A Complete Guide To The Best Headshots (Updated 2024)
When I Started Shooting Headshots, I Was Very Good At The Math Behind It.
I was shooting complicated architectural photography and had deep understandings of very technical things like camera settings, natural vs. artificial lighting, compositional techniques, color theory and high-end Photoshop skills. While headshot and portrait photography forced me to master the nerdy technical things, however when I started to shoot people I was kind of lost and had to learn a new set of skills: People Skills. It was hard shooting people at first and there were a lot of things I need to learn and get comfortable with, that which had nothing to do with the camera. I starting speaking to many casting directors, talent agents and asked them what they look for in a headshot. What is it that makes a professional looking headshot? Why do some headshots look terrible and some look amazing? Is it a $50,000 camera and $100,000 in lighting? Or is it something else. One skill that headshot photographers have is that they can somehow pull out that magic out of people and make them look incredible at their first headshot session ever. The tips and tricks I’m going to share come from experience, trial and error and learning from other photographers. And I always give my clients four lectures before we start shooting.
One Of The First Things I Like To Do In My Studio Photography Sessions Is To Give My Clients Four Speeches.
Sessions have a lot of ground to cover, and there is a lot of technical information that needs to be absorbed. There are many different lighting setups, looks and configurations and explaining technique in a clear, quick and concise matter allows everything to run smoothly without complication.
In order to make the shoot easier I always shoot tethered to my laptop when I’m in the studio. I want my clients to see what is happening in real-time. I have my camera attached to my MacBook Pro and on a laptop stand right next to the clients. I use the programs like Capture One, which allows you to see and rate the photos as I'm shooting them. I also like the way it renders Nikon files, I think it is the best raw converter for skin-tones.
Another point of tethering to a laptop is so clients can: see the lighting, if their outfits work with the lighting setups, how they are posing and generally see what is going on in real-time. I like my clients to be in control and tell me what they like and don’t like. I also help with direction, posing and expressions but everybody is different and has different preferences and styles. I like to give multiple lighting styles and variations to fit the moods of the headshot you're trying to capture. Shooting like this also prevents any problems later, because clients are directing and controlling the shoot in real time. It prevents clients from asking for a reshoot or saying they don’t like the photos in the future. When they leave the studio they know exactly what they are going to get because they saw the photos in real time.
What makes me a little different than most headshot photographers is that many photographers will give you 1000 photos in one lighting set up. Basically every photo is going to look exactly the same which I find limiting. Even if you have multiple outfit changes or looks in the same lighting setup, it all looks the same. I rather you have 100 photos of you in 5 or 6 different lighting setups, with different looks, expressions and moods then 100 photos of you with a solid white wall behind you. Each lighting setup I have has a different look, different mood, a different energy and different physics. It ranges from soft window light to hard fashion lighting. We are going to do 5–7 lighting setups depending on time and your patience. I just setup the lighting, take a test photo and you look at the laptop to see if you like it. The first two is natural light, the last 3-4 is studio flash. Weather wont effect the natural light because I use window light and it’s always diffused and soft. Studio flash doesn’t need the sun.
Speech #1 - The Technicality Speech
What we're going to do today in terms of technicality.
The first speech is usually when they walk right in the door. It is a technical speech about lighting and how all the gear works. I give my clients a quick summary about all the different lighting setups and how we are going to proceed from one lighting setup with soft shadow-less natural light, lighting setups with multiple softboxes and ending in a hard edgier lighting setup. Nothing too complicated and every step is fairly straightforward and simple. Although this is not a photography lesson, I think people benefit from some basic knowledge. The more you know, the more you can control.
I want my clients to be happy in the end of the day, and I believe educating them will make them much more excited during the shoot. The point of this speech is to give clients a basic understanding from a technical standpoint so they can be in control of what the headshots will look like in regards to lighting and composition. I take care of all the math and they just tell me what they like and don’t like.
Each lighting setup has a different purpose behind it. What is the purpose of the photo we just shot? What is the outcome you're trying to reach? What type of roles are you trying to achieve? What do you feel when you look at the photo? What do you want me to feel? What do you want the casting agent to feel when they see it? Ultimately can they use the photo we just shot, in the lighting setup we used, to cast you in the role you want? You will have to figure out where the headshots fits in your portfolio during the shoot, which will come as we shoot more.
Every lighting setup has multiple variations. One lighting setup can be shot in multiple different ways. How I work is, I create a box, I throw you in the box and then you need to figure out how to make the box work. You have unlimited outfit changes, unlimited photos, unlimited everything except time. You can spend the entire day in one lighting set up or we could do multiple different lighting setups. I ask everybody to bring everything they own in terms of outfits because everything will look completely different in different lighting setups. The physics of light changes how everything looks. Different lighting setups create different moods and you’ll know what to wear as we continue to shoot. Everything will make sense when you look at the laptop.
As I’m shooting my camera is tethered to my laptop and you can see the photos in real time. There is no guessing or you have no idea what the photos look like. You see everything in real time. We shoot a little then you go to the laptop to review the photos. The more you shoot, the more you will get better at it. A majority of my clients have never shot before and after 15 minutes everyone becomes Steven Spielberg. Everything will start to make sense and as you look at the photos on the laptop, the gears in your head will start turning and you'll start to figure out what you like, what doesn't work and what photos you need for your agents.
The lens I use during the shoot is a zoom lens. Which allows me to go from wide to telephoto. During the shoot you can show me with your hands what the crop or composition of the photo you want. Do you want half-body or a super tight headshot? My lens allows me to give you different compositions. You’ll have complete control over composition.
