I have been asked by several people now what the 'magic recipe' is for various skin tones and they are nearly all very surprised to hear that the colours I use are practically the same for all skin tones. The key is in the weighting of colours used during the underpinning stage. For the darker skin above the only colour I changed was to use the deeper perm Azilarin crimson for my pink rather than perm rose which I use for Caucasian skin. Here is a photo of the face section at the end of the underpinning stage before the skin tones were added.
I had to change the lighting on the face slightly from my reference photo because I want to create that feel of light being reflected up onto the player from the inside of the shiny steel pan as well as the sun shining from above onto the top of the head.
I am now beginning to work on his hand and have just laid in the darkest areas. I always begin with these as I then have the darkest darks and lightest lights established from very early on in the process.