In this second blog on headshots, I want to share with you the knowledge and understanding I have accrued on the practical issues. That is to say, once you have decided on the photographer and booked studio time, what can you do to make sure you get the results? ‘Be prepared’ is the best advice, but I’ll go into more detail and you can take from it whatever you need.
As I said in Part I, if you are signed to an agency, you may well be asked to provide a headshot that plays to a specific strength. Basically, one that emphasises a casting to get you particular roles. Much of what I say below applies to you, but other sections are aimed at helping people get that first ‘wow’ headshot, so bear with me when I get to those bits.
Actor: Natalie Hayes-Cowley
Good preparation applies to everyone. The previous night on the town and waking up fully clothed in someone else’s bath with a cat sleeping on your head will not help you to look your best on the day. Yes, I’m being flippant, but you get the idea. Your photo, as an investment in your future career, cannot be overstated, so don’t waste your money – or the opportunity. I take my hat off to Drama and Performing Arts students; you have to work pretty hard at it, so try not to organise social events on the approach to your shoot that might compromise the way you look. Plenty of sleep and a healthy diet on the run-up, plus a haircut or trim if needed to get your hair looking wonderful – these are all good insurance measures.
Decide what to wear in advance. Remember that black and white headshots are standard in the UK, whereas the US favours colour. Plain black or mid to dark coloured tops are the most commonly worn and for good reason. They tend to flatter most skin tones and don’t ‘pull focus’ like a pattern, although you may wish to take a lighter top to try. White does have the advantage of reflecting light into the face, but a good photographer will employ the necessary equipment to fill in any unwanted shadows, so you don’t need to wear your own reflector! And, providing you have chosen your photographer well, you needn’t worry about blending into a dark background if your top, your hair or your skin tone is dark. Any photographer worth his salt knows how to use lighting to separate his subject from the background.
Actors: David Asher
Because your main Spotlight photo will be head and shoulders, the neckline of your top is critical. I don’t have strong feelings as to shape; what looks good on one person, doesn’t suit another. I would say only two things; avoid the extremes. Polo necks give the ‘severed head’ effect and plunging necklines/bare shoulders can look too glam. Anyway, the latter styles expose too much distracting flesh. Messy necklines are also problematic; for example, collars that don’t sit properly or ill-fitting tops that stretch and create nasty creases. Keep it neat and simple. Try a few tops and ask advice and, if you’re really not sure which style compliments your face shape and hair length, go mad. Take more than one.
Make-up. Men may just need a light dusting of powder to take the shine off their skin, but even this is not always necessary. Sod’s Law decrees that he who never gets a spot may spontaneously grow one for the event. Whereas a mole is part of you, a temporary blemish is fair game for a spot of concealer. A natural look is generally advocated for women. That doesn’t mean you can’t wear any make-up. When you go along for an interview or audition, you should look like you do in the photo and even if you don’t wear much as a rule, bear in mind that studio lighting can reduce the effects of make-up. For that reason, sparing and careful application to enhance your features is usually fine. Avoid red lipstick which can look unnaturally dark in black and white, heavy foundation or applying powder to foundation that is still damp. Take special care with the eyes: subtle shading is better than hard, dark lines and stay away from shadows containing reflective pigments. Remember, your eyes are what will connect you with the person looking at your photo. Very important!
I’m fortunate in that I can offer a qualified make-up artist (my wife), although this is unusual and it can work out expensive if you want to bring in an independent MUA for a shoot. A luxury indeed.
I mentioned hair briefly above. Obviously, you will arrive for your shoot coiffed and ready to go, but it’s worth just stating the obvious. Be very careful that your hair does not obscure your face. If you have a style where this is a potential problem, your photographer may choose an angle which cures it or you might consider taming it with a little hairspray.
The killer graduate headshot. That is what every fledgling actor needs to help get off the ground. In most cases, acting schools advise you to keep it broad. It’s a tricky call. Of course you want to show your range and versatility and, there again, if you’re well into your training by now, you probably know your ideal casting. From my experience, all I can say is: be yourself, leave the acting for the stage. Let your features speak for themselves and your personality will also shine through. You wouldn’t go to an audition in full costume and make-up to prove that you can play a part, so don’t try to be someone else in your key photo. In any case, too much expression, overt poses or obvious characterisation can look false and might easily give the impression that you lack the confidence to simply be who you are. Not good.
The muscles in your face and shoulders can hold a lot of tension, but you already know that. So, I find it always helps to warm up. Imagine that you are preparing for a performance. Do some facial exercises – everyone has their own favourite routine, but please avoid the massage so that you don’t trash your make-up. If I notice a subject getting tense again during a shoot, I just stop and get them to repeat one or two exercises. It works a treat.
Actor Stefanie Elliot
Connecting with the camera is easier for some than others, but a well practised headshot photographer will help you and may advise you on simple technique. Here’s my tip for the newbie; imagine that deep in the camera lens, where it fits onto the camera body, is someone important you wish to engage with (which of course is the case!) and that’s where you should be looking. A piercingly aggressive stare or your best come-to-bed eyes both have their place but please, not for your Spotlight main headshot. Neither is the detached, ‘fashion model’ gaze aimed somewhere overhead, or the furtively lowered lids of the fugitive. A confident, open connection with the person you aim to impress is what you want.
A photographer who knows how to get the best from you will probably ask you to try slightly different angles of your head, so allow yourself to be directed. If you are asked to raise your chin or incline your head, small movements are best; if it’s not enough, he or she can always let you know. It’s much easier to get it just right that way. Your photographer will be aware of lighting and composition. It’s not about making you look drop-dead-gorgeous but, on the other hand, he or she should not be going all out to make you look your worst. Truthful, but sympathetic is the best balance. If you wear specs and are keeping them on for your headshot then that’s fine but, if you want shots without them, remove them well in advance so that they don’t leave marks. You may decide to hedge your bets and have some with and some without. In that case, start without. Sounds obvious, but it’s easy to forget little things like this. Plan ahead and you will avoid getting flustered or holding up the shoot schedule.
So far, I’ve talked about studio shots, although there is no reason why you should not have an outside headshot. Natural light and a light breeze to lift the hair off the face can be magical. When I shoot outside, I throw the background out of focus and use appropriate ‘fill’ (flash or reflectors) to balance the light falling on the face. The option to shoot outside depends on the facilities available, but it is always nice to have a choice and exterior shots can be eye-catching because they are not the norm.
If all this feels like information overload, don’t panic. I’ve just pointed out things that, in my experience, make for a successful shoot. The preparation is certainly something you might like to take on board but, when you get to the shoot, remember you won’t be alone. Believe me, we photographers want to capture the best shot just as much as you do so we’ll go all out to make it a positive experience with a fantastic result. Call it professionalism, call it vanity if you like…
In the third and final Headshot Blog, I’ll round off by talking about choosing your photos, photographers’ copyright and any other aspects of the final process that I think might be useful.
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