Another thing is called vertical displacement (High Angle vs Low Angle). If you ever notice, why do some people take selfies from a very high position? They do this because the angle makes them look thinner. In my viewfinder inside my camera I have levels on the vertical and horizontal. I can place my camera perfectly flat to your eyesight (which I call zero or flat). Those photos will have no distortion and those photos will look like how people your height see you. I can stand tall and shoot down (which I call positive or high angle) and this will cause your eye-line to look up and it will achieve a more sweet innocent girl next door vibe. I can sit and shoot up (which I call negative or low angle) and this will give you a more boss, dominant look. I also have bars in the camera so I can see how far positive or negative I am. I tend to stick around +/-3. Anything further looks extremely exaggerated. Vertical displacement can help the mood of the photo you're trying to achieve.
Lighting Techniques
The 1st Lighting Setup is natural lighting with a brick wall. Extremely popular and very applicable to many styles or roles you're going for. This lighting set up has a very organic look to it, very what you see, is what you get. Very well-lit and super clean. It's also very unique as I don't see many people using it. The lighting is very soft because of the diffusion of the massive windows I have in my studio. Many clients tell me they love this lighting setup because it’s what they look like in real life, there is no photography trickery here.
There are 3 variations with a brick wall. First I call flat, straight up on the wall. It creates a flat even lighting effect. The second is in the corner, which I call the pocket, which creates a very contrasty and moody look. The third is leaning against the window. There are 3 angles positions where I can move to create different effects such as “Flat”, “in the light” and “against the light”. Since I can't control the light, we have to move around to make the light do what we want. These different positions create different moods/energy in the photos.
There are ways I can use reflectors to add contrast to the scene. I use large reflectors called V-Flats. One side is white to bounce light, one side is black to absorb light. I use them to bounce/control light around so you have a shadowless wall of light look. This look is very popular for those that want a very clean look and with the white brick wall it gives a very distinctive NYC headshot. I've spent $50,000 on lighting equipment and everyone likes natural light with a white brick wall and a V-Flat.
The 2nd Lighting Setup is natural light with a black paper background. It was my original lighting set up before I had the brick wall. It’s also a very popular, simple, clean and very applicable lighting setup for many casting calls. I always setup with a black background, I have tons of other colors in my studio but everyone prefer black. Because of the natural light, the background won't come out black but more of a softer black or dark grey. There are many ways I can control the background and make it darker or brighter by physically moving it or blocking the light from hitting the background.
There are 2 variations. The first I call open where I’m allowing all the light from the windows to light you. There are also 3 positions I can move. Flat (where my back is on the window), left side (where I move to my left side a few feet which makes the light go against you) and right side (where you are in the direction of the light).
The 2nd variation I call closed where I use 2 large flags to block the light which causes a very deep and contrasty headshots. Very NYPD Blue or cop show. Very dark and very portrait. Many like the darker and more mysterious look. I can control the intensity of the contrast and shadows by moving the V-Flats around.
The 3rd Lighting Setup, I call LinkedIn. This is a very classic studio headshot look. Think of it as a “Wall of Light” look. A very shadow-less, even soft look. It is very neutral looking and might be a bit boring for some people, but it’s definitely the most efficient lighting setup. It’s very similar to a ring-flash, but using large softboxes instead doesn’t create the same contrast as a ring-flash. Super soft lighting. I try to keep it very conservative and simple. I explain to my clients how it is a very safe, neutral look and a good place to start and we can get more contrast if requested. This is the softest light I can think of for headshots. The light would wrap around people and it also allows people to figure out which side of their face they like more. Because the lighting is straight on and perpendicular to the subject it won’t create any shadows and doesn’t matter which side of the face is lit, I let the client figure out which side of the fave they prefer. I also use another light as a hair or rim light. I use it a lot for corporate headshots, actor headshots and sometimes beauty.
Two variations of LinkedIn is LinkedIn Whitebox and LinkedIn Blackbox. LinkedIn whitebox is a super clean and shadowless corporate headshot look. Works great for doctors and lawyers but also works for actors as well. It is super popular because of the simplicity behind it. I usually put white paper backgrounds that will naturally go soft gray (because the lighting setup will do that). Sometimes I will blow out the background to pure white but nobody really likes that. I can swap to a pure black background or pick any of the dozens of colored paper we have in the studio.
LinkedIn Blackbox is when I flip the white reflectors to black and that causes the photos to become very contrasty in punchy. A very similar effect to the previous lighting set up when I blocked the light from coming in. The center of the face would get more light and the light will fall-off faster. The black V-Flats create more contrast, which absorbs light and makes you have a beautiful shadow fall-off around your face. The edges are much darker. A lot of people love this look because it’s more edgy and editorial than the wall of light setup. However, you have to be conscious of the shadows and hot spots.
There are many more variations of LinkedIn called Overhead, Ringlight, Double Stripbox And Gridded Beauty Dish. They are similar to LinkedIn. Some prefer overhead and ringlight over Linkedin but it’s all in the same universe.
The 4th Lighting Setup I call Rembrandt. A extremely dark, moody and theatrical lighting setup. This is in the area of low-key photography. It has an extremely limited usage. Clients love this particular look because it is dramatic and very editorial. I always have a black background and looks like your coming out the shadows and there is a street light over your head. I usually set it up in a classic style but there are few ways I can play with it to make it from super painterly portraits to modern darker characters. It is simple and super effective.
The 5th Lighting Setup I call Terry Richardson. Named after the famous photographer. This lighting setup is not a headshot. It is a very hard, high fashion look. You see this particular look many times before in fashion magazines and brands like Supreme and American Apparel. Everyone loves the how super fun and simple it is. It’s ultra popular in the fashion world. It’s hard light on a white background. The 5th light setup is the simplest, easiest thing to do and happens to be everyone’s favorite. I clear the floor and would have 1 bare flash using white seamless paper and having my clients stand right next to the paper. It is super simple and I run around shooting to catch different angles and play with the shadows thats created in this hard light.
