CHAPTER 8

Styling 101

As a photographer starting out, I found myself gravitating toward magazines like Vogue, Vanity Fair , and Marie Claire for inspiration. Most, if not all, of the work felt unachievable and irreplicable, which left me feeling discouraged. Why bother shooting fashion if I couldn’t replicate that caliber of work? If that sounds familiar, don’t feel discouraged. Remember that most of those images are the result of high-production sets. You have makeup artists in charge of makeup, wardrobe stylists in charge of styling, manicurists in charge of painting the subjects’ nails. This doesn’t even account for the fact that they’re photographing actors, actresses, or models.

So, what’s not to be discouraged about? The reality is that those results are obtainable if you’re willing to work for them. The photographers who produce those images have more than likely paid their dues as photographers in order to be where they are. Most of them started like you or I, with limited resources and a ton of ambition. Now, as a fashion photographer, the caliber of my team has grown exponentially as I’ve developed my lighting and editing skills. I’ve had the pleasure of working with a ton of great wardrobe stylists, hairstylists, and models throughout my career, and I’ve learned a lot of practical information that I’ve even been able to apply to my portrait photography.

As a fashion photographer, I’ve had the opportunity to work alongside some really amazing fashion stylists, who specialize in making people of all shapes and sizes look and feel their best. A fashion stylist can use clothing to accentuate features or use certain colors, patterns, and textures to draw attention away from features that your subjects are less than confident about. Unfortunately, I know that many of you reading this book will not have access to a wardrobe stylist on set. Fortunately, the basic elements of styling are not terribly difficult to learn and can easily be implemented into your body of work. In this chapter, you’ll quickly see the visual impact that great styling can make in your area of photography ( Figure 8.1 ).

FIT OVER FINISH

Fit is by far the most important part of styling. While fashion trends change, the need for proper fit does not. I say that with all the respect in the world to you fashionistas. In the same manner that an ill-fitting suit on a male can make him look like a young boy playing dress-up, many women can use a little tweak here or there. In this section, I will provide you with basic guidelines on how things are supposed to fit versus how most clients actually wear them. This extra initiative will directly influence the result of your final images, as well as save you countless hours of time and frustration in the editing process. The small details are always important.

STYLING FOR PORTRAITS

Contrary to popular culture, you won’t always be photographing women in swimsuits and lingerie. Egad! Believe it or not, they make casual and formal clothing for women! Who would have known? I’m being facetious. On a serious note, there isn’t a ton of information in the photography community about styling women in everyday attire. You’ll find plenty of information about styling for boudoir sessions or lingerie, but it’s almost as if society forgot that women wear everyday clothing, too.

I’m going to preface this section with this: fashion changes every day. What is considered fashionable today is completely outdated by tomorrow. If you focus on fit, as I mentioned, your portraits will look great no matter how fashion evolves in the future. Remember that you’re a photographer, not an image consultant. If you focus on fit, you won’t risk imposing your own personal fashion preferences on your client.

Business Suits

Women’s business suits are composed of two matching pieces, a blazer and a pencil skirt or suit pants. Typically, a women’s business suit should be worn with the same respect as a men’s suit and can easily become one of the staple pieces in a woman’s professional wardrobe. Knowing how a suit should fit will help you decide how to correct any wardrobe mishaps by using simple styling techniques or fixing them in postproduction. Also, don’t be afraid to use binder clips as a way to tailor a business suit in a pinch, like in Figure 8.2 .

FIGURE 8.2

The shoulders. Suit jackets should be fitted and snug around the shoulders.

The sleeves. Sleeves should be long or short enough to fit perfectly at the wrist bone.

The inseam. The point at which the pants fold and meet is called the break . A woman’s suit pants should not have a break and should fall flat, just at the shoes she is wearing. Cropped pants should be worn just above the ankle.

Pencil skirt. Professional skirts should be tailored so that the bottom of the skirt reaches the middle or the bottom of the kneecap.

Boudoir and Lingerie

Boudoir is a French word that loosely translates to describe a woman’s private bedroom or sitting area. Therefore, boudoir sessions are understood to involve more sensualized images of women, photographed in their private bedrooms or at a photographer’s studio. To be clear, a woman does not have to be nude in order for an image to be considered boudoir. Most nudity in boudoir photography is implied and not explicit. As photographers, our job is to capture a subject in the most flattering way possible and make sure that they maintain both their privacy and their dignity.

