Excerpt #2 from “Capturing The Face- A Guide To Creative Photographic Portraiture”

Capturing the Face coverOver the next few weeks I’ll be posting excerpts from my new e-book on creative portraiture, “Capturing the Face”.  The book is subdivided into the 10 considerations we need to make when we approach a stylized portrait shoot.  The full 44 page, $2.99 e-book is available for the Kindle here, and if you enjoyed this I encourage you to check out my image transfer workshop video tutorials on Skillshare!

This particular excerpt is a discussion of “Styling”:

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Styling was one of the most difficult things for me to get down in my own portrait photography, because I don’t know the names of particular fashions or hairstyles, and google image searches are a real crapshoot if you don’t know specific names.  I will work with stylists and send them inspirational imagery but that’s no guarantee that they know how to achieve the particular look, or if the model we are using has the right hair length/ size for whatever is available.  

The styling crew (hair, makeup and wardrobe) are the people who get the least out of any photos you take, so this is likely where some money is going to be spent.  Because I like a particular amount of production in my images, a hairstylist is top priority for a shoot- people generally cannot do their own hair as well as an actual stylist can, who has 360 degree access to the subject’s head. 

Makeup is something most men do not need for creative portraiture, and the majority of women I’ve worked with can do what I refer to as “going out on a date” makeup- stuff that looks great in real life but doesn’t communicate well in a photo.  An actual makeup artist can do film/ photographic makeup with astronomically expensive supplies and it’ll actually show up in the images.  Makeup artists are generally more costly than hair stylists, and if you have both hair and makeup on set, you’re easily adding an extra hour or two to the shoot time.  It’s a frustrating scenario to have a studio and models booked for 4 hours and hair and makeup eats up the majority of that time while the photographer stands around.

Beyond makeup is fx- bodypaint, gore, fake scars, adding jewelry, making people look frozen or cartoony.  The more specific the look, the more it covers, the longer it takes to do.  The bodypaint shoots I’ve done have ranged from 1 hour (a chaotic mess which still looked cool) to 6 hours (elaborate designs involving words).  Each time I work with an fx artist, I leave thinking it was worth it, but the process of getting it done is quite tiresome for all involved.

I don’t have too many words for wardrobe and prop styling- but one can see how budgets could spiral based on the styling alone.  It’s said that setting a film as a period piece makes the cost skyrocket in such a way that Hollywood does its best to avoid them.  If you do choose to create something that is period specific and requires styling, then there should be a lot of extra research to make sure everything fits the way it is supposed to.  A few years ago I came across a fashion shoot based on the D-Day, with a bikini model among  a platoon of soldiers who were all holding modern weapons but dressed in 1940s GI outfits.   

There was a time when my photoshoots were really over complicated.  Lots of patterns and textures and accessories and unique styling, and at the end of all that effort, I maybe got one portfolio piece out of it.  

The problems with a “busy” look are:

1. it’s expensive to get everything right and looking good, and if you start cutting corners (like getting stuff from the Halloween store for wardrobe), the whole scenario collapses like a house of cards.

2. the less versatile the look, the fewer outlets the final image has- unusable as gallery images, unusable as stock or mixed media pieces or anything really.

3. Busy compositions are overall less appealing than simplicity.  Think of “Norwegian Wood” by the Beatles vs. “Master of Puppets” by Metallica.  What song can you actually hum?  Or to put it another way:  who wants to live in a house full of junk?

This takes me to shooting things very cleanly in an almost “generic” sense.  It’s a lesson I learned from Richard Avedon, Man Ray, and other photographic heroes with a strong sense of design, and movies like Drive or Pacific Rim or Jaws.  Start simple, and build it up, rather than get super complex and have it fall apart like a house of cards.

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davidmillerphotoworks

I'm a multimedia artist in Phoenix, AZ. Main Site - http://www.primordialcreative.com Instagram @primordialcreative + twitter @dbmillerphoto

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