Just imagine what the hairdressing world would be like today if Vidal Sassoon, Trevor Sorbie or Vivienne Mackinder had never yearned to immortalize their work in print. Then consider what your photographic work could do for your career. Without the use of photography, the results of your artistry are lost forever each time a client leaves your chair. Plus, let’s be honest: Doing beauty and fashion photography — whether you’re assisting or are in charge of a shoot — is a sexy option that could move you into a whole new realm of the beauty business by helping to create a global reputation, increasing your business worth, and infusing your career with the excitement that you once felt when your beauty journey had just begun.
Damien Carney, editorial artist and International Artistic Director for Joico
“Because an image or photo can last forever, always try to imagine what your concept/result would look like in 10 or 20 years before committing to a certain direction. Would it age well or become terribly dated?”
Vivienne Mackinder, creator of HairdesignerTV.com, editorial stylist and fashion directorof Intercoiffure America • Canada
“Remain open to learning; stay humble; work hard; and go to every shoot very prepared.”
Oribe, famed editorial stylist and co-owner of Oribe hair products
“Park your ego at the door; do your best; and try to stay comfortable and relaxed at all times during a photo shoot.”
EDUCATION SNAPSHOTS
“There are programs available to learn the principles and basics of doing a successful photo shoot,” notes Damien Carney, master editorial stylist and Joico International Artistic Director. I actually do several of these sort of workshops each year (DamienCarney.com).
“But becoming proficient in the art of doing hair or makeup for photography is really all about getting as much practical experience as possible. Shoots are about chemistry, vision and bringing your ideas to life. And frequently participating in photo shoots creates an awareness that you never knew you had before.”
Leading beauty lady Vivienne Mackinder completely agrees with Carney’s assessment. “The camera has always been one of my best teachers,” notes Mackinder, who now provides thrilling education for beauty pros on HairdesignerTV.com. “Every time I go into a studio, I enter with a thirst for producing the best images that I possibly can, and always leave as a better hairdresser.” How so? “Studio work trains your eye and increases your skill level,” she explains, “no matter how many photo shoots that you have done.”
“It’s nice to have a photographer teach you the dynamics of a photograph,” adds Oribe, who not only coifs the locks of the most famous models in the world, but also actively heads up classes for his eponymous company (Oribe.com). (Check out Oribe’s hair magic in the September issue of Allure magazine.) “This is especially helpful when you are new to the game. If you’re lucky—and I hope that you are—the photographer will take you behind the lens and tell you things like, ‘Don’t worry about this,’ or ‘It would be better if you tried that.’ And even though you may be a seasoned hairstylist, never hesitate to accept an invitation to assist on a shoot, especially if you admire the photographer’s work.”
TEAMING UP
“My photo-shoot team consists of a photographer, wardrobe stylist, makeup artist, hair team, and the models, who are generally from a modeling agency,” notes Mackinder. “Each person involved in the shoot is a specialist in his or her field. If it’s my shoot, I act as the hairstylist and art director.” Prior to the shoot, the art director is responsible for nailing down a clear concept, creating a storyboard to illustrate the concept and its many parts, and holding a production meeting where every team member is encouraged to give his or her input. “The key is to keep everyone on track,” advises Carney. “With that said, photo shoots should be organic; one should go with the flow, chemistry, vibe and feel of the shoot. There’s no point in forcing something to happen when it won’t. If you persist, the results are often artificial and flat. Always remember that when you see great images, it’s not just one person that created the look; it's the result of a team collaboration.”
CONCEPTUAL STORYTELLING
A storyboard is a visual means of communicating the theme and details of a photo shoot. It can include images that represent the overall mood, and examples of hair, makeup, lighting and clothing. It can also include abstract inspirations, such as architectural design, and interesting model poses. Carney relates, “A storyboard is often supported by a brief that includes words and tag lines to help to tell your story. Once the team is chosen, every member is briefed on what, where and how the concept will be brought to life.”
“I do a lot of research when creating the concept for a photo shoot,” Mackinder relates. “Based on that activity, I pinpoint a compelling focal point or story that will be threaded throughout each image of the collection. I then illustrate this concept via a storyboard and written description. The next step would be to build my team and collaborate with them so that everyone is on the same page. The last piece of the puzzle is booking the perfect model for the story. All the work and preparation that my team and I do before the shoot makes for a much better day at the studio!”
PHOTO SHOOTS: FASHION OR BEAUTY?
Understanding the different emphases and goals will make your work not only acceptable, but shine.
FASHION
Fashion shoots are about the total image. The hair and makeup are designed to support the concept, which usually involves a broader message about clothing or lifestyle trends.
HAIR
When doing a beauty shoot, hairstyles are meticulously finished and usually more exaggerated than salon work. They are the star or focus of the shoot, with clothing playing a supportive role.
INDIVIDUAL ARTIST PREP
“Try to get as much information as possible about what the art director has in mind—before the production meeting when the concept and details will be discussed,” notes Oribe. “After this meeting and ahead of the actual shoot date, you should have all of your supplies — tools, hairpieces, etc. — selected and packed. For example, if you’ll be going for a ’90s look (like a shoot that I recently did for Italian Vogue), carefully consider the styles that you liked from that era and what you will need to complete your vision of how to express them in a modern way. Check out books that cover styles of that period and consider ways that you can make these styles both modern and original. Whatever you envision, always make sure that your ideas fall within the constraints of the shoot.”
MAKEUP FOR PHOTOGRAPHY
“My favorite type of makeup depends on the situation, Oribe effuses. “I love beautiful women, and I love strength. A strong eyebrow or beautiful red lip can look amazing. But I like all kinds of makeup, as long as they make women look gorgeous. Too, the relationship between a makeup artist and a hairstylist is very important. If things don’t go well or we don’t communicate, we could create a monster instead of a breathtaking image.” “Makeup up can definitely make or break any image,” agrees Mackinder. “Too often in hair images, the makeup is overworked; it can make the model look hard and, if pushed too much, like a drag queen. This is a terrible thing to say, but I have seen it on stage and in print. My rule: Less is more and balance is everything. If the hair is strong, keep the makeup simple. If you create a strong lip, go light on the rest of the makeup. If the eyes are strong, go soft on the lips. And always remember: There is a fine line between creativity and bad taste. Never compromise beauty when doing hair or makeup. After all, we are in the business of making people look beautiful.”
LEADERSOF THE PHOTO PACK
Damien Carney defines the key rolesfor photo shoots.
PHOTOGRAPHER
The photographer is generally the one to take the lead and is responsible for not only shooting the images, but also insuring that all team members are working together.
WARDROBE STYLIST
Clothing and accessories can make or break a shoot. Wardrobe stylists are responsible for dressing the model in such a way that the clothing clearly tells the photo story. Depending on the overall concept and brief, wardrobe can be complex or simple.
MAKEUP ARTIST
The makeup artist is given direction from the client and the photographer. Natural, modern, dark and moody, colorful, or simple are just a few of the feels that the makeup artist could be asked to create to reinforce a story and compliment the clothing, hair and photography.
HAIRSTYLIST
Hair must support the concept or story, as well as compliment the makeup, wardrobe, and photography. When the model doesn’t have the ideal texture, thickness or length to achieve exactly what’s described in the brief, the hairstylist must be able to offer alternative solutions that still reinforce the concept of the shoot.
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