I know that many photographers who start photographing boudoir leave the burden of picking out lingerie to their clients. Those of you who have done this know how much of a mistake it can be. Unfortunately, most people don’t always know what things complement their specific figure and select attire that is either much too small or much too large for their frames. When it comes to boudoir photography, you’re bound to run into women who will either over- or under-compensate for their bust sizes, back sizes, and waist sizes. Let’s just be honest; women want to feel comfortable in their skivvies. Unfortunately, what feels comfortable doesn’t always look great, especially when you’re wearing so little. I’m going to primarily focus on fit in this section, because while the style of attire can change, the goal of achieving proper fit does not.

FIGURE 8.3

The idea behind understanding proper fit is that every extra attempt to help a subject look their best will directly influence the results of the final image. You’re effectively helping your subjects help you. You’ll save a lot of time and frustration during the editing process by paying attention to the small details while on your shoot. Moving forward, I will cover different types of undergarments to consider for your shoot and which body types they complement, along with the correct way they are supposed to be worn ( Figure 8.3 ).

The foundation of boudoir photography is using the right bra for the job. Finding the correct bra size is an art and also a science. After doing some research, I was surprised to find that “64% of women are wearing the wrong size bra,” and “29% know they are wearing the wrong size,” according to a study conducted by Swiss lingerie maker Triumph.

As a photographer, I’ve come across my fair share of those 64 percent of women, and I must say that retouching ill-fitting bras is a nightmare. Assuming that most male photographers aren’t going to have a lot of experience knowing how a bra should fit in the first place, the images are going to reflect that point. Help your clients make the best decision, and delicately vocalize if you see anything out of place. If your client is going to invest in a lingerie or boudoir session, they should also invest in taking the time to have their bust and band sizes measured from a professional. If your client or subject doesn’t feel like making the effort to go to the nearest lingerie store, there are plenty of tools and resources available online to help them measure themselves.

The following tips are meant as a reference guide for photographers who want to know how bras should fit visually. Remember that getting the photograph right before postproduction will save you immeasurable time retouching your images.

The Right Bra for the Job

BRA FIT MADE EASY

Here are some tips for finding the right size and fit.

• • Underwire should fit snug between the breasts and lay flat against the chest. If the underwire doesn’t fit snug against the body or digs into the underarm, your subject needs a larger cup size ( Figure 8.5 ).
• • If the breasts are bulging over the cups of the bra, around the neck, or under the arm, then a larger cup size is required ( Figure 8.6 ).
• • If the bra straps are digging into a woman’s shoulders, they are supporting too much weight of the breasts. Additionally, the underband may not be providing enough support. In cases like these, a smaller back size would probably resolve the issue ( Figure 8.7 ).
• • If you see the cups lift away from the chest when a woman’s arms are raised, then either a smaller back size is necessary or she needs a larger cup size ( Figure 8.8 ).
• • If the underband rides up the back, then the bra back size is too large ( Figure 8.9 ).
• • If the back of the bra is uncomfortably tight and you notice that the hook is straining, then the back size is simply too small ( Figure 8.10 ).

FIGURE 8.5

FIGURE 8.6

FIGURE 8.7

FIGURE 8.8

FIGURE 8.9

FIGURE 8.10

TIP Silicone bra inserts, also known as “chicken cutlets,” are used to create the illusion of larger breasts. They are generally self-adhesive, safe, inexpensive, and a great way to enhance a woman’s cleavage.

TYPES OF BRAS AND LINGERIE

Here are some examples of common bra and lingerie options.

• • Push-up bra. Push-up bras create the appearance of increased cleavage ( Figure 8.11 ). If your subject has few or no curves, lacy push-up bras are the way to go. They suggest more shape, and a two-toned bra will give enough contrast to emphasize curve. For more athletic body types, consider a deep lace push-up, as they create more of a feminine curve.
• • Full coverage bra. Full coverage bras completely cover most of the breast and offer a lot of support ( Figure 8.12 ). They are best suited for women with a larger bust. Let’s be clear; full coverage doesn’t mean “granny” bras. There are a variety of beautiful lace bras that are made for women with larger cup sizes. The underwire provides support, and full coverage bras provide firm cleavage.

  Do not confuse full coverage bras with demi bras. Demi bras are half-sized versions of full coverage bras and are meant for smaller bust sizes. Large breasts will spill over a demi bra.

