B&H is running some killer deals on Panasonic, Nikon and Canon gear. If you’ve been looking into any of these brands, now is the perfect time to make your move.

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Panasonic GH4 with 12-35mm F2.8

  • $300 off at $2,397. Was $2,697.


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Panasonic GH4 with YAGH Interface and 12-35mm

  • $800 off at $3,895. Was $4,695.

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Nikon D610 Body Only

  • Was $1,996 Now $1,696 (After mail in rebate)
  • Includes extra battery, SD card and bag.

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Canon 70D Body Only

  • Was $1,199 Now $999
  • Includes extra battery, SD card and bag.

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Canon Cameras and Lenses

  • Save up to $250.

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Canon 1DX

  • Was $6799 Now $5649 (after rebate).
  • Includes $750 Free Accessories.

The post Massive Deals on the Panasonic GH4, Nikon D610, Canon 70D and More appeared first on DSLR Video Shooter.

All credit is given to author DSLR Video ShooterCaleb Pike

B&H is running some killer deals on Panasonic, Nikon and Canon gear. If you’ve been looking into any of these brands, now is the perfect time to make your move.

panasonic_dmc_gh4_camera_body_black_12_35mm_1075824

Panasonic GH4 with 12-35mm F2.8

  • $300 off at $2,397. Was $2,697.


panasonic_lumix_dmc_gh4_mirrorless_micro_1088007

Panasonic GH4 with YAGH Interface and 12-35mm

  • $800 off at $3,895. Was $4,695.

nikon_d_610_digital_slr_body_1008264

Nikon D610 Body Only

  • Was $1,996 Now $1,696 (After mail in rebate)
  • Includes extra battery, SD card and bag.

canon_8469b002_canon_eos_70d_dslr_986389

Canon 70D Body Only

  • Was $1,199 Now $999
  • Includes extra battery, SD card and bag.

image005

Canon Cameras and Lenses

  • Save up to $250.

image003

Canon 1DX

  • Was $6799 Now $5649 (after rebate).
  • Includes $750 Free Accessories.

The post Massive Deals on the Panasonic GH4, Nikon D610, Canon 70D and More appeared first on DSLR Video Shooter.

All credit is given to author DSLR Video ShooterCaleb Pike

Panasonic GH4 Panasonic GH4 with XLR/SDI Interface save up to $800Sizing up the Panasonic GH4? Now maybe the time to buy. You can currently purchase the m4/3 camera and DMW-YAGH interface with savings up to $800 when including a lens purchase.

The flagship mirrorless camera has repeatedly met headlines since release, with its powerful pound for pound package; there are few options for 4K cameras in a sub $4k price range.

It’s almost an insult to use the catchy tag “4K for $4k” when discussing the Panasonic GH4; with that DMW YAGH Interface Panasonic GH4 with XLR/SDI Interface save up to $800budget you’ll have change over from buying two bodies.

The package has just become a lot more popular however, with savings of up to $800 when purchasing the camera with the SDI/XLR DMW-YAGH Interface and 12-35mm lens.

The DMW-YAGH interface alone takes a temporary sales drop also, here is what you can save:

Panasonic GH4 with DMW-YAGH Interface - $2,997.99 – $300 saving

DMW-YAGH Interface - $1,497.99 – $500 saving

Panasonic GH4 with DMW-YAGH Interface and 12-35 lens kit - $3,895.00 – $800 saving

The post Panasonic GH4 with XLR/SDI Interface save up to $800 appeared first on cinema5D.

All credit is given to author cinema5D » NewsTim Fok

The new Panasonic Lumix DMC-LX100 Digital Camera with built in 24-75mm Leica f/1.7-2.8 Lens & 4K Ultra HD Video is available now and in stock! I really want this camera and I think it would be a good replacement over my Sony RX100 which sits in my backpack pretty much everywhere I go. It’s a bit pricey though coming in at $899, but I hear much of the guts are shared with the popular GH4 so the quality is definitely there.

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find-price-button Panasonic Lumix DMC-LX100 Digital Camera with built in 24-75mm Leica f/1.7-2.8 Lens & 4K Ultra HD Video

All credit is given to author CheesyCamEmm

FotoDiox wanted to share their most recent discount on the FlapJack LED Light panels, and the discount code is shared in this little video below.

If you’re not too familiar with these lights, check out the two main FlapJack product videos found HERE and HERE. Remember the discount code for these products is FJOL18, and the FlapJack LED Video Light catalog page is listed (here)


FotoDiox FlapJack UltraThin Lightweight LED Video Panels

All credit is given to author CheesyCamEmm

Click here to view the embedded video.

A while has passed since part 1 of this review but I’ve been spending a lot of time with the A7S in-between. I am really under the skin of this camera. That’s a good sign because somewhere along the way, the A7S became my main filmmaking tool. Perhaps surprisingly for me, a huge Panasonic GH series advocate on EOSHD over the years, I have been using the Sony A7S more often. The GH4 still has many advantages the A7S doesn’t have, like longer battery run-times, a better screen, quicker boot time and of course an internal 4K codec.

But…

Sony A7S (middle) with Panasonic LX100 (left) and GH4 (right)

Sony A7S (middle) with Panasonic LX100 (left) and GH4 (right)

To read part 1 of my Sony A7S review click here

To be honest I didn’t expect the A7S to become such a workhorse for me. Why is the A7S so appealing for creative work and professional filming? Well for me it is about lenses and low light. I no longer worry about either. That’s very liberating when you just want to concentrate on the creativity. I don’t have to worry about whether the extra crop when shooting 4K on the GH4 will mean I have to carry with me a 10mm or if a 14mm will be enough. I don’t have to worry about what point noise becomes an issue. I just SHOOT.

You can test as much as you like beforehand but if you wind up needing to go wider or brighter but can’t, then it really hurts you.

I also worry less about getting a dreamy look at 35mm or 50mm on the A7S, when I need it. That look of a 50mm at F1.2 for example. Sometimes at certain focus distances you can’t get enough separation at 17.5mm or 25mm on the GH4 between the subject and the background, no matter what the aperture, so it winds up looking like video not film. Often, the confines of space in a particular location means you can’t always stick a 85mm on the GH4 and punch in from a distance. At longer focal lengths the GH4 looks like full frame, it’s beautiful but at the most common focal lengths of 35mm and 50mm, I always end up preferring how the A7S renders the lens.

Sony A7S

Versus the Nikon D750 in the real world

On the Beka Hoops shoot for the video above, I used my A7S and D750. Many of the shots required slow shutter speeds to blur movement. Rebecca has an amazing laser hoop custom made in Berlin, which looks wonderful with smoke but much of the video was shot during rehearsals with no smoke machine, so I added trick filters and the slow shutter for a more abstract feel.