Five lighting setups is a lot of work and makes the headshot session longer than it needs to be but it gives a lot of options to the clients. Truth be told, one lighting setup is enough but I like to give my clients a huge selection of photos to work with when they go home.
Delivery
At the end of the session, if you bring a thumb/hard drive (usb3, 32 gigs minimum) I can transfer the master raw files to a thumb/hard drive. If you don't have one it's not a big deal because when I get home I will upload all of the raws and jpegs to Dropbox. I will upload everything the same day and will keep the pictures up for 6 months after our shoot, in which anytime you can download it. In dropbox you will have two folders, one will be the Raw folder and one will be the Jpeg folder. They will look exactly the same, except one folder will have Nikon raws and the other one will have standard jpegs.
A raw file is the master recording of the photo. it is what the sensor captured with no image processing. Think of the raws as the ingredients to a cake, and the jpegs are the final deliverables. You can't print or upload a raw file to instagram, LinkedIn or any website, they don’t know what a raw file is. The raw files are massive and jpeg’s are a faction of the file size. Raw files are designed to capture as much detail and dynamic range as possible. The raws look very flat and uninspiring and need to be edited in Photoshop in order to look good. Every camera brand has their own proprietary raw files. I shoot with Nikon and the raws can be opened in every software that can open raws (Photoshop Lightroom, etc). Jpegs can be opened in anything.
I shoot everything in the 8x10 image format. That is the headshot standard for many years. It will fit Instagram, Facebook, LinkedIn and many websites with out needing to crop. When you take a photo with your phone and want to upload to Instagram you need to crop the photo so it fits. I crop a portion of my sensor so that all photos are in the same ratio as Instagram or the headshot standard.
The raw files produced by my camera is 30 megapixels. A printed 8x10 photo at 300dpi (industry standard for headshots) is 7.2 megapixels. Instagram is 1.4 megapixels. The jpegs can be delivered in any size and format you want but I have my own recipe I follow.
Retouching
I want you to look your best, and not let anything stand in the way. After the session, I offer a complimentary service for One Free Retouched Photo Per Session and $50 Per Additional Photo with up to 2 rounds of revisions to make sure you get everything as you like. This requires Photoshop and I can spend 5-8 hours per photo. For revisions, you must be able to Zoom chat with me and watch me edit in real-time. Email me the file number of the photos you want me to edit.
From a scale of 1-10, 1 is lowest retouching, 10 is maximum. How much retouching do you want? This will cover White Balance, Exposure, Contrast, Saturation, Clarity, Sharpening, Skin Retouching, Teeth Whitening & Eye Brightening. There are 2 areas of retouching. Skin healing and skin smoothing. Skin healing is the acne, scars, fine lines, blemishes, texture imperfections on the surface layer of your skin. Skin smoothing is underneath and the volume, tone and color transitions. I will also give you a list of 30 retouchers. Their work is incredible and super cheap. Some will do 10 retouching for $100, some much more. You will have access to their instagrams and emails with prices.
Speech #2 - The Difference Between A Headshot And A Portrait
Headshots are literally glorified passport photos. They are designed to sell a product. In the end of the day, casting directors and talent agents spend a few seconds looking at your headshots and ultimately decide “can I cast this person in this role?”. The purpose of your headshots is that they need to present you in the roles you're audition for. From my experience the more simpler the photo, the more applicable and useful it is. Photos that are too stylized may prevent you from landing more roles. The main goal of headshots is to give the casting director a better idea of how you look like and if you fit the role you're auditioning for.
A portrait is an idea of you. It's not necessarily about what you look like but more of a representation of what you look like in the best light possible. They can be very editorial like a cover of a magazine or extremely experimental. For my headshot special I try to avoid heavily stylized/artistic photos because they interfere with the purpose that a headshot is needed for. Headshots get you jobs, portraits get you likes on Instagram. On a spectrum of headshots to portraits, you get to choose where on the spectrum you want to be. You can do very simple clean easy headshots that tend to be a little bit more neutral or you can do very stylized portraits that can make you stand out but run the risk of being overkill or not what the casting agent is looking for.
Speech #3 - 5 Tips And Tricks To Get Better Headshots
The 3rd speech I give is my top tips for getting better headshots like posing, positioning and expressions. Everything is in your control, you get to choose what works and doesn’t. The more you shoot, the more you will figure out what works and what doesn't. The truth is most people get very scared when they walk into a huge studio and see studio lights. The photographer sticks a huge camera in front of their face and something in the brain kicks in and people go to this strange place in their head. They can look incredibly uncomfortable and awkward. Confidence is incredibly important in headshots and everyone can pull it off with some assistance. $50,000 in studio lighting and $10,000 cameras won’t help if you look awkward and helpless in your photos.
1) Forehead To The Camera
Grab your hand and put it on your chin. Grab your other hand and put it on your neck. Now pull your head back and feel all that skin back up, sexy right? It’s a very easy fix, forehead to the camera. Lock your shoulders and stick your forehead out, but careful not your chin because you’ll end up with you face pointing at the ceiling. Make sure you are not looking down and your eyes don’t move. Just lock your shoulders and stick your forehead out, which is a very simple technique. If you are scared that it looks weird, that means you're doing something right.
In headshot photography, photographers use telephoto lens or long lens that will cause compression and cause you neck and shoulders to blur out. It might look strange in the mirror, but it will look great in camera. It’s kind of complicated to explain the physics behind it, but creating distance between your head and your shoulders will create depth and a 3-dimensional look in your headshots.
