Day 47. Working with a Hairstylist
by Christine Walsh-Newton, David Schmidt, Matthew Roharik, Melissa LaRose, Tom Hauc
The Daily Book of Photography
- Cover
- Title Page
- Contents
- Introductions
- Day 1. Camera-derie
- Day 2. Ancient Times
- Day 3. Ansel Adams (1902–1984)
- Day 4. Night Photography
- Day 5. Double Exposure
- Day 6. Life as a Photojournalist
- Day 7. The Model Test
- Day 8. World’s Smallest Camera
- Day 9. Soul in the Window
- Day 10. Families
- Day 11. Definition of Photograph/Photograph
- Day 12. The First Photograph
- Day 13. Herb Ritts (1952–2002)
- Day 14. Filling Shadows
- Day 15. Capturing a Moment
- Day 16. Toolbox Essentials
- Day 17. Fashion Stylist Team
- Day 18. A Child’s Dream Comes to Life
- Day 19. Mini Mount of Olives
- Day 20. Uncle Sam Wants You
- Day 21. Types of Cameras
- Day 22. Thomas Wedgwood
- Day 23. Richard Avedon (1923–2004)
- Day 24. Birds of Prey
- Day 25. Conceptual
- Day 26. Serendipity: UC Berkeley Mascot
- Day 27. Shooting Youth with Drama
- Day 28. Impressionistic Photography
- Day 29. Sand Jumper
- Day 30. Poverty
- Day 31. SLR vs. Point and Shoot
- Day 32. Louis Jacques Mande Daguerre
- Day 33. Annie Leibovitz (1949–)
- Day 34. Sunrise
- Day 35. Group
- Day 36. Using Your Head, Not Your Gear
- Day 37. Working with a Makeup Artist
- Day 38. Undressing for Art
- Day 39. Succulent
- Day 40. Religion
- Day 41. Camera Modes
- Day 42. The Calotype
- Day 43. Anne Geddes (1956–)
- Day 44. Sunset
- Day 45. Comedians
- Day 46. Use of Light: Silhouetting
- Day 47. Working with a Hairstylist
- Day 48. Urban Legends I
- Day 49. Geen Toegang (No Entry)
- Day 50. Unity
- Day 51. Camera Settings
- Day 52. Stereoscopic Photography
- Day 53. Diane Arbus (1923–1971)
- Day 54. Low-Light Photograph
- Day 55. Use of Color
- Day 56. Capturing Action
- Day 57. Casting Your Talent
- Day 58. Ghost Photography
- Day 59. Santa Barbara Mission
- Day 60. Financial Disaster
- Day 61. The Shutter and Light
- Day 62. Photography and the American Civil War
- Day 63. Irving Penn (1917–2009)
- Day 64. Wind Farms
- Day 65. Artists
- Day 66. Celebration
- Day 67. Lights, Camera ...
- Day 68. Famous Fakes
- Day 69. Poppy Red Cars
- Day 70. Old Age
- Day 71. The Shutter and Motion
- Day 72. Motion Studies
- Day 73. Henri Cartier-Bresson (1908–2004)
- Day 74. Farm Fields
- Day 75. Musicians
- Day 76. Right Place at the Right Time
- Day 77. Essential Light Modifiers
- Day 78. Tampering with History
- Day 79. As One
- Day 80. Homelessness
- Day 81. The Aperture and Light
- Day 82. Eastman Kodak
- Day 83. Edward Curtis (1868–1952)
- Day 84. Autumn Color
- Day 85. Drawing with Light
- Day 86. Specificity vs. Serendipity
- Day 87. Essential Light Modifiers
- Day 88. Revolver Camera
- Day 89. Vanitas
- Day 90. Greed
- Day 91. The Aperture and Depth of Field
- Day 92. The Study of Photography
- Day 93. Margaret Bourke–White (1904–1971)
- Day 94. Tranquility
- Day 95. Color Cross-Processed
- Day 96. Off-Field Score
- Day 97. Essential Light Modifiers
- Day 98. The Victorian Dead
- Day 99. Hong Kong from The Peak on a Summer Night
- Day 100. Mighty Transportation
- Day 101. Change One, Change Them Both
- Day 102. Oskar Barnack and the Leica
- Day 103. Imogen Cunningham (1883–1976)
- Day 104. The Tree
- Day 105. Use of Sunlight
- Day 106. Use of Light: Front Lighting
- Day 107. Secret Garden
- Day 108. Urban Legends II
- Day 109. Bay Bridge
- Day 110. Employment
- Day 111. Overview of Lenses
- Day 112. Nikon
- Day 113. Dorothea Lange (1895–1965)
- Day 114. Flowers
- Day 115. Environmental
- Day 116. Back Lighting
- Day 117. Setting the Mood of the Shoot
- Day 118. The Human Soul
- Day 119. Victoria Beach Tower
- Day 120. Daily Routines
- Day 121. Focusing Your Lens
- Day 122. Photograms
- Day 123. Helmut Newton (1920–2004)
- Day 124. Woodland Paths
- Day 125. Use of Shadow
- Day 126. Backlit
- Day 127. The Ring Flash
- Day 128. World’s Largest Camera
- Day 129. Still Life with Nail Polish
- Day 130. The War Machine
- Day 131. Focus and Depth of Field
- Day 132. Stroboscopic Photography
- Day 133. Patrick Demarchelier (1943–)
- Day 134. Nature Centers
- Day 135. Use of Location
- Day 136. Perspective
- Day 137. Wardrobing Your Subjects
- Day 138. Performance Art Meets Photography
- Day 139. Watching Sunrise
- Day 140. Humility
- Day 141. How Lenses Affect Perspective
- Day 142. Group f/64
- Day 143. Baron Wolman (1937–)
- Day 144. Abstracts in Nature
- Day 145. Black and White
- Day 146. Negative Space
- Day 147. Influential Fashion Photographers—Past
- Day 148. Contemporary Daguerreotypes
- Day 149. Dark Versus Light, Day Versus Night
- Day 150. Urban Decay
- Day 151. What Is ISO?