The D750 couldn’t do the slow shutter speeds, the A7S could. Something like that is the difference between win or lose on the camera side. So I ended up using 90% A7S and just 10% D750 for this particular shoot. For another shoot, I was recording 4 songs for a band (Bunny Suit) in Berlin, compromised of 5 musicians who each did 3 takes of each song. I ended up with around 180 clips, many of them up to 6 minutes a-piece. I went through just one and half 64GB SDXC cards with the A7S. If I had shot this in raw or ProRes I’d have needed a stack of 256GB SSDs and a stack of hard drives to go along with it. That stack of hard drives doesn’t go away with raw either, it sits around for as long as you have the masters. I don’t like to delete and compress the masters, it’s a huge effort and it obviously screws your grade in Resolve if you’re grading the raw files directly, as you must to get the best out of raw. So the 5D Mark III with raw was sadly out on this occasion.

Nikon D750

I don’t consider these anything special in terms of shooting requirements… just every day stuff really, so to see the A7S just SHOOT pleased me a great deal. Often I find myself just FIDDLING with workarounds.

The D750’s crop mode was another reason it didn’t get as much use, the quality is dreadful. The A7S maintains nigh on the same image quality between APS-C and full frame mode, unless you’re shooting 50/60p in full frame mode where it drops. The APS-C crop mode and silent shutter on the A7S really came in useful for doing the band shoot. An extra composition in the bag as well as a stills mode that doesn’t distract the performer with constant mirror slapping. The APS-C crop of the A7S’s 12MP full frame sensor is 2768 x 1560 so what you get in this mode is still oversampled from around 2.8K to 1080p internally.

Don’t get me wrong, despite not being as good an all-rounder the D750 is still an excellent camera with a wonderful image. I used it as a B-camera to the A7S and it competes in the same league. So again, maybe consider buying both and selling your Canon stuff.

The A7S footage can be pushed around more in post than either the GH4 or D750, which adds yet more creative flexibility. S-LOG 2 is a gem and gives you a very filmic image which grades superbly, especially in Blackmagic Resolve. You can then export looks in the form of LUT files from there to your editing software like Adobe Premiere to use in the edit. Initially I found the Nikon D750 did great colour with very little prodding. Over time however, I find the A7S is less digital looking and does better skin tones. You just have to get it right in the grade, which sadly with S-LOG 2 is no simple thing. But once you do have it right, very little further effort is required on your part to coax the best colour and skin tones from it.

Quirks

The A7S doesn’t have any majorly upsetting deficiencies but it does have some weird stuff going on. Really funky stuff.

I’ve never seen boot speeds vary so much in one camera. Sometimes it’s as if the camera is rousing from a deep sleep after going to a nightclub until 7am in the morning. Other times it jumps up wide awake.

It’s very fussy with memory cards, only recording XAVC-S to SDXC cards. These cards are mainly high capacity 64GB stuff, not actually faster, so I see it as a bit of an unnecessary restriction. You can get the same write speeds on smaller SDHC cards so why not use them?

The camera still doesn’t quite seem to get on with Metabones either. The latest adapter I have still occasionally refuses to recognise the lens and sometimes causes a crash resulting in a reboot. It would be nice if Sony could work with third parties who are critical to the user experience a bit more closely and help them out with issues like this.

A7S

When the region switchable camera (not available in the US) is set to NTSC I get a nagging prompt every time I start the camera warning me it is set to record in NTSC. To get to live view you have to dismiss the prompt!

The pro picture profiles are not named very helpfully in-camera. S-LOG 2 is assigned by default as “PP7″.

Another quirk is that the camera offers 4K HDMI output, and the user cannot make use of it. Dear Sony. Why. If you’re going to have a major headline feature first to the market, at least offer some kind of recorder straight off the bat so we can make use of it. The wait for the Atomos Shogun has been torture!

Shortcomings are present in every camera. With the A7S, most of them are related to an identity crisis of sorts. Is it a consumer or a professional camera? If it is a semi-pro camera like the D750 why does it not feel like one? In the same way Canon never quite seem to go all the way on performance to dominate the market, Sony seem to have a strange affliction which means they never quite go all the way to pro build quality on their stills cameras. Why does the battery grip creak like cheap plastic when you hold it firmly? Why is the camera so unnecessarily miniaturised? I am pretty sure pros would choose to have something to hold onto whilst shooting, over the ability to stick it in a pocket at the end!!

Battery life suffers for exactly this reason, making the creaky overpriced plastic battery grip a much more attractive buy than it otherwise would have been! The GH4 can run on one chunky battery for 6 hours, the A7S barely manages 1 and a half.

The stills / movie mode behaviour differs on the A7S in very strange ways. For instance, the magnified focus assist in movie mode is of lower quality than in stills mode. So I find myself using stills mode to shoot video, but when I do that the mechanical shutter has to be enabled if I am to use S-LOG. I can’t see the correlation between those, can you? In movie mode you can’t take stills, despite the sensor doing a full 12MP readout whilst you do. It would be nice to be able to monitor in rec.709 whilst recording S-LOG 2 to the card and to have a more accurate histogram and exposure meter when doing so too. The exposure meter is about 2 stops out in S-LOG. This is critical stuff that Sony should have been really focussed on in development.

The A7S body is rather prone to finger prints unlike the Nikon D750, whilst the camera's official battery grip feels cheaply made

The A7S body is rather prone to finger prints unlike the Nikon D750, whilst the camera’s official battery grip feels cheaply made

In playback mode thumbnail previews for video clips are an illegible scrawl. Nevertheless the camera stores a beautiful high quality HD JPEG on the card anyway for each clip, but never uses it! Useful EXIF data could be stored be in the XML file that accompanies the MP4 clip or the JPEG thumbnail but it isn’t. The metadata in there is completely useless!

Because Mini HDMI was not considered mini enough, the A7S uses Micro HDMI ports which are even worse and the clip on cable support is fiddly and puts huge stress on the HDMI port whilst being fitted. I suggested Sony could develop a clip-in HDMI cable that locks into the hotshoe of the camera. It’s possible these days to feed video out of the modern ‘smart’ hoeshoes to EVFs and the like, but no, instead we have a HDMI port that is wobblier than an old lady on rollerblades.

Two of the most useful features on the camera, APS-C mode and E-shutter can’t be assigned to any function buttons or even the quick-menu. Why on earth not? What if I want to quickly re-frame a shot, or silently shoot a raw still?

The LCD is ok indoors but visibility suffers outside. Alas there’s a special battery wasting mode for that called Sunny Weather in the menus, which when enabled does give you a more visible image but a less accurate one and it’s not as good as the screen on the very old FS100. Why not? The GH4’s screen is much more visible in sunny weather on default settings.

I’ve also been thinking that Sony can learn a lot from the Fuji X-T1 in terms of ergonomics. The X-T1 has a better EVF, it’s bigger and brighter and sharper. The eye cup is better too, it leaks less light in from the sides.

Non-quirks

Nevertheless the A7S gets a lot more usability things right than it gets wrong.

