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Photographing Challenging Features

Lesson 12 of 39

Double Chin Considerations

Lindsay Adler

Photographing Challenging Features

Lindsay Adler

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Lesson Info

12. Double Chin Considerations

Lesson 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 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