Headshot photography calls for much more than just camera skills. It’s about human communication and a knowledge of people in general. Watch for that as we comment on each of the 22 topics listed alongside our photo of the young woman seated above.
Tripods
I really wish I could take credit for this, but take it to heart nonetheless: “There are two kinds of people in the world: Those who use tripods, and those who should. If you don’t already use a good tripod in your regular workflow, please rethink and change that position. You’ll find that your headshot photography will suddenly rise to a new level.
Backgrounds
Generally speaking, backgrounds should NOT compete with the subject in any photograph. That’s the main reason that we blur backgrounds. The human eye is drawn to sharpness. It’s also drawn to brightness, contrast, saturated colors, and motion over stillness. The background in our example picture is a good choice, and the photographer improved it by choosing an aperture setting that blurred it nicely. Sharp backgrounds might be a good choice to distract from the subject a bit, but never make the mistake of blurring the subject.
Beauty Lighting
Beauty lighting is usually associated with studio lights, but it can be accomplished outdoors with the sun along with a diffuser above, with a white bounce-card held by the subject beneath. Essentially, we’re looking for a large strong light source placed above the subject, with a much weaker light below the face directed upward. The idea is to illuminate the face from above in such a way that shadows create depth without overmuch contrast. Then the lesser light from below gently fills those shadows. That can be accomplished in different ways. For example, if indoors and your camera has a detachable speedlight flash and the ceiling is white, point the flash straight up. The reflection from the ceiling gently lights the subject from above, and the peripheral light from the flash on the camera provides the fill. Outdoors the sun can be softened by an overhead diffuser, and the subject can be asked to hold a white bounce-card in front of her, angled to bounce light back toward her own face from below. This lighting setup has the virtue of hiding unattractive areas under the chin, along with any wrinkling that diminishes with light coming from opposite directions.
Backlighting
Backlighting can be useful to separate the subject from the background. It’s also useful when flash casts harsh shadows on a nearby surface. It can be an effective way to end a wedding shoot, either using off-camera flash, or the sun itself if you’re very lucky.
Hair Lighting
Hair-lighting is almost always an indoor studio effect where lights or reflectors can be suspended and directed from hardware of various kinds. Outdoors it can be accidentally accomplished when suspending a large diffuser over the subject, which by the way, you should be doing already for other reasons in direct sunshine.
Male Pattern
Headshot photography subjects with male pattern baldness should have you reaching for your tripod’s height adjustment. Be sure to lower your camera about six inches. Young men tend to be especially embarrassed. Don’t draw any attention to it at all. Stay on the subject of their football uniform, or the upcoming wedding, or anything that he wants to talk about. Get him on a stool or anything that elevates him relative to the camera. Apply a touch of makeup to reflective spots, if you think he can take it. Carry tissues if it’s warm outdoors, and find some SOLID shade in bright sunshine – note: NOT under trees that are creating dappled lighting! No, you CAN’T fix it in post.
Wrinkle Lighting
Flattering lighting in general means soft light, which is a function of the size of the light more than any other factor. Which is the larger light source: The sun, or a cloudy sky? Most guess the sun is, but the opposite is true. Because the sun is so far away, you can block the entire sun by holding your thumb toward it at arm’s length (don’t actually try that). Consider a child drawing a chalk picture of their shadow on a sidewalk. In bright sunshine the shadow is hard, but under a cloudy sky the child’s shadow all but disappears. Tiny lights accent wrinkles. Large lights, whether the light of a cloudy sky or of studio umbrellas or soft boxes, are diminished, and are flattering to wrinkled subjects.
Be a Director
If you’ve caught yourself asking a subject, “Do you think we should get one of you in that dress?”, it’s time to break that bad habit. Treating a client with courtesy is one thing. Treating her as the knowing professional she thinks she hired is better. Learn to use the phrase, “I need you to…”. If the goal of your shoot is to create an image that your subject loves, then she has to believe that you’re the best choice of all the headshot photographers she could have hired. Her confidence in you – or lack of it – will show in her face. It will be an expression that will be part of that image for as many years as the image hangs on a wall. The best artists are confident in their craft. They’re not bossy: They’re confident in their direction. They “NEED you to..” whatever is needed to accomplish his or her vision for the shot. Don’t ask what the client thinks should be done. Be nice. Be gentle. But direct like you know what you’re doing.