The ability to magnify for a focus check whilst recording is something I find invaluable on the A7S, that the D750 and GH4 don’t do. In stills mode you get a very crisp magnification. I prefer it to peaking.

If you’re not confident focus is spot on you can just do a quick check or adjustment without having to stop and start the recording, potentially knocking off sync with an external audio recorder.

As a stills camera it’s absolutely lovely and my 5D Mark III has had virtually no use since I got the A7S. The silent shutter is so satisfying, it feels like finally here is a full digital camera and not a mechanical SLR with a digital back end.

The low light performance is simply astounding and it’s something all other cameras will struggle to match. Even Sony’s own F5 and F55 are much noisier than the A7S.

I also enjoy the fact that the camera sends a signal via HDMI to an external recorder so you can trigger it with the record button on the camera rather than having to grapple with the recorder’s own buttons. At one press for example the A7S will record ProRes to the Atomos Ninja Star in the same breath as recording XAVC-S to the SD-card so you have a small file size backup of the main recording.

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Conclusion

The Sony A7S is the first camera to really beat the Canon 5D Mark III across the board at almost every level for both stills and video, especially the latter. The A7R did not have the video quality to rival the Canon, but the A7S is a different proposition altogether and raises the bar to another level, possibly signalling the end of DSLR domination in this area at the same time. I can think of no reason to shoot on stock Canon 5D Mark III video settings when you can shoot XAVC-S on the A7S.

Much has already been said about the image coming from the Sony A7S. In 1080p XAVC-S it is one of the best for the money, and certainly the cleanest at high ISOs. Over 4K HDMI it is even better and far more in league with a genuinely pro camera like the Sony FS7 or F5 than any $2299 mirrorless camera.

Whilst on other cameras raw video remains an artistic thing of beauty and a real treat, the file sizes and managing data prove to be a real headache if you shoot a lot. It’s becoming a little harder to justify the larger files now that the gain in image quality and grading ability has narrowed to the best-compressed codecs. If you’re competent at grading LOG footage (quite a complex acquired skill that takes time to master) then S-LOG 2 on the A7S will give you an image in the ballpark of raw but with XAVC-S file sizes that are 300 MB per minute compared to 6GB per minute of uncompressed 1080p raw. These images also have far less noise and are delivered from a form factor more suited to shooting video than either Canon DSLRs or Blackmagic’s current lineup.

Those without the necessary grading expertise can simply use the latest version of Film Convert instead, which now supports all the A7S video picture profiles including S-LOG 2.

For Blackmagic and Panasonic GH4 users it’s a tougher choice and it will definitely come down to individual taste, lenses, needs and projects. The GH4 and Blackmagic cameras still have unique features not offered on the A7S, like global shutter and internal 4K recording, so if these features are important to you as a filmmaker you might want to consider more than one camera!

There are a few cons in the mix as well of course. For a start there is borderline unacceptable rolling shutter skew in certain shooting situations (in full frame mode), while the video record button is very awkwardly placed and you can’t assign it to the custom button. There’s no internal 4K codec, despite Panasonic packing one into an even smaller camera with the LX100 for just $899. The A7S’s tiny body loses much of its raison d’être when it’s attached to large external recorder or monitor for 4K. It may as well be bigger! Meanwhile shooting S-LOG 2 is challenging from the camera display due to the lack of ability to apply LUT to the LCD, and grading S-LOG 2 will prove difficult for average users without grading and colour correction expertise and software. Battery life could be better.

Alas, in the end the proof of quality is in how much you end up using something. Whilst many other cameras have collected dust on my shelves, I’ve been out shooting with the A7S. We can talk forever about specs but that is the biggest endorsement I can give something. To just SHOOT! And shoot and shoot… With the A7S it has been a pleasure.

Pros

  • Full frame rendering of your shot backed onto some of the best internal HD quality available from any consumer camera
  • 12MP brings much bigger advantages than 24MP or 36MP for video and arguably for stills too – better quality pixels
  • Full pixel readout and digital low pass filter greatly reduces moire and aliasing in 1080p footage
  • Astounding low light performance, 3 stops better than GH4 and better than Sony’s own top end F55!
  • Future proof 4K recording over HDMI when coupled with an Atomos Shogun or similar
  • S-LOG 2 performs as a valid alternative to raw video with tiny file sizes
  • Very good quality internal 1080p XAVC-S with more fine detail resolved than the 5D Mark III
  • XAVC-S implementation relatively robust and far better than previous consumer Sony cameras
  • 13 to 14 stops dynamic range noticeably more than the Canon 5D Mark III in both raw stills and S-LOG video mode
  • Maintains dynamic range, colour accuracy and saturation at high ISOs
  • More affordable than the Canon 1D C as a full frame 4K video solution (and actually full frame in 4K not 1.3x crop APS-H)
  • Better ergonomics than the 1D C for video (though not for stills) and more features
  • Reasonable pricing given the groundbreaking nature of the features
  • APS-C mode maintains plentiful detail in 1080p especially in 50/60p
  • APS-C mode reduces impact of rolling shutter skew and is Speed Booster compatible for the full frame look
  • APS-C 120fps for slow-mo at 720p features better image quality than can reasonably be expected for a consumer camera, especially in S-LOG mode (though has moire)
  • Silent electronic shutter mode for photography very useful and much sleeker than the A7R’s loud mechanical shutter
  • Recording start / stop trigger sent over HDMI, meaning hands-free external recording on a single camera button press – ideal for Atomos Ninja Star and Shogun
  • Pro picture profiles from Sony’s professional fleet of video cameras with extensive control over the image in video mode
  • Aspect ratio guide-lines built in on the LCD and EVF i.e. for 2.35:1 letterbox or for 4:3 when shooting anamorphic and cropping the edges in post
  • Very adaptable lens mount
  • Leica M and PL mount lens compatible for the best possible optics
  • Fully compatible with Canon lenses using adapter
  • Better performance in the corners of the sensor with wide angle Leica M mount lenses than the A7R
  • Reasonably fast AF with Sony’s own lenses for stills
  • Built in WiFi and NFC useful for transmitting stills to smartphone – enables uploading to social networks or other servers live from the field
  • Faster continuous shooting rate than the A7 and A7R
  • Excellent stills quality, and 12MP enough for 99% of purposes
  • EVF usable for video shooting unlike the optical VF of a DSLR

