t want shiny traces on a man’s
lips.
Clean
Before
finishing up, take a close look at your client. Remove smudges, makeup
flakes, or lint with a cotton swab. Use your face brush or a damp
disposable sponge to blend any makeup that needs just a tiny bit more
blending. And use a damp disposable sponge to remove stains or lint from
clothing.
Finally, always clean your brushes and cosmetics
after every use. Use a conditioning brush spray or isopropyl alcohol on
your brushes and cosmetic sanitizer or isopropyl alcohol on your
cosmetics. Throw away any disposable items you used. And always wash
your hands with soap and running water or with sanitizer as soon as you
are finished.
Practice, Practice, Practice
Applying
makeup to another person does not come naturally. There is a reason why
makeup artists are paid handsomely for their work. But with a few
tools, a small bag of cosmetics, and practice, you will be able to
address the worst of makeup or skin flaws before you capture your client’s portrait.
TDasany
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