Chapter 11

ADVANCED MAKEUP APPLICATIONS

Every artist needs to learn skills to successfully apply makeup on subjects for photography, fashion shows, film, and television. These opportunities allow an artist

to express her or his creativity. There are no limitations when working in advanced artistry.

MAKEUP for PHOTOGRAPHY

Applying makeup for photo shoots involves specific techniques that depend on a number of factors: Lighting: Indoors or outdoors? Film or digital technology?
Color or black-and-white? Style: What image does the photographer want?

The makeup will differ depending on the purpose of the photograph—whether it is a passport photo, a wedding shot, a model in a natural outdoor setting, a
corporate portrait, or a highly stylized fashion or beauty shoot. There is no one rule for how to do makeup that will be photographed. But the lighting in which you
do the makeup is very important. I often do makeup with the model facing a window or, better yet, on the photo set with the lighting that will be used in the shoot.

Some guidelines follow that will help you understand the process and develop just the right look each time.

THE ROLE OF A MAKEUP ARTIST AT A PHOTO SHOOT

Making a photograph is a collaborative effort. As the makeup artist, you are part of a team that includes the photographer, the stylist, the hair stylist, the dresser, and
the editor (if it is a magazine shoot), publicists and handlers (if the subject is a celebrity), and the subject being shot. Your job is to be true to your own style, yet be
open; to understand the requirements of the stylist, editor, and model; and to create a makeup look that works.

The only way to accomplish that is to communicate with everyone on the set and be observant. Don’t ever be embarrassed to ask questions or to give your
opinion. Throughout the process, ask the photographer, stylist, editor, and subject for feedback. After you have applied the model’s foundation, let her look at it in a
mirror to see if she thinks it looks right. It is much easier to change things at that stage than to wait until the whole face is done. When analyzing the first shot, get
the photographer’s opinion on how the makeup is working—or isn’t—with his or her lighting. Adjust accordingly. Once the shooting starts, don’t think that your
job is done. You need to stand by the set with your tools—powder, blush, lipstick, etc. Watch the model through a pair of mini binoculars to keep a close eye on
how the makeup is holding up and what might need fixing. And be ready to jump in and try something that just might make the shot great. When a photographer
teams up with a makeup artist, magic can happen. They understand each other’s style and needs. They can work in sync to get the best results.
I have had a handful of collaborations with different photographers, and my work really grew as a result. I was able to be comfortable with them and try new
things, and saw the results the next day. Each photographer moved my work in a different direction and I am grateful to all of them.