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Photographing Challenging Features

Lesson 15 of 39

Big Forehead Considerations

Lindsay Adler

Photographing Challenging Features

Lindsay Adler

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Lesson Info

15. Big Forehead Considerations

Lesson Info

Big Forehead Considerations

All right. Hey there, nice to meet you. Okay, I'm gonna do stool. I'm gonna do that one. Great, thank you. Oh, wait, but I am gonna move you over. The stool was not in the right place yet. Okay, cool. Alright, so, let's talk about that checklist. So, the first thing was going to be pose. You can turn the light on, we'll be good. Alright, so the first thing is going to be pose. Avoiding the chin too far out and down, so let's take a look at that. All right, and then we're gonna bring it one click this way, just one. Towards you? Just hold it right there, perfect! Okay, great. So, I'm just gonna hold you in the exact same position, all right? So here is when, I am level, to camera. That's perfect. (camera beeps and clicks) Great, okay, so, this is when, right now, I'm at eye level, and, his head is neutral, okay? But now, what I want you to do, is, to stick your chin out and down. (camera beeps and clicks) Okay? So, I didn't move, nothing moved. All he did, was stick his chin out and...

down. And, there's a ton more attention to it. So, I don't want that to be the case, so, we're just gonna do neutral, but, notice I didn't. He can still stick his chin out. But he has a nice jawline, so I didn't have to worry about it, right? Everybody will be different, so what am I looking at? Okay, next thing would be my camera angle. So, right now, he's super neutral. Look right at me. (camera beeps) Great, and chin neutral, just a little bit. He actually, naturally, I don't know if he knows this, he naturally lifts his chin up a little bit. I don't know, just a little. I don't know if that's part of it, because, so, chin neutral, good. (camera beeps and clicks) And then, lift your chin up a little bit. Kinda like, standoffish. (camera beeps) Chin up, just a little more. (camera beeps and clicks) I don't know if it'll be too much of a difference, but it might be subtle. He does it, just a little bit, naturally. He does it naturally. Okay, so, here we go, so neutral. (camera beeps) Chin down a little. (camera beeps) Okay, that's neutral. (camera beeps and clicks) And then, if I change my camera angle, this is the difference it makes. (camera beeps and clicks) Which, is not a good difference. Right? A lot more attention. So, my point is... Don't. (laughing) Like, just... (audience laughing) Eye level, or, even, you just have to balance with the individual. So, the next one on there, was lens choice. Let me just switch over to my wider angle lens. So, I'm going to do, the same shot, (camera lens cover comes off) with two different focal lengths. (camera parts interchanging) Okay? So, the first one. Same exact place, okay? First one, is from here, and this is gonna be at, do you, I don't particularly think that 70 millimeters is super wide. No, okay? This one's at 70 millimeters. (camera beeps and clicks) Okay? Same exact thing. Now, it. Let's see. Switch over. Okay, 70. And now I'm gonna do the same thing, at... let's do... (camera beeps) Oh... 135. Okay? (camera beeps and clicks) Back up, and zoom in. It's just like, a little less attention. Just a little bit, little bit more attention there. See how it changes the shape of his face? (audience mumbling) So, kinda depends on what you prefer, 'cause, it's based on an individual. You get the, we've said that, you get it. Okay, so now, let's do the lighting. Lighting was the next one down. Can you bring it, super-duper close to him? This one, yeah. Super-duper close. Great, all right. So, if I wanted to have the light super close, and be very dramatic, I can do so. However, (camera beeps and clicks) I also didn't adjust my exposure. Don't judge me, it's brighter. Okay, but notice, how much brighter the forehead is, compared to underneath his neck. It's the fall of light, off of light, Inverse Square Law. So, when, let me get a correctly exposed one, so you can see it. Okay. (camera beeps and clicks) So, this is more evenly exposed. But, either way, forehead's still a lot brighter. If we back it up, back it up just a little? Great, it's good. And then, turn it towards him, just a little more. Yeah, you're good. Oh, you can, you, I was talking to him, sorry. Here you go. (camera beeps and clicks) It just lights the face more evenly, than the bright spot on the forehead. Right, like see how there's more even transitions? So, it's possible, because your light's too close, one part will be brighter than the other. Good? All right, now, can you bring it closer, one more time? Great, and then, John, can you be my flagger? All right, so let me take one before picture. (camera beeps and clicks) Great, and, what you can also do, is, yeah, maybe a little bit more? Good. (camera beeps and clicks) Is, when you put, let's see if you can see, a huge difference. Let's see. Might need to be... Yeah, it's pretty good. Do one a little bit closer to his head. Yeah, let's see. (camera beeps and clicks) Okay, good. So, in this case, if you liked the dramatic light, of it nice and close, what you can do, is, in this case, you're taking a piece of cardboard, or, it could be a piece of Cinefoil. It's a black tinfoil. And, if you put it between the light and him, just out of your frame here, it casts a shadow on his forehead. So, look at how, it's actually darker, here. And, so, my eye is going towards the center of the face, and, you can compare that... To there, right? I think it's a pretty drastic difference. It's not that I, I wasn't using camera angle, or, lens choice, all of that. But, remember, that I can. I could have his chin raise up a little bit. I could get it a slightly lower camera angle. I can back up the light a little bit, or, if it's close, I can flag it off. And, the same is true, for photographing women or men. I just tend to find this more often, with guys.

Class Description

Photographers are tasked with flattering every subject that steps in front of their lens. Typically, those subjects are everyday people, not professional models. This can mean working with some challenging features along with varying degrees of confidence. Canon Explorer of Light and well-known fashion photographer Lindsay Adler walks through understanding the face and body as well as the photographic tools available to you make your clients best side shine. These features could range from a pronounced nose, large forehead, glasses, asymmetrical features, or defined wrinkles. In this course Lindsay will walk you through: 

  • How to analyze a face and draw attention to the strengths within it 
  • Posing and lighting techniques for challenging facial features 
  • Posing and lighting techniques for the skin and body 
  • Retouching tips for skin, glasses or discolored teeth 
This course will cover many challenging features and show you how posing, camera angles, lens choice and lighting can work together to help you have confidence in every shoot.


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