Black and White or Color

When I started out as an actor, black and white was the standard. You printed your headshot, stapled your resume to the back, and that was that. Those days are gone. Color is now the industry standard for audition submissions. And casting directors expect it. If you love black and white save it for your online profiles or use it as a thank you card after a callback. It photographs beautifully and stands out in a non-audition context. Just don’t lead with it when you’re trying to get in the room.

Clothing

Go with solid colors. Avoid busy patterns, because they pull the viewer’s eye away from your face, and your face is the whole point. Stay away from solid white and bright red as well; white tends to blow out under studio lighting and red can create color casts on skin. Instead, lean into tones that work with your complexion: browns, light pinks, blues, grays, greens, and in some cases black. Your clothes should support your face, not compete with it. The same goes for jewelry. Leave the statement pieces at home. If someone looks at your headshot and notices your necklace before they notice your eyes, something has gone wrong.

Border or No Border

I’m in the border camp. There’s something that reads as intentional and professional about a clean white border around a print. It frames the image the way a mat frames a photograph on a wall. If you have an agent, the lower border is also a practical place to put their contact information. That said, if you have representation, defer to them on this one. They know what they want on the materials they’re handing out.

Gloss or Matte

Go matte. Full stop. A gloss finish is for family portraits you’re going to frame and hang above the mantle. A headshot is a professional document. Matte reads that way. It also handles better. It doesn’t pick up fingerprints, it sits flat in a stack, and it doesn’t create glare under office lighting when a casting director is flipping through a pile of them.

Posing and Framing

The purpose of the image is to show who you are using your face. Simple as that. Don’t get so close to the camera that you crop the top of your head. Yes, it emphasizes your eyes, but casting wants to see your hair too. They’re picturing you in a role before they’ve met you. Get your shoulders in the frame, but stop there. They can gauge your build well enough from the head and shoulders; you don’t need to give them more than that.

For guys, crossed arms actually work well in a headshot. I know it has a reputation for looking closed off, but in a framed image it reads as confident and gives the photo some structure. For women, I’d recommend something softer. A hand crossing toward the other arm tends to frame nicely without the same energy. And look at the camera. Your eyes should be the first thing anyone sees when they look at the image.

If you have a beard in your photo, show up to the audition with that same beard. Don’t make them wonder if they called in the right person.

Smile or No Smile

This one comes down to how you want to be seen. If you’re going to smile, make it genuine. A forced smile reads immediately, and it will undermine every other thing you’re trying to communicate. If you’re not going to smile, that’s completely valid, but don’t fill the space with a frown or a scowl. Unless that’s a very deliberate creative choice, it tends to limit the types of roles you’ll be called in for. Think of your expression as the first line of your audition. What are you saying before you’ve said anything?

Portrait or Landscape

My default recommendation is portrait orientation, and it has been for a long time. That said, this is one area where the industry is shifting, and I’m seeing more landscape headshots than I used to, particularly for actors with a strong online presence. Before you decide, talk to your photographer about where the images will be posted. For corporate headshots, portrait is almost universally expected. For actors, the honest answer is to look at what working actors in your market are doing, or ask an agent or casting director directly. Whatever you choose, make it a deliberate choice, not an accidental one.

Backdrop

In the studio I use a combination of grey, white, and black backdrops to give clients options. My default recommendation is grey. The backdrop should be invisible, or close to it. The moment a viewer has a thought about what’s behind you, you’ve lost them. Grey sits neutrally behind almost any skin tone and any clothing choice. It doesn’t compete. If someone looks at your headshot and thinks ‘oh, nice grey backdrop,’ that’s still too much. It should just disappear.

Look Unique, Look Natural

Here’s the part no checklist can fully capture. With all these guidelines around clothing, framing, and format, how do you actually stand out? That’s the question, isn’t it? Don’t look at the camera the way you’d look at a DMV lens. Your eyes are the window into your personality, so use them. If you’re the wacky, charismatic guy in every room you walk into, let that come through. If you’re the serious, intense type who gets cast as the detective or the surgeon, commit to that. Just make sure it’s genuinely you and not a character you’re playing for the photo. Casting directors have seen millions of headshots. They can tell.

I know actors are reluctant to get typecast, and I understand that. Everyone wants range. But when you’re starting out, range is a luxury. Pick the version of yourself that is most marketable and lead with it. When you’re famous, you can change things up.

If this is for business purposes, focus on looking professional. This isn’t as much about showing your personality as it is about helping you get hired.

Your Shot Before the Shot: Prep Day

How you show up to the shoot matters more than most people realize. Get a full night of sleep because the camera will notice if you didn’t. Drink water the day before. Avoid anything that makes your face puffy (alcohol, sodium-heavy food, a night out at the dance club). If you’re getting a haircut before the shoot, do it a few days out, not the morning of. Fresh haircuts often look a little too fresh in photos. You want to look like the best version of your everyday self, not like you just came from the salon.