- Day 152. Kodachrome
- Day 153. Eadweard J. Muybridge (1830–1904)
- Day 154. Creating a Mood
- Day 155. Colorful
- Day 156. Framing
- Day 157. Lights, Camera ...
- Day 158. The Last First Contact
- Day 159. The End of the Line
- Day 160. Marketing Political Ideas
- Day 161. Overview of Exposure
- Day 162. Exakta and the Single-Lens Reflex
- Day 163. Edward Henry Weston (1886–1958)
- Day 164. Monarch Migration
- Day 165. Actors
- Day 166. Being Patient
- Day 167. Influential Fashion Photographers—Present
- Day 168. Urban Legends III
- Day 169. Tulip
- Day 170. Power
- Day 171. Light Meters
- Day 172. Gelatin Dry-Plate Process
- Day 173. Julia Margaret Cameron (1815–1879)
- Day 174. Cute Baby Animals
- Day 175. Polaroid
- Day 176. Being Patient
- Day 177. Developing Theme and Concept
- Day 178. Pigeon Photographers
- Day 179. Barbie Figure Study #2
- Day 180. Family Structure
- Day 181. Filters
- Day 182. Cyanotypes
- Day 183. Robert Capa (1913–1954)
- Day 184. Lovable But Homely Babies
- Day 185. Wet Collodion
- Day 186. Off-Field Score
- Day 187. Urban Location Scouting
- Day 188. “Witch” Photography
- Day 189. Moonshimmering Waterfall and Aurora Borealis
- Day 190. Gender
- Day 191. Lens Add-Ons
- Day 192. LIFE Magazine and Photojournalism
- Day 193. Mary Ellen Mark (1940–)
- Day 194. The Macro World
- Day 195. Outtakes
- Day 196. Jubilation
- Day 197. Lights Camera. . .
- Day 198. Lost Authors
- Day 199. Shadow Bench, Shadow Path, and Dark Door
- Day 200. The First Family
- Day 201. Using Natural Light
- Day 202. Twin-Lens Camera
- Day 203. Walker Evans (1903–1975)
- Day 204. Hawk In Flight
- Day 205. Five Minutes
- Day 206. Panning for Effect
- Day 207. Collecting Props that Inspire
- Day 208. The Photographer of the Mine
- Day 209. Golden Gate PanoPlanet
- Day 210. Separation
- Day 211. Using Artificial Light
- Day 212. Instant Photography
- Day 213. Alfred Stieglitz (1864–1946)
- Day 214. Wading Birds
- Day 215. Freeze Frame
- Day 216. Capturing Action
- Day 217. The Windblown Look
- Day 218. Photographing the past
- Day 219. The Lonely Pontiac®
- Day 220. Technology
- Day 221. Subject Matter
- Day 222. The Nikon F
- Day 223. Minor Martin White (1908–1976)
- Day 224. Combining Light
- Day 225. High speed Strobe
- Day 226. Framing
- Day 227. Black and White Photography
- Day 228. Urban Legends IV
- Day 229. Under shifting Sand
- Day 230. The Female Vote
- Day 231. Framing Your Subject Matter
- Day 232. Underwater Photography
- Day 233. Willing Eggleston (1939–)
- Day 234. Water on the Rocks
- Day 235. Slow Synch Strobe
- Day 236. Negative Space
- Day 237. Fashion Apparel On Location
- Day 238. Eerie Solitude
- Day 239. Bernal Heights Wormhole
- Day 240. Providing Life’s Essentials
- Day 241. Backgrounds
- Day 242. Color Photography
- Day 243. Philippe Halsman (1906–1979)
- Day 244. Stop Action
- Day 245. Architectural
- Day 246. Up Close and Personal
- Day 247. The Seamless Background
- Day 248. Composite Portraits
- Day 249. Lightning Assault
- Day 250. Discontent
- Day 251. Using Lines
- Day 252. Collodion Process
- Day 253. Alfred Eisenstaedt (1898–1995)
- Day 254. Narrow Depth of Field
- Day 255. Landscape
- Day 256. Use of Light
- Day 257. Couture Posing and Movement
- Day 258. Photographic Collages
- Day 259. Lights of Independence
- Day 260. Street Life
- Day 261. Using Shapes and Patterns
- Day 262. Magnum and Photo Collectives
- Day 263. Howard Schatz (1940–)
- Day 264. Wide Depth of Field
- Day 265. Cityscape
- Day 266. Framing
- Day 267. Posing Two Models
- Day 268. Urban Legends V
- Day 269. Found Cups with Spoon
- Day 270. Presidential Presence
- Day 271. Using Color and Contrast
- Day 272. Flash Photography
- Day 273. Man Ray (1890–1976)
- Day 274. Man and the Natural World
