Bobbi Brown Makeup Manual: For Everyone from Beginner to Pro (39 page)

For Black-and-White Photography

Define the features. That means a precise application of eyeliner and lip liner, as well as perfectly applied blush.

Avoid using very shimmery shades on the eyes, and don’t use bronzer, as it can look dirty.

Less is more. Smooth out skin and conceal any imperfections, especially under the eyes, with bright concealer that blends perfectly, but don’t go overboard with too much foundation or color.

Lighting will dictate how much makeup you need.

For Color Photography

Foundation must match the skin exactly.

Never use translucent powder; it can make the face look masklike in a photograph. Instead, use warm, skin-tone-correct shades.

Don’t overdo powder. Especially in close-up photography, too much powder will call attention to any peach-fuzz facial hair.

Skin needs to have even texture. Coverage depends on many variables.

Check Polaroids or digital monitor to see if any corrections have to be made.

A DYNAMIC DUO:
Gail Hadani & Paul Innis

The photographer Gail Hadani began painting and exhibiting her work at the age of ten, but her love of singing led her to a career in opera. After years of travel and life on the road as an opera singer, she discovered her passion for photography. Paul Innis, an artist, illustrator, and makeup artist, saw her ad in
Le Book
, loved the lighting and composition, took a chance, and called her. They now work as a team almost exclusively.

My career really began when I teamed up with Gail Hadani. Gail allows me to be completely creative with no limits. Having the support of a great photographer and friend is the best tool for success in this industry...

I believe in makeup as an art form. It’s wonderful to do pretty makeup, but there has to be a little art to set you apart from everyone else. You have to find that thing that is creative and beautiful. For me, it is color and three-dimensional objects. I love to glue objects to the face, making what I call beautiful art with a model’s face.

“Candy Land” (photos at right) all started when Gail bought some colored sugar at Dean & DeLuca, not knowing how she could incorporate it into an interesting photograph. At the time, Gail asked me what I thought we could do with this sugar, and, at the time, I was stumped.

A year and a half later, I realized what I could do with colored sugar, and Candy Land was born. I have developed a love for using common materials to create works of art on models’ faces. In this project, I started with the colored sugar, gradually adding other bright and powerful candy-inspired colors (photo at lower left). I immediately thought of Life Savers, inspiring the Life Saver–like striped lips, which became one of my pride and joys as a makeup artist (upper right photo).

I have also always been a fan of making my lashes by chopping up different types of lashes, and then combining those pieces to make different shapes.

The lashes in the shot in the lower right hand corner were four pairs of lashes stacked together to create a unique shape. The lashes were custom fitted to the model’s eyes, but unfortunately, they were also very heavy. So, the model was made to keep her eyes closed in between each shot.

As an artist, I believe you can use almost any products to transform a face into a work of art. Whether it is candy sprinkles, sugar, feathers, or rhinestones, it is all about thinking outside of the box to create spectacular and unique images!

—Paul Innis

Meeting Paul changed the course of my life. If it weren’t for him, I would not be in this business that I have come to love with the same passion I used to have as an opera singer. We developed a distinctive style and worked so frequently together that we learned the art of making a powerful image. Both of us understand the basics of a great painting: composition, shape, light, color balance, emotion, and expression. The camera, lighting, and makeup are the paintbrushes. The set becomes a stage, where as director, I can mold the performances...

Our advice to young makeup artists: practice, practice, practice. Look, learn, create relationships, and put yourself out there.

—Gail Hadani

MAKEUP for MAGAZINES

The difference between doing basic makeup and doing makeup that is over the top for highly styled fashion shows or magazine work is thinking outside the box.
Doing the unexpected
— whether it’s as simple as not putting on mascara or brows to a finished face or strengthening the brows to become a full blown experimental piece — is the difference between “basic” beauty and editorial freedom. It’s all about being confident enough to experiment outside of your comfort zone.

Last, red powder is strategically applied to the right side of the face.