2) Mouth, Hands, Shoulders
This is often a difficult part of posing. Clients don’t usually know what to do with their mouths and their hands, because most people don’t normally pay attention to these two things and forget they even exist. For hands - a lot of people tend to drop their hands, which causes their shoulders to slouch down. It often gives a weak unconfident look. In my experience, it seems to happen a lot with real estate agents who I tend to marathon through. Sometimes, clients even fall sideways for no reason, which is why I like everyone standing. I never have anyone sit down on a chair or stool.
One quick tip for the hands is to put the thumbs or entire hands in the pockets, which cause the shoulders to rise and creates tension. Sometimes I have clients pretend to wash their hands and rock sideways - back and forth. Since I usually shoot at a very fast shutter speed there is no motion blur. Photos come out super sharp.
I dislike a fake smile, which can come across as disingenuous in a photo and so I never tell anyone to smile. I prefer to say dumb and funny things during a shoot, which makes clients laugh and smile. I like to catch them in “the frame between the frame” that microsecond before and after they are completely relaxed. The secret is to not have people pay attention that there is a huge camera in front of their face. Otherwise, clients can tighten up and go back to this safe mode.
One thing I really like, is when people close their lips and blow a little air between their lips which creates a gap between the lips. You can see it in any fashion magazine and feels editorial.
3) The Eyes
The most important thing in a headshot is our eyes. They say it is the window to your soul and it is the first thing that people are going to look at; it locks people in. Most people have a tendency to do a ‘deer in headlights’ look, their eyes wide open and they look surprised. There must be something in the brain that causes this, but we need to work with the clients to prevent this and create more comfort and confidence.
The question then becomes: What do we do with the eyes?
I could write an entire paper on the subject, but to keep things simple all you need to do is squint with the bottom muscles of your eyes. You can pretend that you are reading the last line in an eye exam or staring into the sun, where you’re sticking your forehead out and squinting your eyes to read the last sentence. It is important to learn to squint with the bottom parts of your eyes and not the top because it will cause tension in your brows that makes you look angry and upset. Just look into any fashion magazine and you will see all the models squinting their eyes, which gives a very mysterious and confident look.
This is one of the most important tips. In a photo, the eyes must be sharp and in focus and the nose blurry. If you take a photo and the nose is sharp and the eyes are blurry, this will never look good. All cameras have auto-focus system that assists photographers with focus and blurring out other parts. You’ll notice on the inside of the lens, it will turn red sometimes. That light will indicate that the focus is been locked and most of the time it will lock on the eye, that is closest to the camera. Sometimes only one eye could be in focus and the other eye will start to blur out, depending on the settings photographer put in the camera.
4) The Positioning Of Your Body
If you are standing flat against the camera, most of the time it won’t look good. Although, everybody is different - it looks good for some and not others.
Positioning is all about angles and the best way to create an angle is to turn your body, make sure one shoulder is facing the camera and the other shoulder is behind you. You don’t have to turn too far but somewhere from 20 to 45 degrees depending on bodyweight. If you go a full 90 degrees your body basically disappears. Also it is important to watch your feet, as foot placement is very important. Always watch where you feet are - because if you are turning your body and your feet are locked to the ground, it will create some pretty awkward tension in your hips and look unnatural. If you stand flat to the camera, you body is big and your head is small. If you rotate your body is small and your head is big.
This tip is more of a guideline than a hard fast rule. The trick is to find which side of the face you like the most. The majority of the people like the left side more, so they tend to turn their left shoulder towards the camera and pull their right shoulder back. Remember to move your forehead towards the camera, squint the eyes, blow a little air between your lips, put your hands or thumbs in your pocket, make sure your shoulders are flat or maybe a little raised and lock your eyes towards the camera. Look through fashion magazines and you’ll start to notice this pattern over and over again. The question I get asked most is "Which way do I turn?" That is where tip number 5 comes in.
5) Symmetry
Your left foot and your right foot are not the same. Your left hand and your right hand are not the same. The left side of your face and your right side of your face are not the same. It is called Symmetry and it is impossible to have both sides of your face looking exactly the same. Try taking a photo facing straight and then turn your body and face left. Then do the opposite; you’ll notice that you look like three completely different people. Most people don’t realize this, but you have a preferred side you rather shoot on and most people prefer the left side.
Because of this concept, you and the photographer can play to figure out what angle you prefer. In my first and second lighting set up when I shoot headshots - it doesn’t matter where you stand or what side you choose because I light straight forward and don’t angle my lights until later in the session. I’m not lighting any particular side of the face; I’m lighting both sides at the same time. The shadows are behind you and out of view of the camera. But if I decide to turn off the left side of my lights it will create shadow on the right side of your face.
In photography there is something called the Broad side and the Short side of the face. This I will explain on another day, which is hard to see without seeing it in real life but when I use a beauty dish, I sometimes play with different sides of the face to get different effects.
The Expressions Book
Without proper expressions, you are wasting your time shooting headshots. It is the most important part in the photo shoot. At the end of my third lecture, I like to show clients a chart with tons of different facial expression. I found a cartoon chart that psychologist use with kids and there are dozens of different facial expressions. It will help explain the next part.
There are 3 things on your face that can control and create expressions: Mouth, Eyes and Eyebrows. There is an entire science behind it. At the end of the 3rd speech, I will show you a book with examples from fashion magazines and a chart that will show you the different expressions and pitch’s that comes from controlling mouth, eyes and eyebrows. This book will be a visual representation of all the tips and tricks we spoke about and combine everything into a single package. You need to work with me to go through an entire range of emotions because you will never know which one you like the best. That is why it's best to work with photographers that tethers the camera to the computer so you can see in real time what is going on. You might not get it on the first try but after a couple of minutes you will see where you are going. Another trick is that I always have a mirror behind me so my clients can see what is going on in real-time.
