13 Facial Analysis
“I had 15 minutes with Dame Edna and had to be focused to show the essence of her character without having to feel or know her much, so when she did her lips thing I got closer and photographed it...that’s how I photograph, I get close.”
© Elinor Carucci (Courtesy of the artist)
What do we want and what do our clients want? This is not a question that originated with recent advances in capture and retouching tools; it has been with us since Greek and Roman times. The concern is whether a portrait should be an exact, idealized, or factually correct portrayal of the subject. In photographic portraits, we have the ability to make this choice in sophisticated ways.
We cannot deny that our subjects want to look their best, but this is not the same as looking perfect. It is not only an issue of retouching, but also of making proper choices in lighting and composing the portrait. Clearly, we need to take control of our tools to optimize our work. The various tools we have discussed thus far have given us the ability to fine-tune a portrait while recognizing the differences that make our subjects individuals.
Once we choose our approach on the idealism-to-realism continuum, we can establish methods to achieve our goal. This is a two-part activity that begins with analysis and proceeds through corrective techniques and lighting variations.
For the portrait photographer, facial analysis is of primary importance. However, we must acknowledge that facial analysis is individual to the ethnicity and culture of the subject and photographer. The principles of facial analysis described here will be within a Western European/American societal context.
Analyzing the Face
Earlier, we discussed the five planes that determine lighting patterns on the face. These are part of our consideration as we analyze the face, for it is the patterns of light and dark that give the face the desired form, volume, and qualities.
We look for deviations from a “normal” face, with normal defined as head proportions with the eyes halfway from the top of the skull to the chin, the nose approximately one-third of the way from the eyes to the chin, and the mouth approximately two-thirds of the way from the eyes to the bottom of the chin. These basic proportions are roughly common to all face shapes, though individual and ethnic variations occur. We are not concerned with the way the hair is styled.
The width of an oval face is approximately two-thirds of the height from the chin to the hairline. The oval face has an angularly curving chin with no sharp or flat portions, and the forehead is rounded more than the chin line. The oval formed by this configuration is egglike with the face continuously curving, though the lower half of the face is slightly less curved than the top half. The cheekbones tend to be visible, though not highly pronounced.
Oval face
A round face is just what it sounds like. The face is approximately the same width and height, and it is closer to a circle though seldom a pure circle. Because of these proportions, the chin seems less prominent and the mouth appears lower on the face. Because of the face’s width-to-height proportion, it looks fuller and the cheekbones tend to look flat. With the roundness also comes a full or plump look.
The long face shape is the narrowest of the primary facial shapes. Its key feature is its narrow width-to-height proportion. The cheekbones are elongated, and while pronounced on the sides of the cheeks, they tend to lay flatter on the frontal surface. The longer shape of the face makes the chin look extended and prominent. Because the face is narrow, the eyes are nearer to the temples and therefore emphasized.
Similar to the round face, the square face is broad in comparison to its height. The edges of the face, particularly the jaw and hairline, are flat and at a significant angle to the temples. The cheekbones are flatter and less pronounced than with other facial shapes. However, the cheeks are full and tend to look plump.
Round face
The last common face shape is the heart-shaped or triangular face. In this type, the upper portion of the face is broad and the portion below the cheeks is narrow. This face will often have high cheekbones that are not obvious because of the breadth of the upper part of the face. Most notable is the highly tapered jawline that can create a pointed chin. The forehead and eyes tend to dominate this facial configuration.
These facial forms are skeletal and thus do not depend on the weight of the subject. However, the more weight the subject carries relative to height, the softer the features of the face will be. The contrary is also true, with thinner individuals tending to have accentuated bone structure.
Long face
Another portion of the head structure that enters into our analysis is the neck. For women, the length and condition of the neck become an issue, particularly when open-necked attire is worn. The neck may be long, giving the head a floating quality, or short, thus anchoring the head to the shoulders. Also with age or weight a “double chin” may develop.
An important facial plane for determining portrait lighting is the nose, and therefore it is important to analyze how the nose will be seen and how it will cast shadows. The nose’s length is approximately half the length of distance between the top of the forehead, the hairline (unless receded), and the chin. Its width tends to be proportional to the width of the face, i.e., roughly one-third the width of the face. However, the shape of the nose is most important and often dictates the pose; for example, with a large nose, a profile is less flattering (though some notable portraits have been made of distinctive noses in profile, such as Karsh’s portrait of Jacques Cousteau).