- Day 275. Onstage
- Day 276. Being Patient
- Day 277. Beauty Headshot Basics
- Day 278. Scanner as Camera
- Day 279. Rose in the Rain
- Day 280. War
- Day 281. Using Perspective
- Day 282. The Instamatic Camera
- Day 283. William Wegman (1943–)
- Day 284. Winter’s Fury
- Day 285. Serendipitous
- Day 286. Capturing Action
- Day 287. Competition Quality
- Day 288. Dog Photography
- Day 289. Earth Hour—Brisbane
- Day 290. Sexual Orientation
- Day 291. Finishing Your Work
- Day 292. Stock Photography
- Day 293. Andy Goldsworthy (1956–)
- Day 294. Natural Camouflage
- Day 295. Soft Strobe Lighting
- Day 296. Jubilation
- Day 297. Retouching
- Day 298. Camera Tossing
- Day 299. Brooklyn Bridge
- Day 300. The Vote
- Day 301. What Is a Cropping Ratio?
- Day 302. Photography Museums
- Day 303. Sally Mann (1951–)
- Day 304. The Insect World
- Day 305. Eyes to the Soul
- Day 306. Perspective
- Day 307. Post-Production Effects
- Day 308. Surreal Dreamscapes
- Day 309. Waning Gibbous
- Day 310. Quality of Life
- Day 311. Papers and Printing
- Day 312. Canon EOS
- Day 313. Cindy Sherman (1954–)
- Day 314. Out My Back Door
- Day 315. Inspired
- Day 316. Using a Motor Drive
- Day 317. Collaborating
- Day 318. Infrared Photography
- Day 319. St. Joseph's Church
- Day 320. Wealth
- Day 321. Mounting
- Day 322. Adobe Photoshop®
- Day 323. Robert Frank (1924–)
- Day 324. Back Lighting
- Day 325. Painterly Lighting
- Day 326. Casting Shadows
- Day 327. Working with Water
- Day 328. Photographing the Invisible
- Day 329. For Molly
- Day 330. Child Labor
- Day 331. Matting
- Day 332. Digital Photography
- Day 333. Robert Doisneau (1912–1994)
- Day 334. No Tripod? Find an Alternative
- Day 335. Use of Perspective
- Day 336. Use of Light
- Day 337. Shooting Lingerie
- Day 338. Urban Legends VI
- Day 339. Motorway Mayhem
- Day 340. Industry
- Day 341. Framing
- Day 342. Camera Phone
- Day 343. Yousuf Karsh (1908–2002)
- Day 344. The Digital Revolution
- Day 345. Optical Illusion
- Day 346. Anticipation
- Day 347. Natural Lighting and Beauty
- Day 348. The Kaleidoscopes of Ryo Ohwada
- Day 349. Alone
- Day 350. Health Care
- Day 351. Creative Projects for Digital Photographs
- Day 352. Autofocus
- Day 353. David “Chim” Seymour (1911–1956)
- Day 354. Be Prepared
- Day 355. Spiritual
- Day 356. Peace Out
- Day 357. Your Book, Your Future
- Day 358. Remembering the Revolution
- Day 359. The Hunt
- Day 360. Community
- Day 361. For Further Study
- Day 362. Kodak Goes Digital
- Day 363. Robert Mapplethorpe (1946–1989)
- Day 364. Changing Perspective
- Day 365. Interior Location
- Sources Cited
- Bibliography
- Additional Credits
- Acknowledgments
- About the Authors
- Copyright Page
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DAY 47 | FASHION & BEAUTY |
Working with a Hairstylist
HAIR’S THE THING ...
Having a dedicated hairstylist on a shoot is a wonderful luxury. Hair is one of the hardest aspects to control. Styled hair tends to fall flat within a few minutes of shooting, and the hot lights add to the problem. Controlling flyaway hairs is a constant battle and extremely time consuming in post-production retouching.
When auditioning a perspective hairstylist for a shoot, make sure they have prior experience working on a photo shoot and set. Just like a makeup artist and photographer, a hairstylist will have a print portfolio for viewing. Make sure they have a range of ethnicities in their book, and ask if they have experience with hair extensions. A little trick for shoots where a hairstylist is not available and the hair is just not working for the shoot, go with the hair pulled back or a wet look. —MR
Photo © Matthew Roharik.
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