Speech #4 - The Actors Speech
I did theater for seven years, why? I have no idea. I did Shakespeare for seven years, why? I have no idea. Do you want to learn how to become a better actor? The secret is don’t act, the secret is to “be”. You have to learn how to feel your feelings or feel your emotions. What does that mean? If you feel like being happy be happy, if you feel like being sad be sad. You can't fake emotion. I will know, the cast agent will know. The photo will feel unauthentic.
The issue is that everyone is trying to be something they're not. You'll feel vastly more confident in auditions that you have real life experience in. Confidence comes from your experience. If I ask you to drive a car from New York to Miami, it would be difficult but you would know how to do it because you know how to drive a car. If I ask you to fly an airplane from New York to Miami you have no confidence because you have no experience doing it. The more experience you have, the more confident you become.
As we are shooting I always ask, what type of movies, roles and characters you wish you could play? What movies you wish you were casted in? The reason is to put yourself in the mindset of the character. I want to see your interpretation of the characters you wish you can see yourself in. The casting director will see it to and it will help you land those roles. One issue I see with many actors is “deer in headlights”. They are lost in the forest. They have no idea what they want. They are like a flashlight spreading everywhere and need to become like a laser, super focused and precise in what they want. As a photographer I want to know, what you're trying to achieve? I'm not a mind reader and if I have no idea what the purpose is, I don't know what to feel when I look at the photos or what the photos could be used for. I'm just as lost as you are. Headshots work better when there is purpose and meaning behind them.
Most people don't realize Daniel day Lewis and Christian Bale are British. They are chameleons, completely different characters in every movie. Seth Rogen is the same person in every movie. This is called dynamic range, I need everything from sweet innocent girl next door to devil wears prada bitch on wheels. Need to see an entire range of emotions and characters. You need to have different headshots for different roles. Different energies and emotions will give you more options. The more options you have, the better chances of booking a role. This is why I have so many different lighting setups, it’s there to give you different styles for different roles.
You have to ask yourself, why do you want to be an actor? What roles are you going for? Why do you want them? Why you and not the next person? What makes you so special that they have to cast you and not the next guy? The reason why I ask these questions is to find the reason and purpose for each individual headshot. I'm a very pragmatic person. I care about facts over feelings. We need to ask what is the purpose of this photo? Are these the photos you would use for an audition? What would you do with this photo? Why does it exist? What do you feel when you look at them? What do you want me to feel? What do you want others to feel? What do you want the casting director to feel?
I recently got into 3D animation and one thing I learned was that 3D artists use reference files or websites that have photos and videos of real life objects that they could use when they draw and animate in their projects. It is extremely difficult to draw a doughnut or a car from memory. It wont look realistic, we can’t remember the little details and nuances of objects from our heads, we need something to base our drawing and modeling from. When given a script, what reference files or life experiences do you have to relate to the character? As an actor you need to build reference files in the back of your mind. Reference files comes from your past life experiences. In order to make your acting more believable and realistic, you need a solid foundation or skeleton to start. This is essentially what method acting is. You can’t fake it, everybody will know. Many actors when researching a character try to live through the eyes and experiences of the character they're going to portray. They can spend months learning a new skill just for 5 seconds of film time. A perfect example is, I speak Russian. When I hear people try to speak Russian on TV or movies 99% of the time I'm like “that's not Russian, I don’t know what that is”. The more reference files you have and build, the easier your acting becomes. Reference files are essential in every actors toolbox. Just remember the golden rule “garbage in, garbage out”.
As an actor, one of the the most powerful tools in your toolbox is having the ability to precisely and mathematically get into the headspace of the role you are auditioning for. I call it actor presets. Just like on a digital piano, there are many sounds and settings that the manufacturer built into the instruments to create different sounds. As an actor you need to do the same thing, build different predetermined presets for very specific roles. To build an actor present it's very simple, you need to combine your reference files (your past experiences) and expressions (how to physically control emotions on your face plus body language). Your reference files is the fuel and expressions is the engine that pushes your acting. Build one preset for happy roles, one for sad roles, one for sweet innocent girl next door and one for devil wears prada roles. When you have many actor presets you will never be caught off guard for any role.
Casting directors look at the photos for less than 1 second and decide if you fit the roles they are looking for. You have to ask yourself, why you? There are 1000 people all going for the same role. What makes you so special? What makes you the only obvious choice for the role? In the TV show Game of Thrones, the show runners said about Peter Dinklage's casting, "If he hadn't accepted the part, oh, boy, I don't know what we would have done.” How do you put yourself in the same situation? How do you make it that you're the best option for the role. These are very difficult questions to answer but the answers will come with the more experience in the industry you have. All the lighting setups will create different moods and environments for you to take the headshots that will land you the roles you're looking for.
Model Digitals, Portfolio And Comp Card - Everything You Need To Know About Modeling Digitals And Portfolio Comp Cards
Modeling Comp Cards: Digitals Vs Creative Portfolio
In the modeling industry, two distinct types of comp cards are essential for showcasing a model's versatility and potential:
1. Digitals Comp Card
Focuses on raw, unretouched, natural representation
Includes minimal makeup and simple styling
Showcases the model's authentic physical appearance
Typically features:
Multiple angles (full body, 3/4, half body, headshots)
Frontal, diagonal, and profile views
Plain background
Natural lighting
Basic, fitted clothing
2. Creative Portfolio Comp Card
Highlights the model's range and artistic potential
Demonstrates versatility in styling and expression
Features more elaborate and stylized photoshoots
Typically includes:
Professionally styled and retouched images
Variety of looks, themes, and concepts
Showcases model's ability to embody different characters
More creative and dynamic photography
Potential fashion, editorial, or conceptual shots
The digitals comp card provides agencies with an honest first impression, while the creative portfolio comp card shows a model's potential for various types of work and artistic interpretation.
What Are Modeling Digitals?
