Lessons
Class Introduction
05:49 2Analyzing the Face
14:48 3Light and Skin
10:34 4Science of Light
10:09 5Direction of Light
14:39 6Fill Light
12:19 7Demo and Shoot: Analyzing the Face
07:10 8Demo and Shoot: Distance of Light
19:21Demo and Shoot: Distance from Subject
09:17 10Round Face Considerations
09:55 11Shoot: Round Face
13:23 12Double Chin Considerations
06:51 13Shoot: Double Chin
07:07 14Shoot: Big Forehead
05:17 15Big Forehead Considerations
06:40 16Pronounced Nose Considerations
03:56 17Shoot: Pronounced Nose Considerations
06:23 18Uneven Features Considerations
02:03 19Shoot: Uneven Features
01:20 20Shoot: Large or Small Chin
09:12 21Pronounced Wrinkles Considerations
04:08 22Shoot: Pronounced Wrinkles
12:23 23Shoot: Uneven Skin
06:33 24Oily Skin Considerations
03:17 25Shoot: Oily Skin
04:41 26No Curves Considerations
05:18 27Shoot: No Curves
10:07 28Full Figured Subject Considerations
10:09 29Shoot: Full Figured Subject
04:29 30Shoot: Glasses
09:04 31Balding Considerations
02:27 32Shoot: Balding
07:10 33Retouching: Wrinkles
15:27 34Retouching: Uneven Skin
04:36 35Retouching: Brighten Face & Whiten Teeth
05:06 36Retouching: Large Forehead
04:24 37Retouching: Round Face
07:02 38Retouching: Oily Skin
02:53 39Retouching: Full Figured Subject
13:06Lesson Info
Double Chin Considerations
Let's bring this light back around. And up, can we get, do we have a silver light reflector? We got the big one right here. Okay can we use that one, we'll have to take it down. All right, we're re-setting our set, okay? And actually, can I pull you back a foot? I'll have you stand up real quick. All right, just small space, okay great. All right, let's go to our next checklist. Can I have the kenote up please? Okay so, the next features that we're going to go through are going to be for a double chin, okay? All right, so let's go through posing. And I'm just gonna go through these checklists and here, I'll take this light off cause you don't have to, you don't have to do anything yet. So the first thing is going to be, for pose, is you'll hear chin out and down. Reasons you do this. First reason, chin out, tightens it, stretches everything out and it defines the jaw line but a lot of people have been told this so they do this. If someone's heard this trick and they know that that ...
helps, they do this way too much so the part of the down is because if you do chin out and down, it brings the eyes back towards the camera. So you want to say chin out and down. Some people, if you say chin out, they're just doin' this, regardless. Like you're trying and you can't, so another thing that you might say is press your forehead toward the camera and that will at least get the chin and the eyes down. So the next part of this pose is to lean the subject toward the camera. For example, if I am posing somebody with a double chin, and honestly, when I say posing somebody for a double chin, this can be really subtle or really extreme. Like a lot of people, when you look at them, they don't have a double chin, and then they do this and they have a double chin, do I have a double chin? Okay yeah. Okay that was safe, she was like, just a little. Thank you. Thanks, that was very nice of you. But, so if somebody's standing or their posing and they lean back, like I don't personally think I normally do but it's there so instead it would be... I'm thinking of a guy. Let's say he's got his hand in his pocket and he's leanin' back. Gonna do that. So instead it would be more of a lean. Cause it's not, doesn't even have to be the chin out and down, it's just bringing him towards the camera, it elongates all of this. So, same is true if they're sitting in a chair. And that's actually why I asked our subject to sit in a chair, cause I want to show the bad way to do it first is, most people, if they sit in a chair and they sit back, same problem. So most of the time, I would recommend if you pose somebody, don't pose them with a chair with a back, there's a reason that we have posing stools. Because we don't want them to have a chair with a back cause then they do that. You don't want them to feel like they can relax, they need to be good, nice posture the whole time. So that's posing. Next we have camera angle. So the camera angle is going to be this, either eye level or higher because if I can get from a slightly higher eye line, like a little bit more than eye level, depending on the person, their chin will actually hide a bit of the double chin, right? Especially if somebody, an example of the older gentleman before, by the way he volunteered for that as well, he knew what the purpose of it was, for the looser skin underneath. If I shoot from here, it's showcased but if I can get a little bit higher for him, then it's hidden by his chin. So the reason I'm also saying eye level or a little bit higher is if somebody, a gentleman that's balding and you go up too high, then you're showcasing that. So you're always balancing these things. Next one, lens choice doesn't particularly matter just whatever the flattering portrait choice is. That's not really changing what the double chin looks like. The next one is going to be lighting and what you're trying to do, is just not draw attention to it. Let's avoid it. So for example, you don't have to have it in complete shadow. But maybe for a guy, you're doin' a more dramatic portrait, you can raise the light up and it'll cast a shadow underneath and it's hidden, especially if it's really subtle, that shadow will hide it beneath the jaw line, could do that. But if you're not going for a dramatic shot, you don't need to do that. But you don't want to take a silver reflector below, blast it with light and just illuminate the entire thing and draw attention to it. So also, the consideration. For re-touching, for re-touching it's gonna depend on the person but you can do liquefy or something that's called warp. I actually usually do, it's one of the few things I do warp instead of liquefy. You have to look, I've done tutorials on warping but basically you can select the double chin and then you can drag part of it up and it just makes it smaller. It's not gonna completely eliminate it but I'll make it from larger one to smaller one. So just know you can do things in post. Or if you've got a little bit of a highlight from your light, you can darken that down a little bit. And let's see, avoiding standing or flat footed. Okay, last one. This is a do not rely on this please. Don't just do this as your go to. But I have done this with some guys. And you can do it with women as well but I'm thinking of a specific example where I had a very pronounced double chin and I did my lean out and down and I did my light and it, you know, it was still pretty pronounced so my go to, or my next step is I did a few shots where, let's do this example, where the hand was posed to the face. Not because I'm like hey. It's not this type of hand pose but it was like a thinking. And I did one with his glasses off with the hand up cause it's just blocking, it's a little less apparent. Another example of what you could also do, if somebody has longer hair, is it could be an example where you could put just a little bit of hair in front if it was particularly noticeable but those would be a, try a shot or two. Don't do that as a, oh yeah this is what fixes it. All right, so that's my go to for double chin, leaning forward, chin out and down, make sure it's not illuminated.
Class Materials
Bonus Materials with Purchase
Ratings and Reviews
Sharma Shari
This class was amazing! It was great seeing a demo class with real people. As a wedding photographer that specializes in offbeat/non traditional couples, it is always good to see how I can enhance all my clients beautiful features, and make them feel their best and confident when I am taking their photos!
a Creativelive Student
I was so excited to get the chance to learn from Lindsay live, and this course did not disappoint! The techniques she shared were insightful and straightforward. I felt like seeing them on different subjects throughout the day really helped to cement the concepts and grow my photography tools to bring out the best in those I'm photographing. I'm not a studio photographer, but the ideas apply in natural light as well.
maria manolaros
Great class! Impressive amount of tips on posing, lighting and photoshop techniques , a real good no nonsense approach by superb teacher. Numerous amounts of thumbs ups
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