Square face
Heart-shaped face
The eyes are often seen as the key to the inner portrait. Therefore, their structure is important to the analysis of the face. Their shape and depth in the face, along with the brow shape and weight, define the structure of the eyes. Eye shape is primarily a genetic factor based on heritage and ethnicity. For the most part, the eyes are approximately equal in size; unless there are large flaws in their shapes, the eyes will be active in the portrait but will not demand any substantive correction. Far more important in facial analysis are the depth of the eyes, the angularity of the brow, and the height of the cheekbones.
A special situation exists when the subject wears glasses. The photographer must then consider how the frames and glass in the spectacles modify the light and shadows and how the lenses distort the eyes.
The lower portion of the face, from the nose to the chin, needs to be considered in analyzing the face as well. The lips, particularly for women, are both well defined and adjustable. Using lipstick, the shape of the lips can be strengthened or weakened for the purposes of the portrait. For men, shaping the lips is not common in most portraiture.
Below the lips, the structure of the chin plays a major role in defining facial structure. As mentioned earlier, the shape of the jaw establishes other factors of the face. When the jaw is narrow and angular, the face tends toward either a triangular or long shape that is seen as weak. A square jaw tends to be seen as stronger. The chin and its form add to the jaw’s strength when extended out from the face and, conversely, add to the jaw’s weakness when subtle, rounded, or flat.
Lastly, hair contributes to the overall analysis of the face. For high-end photographic portraiture, a stylist will be present to arrange and control the hair, but for most portraiture, the photographer will need to attend to it. Primary concerns are how the hair frames the face and whether there are flaws that need to be addressed, such as baldness, thinning hair, or hair that has problematic color or texture.
After Analysis
Once we have determined the basic structure of the face, we can establish the best lighting and pose. Here we can benefit from the way beauticians apply makeup to their clients. Beauticians use makeup for shadowing and highlighting, subtle to dramatic, to emphasize attractive aspects or diminish unattractive aspects of the face. We can use these ideas of placement of tone by applying light rather than actual makeup to the surface of the face. The use of lighting based on facial analysis is often called corrective action, but it is as much an issue of correct posing as it is of fixing flaws.
Perhaps the easiest choice to make based on facial analysis is the relationship of the facial axis and the camera axis. While short or broad lighting is the primary method of determining the width of the face, rotating the face away from the camera introduces foreshortening and tends to thin the face. This aspect of posing based on facial analysis is effective until the face is rotated to about a 45° angle with the camera axis. Beyond this point the facial shape is less important as the profile takes precedence. Narrowing the view of the face with rotation is beneficial when the breadth of the face needs to be reduced, and the effect can be enhanced further by using short, higher-ratio lighting. The result is shadowing on part of the camera-facing portion of the subject’s head, which diminishes its size.
To correct for a round face, the head is rotated away from the camera axis, combined with short lighting. This foreshortens the breadth of the face while the short lighting reduces the amount of the face with bright lighting.
With a broad face, a higher angled key light also increases shadowing and reduces the face’s perceived width. It is common to use a slightly higher camera position in relation to the subject.
Lens choice is also important in facial interpretation. Shorter than normal lenses (e.g., a 50mm on a full frame 35mm DSLR camera) tend to increase roundness but introduce an unpleasant distortion. Most portrait artists favor longer than normal (telephoto) lenses. They flatten perspective and produce what is perceived as a more pleasing appearance.
The opposite is used to correct for a longer face. Broad lighting is used with head rotation.
Round Face
A round face is not a flaw, but the proper lighting will create a portrait that is more pleasing for the subject. When the three axes—camera, key light, and facial—are aligned, then the true shape of the face is seen. Thus from the outset, the first choice based on facial analysis is the relationship of the axes. The lower the light ratio, i.e., the closer to 1:1, the better the facial shape will be realized. With faint shadows, the contour of the face will be more visible.
Correction for the narrow chin of the heart-shaped face is to photograph from a lower angle using perspective to change the visual proportion of the chin compared to the rest of the face.
Long and Triangular-Shaped Faces
The contrary also can be applied for long or triangular (heart-shaped) faces. In this situation, less rotation of the face from the camera axis and broad, lower-angled lighting with a lower light ratio provide more lit area of the face and head and make them look fuller. With a triangular or heart-shaped face, care must be taken to avoid too much lighting on the forehead because of its larger proportion to the lower face. Tilting the chin upward and/or lowering the camera’s position often accomplishes this. This has a beneficial effect on both the broad forehead and the narrow chin common to the triangular-shaped face. Corrective actions can be used for any shape face if the subject has a broad forehead or narrow chin.