Cons

  • Borderline unacceptable rolling shutter skew in certain shooting situations (in full frame mode)
  • Very awkwardly placed video record button. Cannot assign it to custom button. Cannot use main shutter button to record video in movie mode!
  • Over-priced and narrow line-up of full frame Sony E-mount lenses makes the camera of limited use for stills when AF is required
  • No internal 4K codec (whilst Panasonic GH4 has it for less money)
  • No 10bit HDMI output (again the GH4 has this as do Blackmagic)
  • Currently very limited range of solutions for external 4K recording and no really practical / affordable ones at the time of release
  • Tiny body loses much of its raison d’être when attached to large 4K recorder / field monitor
  • No slow-mo conform or playback in-camera for 120fps or 60fps (aka Variable Frame Rate mode on the GH4)
  • Ergonomically a step behind the Panasonic GH4, Olympus E-M1 and Fuji X-T1 overall
  • Otherwise good performance of the EVF has dropped a step behind the Fuji X-T1 – feels more cramped and of lower contrast
  • Full frame sensor often necessitates very large lenses making small body feel poorly balanced for handheld stills and video work
  • Cannot shoot stills whilst in video mode, yet the competition can
  • S-LOG 2 will not allow use of ISOs lower than 3200
  • Shooting S-LOG 2 challenging from camera display due to lack of ability to apply LUT to the LCD
  • Grading S-LOG 2 difficult for average users without grading and colour correction expertise and software
  • Rather limited run-times on a single battery compared to the GH4
  • Poor LCD visibility in direct sunlight. Sunny Weather mode improves this at expense of accuracy (harder to gauge actual exposure as it looks brighter than what is being recorded)
  • Poor quality zoomed focus assist to aid manual focus when in video mode
  • Rather ineffective peaking implementation (Blackmagic lead the way on this)
  • Micro HDMI port seems out of place on semi-pro tool for video, extremely fragile. Supplied cable support difficult to attach and remove quickly
  • Cannot record XAVC-S onto SDHC cards, SDXC only (hmm)
  • Tea making function is a $6000 firmware update :)

Minor quibbles

The following are smaller issues I have with the camera, mainly ergonomic ones. They should not be deal breakers for the vast majority of users but I’d like Sony to take note for the future.

  • Lower video quality when shooting 1080/50p/60p in full frame compared to 24,25 and 30p
  • NTSC models region locked with no PAL frame rates such as 25p
  • Unfriendly PRIVATE folder structure on the card where video clips are stored – too many clicks required to get to the footage
  • Extremely low quality thumbnail preview of movie clips in playback mode, despite an HD thumbnail stored in the PRIVATE directory for every clip
  • No useful EXIF data stored for movie clips despite an EXIF text file being stored in the PRIVATE directory for every clip
  • Inaccurate auto-white balance and exposure metering when shooting in S-LOG 2 mode
  • When S-LOG is set to S-Gamut colour mode it seems reds have a strong purple hue which requires correcting in post
  • Cannot assign APS-C mode or silent shutter toggle to a function button, buried in the menus
  • Poor logical choices in main menu layout with video functions scattered throughout multiple pages
  • Main menu button placed on left of camera, meaning two hands needed on back of the camera every time you want to press it, or your right hand crosses EVF eye sensor, blanking out menus on the LCD
  • No sensitivity adjustment for EVF eye sensor
  • No top dial on the left of the camera at all, where ideally an ISO dial could have been included
  • Rear LCD switch-off feature only removes image, does not turn backlight off to conserve power
  • Sometimes slower than expected boot-times
  • Information still placed over your shot on the LCD and in the EVF despite black bars top and bottom to accommodate icons and info!
  • Picture profiles all obscurely labeled PP1-7. S-LOG 2 is ‘PP7′ by default
  • Zoomed manual focus assist takes two taps to activate, too easy to accidentally exit with over sensitive shutter button on the half-press
  • Custom mode dial remembers shutter, ISO, etc. meaning you have to re-dial your exposure upon switching from a normal mode to a custom mode
  • Gloss black finish feels cheaper than X-T1 construction and is more prone to finger prints

The post Sony A7S Review Part 2 and Conclusion appeared first on EOSHD.

All credit is given to author EOSHDAndrew Reid (EOSHD)

Four ingredients are necessary to achieve beautiful looking skin in portrait photography: a healthy and rested subject, makeup, good lighting, and talented retouching. Other than recommending a good night’s sleep and drinking plenty of water, there’s little a photographer can do to change the given subject. Makeup, however, can balance skin tones, correct most skin imperfections, and even change the perceived shape of a subject’s face. Makeup applied well will also boost the effects of good lighting and minimize the work needed later in retouching.  

Fashion and glamour photographers know the benefits of makeup and usually have a makeup artist on set. Portrait photographers are often not that fortunate. Typically, they work with the makeup — or lack of makeup — the subject wears, then correct for shine, blotches, and uneven skin tone in post-production. But, with a few makeup supplies and a bit of practice, any photographer can develop enough skill to apply basic makeup and improve a portrait right from capture.

This tutorial suggests what you might want to include in a makeup kit, introduces the basics of makeup application, and covers the important considerations of hygiene.

The Tools

Makeup artists spend hundreds of dollars on equipping their kit, but you will only need a few items to apply basic makeup before a portrait. That said, there are two important points to consider.

  • Cheap products usually give shoddy results. You don’t need to purchase the very best but I do recommend you shop in a reputable makeup store, at the cosmetics counter of a department store, or in a pharmacy with an expanded cosmetics section. Some ideal products can also be purchased online
  • More people are demanding cosmetics that are free of animal testing and animal byproducts. People are also increasingly resisting or are sensitive to harmful ingredients often found in cosmetics. Anticipate these potential objections and purchase cosmetics and tools that are animal friendly and free of the worst of the harmful ingredients

Brushes and Applicators

I recommend beginning with a kit of three brushes: a face brush, a blush or powder brush, and a concealer or lip brush. A number of companies now make animal-free brushes from bamboo. They are soft, durable, inexpensive, and clean up easily. If you’re looking for brushes that can withstand some abuse, spend a little bit more money and purchase good quality synthetic brushes. Be sure, however, that the larger synthetic brushes are very soft and pliable.

A basic tool kit for applying makeup
  1. Face brush: the largest and fluffiest of makeup brushes, often about 2 inches wide with the bristles curved in a rounded shape
  2. Blush or powder brush: a medium sized, soft brush, 1 to 1.5 inches wide with curved edges. This brush will serve double duty, so avoid purchasing a small blush brush.
  3. Concealer or lip brush: a small brush, about 0.25 to 0.5 inches wide, with ends tapered to a rounded point
  4. Wedge-shaped disposable sponges are handy for all sorts of things. Look for these packaged in a round or square shape, scored to be torn apart into wedges. (Tip: Disposable makeup sponges are also a great tool for propping up items in a still life.)
  5. Cotton swabs are indispensable and useful for many tasks. Splurge for a brand-name product with tightly wound swabs. Budget swabs often cause more of a mess than they clean.
  6. Popsicle sticks or tongue depressors are also useful for a number of things. Check your local craft shop for inexpensive boxes of sticks. This is one product to purchase as cheaply as you can.
  7. Disposable hand towels are another indispensable product. Tissues are not strong enough. Paper towels are a good second choice but they are not as easy to pack in a small kit.
  8. Blotting film or facial blotting paper is the last disposable item to add to your kit. The films or papers will come in small cardboard packages of about 30 sheets. They are inexpensive and you’ll use these a great deal, even if you don’t apply any makeup at all.