Makeup

For women, I’d always recommend wearing makeup for a headshot session. The key word is natural. It should look like you on a good day walking into an audition, not you getting ready for a night out. Studio lighting is unforgiving, and a little polish goes a long way. Some men also choose to wear makeup for a shoot, and there’s nothing wrong with that. The rule is the same: if you’re wearing it, it should be invisible. Use it to reduce shine or address anything you’d rather not have the camera catch. Don’t use it to look younger or dramatically different. The headshot needs to look like you, because you are eventually going to walk into a room.

Relax

This might be the most important item on the list. If you can’t relax in front of a single photographer in a quiet studio, ask yourself how you’re going to handle an audition room full of people waiting to judge you. The shoot is practice. Treat it that way. A good photographer will help you get there, that’s part of the job, but you have to be willing to let go of whatever is making you stiff. The camera reads tension instantly and mercilessly.

Keep It Current

If you walk into an audition and don’t look like your headshot, you’ve created a problem for yourself before you’ve opened your mouth. A headshot should be updated every couple of years at minimum, and sooner if you change your hair, grow or lose a beard, or do anything else that alters how you present. It’s not a portrait for your wall; it’s a business card, and it needs to be accurate.

The headshot is your first impression. In many cases, it’s the only impression you get before someone decides whether to call you in or not. Treat it with the same seriousness you’d give an audition, because the headshot is what gets you that audition.

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Instead of taking a picture with the sun behind the photographer, try taking a picture with the sun behind the subject. When taking a picture with the sun behind the subject, the subject will appear dark while the background will be washed out. Done correctly, it can also create some sparkle from the corner of the image, and unique effects with the shadow.

Setting the Camera

The camera’s auto light-meter will need to be shut off, and you as the photographer will need to manually adjust the settings as the sun can throw the reading off. This will need to be done by manually adjusting the aperture and shutter settings. The built-in camera light-meter will either underexpose or overexpose depending on if it is picking up on the subject or the light behind.

Since this involves shooting into the sun, it is difficult to focus manually. If users find it difficult to look through the lens with the sun in the background, a trick with autofocus is to aim at the subject with the autofocus on, let it focus, then turn the autofocus off when composing with the sun.

Playing with Light

If the goal is to avoid having the subject appear overly dark, it will be necessary to add some light on the subject. This can be done via a flash on or near the camera, or some type of reflector. By reflecting some light back on to the subject, it will counterbalance the bright sunlight behind.

Leaving the subject in silhouette can also create a nice effect as well. By shooting towards the sun with the subject in the dark, it can create a moody effect. It is also possible to catch the shadow dropping in front of whatever is being photographed.

When shooting with the sun behind the subject, it is a good idea to shoot when the sun is low in the sky such as mornings and evenings. Not only will you not be dealing with the poor light of the sun overhead, the image can also get some nice color glows from the setting or rising sun.

In Summary

It might take some practice, and thanks to digital cameras, it is easy to take the time and number of pictures to get some practice. But, when it’s done correctly, shooting into the sun will add a new light or shadow to images. Shooting with this method requires more thought and planning, as well as multiple test shots, but the results are usually worth the extra work

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If you are a musician and looking to get some great images to add to your website and show off your talent, let me know. Just keep in mind I might try to talk you into playing a tune or two.

On a side note: Anthony’s website looks pretty good with my pictures on it.

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The bottom of the pyramid is where most photographers start. It is also where the majority of photographers are. They are often new to the business, charging less in order to become established photographers. The experienced photographers who earn a bit more are higher up. There are less of them, because they are the ones who stick it out, develop their skills, and can justify charging a bit more.

Then, of course, you have the top. These are the really high paid ones, the ones that do celebrity weddings and weddings for those who have a lot to spend. These are the ones who know the business inside and out and are at the top of their game. These are often the photographers many of us aspire to become. This is not me. I think I am in the middle somewhere, and the reason is, I don’t focus 100% of my time on wedding photography. Primarily I focus on studio photography, with a smaller portion of my business relying on weddings. Still, I have learned a few things over the years that might help you out as you work your way up.

First and foremost, having a camera does not make you a wedding photographer. This is the majority of what makes up the base of the aforementioned pyramid, though – people who bought a camera, looked at a few pictures online or watched some YouTube videos, and think they can photograph a wedding. They then offer to do some for free or for a really low price. This is where most wedding photographers start, which is fine, but you don’t want to stay at this level. So, before you start, take a few classes and workshops. Classes and workshops provide hands-on experience that you can’t get by watching online videos. You should know how to use your camera without thinking about it. No automatic settings, all manual. You should also know how to use flash without making it look like you are using flash. Many wedding venues tend to be a bit dark, especially churches, so knowing how to light your pictures using remote strobes (to prevent the “deer in headlights” look) is important. Often (not always) when you see people promote themselves as “natural light” photographers, it is because they don’t know how to be strobe photographers.

After learning everything about your camera, figure out working with clients to get the best out of them. Weddings are often stressful for the bride and groom, so it is up to you, the professional to remain calm and relaxed in all situations. The best way to do this is by getting a job assisting an established photographer. By working with a professional you will get to experience first-hand how they interact with their clients to get the best photographs possible. If you can, try to get experience working with multiple people. Everyone has their own way of doing things, and doing this will provide you with the opportunity to learn what works for you and what doesn’t to ultimately develop your own style. One of the best opportunities I had was working for a wedding photography studio that employed multiple photographers. I started out as a second shooter at the studio which would then pair me with different lead photographers.