A higher angle is used with a flat face. This allows subtle contours on the face to be more visible.
Flat Faces
For a flat face, a higher light position with a higher light ratio provides more facial toning and accents subtle facial contours. If the face is overly contoured, a lower key light position and lower light ratio eliminate some shadowing and allow light to reach into deep-set eye sockets.
Not all contours on the face are skeletal. Skin defects, such as wrinkles and scars, can be softened by using this lighting. The face can be rotated toward the camera to reduce the size or angular features of the nose. This is important for two reasons. First, when the nose has an undesirable profile shape, rotating the nose toward the camera reduces its size in the portrait. Also, if the nose casts a shadow, this rotation closes and merges the shadow of the nose with the shadow on the cheek. A low light ratio further helps to minimize the shape and size of the nose.
© Stacy Pearsall
(Courtesy of the artist)
Wrinkles and contoured-based blemishes can be minimized by the use of additional light, but this is not true of all problem areas on the face. The most common way to address defects is by hiding them in the shadows. With face shapes where high light ratios are not appropriate, an additional light on a blemish or uneven skin tones may reduce contrast with the surrounding area and diminish the problem. In this case, form fill lighting or broad lighting on the problem area can be good choices.
A common concern for older and heavier subjects is the condition of the neck, which may be heavily wrinkled or compromised by a puffy double chin. Raising the key light’s height and using a higher light ratio create a shadow from the chin and jaw that diminishes the impact of the neck. A higher camera angle is also effective in this situation.
Because the eyes are so important to a portrait, some specific techniques for dealing with eyes have come into use. When the eyes are different in size, it is common to pose the subject by rotating the larger eye away from the camera and to place the key light close to the smaller eye. When the eyes are small, place the angle of the lighting to ensure a catch light in the eyes. If the eyes bulge, then lower the key light and use a less dramatic light ratio to eliminate shadowing under the eyes.
Hair becomes a factor that allows for both correcting flaws in the facial structure and adding creative impetus to the portrait. The shape of the head and face can be modified by hair styling; e.g., bangs or a wave combed across the forehead can modify its size and shape. This is particularly important for faces with large foreheads.
The way light reflects from the hair and how it creates shadows also enters into making the portrait. When the hair is thin or when the subject is balding, keep light away from the top of the head to reduce any accenting of what many subjects consider a flaw.
Expression
History as well as the breadth of human experience has influenced expression in contemporary portraiture. Because most portrait photography is client based, the vast majority of commissioned portraits are limited to happy and pleasant expressions. On the other hand, fine art portraiture has drawn from the vastness of human history and experience from the Greeks on.
In early photographic portraiture, very long exposures required poses and facial expressions that could be held for long periods of time. This often resulted in stiff-looking portraits with little expression. The advent of faster photographic materials and lighting equipment shortened posing times and allowed expression to be added into photographic portraits.
While the skeletal structure of the face determines many aspects of the portrait, the eyes, mouth, and muscular structures determine the expression and emotion. The most prominent feature for creating expression is the mouth. We can think of the mouth in its neutral position as a flat line across the face. When the mouth is in this position, the face is also neutral with no definite expression. This is not the most relaxed facial position; a slight smile is the most relaxed facial pose. This is the smile of da Vinci’s Mona Lisa. When the mouth is slightly smiling, the muscles are relaxed and do not change the basic facial anatomy. For this reason, a relaxed subject presents a neutral or happy look. The sculptor Bernini believed the best moment for expression was just before or just after speaking. This moment has a spontaneous nature, and the expression allows a “true” interpretation of the subject.
In this self-portrait, Amanda Quintenz-Fiedler used a fabricated catchlight to add a humorous note that matches her styling and expression
© Amanda Quintenz-Fiedler (Courtesy of the artist)
In these two portraits, the pose is the same, with one important difference. In the first image, the subject is looking at the camera, and in the second he is looking down. The effect of the portraits changes the way we relate to the images.
© Christine Trice (Courtesy of the artist)
The key to subtle expression often lies in the corners of the eyes and the mouth. When the corners of both the eyes and mouth curve up, a pleasant expression appears; when they curve down, a sad expression is displayed. A neutral curve implies ambiguity.
During a smile, the cheeks tense up and become puffy, changing the mouth structure as well. Therefore, when the cheeks are perceived as full, the expression seems happier regardless of the line of the mouth. As the cheeks tighten more, the corners of the mouth raise and the smile broadens. This is true whether the teeth show or not.