Cosmetics

You will be able to apply basic makeup with a surprisingly small kit of makeup. You may wish to add more or different products if you find you’re often applying makeup, but begin with just the basics.

A small kit of essential makeup
  1. Translucent loose setting powder: This powder will have a very light skin tone colour in the jar but applies neutrally on almost all skin tones. Mineral-based powder is popular and works well. If you are feeling adventurous, mineral-based loose powders can also be purchased with more colour. With practice, you can match almost any skin tone by blending from a combination of three, perhaps four, basic shades.
  2. Concealer: This is an inexpensive staple for any makeup kit. You can purchase a small pot of each of three shades of concealer cream (light, medium, and dark), but if you have the patience for shopping, I recommend looking for what is often called a “concealer wheel” or “concealer palette.” This single container will contain light, medium, and dark skin tones plus yellow, green, and light purple or pink. 
  3. Blush or bronzer: It can be tough picking just one blush or one bronzer that will work on most skin tones, but NARS makes both, which can often be purchased at holiday time as a pair in one case. Look for NARS Orgasm blush and NARS Laguna bronzer. I have yet to encounter a situation where this blush/bronzer duo has failed me. Blending the two shades will work on skin tones that don’t take either the blush or bronzer on their own.
  4. Rice powder: This is a very fine, light, loose white or very pale powder used for absorbing excess oils and highlighting features. Be sure to purchase the real thing and not a chemical substitute. Real rice powder will go on almost invisibly; chemical substitutes will add or change colour. If you’re unable to find rice powder in the cosmetics shops, try a theatre supply store. This is not an expensive product.
  5. Lip gloss or cream: As with blush and bronzer, it can be difficult to find just one lip colour that will look attractive on all skin tones. It’s rare that a woman will arrive for a photograph without her lipstick in her purse, and most men would rather give lip treatments a pass. Still, I recommend keeping a pot, squeezable tube, or stick of clear lip gloss, and if you wish, a few tinted lip balms. Do not purchase lip gloss in a long container with a stick applicator. It is almost impossible to use gloss this way without contaminating it.

Cleaning Products

It is absolutely essential that you keep your hands, brushes, and cosmetics clean.

  • Hand sanitizer: Any one will do, although I recommend avoiding any sanitizer with a heavy scent. Wipe your hands well with sanitizer before and after every makeup application.
  • Brush cleanser: Look for a conditioning brush cleanser in a spray bottle, or purchase a small spray bottle and fill it with isopropyl alcohol. Spray every brush thoroughly when you are finished a makeup application. Let the spray sit for a minute or two on the brush, then wipe the brushes clean with a disposable hand towel. Brushes that have been used with blush or contour may need a few cleanings to remove all of the makeup.
  • Cosmetic sanitizer: Isopropyl alcohol in a spray bottle will also work as a cosmetic sanitizer, but it will discolour makeup with repeated use. A better choice is a sanitizing mister made especially for cosmetics. Makeup artists swear by a cosmetic sanitizer made by Beauty So Clean. It can even be purchased in very small portable spray bottles. Lightly spray all cosmetics with sanitizer after every makeup application and leave the cosmetics open for a few minutes to air dry.

Applying Makeup to Women

Most women will have taken some care to apply at least the minimum of makeup before being photographed. To be sure they have, suggest when arranging the photography session that they apply face cream and foundation before arriving for the shoot. Also remind them to be certain to bring their lipstick with them.

When your client arrives, assess each step before applying or correcting your client’s makeup. Your client’s makeup may be just fine or may only need some minor touchups. Only add or repair what’s needed.

Blot and Conceal

This is a critical stage of applying makeup for photographs. Done well, blotting and concealing will transform skin irregularities and save a great deal of retouching later. Done poorly and you’ll spend more time retouching.

Your first step is to use blotting paper to blot up any obviously oil spots. Simply press the blotting paper to the oily area, lift, and repeat as necessary, using a clean section of blotting paper each time. Do not rub!

Then, using your smallest brush (the lip or concealer brush), dab concealer on blemishes, dark under eye circles, and any other area needing a bit of correction. Dab on a bit of concealer with your brush, wait a minute or so, then use a clean finger to lightly dab the concealer to begin to blend it in. (You will finish blending in the next stage.)

Applying concealer demands that you think about colour theory and shading. Apply green to red blotches, yellow to purple-blue under eye circles on olive or tan skin, and light purple or pink to under eye circles on fair skin. Then use a flesh-toned concealer the same as, or slightly lighter than, your client’s skin to even out the corrections. Consider using a darker flesh-toned concealer to make areas recede (for example, on a prominent nose bump) or a lighter flesh-toned concealer to bring areas forward (for example, on sunken skin below under eye circles). 

Blot oil and conceal blemishes

Correcting or Balancing Foundation

With excess oil removed and any blemishes covered, check your client’s foundation. Some women are generous in applying foundation or fail to adequately blend foundation along the jaw line. If this is the case with your client, dampen one of your wedge sponges and use it in light gentle strokes to even out the foundation. Pay particular attention to her jawline and hair line, ensuring any makeup lines are smoothly blended out.

Some women may not have applied quite enough foundation. If this is the case, use your largest brush (the face brush) and brush on lightly tinted setting powder. This is also when you might apply tinted mineral powders if you’re experimenting with those. Or, if your client has very dark skin, use a popsicle stick and scrape a tiny bit of contour into some tinted setting powder. Powder will not provide deep coverage, but it will supplement a thin application of foundation. 

Correct or balance foundation

Blush and Contour

If you’ve never applied makeup to another person, this stage will initially feel awkward using a brush and makeup in this way. Practice in advance by brushing makeup onto white sheets of paper. Watercolour paper is ideal for practising because it mimics the feel of skin. To get the most out of your practice, download a blank face sketch from the Internet, print it on watercolour paper, and practice applying makeup to the sketch.

When you are ready to apply blush and contour to your client, ask her to smile broadly. Use your medium-sized brush (blush or powder brush) to apply blush from the apex of the apple of her cheeks in a very slight curve down and then up, almost to her ears. Brush the blush on in light strokes, brushing on more makeup in layers until you’ve achieved a look that is slightly more dramatic than natural.

Next, ask your client to suck in her cheeks. Use your blush or powder brush with your bronzer to lightly apply a bit of contour in the sunken area of her cheeks from about mid-cheek back to hair line. A little contouring goes a long way. When you begin feeling more confident applying contour, consider applying it down the middle of a woman’s nose, at her temples, and on the tip of her chin. This will make your client’s face look a bit thinner.  

Apply blush and contouring

Blending

For good makeup application, blend, blend, and blend some more. Begin with your large face brush and lightly sweep in circles to begin to blend in the edges of the blush and contour you’ve applied. Finish blending by using your face brush to lightly brush on some light flesh coloured translucent powder.

