In my latest video, I address seven common mistakes that beginner headshot photographers make and offer ways to avoid these pitfalls.
In many ways, I feel like I took the long road in learning about lighting, posing, wardrobe, and other important facets of a headshot, and although this video is aimed at beginners, all of the advice I offer is good food for thought for those of us at any point in our journey as headshot and portrait photographers. The topics I cover include wardrobe, specifically, the importance of having clients bring a large variety of clothes to work with instead of just showing up with what they are wearing; gear, addressing why you should never purchase cheap stands and how very cheap gear really costs more in the long run; retouching; and lighting, where I discuss the strange shadow patterns seen often in the work of beginners. I also address the importance of being aware of the details when working with clients when it comes to hair, neckties, collars, and more, and advise beginners (and all of us for that matter) spend a lot of time photographing people in natural light, so we can understand how light falls on a face. I hope you enjoy the video and that you find it informative.
5 Comments
He does nail a lot of excellent points. I shoot headshots more than I shoot anything else and his video resonates.
I have a PDF of tips that I send to every client.
I have a cheap clothes rack at the studio so we can check through options.
Shooting tethered is essential
I offer a 3x look package as one of my offerings, and I'll light each one differently for different vibes
Practice practice practice - even when you think you've nailed your technique
I favour a 70cm Deep Octa softbox or a Westcott Rapid Beauty Dish as my key.
Learn how to do makeup. Many budgets won't support an MUA. (I've £1000+ of Mac kit - primers, powders, colour corrects).
Expression is EVERYTHING - and it is all in the eyes. What they're thinking is as important as what they're doing.
Detail is critical. I can have someone move their head an inch and it makes the shot.
Shoot slow and deliberately - otherwise review time will just be showing them lots of failed shots in amongst the great ones.
Retouch by hand. I use Portrait Pro for little things here and there but mainly it is all by hand.
There's a plugin ReTouch4Me, and their dodgeBurn one is great - but use very very gently.
Insurance... people trip on things.
I offer retouching only as an extra option. Useful to know before the shoot if retouching would be chosen so you can ignore little issues.
I hate headshots that only have the eyes in focus. Headshots perform a function, they're not a wet-dream photo opportunity.
Too many headshots are over exposed, it seems a common problem. Don't be one of those photographers.
Get a posing table - they're brilliant.
I use charcoal grey paper for almost all my headshots. I can light it with any colour or make it almost white or total black.
Lastolite do a White / Grey which is large and almost exactly charcoal grey (about 1/2 stop lighter)
Sandbags.... clients can be idiots and clumsy.
If your client doesn't squint in real life, don't make them squint in their headshots - unless they want the casting director to think they've got a tack up their bum... :)
Simple, natural poses work best.
Catclights are important. If they look like a lizard or the eyes are distracting, it's a fail.
They should leave laughing. Clients recommend as much because they enjoyed themselves as for great shots.
Thanks, Lee! Appreciate the feedback and detailed response. I agree that expression is everything!
As always Pete, these are great tips! I love the idea about setting up too moody of lighting for everyone. One thing Peter Hurley does well is he makes sure each client gets multiple looks with bright and airy lighting and also edgy lighting (usually on with the guys). I think too many photographers try to show off the lighting they can achieve without completely valuing the aesthetic their client needs.
Thanks, Patrick! You are totally right. Like Peter, I always start with an even flattering light, since it looks amazing on everyone. Later on in the session I will break out more dramatic lighting, but by then the client is already amped up about the shoot, so it's easier for them to be excited about something more dramatic too, without being distracted by shadows on the face. It's a win win.
That's an interesting approach - to start off with a flatter style of light and then progressing towards more adventurous later in the session.
I don't know if I've ever consciously decided on that strategy in my sessions, but I think I will now.