When tension is placed in any of the facial muscles, the mouth structures show the stress. This may involve a stiffening of the upper lip or a narrowing of the lips that flattens the mouth structure and lessens depth in that part of the face.
As the facial muscles trigger, the tension also moves up the head and creates lines or wrinkles. The looser the skin (normally coming with age), the deeper the lines or wrinkles appear. When lighting accentuates the wrinkles, it increases any expression. A smile lightens the effect of wrinkles in the brow; if the mouth structure is tense or sad, furrows on the forehead and wrinkles around the eyes deepen the look of pensiveness or sorrow.
Regardless of other aspects of the portrait, the eyes have the greatest effect on the perceived expression. As mentioned earlier, the eyes are exceptionally important in the success of a portrait. Therefore, how the subject’s eyes are posed imparts emotion and expression.
When posing the eyes, we need to consider their three parts: the lids, the irises/pupils, and the sclera (whites of the eyes). We also need to consider the catchlight created by light reflecting on the surface of the eyes. A catchlight does not have great effect if it reflects over the sclera, but it is clear and visible when reflecting over the iris or pupil. When the catchlight is crisp, the eyes are interpreted as clear and sharp, in terms of both focus and emotion. If the catchlights are soft, the portrait takes on a softer look. Since the surface of the eye is rounded and covered with moisture, the reflection is very specular, and the shape and position of the light reflecting into it can be seen. For this reason, many softboxes are made with octagonal or circular illuminated shapes to eliminate a square catchlight.
The direction of the eyes is a major tool for creating expression. The sight line created by the subject’s eyes in the frame affects the viewer’s reading of emotion. Some sight line options include a camera-directed glance with the eyes relaxed, a camera-directed glare, an upward-directed view, a downward look, and an off-frame directed view. Each imparts a basic emotion to the portrait.
The relaxed, camera-directed eye position is nonthreatening, open, and friendly. This neutral expression is commonly used for portraits either with or without a smile. This eye view allows other parts of the face to have a greater impact. Mona Lisa’s eyes have this attitude and allow the famous smile to be as important as the eyes.
When the eyes are stressed and looking at the camera, a glaring expression results. In this situation, the eyes squint slightly and the tension is clearly visible. Confrontation with the camera is developed through this eye pattern. The facial attitude combined with the sight line also adds to the feeling of confrontation. The more frontal the view, the more challenging the portrait will be.
If the eyes are raised and not directed at the camera, the portrait takes on a lighter mood. This can be enhanced by a smile. Though eye contact with the camera is lost, a dreamy and satisfied expression is read into the portrait. On the contrary, when the eyes are looking down, the subject takes on a pensive or dour expression. In this situation, the difference between a thoughtful or sad impression can be augmented by other facial expressions. A slight smile expresses thoughtfulness while a frown completes sadness.
Lastly, the eyes can have a sight line that is off the frame. With the exception of the profile where this eye positioning is neutral, an off-frame eye positioning that is not downward or elevated is perceived as detached. With the eyes looking off the frame, the sclera become prominent.
The eyelids can also affect expression. We can think of a neutral eyelid position as visible and intersecting with the top of the iris. Squinting shows tension and brings both the upper and lower lids into view. Wide open eyes show no lids and indicate surprise or excitement. When the upper lid is lowered, the expression takes on a tired or sad tone.
Earlier we discussed head tilt, rotation, and camera angle in terms of their physical realities for posing and corrective actions. These elements can also have expressive content. We can think of the camera as the viewer relating to the subject, and that can have both positive and negative connotations. All other factors aside, when the camera is above the subject’s eye level, the subject has an inferior or diminished relationship to the viewer. The opposite is also a common arrangement, creating a feeling of superiority by having the subject above the viewer. The chin tilt is also a creator of expression. As the head tilts forward and down, the chin becomes less prominent and the facial attitude becomes more submissive. For this reason, a forward head tilt is seldom used with men.
To finish this section on expression, we need to discuss lighting as an emotional tool. High-ratio and low-key lighting tend to promote a somber, sad, or foreboding look in a portrait, while high-key and low-ratio lighting are more neutral and allow the facial expression to create the emotion.
These historical portraits by Phillip Charis combine facial expression and gaze to create five emotional looks. The angle of view, head positioning, and lighting are fairly consistent, hence the facial factors set the emotion.
© Phillip Stewart Charis (Courtesy of the artist)