Matt Goodlett reached out to me last month and asked if I would be interested in shooting a body painting he was doing for a documentary. The idea he explained was inspired by Edgar Allan Poe and his poem The Raven. Never passing up an opportunity to work with Matt, I quickly agreed with nervousness about the shoot. Even with his explanation I had trouble visualizing the outcome which made figuring out the lighting difficult. Lighting a body painting, like many other types of portraits, is all about brining out the best in the subject. Here's a few things I keep in mind when lighting a body painting.

  1. The body painting is just as much, if not more, the subject than the person wearing it. Lighting should compliment the painting, e.g. not put details in shadows, like it compliments the person
  2. Consider the mood. The lighting should work with the theme. In this instance, a gloomy Edgar Allan Poe body painting is probably going to look better low-key rather than hi-key
  3. The lighting should not be noticeable. The lighting should enhance, coincide, compliment, but never distract from the subject(s).

With that in mind, I created the portrait below. Matt and team did amazing work and I'm happy to have worked with so many talented people!

Makeup Artist: Matt Goodlett.
Head Piece: Jane Danielson, Velvet Rose Vintage
Model: RN
Assistant: Tia Marie