Highlight and Manage Shine

Rice powder can be used at this stage both to add some highlights to your client’s face and to tone down any shiny areas. To add highlights, use a clean blush or face brush (be sure you’ve cleaned it of blush and contour), dip the tip of the brush in some rice powder and gently touch the rice powder onto the areas you wish to highlight. Then use your face brush to blend.

Adding highlights to either side of the bridge of your client’s nose — near the inside corners of her eyes — will brighten her eyes. To lift a tired look, add a bit of highlighting to the very top of her cheek bones near the bottom of her eye sockets, particularly toward the outer corners of her eyes toward her temples.

If your client has some shiny areas — and this may be all you need to correct for some clients — apply some rice powder on the shine using your face brush. Go lightly; it’s easy to over-correct and end up with overly pale looking skin. 

Highlight manage shine and colour lips

Lips

Finish by ensuring your client’s lips are smooth, polished, and moist looking. If your client has brought her own lipstick, have her use that. If, however, she did not bring it or her lips need a bit of moisture or shine, use a popsicle stick (or tongue depressor) to scoop a bit of lip gloss out of a pot or to scrape a bit of tinted lip balm off the tube. Apply the gloss or balm from the stick with a clean concealer or lip brush. Don’t use your fingers or let your client use her fingers; more gloss or balm will remain on your fingers than on your client’s lips.

Assess

At each stage, step back from your client to assess what you have applied or corrected. You can always layer on a bit more makeup where needed, but it’s difficult to neatly remove too much makeup.

Before and after
Before and after without retouching. (I asked my model to apply her own mascara.)

Applying Makeup to Men

To my surprise and delight, I have never had a man refuse my suggestion of a bit of corrective makeup. Typically, I limit makeup application for men to concealing and managing shine.

Blot and Conceal

Always use blotting paper on a man’s skin before applying any concealer. Men naturally produce a heavier oil on their faces. If the oil is not blotted, concealer will easily slip off with every attempt to apply it. Otherwise, the same principles for applying concealer to women applies to men. You may only need to be a bit more diligent in blending concealer over shaved facial hair.

Managing Shine

Rice powder works wonderfully to matte shine on a man’s face, especially on high foreheads and bald spots. Even if you are not able to completely matte shine in those areas, rice powder will bring the shine down enough that you will have texture to work with in those areas of the photograph when retouching. As with women, apply rice powder to men lightly with a large face brush, blend well, and check to be sure you have not created pasty-white areas. 

If your client’s skin tone is dark and you are trying to matte significant shine, blend a little tinted translucent powder with the rice powder before applying. Alternatively, Arbonne makes a powder (FC5 Mattifying Powder) that works wonderfully. It’s a pressed powder and looks light green in the compact, but goes on neutral with every skin tone. It will matte shine but won’t lighten skin or add highlights. 

Managing shine on a mans skin

Lips

Some men, particularly those who spend a great deal of time outdoors, have dry or flaking lips. Ask if you might apply a little clear lip balm in this case, or offer it to your client to apply with his finger. This is a circumstance when applying lip balm does work better with a finger. Rub the balm in well; you typically don’t want shiny traces on a man’s lips.

Clean

Before finishing up, take a close look at your client. Remove smudges, makeup flakes, or lint with a cotton swab. Use your face brush or a damp disposable sponge to blend any makeup that needs just a tiny bit more blending. And use a damp disposable sponge to remove stains or lint from clothing.

Finally, always clean your brushes and cosmetics after every use. Use a conditioning brush spray or isopropyl alcohol on your brushes and cosmetic sanitizer or isopropyl alcohol on your cosmetics. Throw away any disposable items you used. And always wash your hands with soap and running water or with sanitizer as soon as you are finished.

Practice, Practice, Practice

Applying makeup to another person does not come naturally. There is a reason why makeup artists are paid handsomely for their work. But with a few tools, a small bag of cosmetics, and practice, you will be able to address the worst of makeup or skin flaws before you capture your client’s portrait.

All credit is given to author Tuts+ Photo & VideoDawn Oosterhoff

Four ingredients are necessary to achieve beautiful looking skin in portrait photography: a healthy and rested subject, makeup, good lighting, and talented retouching. Other than recommending a good night’s sleep and drinking plenty of water, there’s little a photographer can do to change the given subject. Makeup, however, can balance skin tones, correct most skin imperfections, and even change the perceived shape of a subject’s face. Makeup applied well will also boost the effects of good lighting and minimize the work needed later in retouching.  

Fashion and glamour photographers know the benefits of makeup and usually have a makeup artist on set. Portrait photographers are often not that fortunate. Typically, they work with the makeup — or lack of makeup — the subject wears, then correct for shine, blotches, and uneven skin tone in post-production. But, with a few makeup supplies and a bit of practice, any photographer can develop enough skill to apply basic makeup and improve a portrait right from capture.

This tutorial suggests what you might want to include in a makeup kit, introduces the basics of makeup application, and covers the important considerations of hygiene.

The Tools

Makeup artists spend hundreds of dollars on equipping their kit, but you will only need a few items to apply basic makeup before a portrait. That said, there are two important points to consider.

  • Cheap products usually give shoddy results. You don’t need to purchase the very best but I do recommend you shop in a reputable makeup store, at the cosmetics counter of a department store, or in a pharmacy with an expanded cosmetics section. Some ideal products can also be purchased online
  • More people are demanding cosmetics that are free of animal testing and animal byproducts. People are also increasingly resisting or are sensitive to harmful ingredients often found in cosmetics. Anticipate these potential objections and purchase cosmetics and tools that are animal friendly and free of the worst of the harmful ingredients

Brushes and Applicators

I recommend beginning with a kit of three brushes: a face brush, a blush or powder brush, and a concealer or lip brush. A number of companies now make animal-free brushes from bamboo. They are soft, durable, inexpensive, and clean up easily. If you’re looking for brushes that can withstand some abuse, spend a little bit more money and purchase good quality synthetic brushes. Be sure, however, that the larger synthetic brushes are very soft and pliable.

A basic tool kit for applying makeup
  1. Face brush: the largest and fluffiest of makeup brushes, often about 2 inches wide with the bristles curved in a rounded shape
  2. Blush or powder brush: a medium sized, soft brush, 1 to 1.5 inches wide with curved edges. This brush will serve double duty, so avoid purchasing a small blush brush.
  3. Concealer or lip brush: a small brush, about 0.25 to 0.5 inches wide, with ends tapered to a rounded point
  4. Wedge-shaped disposable sponges are handy for all sorts of things. Look for these packaged in a round or square shape, scored to be torn apart into wedges. (Tip: Disposable makeup sponges are also a great tool for propping up items in a still life.)
  5. Cotton swabs are indispensable and useful for many tasks. Splurge for a brand-name product with tightly wound swabs. Budget swabs often cause more of a mess than they clean.
  6. Popsicle sticks or tongue depressors are also useful for a number of things. Check your local craft shop for inexpensive boxes of sticks. This is one product to purchase as cheaply as you can.
  7. Disposable hand towels are another indispensable product. Tissues are not strong enough. Paper towels are a good second choice but they are not as easy to pack in a small kit.
  8. Blotting film or facial blotting paper is the last disposable item to add to your kit. The films or papers will come in small cardboard packages of about 30 sheets. They are inexpensive and you’ll use these a great deal, even if you don’t apply any makeup at all.