• • Shelf bra. A shelf bra supports the lower part of the breasts and either leaves the breasts exposed or provides very limited material to cover the breasts ( Figure 8.13 ). Shelf bras are best suited for cup sizes between A and C. Larger cup sizes may find that the underwire does not provide adequate support. Note that if your client or subject would like to use a shelf bra but is uncomfortable showing off her breasts, she can opt for pasties. Pasties can range from simple stickers to tassels, depending on your client’s taste.

FIGURE 8.11

FIGURE 8.12

FIGURE 8.13

• • Triangle bra. Triangle bras are bras with triangle-shaped cups, which are suited for more petite figures ( Figure 8.14 ). Triangle bras are great for women with a smaller cup size (B cup or smaller), or for women with breast enhancements who are comfortable going without any support. Triangle bras do not provide the illusion of a bigger bust.
• • Corset. Corsets are structured support garments that extend from the bust to the hip ( Figure 8.15 ). Corsets will flatten out your midsection; therefore, they are best suited for curvier subjects or subjects who are self-conscious about their midsections. Corsets are also great for adding curves to a straight figure.
• • Garter belt. Garter belts come in all shapes and sizes ( Figure 8.16 ). If your client is looking for a garter belt for a photo shoot, simplicity is key. The fewer straps and adjusters that a garter has, the less time your client is going to waste making sure that the straps are all straight. I’d recommend sticking with a four-strap model, with limited adjusters. Garter belts look great on every body type, but fit is essential. They should be wide enough that they do not cause “muffin top” or indentations on your subject’s thighs and should fit somwhere between the trim of her panty line and just below her navel.

FIGURE 8.14

FIGURE 8.15

FIGURE 8.16

• • Babydoll. Babydolls are loose-fitting negligées ( Figure 8.17 ). When shopping for one, your client should opt for bralettes (formed cups) to display cleavage. Babydolls are great for curvier subjects or subjects who aren’t comfortable showing off their midsection, because they aren’t fitted to the body. Babydolls are also a great way to direct attention to the cleavage and not the midsection, if your subject has larger hips or a larger rear (as with pear shapes).
• • Thong. Thongs resemble bikini bottoms in the front and leave most or part of the buttocks exposed in the back ( Figure 8.18 ). There are a variety of different thongs available, but if your subject wants to accentuate her assets while visually flattening the tummy or muffin top, then a high-rise thong is the way to go. Thongs are a great way to make a subject’s rear look natural, but they don’t provide much in the form of support. They are great for firm or semifirm rears and women with curves. If your subject is lacking in the bum department, consider asking them to opt for boy shorts to enhance lift.
• • Keyhole panty. This style traditionally has a cutout in the back, which exposes buttock cleavage, and is best suited for women with curvier bottoms ( Figure 8.19 ).

FIGURE 8.17

FIGURE 8.18

FIGURE 8.19

• • French knickers. French knickers resemble short shorts and are generally made out of silky material ( Figure 8.20 ). They come in a variety of different styles. Wearing high-rise French knickers will help flatten out a subject’s tummy and is great for flattering fuller hips. If your subject has an hourglass body shape or a larger rear, opt for a style that has a low waist and fits snugly.
• • Boy shorts. Boy shorts are underwear with a low waistline that are cut across the thigh ( Figure 8.21 ). They are great for a variety of body types. They provide full coverage and lift, especially for women with softer rears. Boy shorts are great for women with large hips, as long as they opt for a dark color. Bright colors will make large hips look larger than they really are. If your subject has short legs or a short torso, avoid boy shorts, as they can make them look shorter in- camera.
• • Thigh high stay-ups. Thigh high stay-ups are stockings with an elastic band at the top for use with or without garters ( Figure 8.22 ). They look great on every woman regardless of her leg length. The important thing when looking for thigh highs is to be sure that your subject purchases the right measurement for her specific leg length. If your subject is shopping for thigh highs, note that cheap thigh highs can be extremely delicate, but if they’re only wearing them for a photo shoot, they’ll do the job.

FIGURE 8.20

FIGURE 8.21

FIGURE 8.22

HAIR AND MAKEUP FOR PHOTO SHOOTS

For those of you who are looking through magazines like Vogue and Vanity Fair for inspiration, remember that those editorials are large productions. Every subject has their hair, makeup, and wardrobe done by a team of creative professionals. Simply put, it’s a lot more work than most publications would have you believe. What you can learn from large production sets is that every second in preproduction directly influences the final image, along with how much postproduction is necessary.

