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Makeup is a form of art. Like an artist’s painting, our face is a canvas to show ourselves. Though it lasts for just a day, for many, it is the most demonstrative form of self-expression. Whether applying a quick touch-up or full face, makeup, like any craft, is a means for understanding — a conscious message to the world.
Recently, Brooklyn-based beauty and still life photographer Karen Epstein was assigned by American media and entertainment publication Complex Magazine to shoot images for an ongoing series with international cosmetics retailer Sephora.
When getting hired for the role, Karen demonstrated the importance of networking.
I met Complex’s special projects director Michelle at a friend’s birthday party, and we talked shop. She called a week or so later with this job.
Complex is an urban lifestyle magazine centered around youth culture. Karen’s style of creating fresh, poppy, and often whimsical visuals aligned perfectly with the publication, in addition to her twenty years of experience in the industry, premium post-production, and the glamorous yet edgy tone of her work.
I create still life product photography with a creative twist. I shoot people and things equally comfortably, and this project had both.
Because the lead time was so short, the client provided a basic shot list, with Karen and her prop stylist Deana constructing a mood board they thought fit the client’s brand in the allocated time frame.
Other than the on-arm swatches, which were required by the magazine, all the other shots were developed by my team and me, and the client was thrilled at the creativity and energy we put into it.
The project had a tight turnaround. However, the project took place in Karen’s in-house studio, which ensured she could hand over the retouched final assets within a week.
My career background includes prop styling and retouching, so I can and enjoy taking the helm of smaller projects where a big crew isn’t necessary.
On set were Karen and her stylist Deana, who have been friends and creative partners for twenty years. As a result, the duo have a strong creative rapport, a smooth working process, and a deep understanding of each other’s styles. The next day, Complex sent over three staffers to be Karen’s swatch arm models.
It was an easy, vibrant dynamic, and we got a lot done in a short period of time.
The concept of the shoot was to showcase the various textures and hues particularly suited for women of color in Sephora’s products, something the seasoned photographer thrived in doing.
These cosmetics were definitely fun to play with on set. We got inventive with our styling and propping, and the credit for that 100% goes to Deana.
The cosmetics lent themselves to the creative, and really, it was just a good time in the studio. I love it when my jobs are fun!
The assignment went so well that it has inspired Karen to shoot more textures and play more with mixed mediums in future endeavors.
I strive to do something new, fresh and inventive whenever possible. I would love to get more product shoots like this one!
In addition, one of Complex’s employees provided a piece of personal gold jewelry and accessories for the final texture collage, which elevated the contemporary attitude of the composition to a new level.
It really spoke to the culture, the magazine, and the message to include these personal items and make them part of the canvas.
See more of Karen’s work on her website.
Credits
Complex Magazine Models: Michelle Lindsay, Shenequa Golding, Katina Lee, Michaela Robinson
Prop Stylist: Deana Anais