Garage Glamour by Gomez Rolando

Author:Gomez, Rolando [Gomez, Rolando]
Language: eng
Format: epub
ISBN: 978-1-60895-077-5
Publisher: Amherst Media, Inc.
Published: 2006-09-14T16:00:00+00:00

In this image by Raffaello DiNapoli, notice how Lindsey M.’s soft makeup works with her coloration and the light pink tones throughout the image.

Makeup artist Elise D’Amico-Davis (of www.equisiteeyes.com) created a nice airbrushed makeup pattern for this portrait of Hillary.

First, in photography, what is dark will go darker, what is light will go lighter, and what is shiny will go shiny times ten. I tell all my models (and sometimes even makeup artists) about the 90-percent rule (covered in detail in chapter 6). Basically, this rule states that what is pure black will absorb 90 percent of the light that hits it and what is pure white will reflect 90 percent of the light that hits it. The makeup artist should, therefore, select pastels that complement your subject’s natural skin color and have a matte finish.

On the skin and face, use thin foundations—preferably MAC or Lancome, the two preferred makeup brands for most commercial, entertainment, fashion, and glamour photography. On the eyes, use light eyeshadow and eyeliner, as they will intensify with photography. If you go too thick, the makeup will distract from the natural color of the subject’s eyes. When it comes to selecting colors for eye makeup, again, choose soft pastels that complement the mood of the image as well as the clothes, if any. (If your model is not wearing any clothes, try for colors that complement the dominant background colors.) Powder down shiny foreheads and cheeks, and avoid bright reds on the lips. Instead, use soft reds or magentas.

On certain occasions, you can go with dramatic makeup, but for most glamour shooting the preference is to emphasize the subject’s facial features without overemphasizing the makeup itself. Your goal, after all, is to sell the subject’s beauty, not the makeup—leave that for advertising photographers.

If your subject will be doing her own makeup, advise her not to apply it until she arrives for the shoot. This gives you the opportunity to supervise—something you’ll get better at over time. In fact, I encourage you to pay attention to all the makeup artists you work with. Most follow certain basics and fundamentals of makeup, but all have their own style. You can learn a lot and be able, at least, to help out when you’re in a pinch without a makeup artist on hand.

Hair. I like my models to arrive at the shoot with their hair unstyled and clean so it’s ready for the stylist to work with. It’s easier to match the hair to the scenario than the scenario to the hair.

If you can work with a model all day, start out with her hair curled (assuming her hair is naturally straight). Eventually the curls will fall. At this point, you can take a break and have the stylist straighten it out. This will give you at least two different looks for the hair. (Note: If you’re shooting a whole set, keep the hair consistent on that set for maximum versatility when grouping different images.)

To add some variety, have the model move all her hair to one side of her face.

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