Makeup artists are modern-day magicians. A great makeup artist can create the illusion of clear skin, enhance facial features, define eyes, and transform a subject into visual perfection before post-processing. I’ve found that at minimum, I need a talented makeup artist on fashion, commercial, and beauty sets in order to create stunning images ( Figure 8.23 ).

FIGURE 8.23

While I’d always advise having a makeup artist on set for fashion editorials, commercial ads, or beauty shoots, you don’t need a professional makeup artist for weddings, portraits, or boudoir sessions, although I’d still advise it. Remember that a great makeup artist not only does makeup and hair, but is also critically aware of their work during the shoot. They’ll focus on runny or smeared makeup, “flyaways,” droopy false eyelashes, or any combination of the above. That allows both you and your client to focus on what really matters: posing, lighting, and conversing.

Whether you’re a photographer who doesn’t have the budget to accommodate for a makeup artist or you simply don’t have access to one, there are many things that you’ll want to keep in mind when you’re having your subject do their own hair and makeup. Makeup can make or break an image and can also result in hours of needless retouching if you’re not paying attention to the details. In this section, I’m going to cover things that you should be aware of during your shoot, along with tips and tricks for those of you working without a makeup artist on set.

Things to Look Out For When Your Client Is Doing Her Own Makeup

Photography-friendly makeup is critical on set, as it can create the illusion of clear skin, enhance facial features, define eyes, and transform any subject into visual perfection before you ever import your images into your computer. Many male photographers won’t have the faintest clue of what they’re looking for when photographing a female subject, because, well, most of us don’t wear makeup. To make it a little easier to understand, here I’ll describe the three major areas of makeup that you want to be aware of while photographing women.

Blending. You might assume that everyone does blending well, but that’s not the case whatsoever. Great blending takes both time and finesse that not every woman has. If you’ve ever tried to apply makeup, you’ll quickly realize how difficult skillful blending actually is. To be clear, blending is the process of gradating your makeup so that there’s not a definitive line, or else a woman ends up looking like she’s wearing a mask.

As a photographer, you want to be conscious of this, as it can be time-consuming to blend in makeup in postproduction, especially when transitioning between entirely different colors. Blending doesn’t just stop at foundation. If your subject is wearing eyeliner, lip liner, lipstick, or blush, she’s going to need to blend everything.

Pores. Foundation should be applied as a thin coating on the face that still retains natural skin texture. You’ll find that women who contour their faces will generally apply multiple layers of makeup in an attempt to better accentuate their facial features. More often than not, this covers most of the pores and skin texture in the image, resulting in very flat, unrealistic-looking skin.

As a photographer, you have the ability to remove blemishes and contour in postproduction. I find that it’s easier to contour in postproduction than it is to add skin texture in postproduction. The unique balance of flawless skin and realism should be your goal if you’re shooting a beauty or fashion campaign. Portrait and wedding photographs, by contrast, will vary depending on your creative vision and the client’s expectations.

Color consistency and vibrancy. Let me be very clear; the color of the makeup that you see in person does not always accurately depict what it will look like in photographs. In fact, most makeup that you see in person will look more saturated than in photographs. Also keep in mind that depending on the lighting that you’ll be using, the color will also shift from one environment to the next. For example, if you’re using studio strobes and looking at your subject’s makeup under tungsten light, you’re bound to see a slight shift in color from what you see in person to what your camera depicts.

If you want the most accurate color representation possible, you’ll want to be sure that the color temperature of the lights your subject is applying makeup in is approximately the same color temperature that you photograph them in. If you’re using studio strobes, review her makeup with daylight or fluorescent light, as those two color temperatures will be closer in comparison to the color temperature of your studio strobes. For more information on color temperature and color accuracy, check out Chapter 13 , “Fashion Photography.”

Photo-friendly Makeup Tips

Photography-friendly makeup is critical on set, as it can create the illusion of clear skin, enhance facial features, define eyes, and transform any subject into visual perfection before post-processing. The tips in this section are invaluable if you want your photo shoot to go smoothly and comfortably.

Allot time for hair and makeup. It’s important to note that great makeup takes both time and patience. Whether you choose to hire a professional makeup artist or have your subject do her own makeup and hair, you’ll want to be sure to allot time for makeup and hair touch-ups depending on the length of your shoot. As a general rule of thumb, I allot an hour of hair and makeup time for every four hours of shooting time.