Cosmetics

You will be able to apply basic makeup with a surprisingly small kit of makeup. You may wish to add more or different products if you find you’re often applying makeup, but begin with just the basics.

A small kit of essential makeup
  1. Translucent loose setting powder: This powder will have a very light skin tone colour in the jar but applies neutrally on almost all skin tones. Mineral-based powder is popular and works well. If you are feeling adventurous, mineral-based loose powders can also be purchased with more colour. With practice, you can match almost any skin tone by blending from a combination of three, perhaps four, basic shades.
  2. Concealer: This is an inexpensive staple for any makeup kit. You can purchase a small pot of each of three shades of concealer cream (light, medium, and dark), but if you have the patience for shopping, I recommend looking for what is often called a “concealer wheel” or “concealer palette.” This single container will contain light, medium, and dark skin tones plus yellow, green, and light purple or pink. 
  3. Blush or bronzer: It can be tough picking just one blush or one bronzer that will work on most skin tones, but NARS makes both, which can often be purchased at holiday time as a pair in one case. Look for NARS Orgasm blush and NARS Laguna bronzer. I have yet to encounter a situation where this blush/bronzer duo has failed me. Blending the two shades will work on skin tones that don’t take either the blush or bronzer on their own.
  4. Rice powder: This is a very fine, light, loose white or very pale powder used for absorbing excess oils and highlighting features. Be sure to purchase the real thing and not a chemical substitute. Real rice powder will go on almost invisibly; chemical substitutes will add or change colour. If you’re unable to find rice powder in the cosmetics shops, try a theatre supply store. This is not an expensive product.
  5. Lip gloss or cream: As with blush and bronzer, it can be difficult to find just one lip colour that will look attractive on all skin tones. It’s rare that a woman will arrive for a photograph without her lipstick in her purse, and most men would rather give lip treatments a pass. Still, I recommend keeping a pot, squeezable tube, or stick of clear lip gloss, and if you wish, a few tinted lip balms. Do not purchase lip gloss in a long container with a stick applicator. It is almost impossible to use gloss this way without contaminating it.

Cleaning Products

It is absolutely essential that you keep your hands, brushes, and cosmetics clean.

  • Hand sanitizer: Any one will do, although I recommend avoiding any sanitizer with a heavy scent. Wipe your hands well with sanitizer before and after every makeup application.
  • Brush cleanser: Look for a conditioning brush cleanser in a spray bottle, or purchase a small spray bottle and fill it with isopropyl alcohol. Spray every brush thoroughly when you are finished a makeup application. Let the spray sit for a minute or two on the brush, then wipe the brushes clean with a disposable hand towel. Brushes that have been used with blush or contour may need a few cleanings to remove all of the makeup.
  • Cosmetic sanitizer: Isopropyl alcohol in a spray bottle will also work as a cosmetic sanitizer, but it will discolour makeup with repeated use. A better choice is a sanitizing mister made especially for cosmetics. Makeup artists swear by a cosmetic sanitizer made by Beauty So Clean. It can even be purchased in very small portable spray bottles. Lightly spray all cosmetics with sanitizer after every makeup application and leave the cosmetics open for a few minutes to air dry.

Applying Makeup to Women

Most women will have taken some care to apply at least the minimum of makeup before being photographed. To be sure they have, suggest when arranging the photography session that they apply face cream and foundation before arriving for the shoot. Also remind them to be certain to bring their lipstick with them.

When your client arrives, assess each step before applying or correcting your client’s makeup. Your client’s makeup may be just fine or may only need some minor touchups. Only add or repair what’s needed.

Blot and Conceal

This is a critical stage of applying makeup for photographs. Done well, blotting and concealing will transform skin irregularities and save a great deal of retouching later. Done poorly and you’ll spend more time retouching.

Your first step is to use blotting paper to blot up any obviously oil spots. Simply press the blotting paper to the oily area, lift, and repeat as necessary, using a clean section of blotting paper each time. Do not rub!

Then, using your smallest brush (the lip or concealer brush), dab concealer on blemishes, dark under eye circles, and any other area needing a bit of correction. Dab on a bit of concealer with your brush, wait a minute or so, then use a clean finger to lightly dab the concealer to begin to blend it in. (You will finish blending in the next stage.)

Applying concealer demands that you think about colour theory and shading. Apply green to red blotches, yellow to purple-blue under eye circles on olive or tan skin, and light purple or pink to under eye circles on fair skin. Then use a flesh-toned concealer the same as, or slightly lighter than, your client’s skin to even out the corrections. Consider using a darker flesh-toned concealer to make areas recede (for example, on a prominent nose bump) or a lighter flesh-toned concealer to bring areas forward (for example, on sunken skin below under eye circles). 

Blot oil and conceal blemishes

Correcting or Balancing Foundation

With excess oil removed and any blemishes covered, check your client’s foundation. Some women are generous in applying foundation or fail to adequately blend foundation along the jaw line. If this is the case with your client, dampen one of your wedge sponges and use it in light gentle strokes to even out the foundation. Pay particular attention to her jawline and hair line, ensuring any makeup lines are smoothly blended out.

Some women may not have applied quite enough foundation. If this is the case, use your largest brush (the face brush) and brush on lightly tinted setting powder. This is also when you might apply tinted mineral powders if you’re experimenting with those. Or, if your client has very dark skin, use a popsicle stick and scrape a tiny bit of contour into some tinted setting powder. Powder will not provide deep coverage, but it will supplement a thin application of foundation. 

Correct or balance foundation

Blush and Contour

If you’ve never applied makeup to another person, this stage will initially feel awkward using a brush and makeup in this way. Practice in advance by brushing makeup onto white sheets of paper. Watercolour paper is ideal for practising because it mimics the feel of skin. To get the most out of your practice, download a blank face sketch from the Internet, print it on watercolour paper, and practice applying makeup to the sketch.

When you are ready to apply blush and contour to your client, ask her to smile broadly. Use your medium-sized brush (blush or powder brush) to apply blush from the apex of the apple of her cheeks in a very slight curve down and then up, almost to her ears. Brush the blush on in light strokes, brushing on more makeup in layers until you’ve achieved a look that is slightly more dramatic than natural.

Next, ask your client to suck in her cheeks. Use your blush or powder brush with your bronzer to lightly apply a bit of contour in the sunken area of her cheeks from about mid-cheek back to hair line. A little contouring goes a long way. When you begin feeling more confident applying contour, consider applying it down the middle of a woman’s nose, at her temples, and on the tip of her chin. This will make your client’s face look a bit thinner.  

