Photoshoot and editorial makeup
Makeup and hair for photoshoots in Melbourne. Precise, considered, and built to hold across a long shoot day rather than the first hour of it.
Campaign, lookbook, brand and content shoots, film, portfolio work for models: photoshoot makeup that lands on camera exactly as intended. I work on location around Melbourne and in studio. I understand the specific demands of camera-ready work and have experience collaborating with photographers and directors.
Every look is built for longevity and colour accuracy under different lighting conditions. Whether it is one clean look or multiple changes across the day, I deliver consistently.
- Built to last the whole shoot, not the first hour. Long wear is the part I am known for, and on a shoot day it is the difference between touching up between every set-up and not touching up at all.
- Colour that reads true under any light. Daylight, studio strobes and warm indoor light all change what the camera sees, so the makeup is built for the light you are actually shooting in.
- Several looks in one day, changed on set. Half day and full day bookings, with looks taken from clean to strong and back without starting from scratch each time.
- Hair and makeup in one booking. Nobody waits on a separately booked artist, and the two are planned together.
Portfolio
On a shoot the hair sits in every frame, so it is usually styled in the same session as the makeup. It carries its own pricing, worked out by length and complexity, on the hair styling page.
Good to know
Two things: the camera and the clock. A camera reads texture and colour far more literally than a room does, so anything that sits on the skin, a heavy powder, a shade half a tone off, a line that looks soft in the mirror, shows up magnified in the frame. It works the other way at the same time: the lens takes intensity out of a face, so colour that felt strong in the room comes back weaker than it was. Building for a camera means knowing which of the two applies where, taking texture down while the pigment goes up. And a shoot day is long. Makeup that is fine for a four hour event has to hold through eight or more, under lights, through changes, without being rebuilt between set-ups. Both are solved before the shoot starts, in how the skin is prepared and which products go on it, not by touching up all day.
Several in a day as a rule, and what sets the number is how much changes between shots rather than how elaborate each look is. There is no fixed count, and the clock on its own is a poor guide to it: a look that appears complicated can go on quickly, while something that reads as simple can take far longer to get right. Looks are also built so they can move rather than be removed: a clean base can be taken to something strong and brought back down without starting the face again. So the number comes out of the shot list rather than out of a rule. Send me that list, or just describe the mood, and I will tell you what fits the day and plan the order so the biggest change lands where you have the most time.
Yes, and it saves time on the day. Mood boards, references, the lighting setup and the wardrobe all change what the makeup should be doing, and it is far quicker to agree on that before the call time than to adjust between frames. If there is no brief, that is fine too: tell me the mood in plain words and I will bring the range.
Shoots are quoted rather than priced from a list, because a short shoot with a single look and a long day with several changes are different jobs. Tell me the date, the location anywhere around Melbourne, how many people are being made up and roughly what the day involves, and you will get a figure back. Early calls are normal in this work: I can start on you from 5am if the light needs it.