NOTE When you’re working with makeup artists, they should start off by applying makeup with a light palette (natural look) and build their way up to a bold or dramatic look. Since makeup can sometimes take upwards of an hour, wiping off makeup and starting from scratch is inefficient. I’ve found that some makeup artists can prepare a model in 30 minutes, whereas others have taken upwards of two hours. The expected timeframe can vary depending on the complexity of the makeup and the experience of the makeup artist.

Start with a fresh face. Whether your subject is hiring you for an assignment or you’re shooting a model portfolio, always be sure that makeup is applied from a clean slate. Be sure that your subject removes any present makeup and that she cleanses, exfoliates, and moisturizes her face before applying new makeup. This ensures that she starts with a fresh canvas and that her skin looks healthy in-camera. This also saves you time in postprocessing if she “cakes on” too much makeup.

Avoid sunscreen when possible. Stay away from using moisturizers with SPF, as they will reflect the flash of your lights, which in turn makes your subject look white, matte, and pasty or have specular highlights, depending on the product. No one likes looking pasty or sweaty.

TIP A professional makeup artist who has worked with models before will ask two questions before even applying a drop of makeup: “Are you allergic to anything?” and “What kind of makeup are you currently wearing?” If you don’t hear either of those questions, that should throw up a red flag. The last thing you want is your client or subject to experience an allergic reaction or have blotchy skin throughout a shoot. Also note that they should always use new disposable mascara wands with different clients.

Blotting paper is your friend. Shiny faces aren’t natural, unless you’re perspiring. If sweaty isn’t the look you’re going for, try to prevent an oily complexion by applying a loose matte powder and then use blotting papers to soak up excess oil throughout your session.

Color match skin tones. The job of great foundation is to create a smooth complexion that hides imperfection and blemishes. Foundation should not be used in place of bronzers. It’s absolutely paramount to be sure that your subject’s makeup matches her skin tone so that she looks natural in the photographs. If your subject is not certain what her skin color is, then consult a makeup professional. Most makeup counters will provide her with a complimentary consultation.

Avoid glitter. When working with makeup artists, don’t use products with glitter if it’s not part of the concept of the shoot. Too much reflective material will make your subject’s face look like a mini disco ball in photographs. In addition, glitter tends to settle in areas like smile lines and wrinkles, which can accentuate them unnecessarily.

Use contrast. Consider using contrasting colors when selecting eye shadows, because this draws more attention to the eyes. It doesn’t have to be an exact complementary color, but a shade of that color will work. For example, if your subject has blue eyes, consider a color in the orange family, such as gold, peach, or apricot. Also note that you can brighten up her eyes with a tinge of white eye shadow, just on the inside of her eyes, near the tear ducts.

Pencil in eyebrows. Penciling in your subject’s eyebrows can enhance her face and direct attention to her eyes. Keep in mind that dark brows can make a woman look older, so consider a color that is a couple of shades lighter than her hair.

Minimize makeup. Decide what element of makeup you want to showcase and enhance, and stick with one. For example, too much emphasis on both eyes and lips can make the image look too dramatic and overdone. Less is sometimes more.

Make sure she has a compact. If you’re planning on shooting outside of your subject’s home, be sure that she brings a compact to reapply foundation if she is doing her own makeup. You’ll find that posing for a long period of time isn’t easy and will lead to a little glistening.

Photography-friendly Hair

Retouching hair can make any sane photographer go crazy. It is by far the most tedious aspect of retouching, aside from a pixel-level dodge-and-burn. It’s tiring and time-consuming. This is why it’s so important to get things right in-camera. Photography-friendly hair is more involved than most women’s day-to-day hair styles and will require some investment in time. Here are some tips that my production team uses on fashion sets to make my life easier; give these a shot if you’re not certain where to start.

Complement the face shape. You want to be sure that you’re focusing on enhancing your subject’s features and minimizing her less favorable attributes. The idea is to complement her face from all angles. For example, if she has a round face, you should consider an asymmetrical hairstyle, because it adds angles and reduces an otherwise broad face. If you’re not certain what your subject’s face shape is, check out Chapter 1 , “Face Shapes.”

Copy the celebrities. A large percentage of photo shoots require hair extensions. Yes, those beautiful celebrity photos with really long, gorgeous hair are probably fake. The most budget-friendly route for extensions is to use clip-in extensions and then style accordingly.