Apply blush and contouring

Blending

For good makeup application, blend, blend, and blend some more. Begin with your large face brush and lightly sweep in circles to begin to blend in the edges of the blush and contour you’ve applied. Finish blending by using your face brush to lightly brush on some light flesh coloured translucent powder.

Highlight and Manage Shine

Rice powder can be used at this stage both to add some highlights to your client’s face and to tone down any shiny areas. To add highlights, use a clean blush or face brush (be sure you’ve cleaned it of blush and contour), dip the tip of the brush in some rice powder and gently touch the rice powder onto the areas you wish to highlight. Then use your face brush to blend.

Adding highlights to either side of the bridge of your client’s nose — near the inside corners of her eyes — will brighten her eyes. To lift a tired look, add a bit of highlighting to the very top of her cheek bones near the bottom of her eye sockets, particularly toward the outer corners of her eyes toward her temples.

If your client has some shiny areas — and this may be all you need to correct for some clients — apply some rice powder on the shine using your face brush. Go lightly; it’s easy to over-correct and end up with overly pale looking skin. 

Highlight manage shine and colour lips

Lips

Finish by ensuring your client’s lips are smooth, polished, and moist looking. If your client has brought her own lipstick, have her use that. If, however, she did not bring it or her lips need a bit of moisture or shine, use a popsicle stick (or tongue depressor) to scoop a bit of lip gloss out of a pot or to scrape a bit of tinted lip balm off the tube. Apply the gloss or balm from the stick with a clean concealer or lip brush. Don’t use your fingers or let your client use her fingers; more gloss or balm will remain on your fingers than on your client’s lips.

Assess

At each stage, step back from your client to assess what you have applied or corrected. You can always layer on a bit more makeup where needed, but it’s difficult to neatly remove too much makeup.

Before and after
Before and after without retouching. (I asked my model to apply her own mascara.)

Applying Makeup to Men

To my surprise and delight, I have never had a man refuse my suggestion of a bit of corrective makeup. Typically, I limit makeup application for men to concealing and managing shine.

Blot and Conceal

Always use blotting paper on a man’s skin before applying any concealer. Men naturally produce a heavier oil on their faces. If the oil is not blotted, concealer will easily slip off with every attempt to apply it. Otherwise, the same principles for applying concealer to women applies to men. You may only need to be a bit more diligent in blending concealer over shaved facial hair.

Managing Shine

Rice powder works wonderfully to matte shine on a man’s face, especially on high foreheads and bald spots. Even if you are not able to completely matte shine in those areas, rice powder will bring the shine down enough that you will have texture to work with in those areas of the photograph when retouching. As with women, apply rice powder to men lightly with a large face brush, blend well, and check to be sure you have not created pasty-white areas. 

If your client’s skin tone is dark and you are trying to matte significant shine, blend a little tinted translucent powder with the rice powder before applying. Alternatively, Arbonne makes a powder (FC5 Mattifying Powder) that works wonderfully. It’s a pressed powder and looks light green in the compact, but goes on neutral with every skin tone. It will matte shine but won’t lighten skin or add highlights. 

Managing shine on a mans skin

Lips

Some men, particularly those who spend a great deal of time outdoors, have dry or flaking lips. Ask if you might apply a little clear lip balm in this case, or offer it to your client to apply with his finger. This is a circumstance when applying lip balm does work better with a finger. Rub the balm in well; you typically don’t want shiny traces on a man’s lips.

Clean

Before finishing up, take a close look at your client. Remove smudges, makeup flakes, or lint with a cotton swab. Use your face brush or a damp disposable sponge to blend any makeup that needs just a tiny bit more blending. And use a damp disposable sponge to remove stains or lint from clothing.

Finally, always clean your brushes and cosmetics after every use. Use a conditioning brush spray or isopropyl alcohol on your brushes and cosmetic sanitizer or isopropyl alcohol on your cosmetics. Throw away any disposable items you used. And always wash your hands with soap and running water or with sanitizer as soon as you are finished.

Practice, Practice, Practice

Applying makeup to another person does not come naturally. There is a reason why makeup artists are paid handsomely for their work. But with a few tools, a small bag of cosmetics, and practice, you will be able to address the worst of makeup or skin flaws before you capture your client’s portrait.

All credit is given to author Tuts+ Photo & VideoDawn Oosterhoff

One of the top questions I get asked is why I don’t recommend Nikon cameras or do more Nikon body reviews. In today’s video I go through my 4 reasons for not recommending Nikon cameras for video:

1. Nikon F Mount

On Canon, Panasonic and Sony cameras you have vast selection of lens options thanks to a more flexible flange distant. You can use Nikon glass and tons of other brands/mounts where as on a Nikon, you can never use Canon lenses and others.

2. Settings and Layout

I think Canon and Panasonic cameras have much better menu and button layouts than Nikon. This point is more subjective, but I’ve found that a good deal of shooters agree with me.

3. Not Video Oriented

When it comes to video, Canon, Panasonic and Sony have a lot more experience where as Nikon has been exclusively stills.

4. Many Pro Video Shooters Don’t Use Nikon

I’m not saying that anyone who shoots video on a Nikon camera isn’t a pro. But if you take a look at leading filmmakers and shooters, you won’t find many using Nikon cameras.

Conclusion

I didn’t make this video to bash Nikon or Nikon uses at all. I made this video to answer a question I get a lot from my readers. So now you guys know why I don’t recommend Nikon or shoot with Nikon cameras when filming video.

The post 4 Reasons Why I Do Not Recommend Nikon Cameras for Video appeared first on DSLR Video Shooter.

All credit is given to author DSLR Video ShooterCaleb Pike

One of the top questions I get asked is why I don’t recommend Nikon cameras or do more Nikon body reviews. In today’s video I go through my 4 reasons for not recommending Nikon cameras for video:

1. Nikon F Mount

On Canon, Panasonic and Sony cameras you have vast selection of lens options thanks to a more flexible flange distant. You can use Nikon glass and tons of other brands/mounts where as on a Nikon, you can never use Canon lenses and others.

2. Settings and Layout

I think Canon and Panasonic cameras have much better menu and button layouts than Nikon. This point is more subjective, but I’ve found that a good deal of shooters agree with me.

3. Not Video Oriented

When it comes to video, Canon, Panasonic and Sony have a lot more experience where as Nikon has been exclusively stills.

4. Many Pro Video Shooters Don’t Use Nikon

I’m not saying that anyone who shoots video on a Nikon camera isn’t a pro. But if you take a look at leading filmmakers and shooters, you won’t find many using Nikon cameras.

Conclusion

I didn’t make this video to bash Nikon or Nikon uses at all. I made this video to answer a question I get a lot from my readers. So now you guys know why I don’t recommend Nikon or shoot with Nikon cameras when filming video.

The post 4 Reasons Why I Do Not Recommend Nikon Cameras for Video appeared first on DSLR Video Shooter.

All credit is given to author DSLR Video ShooterCaleb Pike