Black Backgrounds
If you own or have access to a detachable hotshoe “speedlight” flash, then this one might interest you. Black bed-sheets can be bought at any store that handles sheets. While not strictly a headshot photography technique, it certainly adds a professional touch that not every portrait photographer is using. When shopping for sheets, be aware that the best ones for this project are actually the cheapest ones with the least number of threads per inch. For best results, cover all walls in your space, and the ceilings and floors as well.
Personalized Props
Family shots can mean more when you invite your clients to bring one or two of their favorite toys, sporting goods or hobby items
Changes of Clothes
It’s a good idea to mix things up when it comes to clothing. What we’re concerned about here is that blouse, t-shirt or combination that just isn’t working. If they balk at the idea, remind them that it gives them that much more for the money. From your point of view, it just gives you that many more products that you can sell to this client.
An Assistant
In our large family, we’ve almost always got a new boyfriend or girlfriend at every family headshot photography opportunity. If I’m behind the camera we’ll start out where I ask the newbie to be my assistant. I’ll direct them to stand next to me and search for anything he sees that’s out of place: Errant hair, glasses reflections, light from background lamps or windows, pulled blouses, reds next to each other, etc. I’ll get some shots of the group. Then ask Jack to step in and get a couple with him included.
Compliment Your Client
No surprise here. This can’t be overstated. Take a hint from Hollywood: “You look simply Mahvelous Dahling!” A happy, smiling photography subject is another shot you can use in your promotional portfolio. When you catch a particularly good shot, walk over, turn your camera around, and let your subject feel how well things are going.
85 to 100mm Lens
Lenses in the 85 to 100 millimeter range have long been favorites in headshot photography. There are two reasons for that. One is that most lenses in this range are decent when it comes to not distorting faces in this magnification range. The other is just as important. If you set your camera’s lens to that length and step forward or backward until it fills the frame nicely, you’ll find that you’re standing about ten to twelve feet away from the subject, which for most people is a comfortable distance. Remember: part of your job is to keep your subject relaxed, confident, COMFORTABLE.
Bounce Cards
Bounce Cards belong in every photographer’s back seat. Let me correct that: WHITE bounce cards… never mind any other color. You can buy white foam-core bounce cards at any of the art supply stores. Use them outdoors to bounce light into subjects, or to block direct sunlight (i.e. as “flags”). They can save the day when shooting under trees to eliminate “dappled” light if you have somebody who’s tall enough to hold them overhead and out of sight. In direct sunlight, they can provide a patch of shade to keep the bride from squinting.
“Test” Shots
I use this term with tongue in cheek. I don’t like lying to anybody, but to get a good shot I don’t mind handling the truth sometimes like a used car salesman. While setting up, just announce to the subject that he or she can relax. You’re just getting a few test shots to dial your camera in. Who knows. Those may just be the best few shots of the shoot.
Lots of Shots
Okay, I confess it: I tend to shoot heavy. Deleting digital images is not only cheap: It can keep your self-esteem high. Each delete is another “I’m better than that” reminder that your standards are very high.
Variety of Shots
I remember once doing a product shoot for a local catering company. My son-in-law had a new SLR, and he was glad to help me shooting their food. I remember that they had a chicken dish. Sam leaned over with his camera in burst mode and held the shutter open for about eight shots. I waited until the client left the room before getting up close and said, “Sam, the chicken isn’t moving”. True for cooked chicken, but not for a headshot photography shoot. It’s called “coverage”. There’s no excuse for getting back to post and finding that you don’t have the expression or lighting you need.
Focus Point
Learn the basic skill of knowing the precise point if focus. Keep in mind that when your camera focuses on a point, it’s really giving you a PLANE of focus. Most cameras let you choose a custom configuration of focus. I prefer a single red dot if it’s available. With your camera’s lens set on “A” for automatic, “meter” the shot while looking through the viewfinder. For headshot photography, the focus point should almost always be their eye.
Edge of Chair
Slouching looks terrible in any head-shot photo. Scolding the subject is never a good idea. “I need you to sit up straight” sounds like Mom, but “Let’s slide forward… feet flat on the floor…. now stretch up”, sounds more professional. Add your own stretching body language, and get the shots as quickly as you can. When they moved away from anything supporting their back their posture probably improved automatically.
Arm of the Chair
This one may depend on how tall your subject is. It may trigger a slouch, so be careful. The chair is turned about 45 degrees, and the subject is leaning slightly, possibly with the away hand resting on the near wrist. A footnote… If you see that you’ve made a mistake, continue to get the shot and move on to the next set without halting. You’re a pro. Your subject should always feel that.