Cover up. Make it easier on yourself and cover your subject’s hair tie. If your subject opts for a ponytail, cover the elastic band of her ponytail with hair from the base of her head. Also try and hide hair pins that are visible as best as feasibly possible.

TIP If you’re planning a boudoir or swimsuit shoot, I’d recommend that clients shave or wax any area that will not be covered during the shoot. The best time to shave is slightly before the shoot, especially if your subject is prone to skin rashes or bumps. Anything that’s left over at that point can be removed in postproduction.

Ask your client to practice beforehand. If your client is going to attempt a fancy style that she’s never tried before, ask that she practice before the shoot. If she hasn’t mastered it before the day of the shoot, then ask that she consider an alternative. You don’t want your client to show up feeling or looking depressed the day of the shoot because she didn’t get the look she was originally going for. It’s supposed to be a happy day!

It’s a package deal. Your client’s hair style should match her attire and her setting. For example, if you’re interested in doing a vintage photo shoot, be sure that she opts for a vintage hairstyle. Also note that period-specific shoots are a little easier to match than just standard shoots.

TAMING FLYAWAYS

Unwanted frizz and stray hairs are inevitable and absolutely annoying, but they can be tamed!

• • If your client is trying to detangle her hair, be sure that she opts for a wide-tooth comb instead of a brush.
• • If she washes her hair before a shoot, request that she use a soft T-shirt to dry her hair instead of a towel. Towel-drying can cause breakage and create more flyaways.
• • When all else fails, try a silicone-based product, like John Frieda’s Full Repair Touch-up Flyaway Tamer. You’ll thank me later.

STYLING TOOLS FOR YOUR STUDIO

Working with fashion stylists on set has given me the opportunity to learn how to use an assortment of tools to improve my photography. While you may not be a fashion photographer, these tools will quickly become an invaluable asset to your photography kit.

Mini spring clamps or binder clips. One of the most useful tools in my photography kit and one that never leaves my bag is either a binder clip or a mini spring clamp. Because most clothing made for models is sample-sized and meant to fit a variety of body types, stylists use mini clamps to pin clothing from behind and create the illusion of fitted clothing ( Figure 8.24 ).

FIGURE 8.24

Garment steamer. Attention to detail can make or break your final image. No matter how well-fitted an outfit or lingerie is, wrinkles will make your subject look both sloppy and lazy. While it’s possible to lighten and remove certain wrinkles in postproduction, it’s more efficient to correct the issue in person. Consider investing in a garment steamer ( Figure 8.25 ). It’s a great alternative to ironing, because it minimizes the risk of burning clothing on set, while still removing wrinkles. It’s important to remember NEVER to steam clothing while your subject is wearing it, as the steam can easily burn them.

FIGURE 8.25

To be clear, as a photographer, I do not steam my clients’ clothing for them—it’s not my responsibility. I always advise my clients to arrive ready to go on set. If they don’t, I ask them to steam their clothing while waiting in the studio seating area. I obviously ask them to do so with a bit of finesse.

Chicken cutlets. No, not the edible kind. Silicone bra inserts, also known as “chicken cutlets,” are used to create the illusion of larger breasts ( Figure 8.26 ). They are generally self-adhesive and are a safe and inexpensive way to enhance a woman’s cleavage.

Breast tape or pasties. If your client or subject is uncomfortable with you potentially photographing her breasts, consider investing in nipple covers ( Figure 8.27 ). They make them in all shapes and colors and the silicone ones are reusable, although you’ll want your subject to invest in her own pair to ensure proper hygiene.

FIGURE 8.26

FIGURE 8.27

Robes and slippers. Be sure to bring a robe to your boudoir session. Your subjects will generally be more comfortable between sittings or sessions, especially if they’re only in their underwear. I also recommend that the subject wear a robe as soon as the session starts, in the event that she has unwanted lines from clothing on her body.

Blotting paper. Blotting paper is material that absorbs the excess oils in skin. This is an awesome tool to have on set for subjects who have extra oily skin or who perspire on set ( Figure 8.28 ).

FIGURE 8.28

Underarm shields or sanitary napkins. Underarm shields are absorbent pads that adhere to the underarm fabric of shirts and absorb moisture. What’s great is that they are extremely discreet! You can find them at stores like Walmart or CVS and also on Amazon.com , but be sure to purchase ones that are hypoallergenic and unscented, just in case your subject or client has any allergies. In the event you don’t have underarm shields accessible, sanitary napkins make a great substitute, and they’re available at any drug store.