Model digitals are professional photographs designed to provide an authentic and unfiltered representation of a model's physical attributes. These images capture the model's natural appearance, featuring straightforward, unretouched shots that highlight their body, facial features, and overall aesthetic. Typically taken against a plain white background with minimal lighting, digitals aim to present models as they truly look, without the heavy editing or dramatic styling found in traditional fashion photography. Modeling agencies and potential clients use these images to assess a model's raw potential, body proportions, and natural look, making them an essential tool in the model selection and casting process.
Model digitals, also known as polaroids, are a photography style with a rich history in the modeling industry. Originally captured using Polaroid cameras before the digital era, these terms have become interchangeable, representing raw, unfiltered images that showcase a model's authentic appearance. These photographs serve as a critical first impression for modeling agencies, potentially determining whether a model receives a coveted contract.
The importance of high-quality modeling digitals cannot be overstated. They are more than just pictures; they are a visual resume that communicates a model's unique features, personality, and potential. Professional photographers play a crucial role in this process, utilizing expert lighting techniques and pose guidance to highlight a model's most flattering angles and distinctive characteristics.
The primary goal of modeling digitals is to capture an honest, engaging representation of the model. These images should not only look aesthetically pleasing but also convey the model's individual essence. By working with experienced photographers who understand how to bring out a model's natural charisma, these photos can become powerful tools for attracting potential clients and agencies.
How To Pose For Modeling Digitals
When preparing for model digitals, following specific guidelines can help you capture images that truly represent your potential. Here are four essential steps to ensure your photos stand out:
1) Capture Comprehensive Angles - Model digitals typically include four key distances: full body, three-quarter length, half body and headshots. For each distance, aim to capture multiple perspectives:
Full frontal shots
Diagonal angles
Profile views
This approach provides agencies and clients with a versatile selection of images that showcase your complete visual range.
2) Master Minimal Posing - Posing should remain natural and understated. A standard pose with hands at your sides and direct camera engagement works well across all angles. For forward-facing shots, feel free to introduce subtle, creative variations while maintaining simplicity and ease of movement.
3) Express Yourself - Model digitals are more than just documentation—they're an opportunity to demonstrate your personality and versatility. While the primary goal is to show your authentic look, don't be afraid to inject emotion and attitude into your expressions. Move beyond a blank stare and showcase your ability to convey different emotions and energy through your facial expressions.
4) Professional Preparation - Though not explicitly mentioned in the original text, it's crucial to prepare carefully for your digital shoot:
Wear minimal, form-fitting clothing that doesn't distract from your body and features
Ensure natural, minimal makeup
Stay hydrated and well-rested
What to Wear for Modeling Digitals
When preparing for model digitals, the key is simplicity and minimalism. The goal is to showcase your natural features without distractions, making your clothing choices critical to a successful photo shoot.
Opt for a minimalist approach with these essential wardrobe guidelines:
Color and Style
Choose all-black clothing as a foolproof option
Select neutral, understated colors that don't draw attention away from you
Prioritize comfort to ensure you feel confident and at ease during the shoot
Clothing Recommendations
Simple, well-fitted jeans
Plain, classic t-shirts
Clothing without designs, patterns, or logos
A plain, solid-colored swimsuit
What to Avoid
Oversized or baggy clothing
Shirts or pants that don't fit properly
Accessories like earrings, rings, or other piercings
Any items that might distract from your natural appearance
The primary objective is to create a clean, unobstructed view of your body, face, and overall look. Your clothing should serve as a neutral backdrop that highlights your unique features, allowing agencies and clients to see the real you.
Hair and Makeup for Modeling Digitals
When it comes to modeling digitals, the philosophy is simple: authenticity is paramount. Agencies are primarily interested in seeing the real you, which means minimal to no makeup and natural hairstyling.
Makeup Guidelines
Aim for little to no makeup
If any makeup is used, keep it extremely subtle and natural
The goal is to showcase your bare, unretouched features
Agencies want to see your natural skin tone, texture, and facial structure
Hairstyling Options - Your hair should be styled in a way that is versatile and allows agencies to see your true look:
Tucked behind the ears
Pulled back in a simple ponytail
Left down and hanging naturally
If doing multiple looks (typically 1-2), consider changing your hairstyle to provide variety
The Core Principle - These images are about transparency. Agencies want to understand exactly what you look like without any artificial enhancements. Your natural beauty, unique features, and potential should shine through in these unfiltered photographs.
By keeping makeup minimal and hairstyling simple, you create a canvas that truly represents your authentic self – the first and most crucial step in catching an agency's attention.
Developing a Modeling Portfolio
Creating a compelling modeling portfolio is an art form that requires strategic planning and thoughtful execution. The primary goal is to showcase your unique versatility, range, and potential across multiple dimensions.
Key Principles of a Strong Portfolio
Image Variety
Capture different movements and poses
Highlight your most flattering angles
Demonstrate a range of facial expressions
Show your ability to bring even simple clothing to life
Shot Composition Your portfolio should include a diverse mix of photographic styles:
Dynamic, high-energy shots
Intimate close-up headshots
Three-quarter length images
Full body photographs
Showcasing Versatility
Demonstrate your ability to transform and adapt
Reveal different sides of your personality
Prove you can embody various looks and moods
Highlight your unique physical characteristics
Technical Considerations
Work with professional photographers
Ensure high-quality, well-lit images
Choose shots that feel authentic to you
Balance technical perfection with personal character
A great modeling portfolio is more than just a collection of photographs—it's a visual narrative that tells the story of who you are as a model, capturing both your physical attributes and your distinctive essence.
Other Questions People Ask Me
Where Is Your Studio Located in NYC?
We are a fully operational professional studio, located in a 2000 sq ft spacious loft on the Bowery in Downtown Manhattan. We are capable of video production, fashion editorial and e-commerce sessions.
Studio Vs. Outdoor Headshots
I feel most comfortable in the studio, where it is easier to control the environment, lights and be more relaxed in a professional setting. We can shoot on the street with natural light, but I can also go near the window in the studio for natural light as well. I have the flexibility and equipment to achieve any look you want from neutral and safe to cinema noir. I can use Hollywood standard HMI video lights to create a cinematic look or do something very editorial. In the studio I use traditional studio lights, soft boxes and beauty dish to create high quality industry standard headshots. Shooting in the studio allows us to create a very cinematic natural look or go the opposite direction and do something you would see in a fashion magazine.
How Many Looks? How Many Photo’s Do I Get?
Unlimited Looks, Unlimited Photos
I don’t charge on the amount of looks or photos we shoot (but I average around 300-600 range). I only charge on how much time we spend shooting. The point is to get you to look your best and get you what you need. We can shoot 2 hours doing 500 photos of 1 look and 1 lighting setup or 5 hours doing 300 photos of 10 looks and 4 lighting setups. It’s all the same to me.
I’m an expert at retouching and can go from light to intensive retouching. For headshots, I try to keep it natural and not deviate from the original photo. I believe in getting it correct in the camera then fixing it in post. I can easily remove blemishes and inconsistency in skin tone and make you look like the best version of you. It will look natural, keep the texture and detail in your skin, brighten your eyes and whiten your teeth.
How Long Does A Session Last?
I don't watch the clock, but shoots generally last 2-3 hours. I give the same attention and focus on my headshot sessions as my fashion editorials.
Make-Up
I tell clients to keep it simple and clean. Clients should come to the studio with almost nothing on. Most of my clients don’t have a budget for a professional makeup artist ($200+) or prefer to do it themselves (works 99% of the time). Makeup artist can be very expensive and not always necessary. I recommend a professional makeup artist if you feel that you need it because they know and understand what type of make up to use for a headshots. Lights and cameras tend to amplify make-up drastically. If the make-up does a good job it can make life a lot easier for the photographer in post-production (less retouching time). I also mention to take care of any extra hair around the lips and sides of the face, which can save hours in editing later.
One massive caveat. I’ve had many shoots ruined by make-up artists that over did it. I warned them to make sure the make-up artist doesn’t overcook it. They have many times and I had clients complain later that they don't look like themselves in the photo because of the make up artist and I’ve offered them free reshoot’s (They never blamed me and told me “I should of listened to you”). It is super hard for me to remove make-up in Photoshop and can’t guarantee I can. I can add more make-up digitally. I prefer you do the make-up yourself. The make-up artist will leave right after they are done, they won't stay the entire shoot and fix it. Whatever they do, your stuck with.
You can do your own make-up but be careful not to overdo it. If the make-up is too strong, time is then wasted removing it and re-applying it. I like make-up to be as natural and minimum as possible, it is easier to add make up than remove it. The best method is to apply a little, take a test photo, look at the computer and go from there. Doing your own make-up is super fast, make-up artist take forever. Also, avoid over styling (smokey eyes). Keep it simple. Everyone has different styles, but making a checklist of looks in advance is well worth the effort.
Another option is www.glamsquad.com. They can send a make-up artist to the studio or your home. They have tons of options. I don't mind if they do the make-up in the studio.
If you plan to bring a make-up artist for the session, my studio has new rules. They are giving me some special exemption for setup/breakdown but they told me “If the client comes 5 mins before the time slot and stays 5 mins after the time slot, they will charge me an hour”
There are 3 options:
Option 1) You bring a make-up artist during our slot but it eats into our shooting time.
Option 2) You bring a make-up artist during our shoot but pay an extra hour. (I’ve seen make-up artist take 30-45 mins before)
Option 3) They come to your home and you come to the studio ready to go.
What Clothing Should I Bring?
Bring as many options as possible. Your mood might change mid-shoot and you might want something edgy or more classic. You don’t usually know what will work until you start shooting. I ask that everyone bring at least 5 to 10 different options for clothing. For headshots, you’ll just need tops (unless you’d like some 3/4 shots). You should try everything, take a test photo, look at the laptop and see if it works. It’s impossible to know what will work till we shoot it. The lighting will change the way clothing will look.
Every studio has a clothing rack and a steamer. With jewelry keep it simple and wear jewelry that is not distracting. Massive hoop earrings are usually not appropriate. My rule is always keep it simple - solid colors, nothing with logos and complicated patterns. Once again, you can ask me and I can go through a checklist.
I can help you decide what to wear. Here are some considerations:
1. You Have To Love it!
Don’t shoot in anything that you don't feel comfortable wearing. Don’t dress with the thought that you will book a role if you wear a particular outfit. If you don’t feel comfortable in it, you won’t shoot well while wearing it. Remember, be yourself because this is where you can get your own personal style into the shot.
2. Bring Color Variety:
People always ask what colors are best and I suggest bringing a wide variety of colors. I have actually been surprised in the past by my clients bringing a top that I didn't think will work, but turns out great on camera.
3. Don't Be Seasonal:
Everything from t-shirts, tank tops to sweaters and light jackets can work. I love textures and layers, but would generally stay away from crazy patterns.
4. When In Doubt, Bring it!
If you find yourself questioning whether or not something will work, just bring it along. I also suggest having some fun with this, if you feel your wardrobe is missing something then go shopping and find some great pieces to compliment your wardrobe.
Be Yourself
Don’t walk in and try to be something your not. Be yourself.
You are doing yourself a disservice by creating something that doesn’t represent you. That is the point of a headshot; you need to be you.
The photographer’s job is to create the best version of you with lighting, expressions and angles so they can work with you to pull out the best version of you. Come to the studio with different outfits, ideas and be yourself. Talk and work with your photographer to figure out what is the best way to represent yourself and how you want the world to see you.
Also let your photographer know how you want the photos to be retouched. Photoshop is a very powerful tool and can give photographers the ability to completely change you. Headshots are supposed to be a representation of what you look like. Some photographers have a habit of overdoing it and make you look unrealistic. Many photographers don’t retouch, but some will. I’ve had modeling agencies tell me I’m very good but need to hold back sometimes in retouching. They prefer under-retouched than over done.
I Don’t Know What To Do In Front Of The Camera, Can You Help?
Yes, I will guide you how to pose and the right angles for you. I will reveal to you the many tricks of the trade, from body angles and techniques. I will help capture the essence and expressions that best suit you. You learn by experimenting. Your expressions are the most important thing in the shoot. All the lights and cameras are meaningless if you can’t land the expression you are trying to portray in your photos.
Can You Do Half-Body Or Full-Body?
Yes. I have a 500 sq ft Cyc-wall. I can do Full Body, Half Body, 3/4 Crop.
Don’t Be Scared To Tell The Photographer What You Like And Don’t Like
In the end of the day you’re paying someone to provide you a service, you need a headshot and decided to hire a professional. You saw their portfolio online and you know they can provide you with exactly what you’re looking for. Some photographers have a signature style, they do the same style over and over and get known for it; all their pictures have the same look, which is fine.
I personally like to give my clients multiple looks and different styles because I believe you get the most for your money that way. I enjoy working with my clients - looking at the computer in real-time and figuring out together what they like and what they don’t. I like when clients tell me what they prefer, that they want something moodier, darker or brighter. I also love it when clients are super excited because it means I’m doing something right.
For Clients: Don’t be scared of your photographer, you should be in charge, you are the director. It is a business transaction that costs money. You don’t want to go home and regret not saying anything. Just because the photographer knows what they are doing, that doesn’t mean you have to like it. Speak up and no one will get offended. Let us know your expectations, intentions and what kind of look you're going for.
Truthfully, if you master these tips, you can grab a iPhone and use natural light and most of the time, achieve better results than using a photographer who never says one word and just clicks the camera for 2 hours. The point being, it is not about the super expensive gear. Some of the best fashion photographers that shoot massive campaigns and covers of high-end fashion magazines have no idea how 99.99% of their gear works and that’s why they have so many technicians and assistants. The real reason why they are paid so much is because they know exactly how to create the vision the clients are looking for in their minds. I spoke to a very high-end fashion photographer and he told me, “I look through the camera and see it as if it was the cover of a magazine, 30 years of experience helps carve your eyes”. A professional headshot photographer will know what to look out for and you will see a consistency in their work. If the people in the photographers headshots look lost and confused, that’s not someone you want to work with. Consistency is very important to all professional photographers.
It's All About Finding A Headshot Photographer Who Can Bring Out The Best In You.
New York City is a crowded market. When you present yourself, you want to grab attention and leave an impression. My goal is to capture your image in a way that will leave the most impactful and lasting impression possible from the very first glance. Whether your headshot is intended for modeling, acting, personal branding or professional development, we will collaborate to create an image that leaves a lasting impression. When I'm holding the camera, I'm your biggest fan; your director; your muse; and I will help you find a captivating moment that is uniquely and remarkably - you.
With the aim of giving you the highest possible quality headshots, we prepare multiple different looks per session. This will provide you a wide array of shots to use for various marketing and promotional purposes. Unlike a lot of my competitors, I do not limit the number of shots I take per look. Instead, we will work together to make sure that we get the shot right before we move on.
The process is interactive and dynamic - testing and trying things as we go. We will inspect each photo or group of photos as we go, and collaborate on picking the best, and filtering out the rest. In our 2 hour session, we generally end up with about 300-700 shots, you get the option to refine and delete photo's for your final package if you wish.
This style leverages the very best workflow and gives you the most transparent insight into the final product. You won’t have to leave my studio with questions about what to expect. You will be intricately involved in the process, and be helping me find the right focus, angle, and expression for you. When we’re done, you will have worked with me to filter through the photos and narrowed down to promoting you at your very best.
You have full control and responsibility to communicate any and all of your desires and concerns about the shoot. I measure my success by your happiness and willingness to promote both your shots and my work, so we’re not done until we both agree that you have gotten the shots you want. Remember, we’re working with digital photos, so we delete and re-shoot often to get what you want.
I’ve been doing real estate for many years and learned to give my clients the most bang for the buck. I don’t like to shoot 1000 photos in 1 lighting setup with 1 background. I like to give many different looks and many different styles. I want you to have as many looks as possible to chose from. Grey background or Black, Red, with tons of different lighting configurations. I setup my computer right next to you as we shoot so you know exactly whats coming out. My camera is attached to the computer and you see the photos in real-time. I like to give you full control and help direct me in terms of what you want your photos. Do you want the photos more moody or more happy? You tell me the crop or how tight you want the headshots to be. You tell me when your bored of this look and want to switch clothing, lighting or the background.
When we complete the shoot, I will upload all of the final shots to Dropbox. It can be password protected if you wish, and I send you exclusive access - you are then free to share the set with anyone, including friends, family, agents, casting directors, or other industry contacts. I will keep the set on my dropbox for up for 6 months after our shoot, in which anytime you can download it.
Payment
My studio has a 72 hour no cancellation policy, so I need a 50% security deposit before I can book it.
I take Zelle/Venmo/Cash App (Please don't use “Send as payment of goods/services” I get charged fees)
If you want, you can call me anytime to discuss. There’s a lot of information to discuss.
All these tips and tricks I have learned from experience. The more I shoot, the more I learn. There are so many more tips and techniques, so Part 2 coming soon.
Le Tigre. Ferrari. Blue Steel. Magnum. That’s all you’ll ever need.