How to take a Great Headshot

First, I read it, front to back, and I took notes (e.g., Review page 61-62: 7 Critical Elements Of A Great Headshot; page 68 -- where to focus on the camera). Second, I asked the questions: what’s my image? scientist, doctor, intellectual, artist, parent (father)? What will I wear? How will I look? Third, I took Bob's advice about interviewing photographers and most important -- I practiced having my picture taken. I have a web cam on my computer that will take snapshots, so I used that.

The advice Headshot Secrets Revealed! gives is to put together your own UPC. I was actually less than successful in trying to convey a specific type, so instead (for now at least), I concentrated on playing around in order to "discover" my natural type, to let it naturally emerge out of these improv practice photo sessions.

This was quite helpful because I was able to achieve at least one objective, i.e., a critical features of a great head shot is that it is clear to the casting director that something specific is going on in the headshot. It should look like you're "thinking," that something is "going on" in your head, while your picture was being taken. With practice, I was able to at least look like something was going on inside even if I didn't have complete control over the type of images I wanted to convey.

For example, during the early stages of my practice, I first tried to "think" of specific things, but -- for me -- this didn't really work because not much ever seemed to project to the camera. I can't remember now, I suspect I was thinking of things that had no real emotion impact, i.e., trying to convey an "idea" or "concept." 

Then I decided to have a specific relationship to the camera, as if it was a person. I had to practice, however, to find the attitudes that clearly convey to the camera. For example, for a serious shot, I looked at the camera as if it was a person, an unknown person, but exciting adversary: I thought "figure them out. Are they an equal, a match? Let's find out! Let them know I'm thinking this."

Every time I tried something, I took notes to see if what I intended to project was what what I actually projected. And then I started working backwards -- I would sort of "feel" my way into a specific expression or look and then ask myself what was I thinking.

Anyway, what came out these practice sessions was fascinating. It seemed 2 or 3 different "types" naturally emerged which I'll simply call no-nonsense serious and seriously serious looks. The third, however, was the most interesting because I looked . . . well, slightly "edgy" for lack a better word. This was a complete surprise, and I would not have discovered it had I not simply played and practiced taking my own picture.

So what was the result of all this work? Below at the results from my headshot session (photographer George Kmeck):

Note: if you're using Internet Explorer & you can't see any or all of the slide shows, try viewing this post in Firefox.

Serious Type:

Highly Serious Type:

But, I also wanted more friendly open shots, typically called commercial headshots. Basically, I wanted to appear open, friendly, the "nice guy next door or (in my actual case) down the hall." These were the hardest for me because while this is my "natural" everyday personality type, I found it damn tough to smile naturally and easily on cue. In my practice session, after trying and rejecting one strategy after another, I finally hit on a "trick." I'm extremely ticklish. I remembered when I was a kid, I was so ticklish, someone would just have to approach me with fingers wiggling and I'd start laughing uncontrollably. So, I just imagined that someone was about to tickle me, and -- it worked. Now, I don't think think any of the smiles in the session shots below where completely natural, but they weren't too bad:

Nice Guy Next Door:

Happy!:

In sum them, all these types of shots came out of my practice sessions. While I don't yet have full control over what attitude or look I'd like to project to the camera, these practice session were enormously helpful for having a great headshot session.

George said I was one of the most "prepared" clients he's had in quite a while.

I think if you're a natural and experienced in front of the camera, then perhaps you won't have to prepare as much as I did, but if you're inexperienced, like me, don't go to your next head shot appointment without working your way though Headshot Secrets Revealed!

Read part II: How to Get a Great Headshot: Inside The Casting Office With Jeff Mitchell.

Just for fun, I did a little experiment. I seem to have more control and variety with these funny/expressive pictures. What I did was write out some "thoughts", and then I would pick one, turn away from the camera, "breath one in," i.e., let me affect me, and then I would turn to the camera and make eye contact.

1. you're an idiot!
2. bored now.
3. Let me pretend to think about that.
4. what the hell did you just say!
5. Is that it? Is that all there is?
6. Are you crazy?!
7. Don’t know him from jack.
8. I’m at a complete loss.
9. Hey sexy girl!
10. I LIKE my coffee black, real black.
11. Picture a huge ferris wheel and I’m a child
12. Gimme that thing!
13. Oh yeah (you’re hot)
14. where’s my car!?

. . . and here are the results: