Headshot photography has been making major headlines recently. A few weeks ago, the Wall Street Journal interviewed headshot guru Peter Hurley about the importance of a professional headshot in a quickly changing business landscape (The Perfect Professional Headshot Is Worth $1,000, and Maybe Even a Job).
His print interview was quickly followed by a segment on Good Morning America, where he once again discussed the importance and value of a quality headshot. In the midst of this press whirlwind, Hurley was kind enough to sit down with me for a few minutes to discuss his career and the professional headshot phenomenon.
The Biggest Growing Genre In Portrait Photography
Over the past few years, headshot photography, as well as the need for skilled headshot photographers, has grown exponentially. Hurley credits much of this to our post-pandemic world, where many industries have remained largely online, and our respective digital personas have taken on an importance beyond what most people could have imagined a few years ago. Regarding business in 2022, he says, “You’re looking at your phone all day long, you’re on Zoom if you’re in meetings, and they’re seeing you, so it’s important to put yourself out there, visually, in this digital realm.” Indeed, studies have shown that LinkedIn profiles with a photo receive 21 times more views than those without one, and Hurley himself believes that is a conservative estimate.
Hurley knows firsthand how fast the genre of headshot photography has been expanding, as his organization, the Headshot Crew, boasts over 20,000 photographers, with members across the globe. (Full disclosure, I am an Associate in the Headshot Crew, and I am experiencing this headshot phenomenon firsthand). As the need for high-quality headshots has grown, and as many people either chose or were forced to find a new career path due to the pandemic, Hurley believes that now is a time of great opportunity for headshot photographers to grow their businesses.
Image by Peter Hurley | https://peterhurley.com/
The $1,000 Headshot Phenomenon
“I didn’t create the $1000 headshot, but everyone is following a recipe now that works.” When Hurley discusses his “recipe,” he is not only referencing lighting and coaching, but also a sales strategy developed by Scottsdale-based photographer Tony Taafe. Dubbed the “TNT Method,” Hurley believes that this approach has been an instrumental ingredient in helping headshot photographers in various markets achieve $1,000+ headshot sales on the regular.
According to Taafe, the TNT method is a client-centered approach, where sales are the natural by-product of a great experience. It encourages photographers to not only focus on experience, but also to charge enough to grow a sustainable and profitable business. Taafe credits this method, as well as the training he received from Hurley, for his success as one of the busiest headshot photographers in the world, with studios in both Scottsdale and Los Angeles.
Photographer David Roth, of Miami, has also seen tremendous growth in his headshot business, which he started during the pandemic after much of his other photography work dried up. “People are quickly realizing that a professional headshot is valuable to their career,” says Roth. “If you can get someone to stop-the-scroll, you have a better chance of getting them to engage with you, to notice you… to give you a chance.” Roth realized early on that finding a niche in headshots would be most important to the future of his family and business.
According to Hurley, the other ingredient in the $1,000 headshot recipe is the quality of the final product, which he calls “expression coupled with really clean light and a simple background.” This is not only the recipe that he uses, but also the one he teaches his students, as he considers it not only the best formula for headshot photographers to use, but also timeless, and marketable to a wide audience.
It’s a recipe that works across the board globally and is ageless. I’ve been shooting the classic white background look since I started in 2002.
Image by Peter Hurley | https://peterhurley.com/
I Applaud People Who Copy Me
Hurley’s belief in his headshot formula also forms the basis for his teaching method, and unlike some photographers, he is an open book when it comes to every aspect of his craft. He doesn’t believe there should be a “secret sauce,” and encourages others to emulate his style, especially those who are part of his network.
I’m probably one of the only photographers in the world who applauds people copying me. I want people copying me because I am the one doling out the jobs through the Headshot Crew and I’ve been building this network of 20,000 photographers on the site for this moment in time.
Hurley believes that photographers in a wide variety of genres would benefit their businesses by adding headshots to their offerings.
If you’re a portrait photographer, why would you not add headshots to the mix? Photographers in the Headshot Crew who have done that have decided that the most lucrative part of their business has become headshots. It’s a lot easier than weddings or newborns.
He adds that many of the photographers he coaches are making six figures, even some located in the same city. “There’s no lack of human beings needing this,”, he says, and he feels strongly that we have reached the point of critical mass for headshot photographers everywhere. “We’ve been working on this for so long and now we have national attention. Essentially there is enough to go around.”
Image by Peter Hurley | https://peterhurley.com/
Criticism and the $49.99 Headshot
Hurley is not shy when discussing photographers who “give away the farm,” as well as his critics. He believes that “headshot photographers who do $49.99 weekend specials, those who are upset by competition are the ones actually hurting the market.”
Hurley says that instead of charging very little and offering an inferior product, photographers should “have some confidence in themselves and their craft,” saying that he “rather have them raise their price and not hurt the industry as a whole.” The caveat, he adds, is that their work and service level must meet exceptionally high standards as a precursor to being able to charge a premium.
He does not subscribe to the idea that other photographers are his competition, instead focusing on his own growth as a photographer and businessperson. He says, “I compete with myself. Kevin Hart said it best, ‘I just gotta beat me,’” and lives by the quote, “Amateurs compete, professionals create.”
I’m an open book and I don’t have secret sauce that I won’t inject into the veins of my students.
He realizes that there will always be people who are critical of you when you have success and are recognized in your field, which he considers as par for the course.
Image by Scott Rosenthal Photography | https://www.nycheadshotstudio.com/
Hungry As Ever
With the recent media exposure being given to headshot photography, Hurley feels energized and excited. He believes that the attention he has been able to bring to headshot photography via the WSJ article and GMA segment can serve as an inspiration to headshot photographers, and that the “rising tide lifts all boats.” As the public becomes more aware of the value, and need, for world-class headshots, he tells me that he is “hungry as ever,” as a photographer and educator.
As our conversation came to a close, Hurley enthusiastically summed up his passion for headshot photography.
Pointing a camera a human being and getting paid for it is just the coolest thing that you can imagine. I just love it. I still love it 22 years later.
Great to see an article which is actually written and not a "video essay." Thanks for that.
I shoot headshots and it can be very rewarding - and lots of fun. It is satisfying to see the difference between that first "reference" shot and a final posed version. Same lighting, no retouching, but simply tutoring someone how to present themselves - and they're often amazed by the results.
Of course there are often people who just hate themselves on camera, and that can be a battle of morale when they announce they hate the picture, even admitting that the photography is great. But balanced against those who are amazed at the transformations, I'll suffer those few who can never be pleased.
In the UK, we seem less bothered about our own image, (or quality of images generally). I'm constantly amazed how dreadful company headshots can be, and they still refuse to change them (apparently they're perfectly happy with the mismash of iPhone awfulness.) One head of HR said they loved their headshots - even though she was unrecognisable in hers.
I tell people that no one really cares what they look like. A great headshot sells you, creates an empathy with the viewer, makes them feel you are professional or trustworthy. Alas the perception is that a headshot is just to pick us out from a crowd.
And whilst we'd not expect a McDonalds to be as good as a fine restaurant, people seem to think all photographers are the same - because we have a nice camera. And so (in the UK at least), there is a proliferation of £75 headshot photographers - many offering 5 fully retouched images and unlimited session times.
I find in the acting community, actors will pick up a camera, set the F-stop to zero and find the nearest brick wall... now the're a headshot photographer and they've lots of willing, equally out-of-work actors to have their headshots taken at £75 a session. Over-expose the shot a bit, slam on PortraitPro and yey...
I charge £300 for a 90 min session with retouching as an extra charge. I have a dedicated studio, Profoto lights, a great portfolio and decades of experience. Yet I am considered to be "expensive" by most - and I'm based in London...!
Visit the actors' Spotlight book and you'll find as many headshot photographers as there are actors. And many of them are cheap - really cheap...
I tend to get professional / corporate types in my studio. But it is a battle to educate why they should spend more with me than the cheap guy. I may often chat to them for 20 mins to talk through the process, only to discover they've always considered me to be too expensive anyway. (My fees are clearly detailed on my website though).
I'll get people calling to ask of my process and they've not even looked at my work - how does that happen?
But these days I'm getting fewer calls - even though I typically pop up on the first page for Google searches for photographers in my area. (I find people search for photographer rather than headshot. Some aren't even sure they need a "headshot.")
There is a lot of competition in my immediate area. Probably 20 photographers offering headshots in a 3 mile radius. Most of them are not headshot photographers, but they've got a camera so why not. I can tell the difference, but may potential clients cannot. Some of the competing portfolios out there are embarrassing to our field - but they get the work I presume, because too many calls end when they hear my rates are more than the £50 guy around the corner.
Shooting mass headshots can be a good option where we go to the company and set up a studio. To do it well, at speed requires skill. I see waaay too many bad attempts at this. Amazingly, multi-million ££ companies baulk at any total fee over £600 for a day's graft and 30-40 headshots. (I was recently offered £500 and told they'd refuse to go higher... so I didn't shoot for them).
But when you do get a good corporate client and deliver those 30 headshots, it can be quite rewarding. I used to do these all the time for LinkedIn UK who would pay me to shoot sessions for their big corporate clients - until one of the bigwigs decided that quality photography just isn't a "thing." So that has reduced.
I think in the UK, we need a perception change of how we present ourselves. Some grubby selfie on a website just doesn't inspire new clients. So they don't call the pro photographers, because heck - a selfie is all that's needed. Actors say they can't afford a decent set of headshots because they've got no work (because they're not getting past the casting cull because they're headshots are so bad). And even the acting agencies are telling their actors that they don't need pro headshots - just a nice iPhone pic will do.
To anyone in spitting distance that charges low low prices that degrades our work and our incomes - pray that you don't get close to me when I've some spit going spare... What are you thinking...!
It was good though to read an uplifting piece here. Gives us all a little hope. Maybe I should contact a local rag to write a story on the same subject here for the UK.... mmmm...
But I think I need to move to the US, because over the pond it seems people really do value the art of great photography more. (Off to polish that brick wall... :) )
Hey Lee, we've got many similar stories here. Part of the problem is that many actors don't want to spend a lot on headshots, especially if they are just starting out. It doesn't make sense to me because of how important their headshot is for their career but it is what it is. The majority of my clients are corporate for this reason, and although I love working with actors I get less of them because I'm not going to give them 500 photos for $300 lol.
Hey Doug, as one of his "minions," lol, the point is to emulate Peter's style because as he said to me in the interview it's a recipe for awesome headshots that clients will love. I know many, many photographers who built successful photography businesses by learning from Peter. (myself included)
Personally, after I gained a good grasp of Peter's commercial headshot style and also became an Associate in the Headshot Crew, I started to branch out and now offer headshots in Peter's style as well as a very different dramatic portrait style too. So I think it's easy to say everyone's work looks the same but that's not actually the case if you know a bunch of crew members and look at their work.
People think I don't like Peter. I do like him - although never had the pleasure... He seems like a great guy and good on him for being successful. And he gives back to the photographic community so yey.
But if I, humble little me, told you to shoot all your headshots with a giant square ring light, you'd most likely point me to a lighting book for portraiture.
I am equally bemused as you, at the setup offers little flexibility, doesn't easily cater for different face shapes, and wow those horrible catchlights that grab attention unnecessarily... Doesn't match the quality and flexibility I can get with a single softbox and reflector. Heck I can get 3 or more radically different looks by simply repositioning that one box just a foot or two with a twist. Do people really want 3hrs of headshots that all look very similar? (I guess so, considering his bank balance outweighs mine - ha).
He has great marketing, (although I'm sure his start was much helped by the fact he was in the business circle as a model, so that helps with casting contacts), and he enthuses enormously. I now tell people that every shot is wow, amazing, they've never seen themselves so great... ha.
But for me, I'm not a fan from a technical point of view. And yes you're right, his headshot style is a little overpowering. But some like the style, so they copy. (If we dig a little deeper it seems Peter does have the skills to light in a myriad of other ways - just not his headshots it seems). I find it interesting that often photographers will copy the ring light look, to the exclusion of all other techniques. (Maybe they've spend all their money on big panel lights... ha ha).
They didn't "look the same" Doug, because every face and expression are different. In this close composition attention move towards the face. Light is amazing and works well, shows and highlight peoples faces. For corporate clients its important to see the results - before they will hire you. Thats why having consistent work and light that works for every client... its key to success. If You think its easy to done,, jump to Headshot Crew for free trial, and try to follow this recipe and post your work in weekly contest. :)
10 Comments
Wonderfull interview and lots of golden knowledge shared in it!
Well done Pete Coco keep going!
Thanks, Jakob!
Great to see an article which is actually written and not a "video essay." Thanks for that.
I shoot headshots and it can be very rewarding - and lots of fun. It is satisfying to see the difference between that first "reference" shot and a final posed version. Same lighting, no retouching, but simply tutoring someone how to present themselves - and they're often amazed by the results.
Of course there are often people who just hate themselves on camera, and that can be a battle of morale when they announce they hate the picture, even admitting that the photography is great. But balanced against those who are amazed at the transformations, I'll suffer those few who can never be pleased.
In the UK, we seem less bothered about our own image, (or quality of images generally). I'm constantly amazed how dreadful company headshots can be, and they still refuse to change them (apparently they're perfectly happy with the mismash of iPhone awfulness.) One head of HR said they loved their headshots - even though she was unrecognisable in hers.
I tell people that no one really cares what they look like. A great headshot sells you, creates an empathy with the viewer, makes them feel you are professional or trustworthy. Alas the perception is that a headshot is just to pick us out from a crowd.
And whilst we'd not expect a McDonalds to be as good as a fine restaurant, people seem to think all photographers are the same - because we have a nice camera. And so (in the UK at least), there is a proliferation of £75 headshot photographers - many offering 5 fully retouched images and unlimited session times.
I find in the acting community, actors will pick up a camera, set the F-stop to zero and find the nearest brick wall... now the're a headshot photographer and they've lots of willing, equally out-of-work actors to have their headshots taken at £75 a session. Over-expose the shot a bit, slam on PortraitPro and yey...
I charge £300 for a 90 min session with retouching as an extra charge. I have a dedicated studio, Profoto lights, a great portfolio and decades of experience. Yet I am considered to be "expensive" by most - and I'm based in London...!
Visit the actors' Spotlight book and you'll find as many headshot photographers as there are actors. And many of them are cheap - really cheap...
I tend to get professional / corporate types in my studio. But it is a battle to educate why they should spend more with me than the cheap guy. I may often chat to them for 20 mins to talk through the process, only to discover they've always considered me to be too expensive anyway. (My fees are clearly detailed on my website though).
I'll get people calling to ask of my process and they've not even looked at my work - how does that happen?
But these days I'm getting fewer calls - even though I typically pop up on the first page for Google searches for photographers in my area. (I find people search for photographer rather than headshot. Some aren't even sure they need a "headshot.")
There is a lot of competition in my immediate area. Probably 20 photographers offering headshots in a 3 mile radius. Most of them are not headshot photographers, but they've got a camera so why not. I can tell the difference, but may potential clients cannot. Some of the competing portfolios out there are embarrassing to our field - but they get the work I presume, because too many calls end when they hear my rates are more than the £50 guy around the corner.
Shooting mass headshots can be a good option where we go to the company and set up a studio. To do it well, at speed requires skill. I see waaay too many bad attempts at this. Amazingly, multi-million ££ companies baulk at any total fee over £600 for a day's graft and 30-40 headshots. (I was recently offered £500 and told they'd refuse to go higher... so I didn't shoot for them).
But when you do get a good corporate client and deliver those 30 headshots, it can be quite rewarding. I used to do these all the time for LinkedIn UK who would pay me to shoot sessions for their big corporate clients - until one of the bigwigs decided that quality photography just isn't a "thing." So that has reduced.
I think in the UK, we need a perception change of how we present ourselves. Some grubby selfie on a website just doesn't inspire new clients. So they don't call the pro photographers, because heck - a selfie is all that's needed. Actors say they can't afford a decent set of headshots because they've got no work (because they're not getting past the casting cull because they're headshots are so bad). And even the acting agencies are telling their actors that they don't need pro headshots - just a nice iPhone pic will do.
To anyone in spitting distance that charges low low prices that degrades our work and our incomes - pray that you don't get close to me when I've some spit going spare... What are you thinking...!
It was good though to read an uplifting piece here. Gives us all a little hope. Maybe I should contact a local rag to write a story on the same subject here for the UK.... mmmm...
But I think I need to move to the US, because over the pond it seems people really do value the art of great photography more. (Off to polish that brick wall... :) )
Hey Lee, we've got many similar stories here. Part of the problem is that many actors don't want to spend a lot on headshots, especially if they are just starting out. It doesn't make sense to me because of how important their headshot is for their career but it is what it is. The majority of my clients are corporate for this reason, and although I love working with actors I get less of them because I'm not going to give them 500 photos for $300 lol.
Great as always Pete Coco
Thanks Michelle!
Props to Peter but, it kind of drives me nuts how he and all his minions all use the exact same lighting set up every time, they all look the same
Hey Doug, as one of his "minions," lol, the point is to emulate Peter's style because as he said to me in the interview it's a recipe for awesome headshots that clients will love. I know many, many photographers who built successful photography businesses by learning from Peter. (myself included)
Personally, after I gained a good grasp of Peter's commercial headshot style and also became an Associate in the Headshot Crew, I started to branch out and now offer headshots in Peter's style as well as a very different dramatic portrait style too. So I think it's easy to say everyone's work looks the same but that's not actually the case if you know a bunch of crew members and look at their work.
People think I don't like Peter. I do like him - although never had the pleasure... He seems like a great guy and good on him for being successful. And he gives back to the photographic community so yey.
But if I, humble little me, told you to shoot all your headshots with a giant square ring light, you'd most likely point me to a lighting book for portraiture.
I am equally bemused as you, at the setup offers little flexibility, doesn't easily cater for different face shapes, and wow those horrible catchlights that grab attention unnecessarily... Doesn't match the quality and flexibility I can get with a single softbox and reflector. Heck I can get 3 or more radically different looks by simply repositioning that one box just a foot or two with a twist. Do people really want 3hrs of headshots that all look very similar? (I guess so, considering his bank balance outweighs mine - ha).
He has great marketing, (although I'm sure his start was much helped by the fact he was in the business circle as a model, so that helps with casting contacts), and he enthuses enormously. I now tell people that every shot is wow, amazing, they've never seen themselves so great... ha.
But for me, I'm not a fan from a technical point of view. And yes you're right, his headshot style is a little overpowering. But some like the style, so they copy. (If we dig a little deeper it seems Peter does have the skills to light in a myriad of other ways - just not his headshots it seems). I find it interesting that often photographers will copy the ring light look, to the exclusion of all other techniques. (Maybe they've spend all their money on big panel lights... ha ha).
They didn't "look the same" Doug, because every face and expression are different. In this close composition attention move towards the face. Light is amazing and works well, shows and highlight peoples faces. For corporate clients its important to see the results - before they will hire you. Thats why having consistent work and light that works for every client... its key to success. If You think its easy to done,, jump to Headshot Crew for free trial, and try to follow this recipe and post your work in weekly contest. :)