Most importantly, practice as much as possible. When assisting other photographers, they will often have you holding lights, moving gear and other things that allow them to focus on dealing with the clients, but they will also provide you with the opportunity to capture some images. When they are working with clients taking pictures from one angle, move over to the side and take a few from another angle. Take some candids of guests, and after the wedding, ask the photographer to sit down and critique your work. Take all feedback with an open mind.

Utilize friends and families. Years ago, I did a wedding for a couple friends of mine as I was starting out. This allowed me the chance to practice on people I know and not be as stressed about it. You can also use sites like craigslist or adverts to offer to do a few weddings. Just make sure that you make the client aware that you are a beginner in the field. Don’t try to pass yourself off as an expert and advanced photographer. This will ensure that when you provide them with the final images and they don’t look like the cover of a magazine, they won’t be shocked. Be sure at no matter what stage you are in your career to set proper expectations with your clients.

Over the past 10 years, the average amount a wedding photographer makes per wedding hasn’t climbed with inflation. In some markets, it has decreased. This is because there are so many people who want to be wedding photographers because they have the tools and think it is an easy source of income. But as someone who does all kinds of portrait, event, and wedding photography I can speak from experience and say: weddings are extremely stressful and difficult if you want to be a top wedding photographer. Don’t decide to be a photographer just because you have a camera and want to make a little money on the side. Decide to be a photographer because you love to work with people to capture lovely images that they will cherish. It is the passion for quality that sets those at the top of the pyramid apart from those at the bottom.

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For this one I wanted to do something a bit darker and moody.

This next one, in keeping with the dark look we decided to show off a little leg.

When people come into the studio they often think they have to smile in the pictures, but that is not always the situation. Sometimes a serious look has a wonderfully dramatic look to it.

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During the session we talked camera drones (he has the one I want), we discussed life in the city and towards the end of the session, as he was leaving we talked about travel to Cuba. This leads to him pulling out a lovely Cuban cigar to show me. I don’t recall which one of us suggested it, but we couldn’t let an opportunity to snap a couple of pictures with this fantastic bit of flair go past. And literally, that is what we did. I set him down, set the lights, and snapped two pictures with this being one of the two.

Thanks for letting me post this picture and hope you enjoyed your visit to the park on that oddly nice day to sample that fine tobacco. Another joy of living in Europe is that they don’t have the ban on Cuban cigars that the US has.

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People often think that pictures have to be perfect or posed in some way, everyone looking at the camera, but that is not always the case. Some of the more fun ones and the ones that tell a story are those ones where we have fun and do hugs or other random things to get a laugh. It doesn’t work for everyone. In some families people are a bit more reserved and that is okay as well. Once I figure that out about them, the pictures I take lean more towards the more formal ones that they are looking for. In the case of these two girls that was not the situation, as you can see from this picture taken after I said the words, “give your sister a kiss on the cheek.” Sooo, great.

I also had the opportunity to play with different lighting and props and these two wonderful girls were plenty happy to play along.

Best Wishes!

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Experience

Experience isn’t everything but it is very important. Ask the photographer where they studied. Not all photographers went to school for it, and photography is one of the few professions that doesn’t require professional study. But many have gone to school for photography and it is worth asking where they studied. Also find out who they worked for in the past, did they apprentice with a professional wedding photographer and how many weddings they have shot. People will often buy a fancy camera and manage to snap a few good pictures at a friend’s wedding with it, so they think they are a professional. But there is more to photographing a wedding than just having a camera. This comes through experience in photographing multiple weddings and working with other photographers.

See Some Work

It is easy to fake a few good pictures, and these days a person can even go to a website and screen grab a few images. So how do you see if the photographer is any good? I suggest asking them to view the full set pictures from a wedding. This would be the same gallery of images that they give to a client. If they have actually photographed weddings then they would have a full gallery from a wedding they have done. Don’t ask to see the RAW files. A true photographer won’t show you that, but they should have a client facing proof gallery they can show you.

This is also a good opportunity for you as a client to be made aware of what you are going to get. We see bridal magazines nowadays with a beautiful image on the front and think that every picture from the wedding day should be like that. The reality is far from it. The reality is that this was a single image out of many, most likely processed more than usual and made to look perfect for that cover. It doesn’t accurately represent the full set of images from a day.

Photographic Style

As with everything in life we go through trends and fads. Is the photographer doing the same? I’m not saying trends are bad, but look at the style of photography they use and if it is following a current trend. If it is, is it a trend that you will appreciate twenty years from now? Trends are fun and cool looking but they often don’t stand the test of time.

At D Studios, we aim for a contemporary look with style and generally avoid filters and other Photoshop effects. But that might not be style you want, so make sure the look of the images is what you want and will enjoy later in life.

Most photographers are going to do a combination of “candid” and “formal” pictures. And it’s important to have both. Are the formal shots posed in a way that you will be happy with? Do the candids look natural and memorable? The style of the photographer should match the mood of what you imagine for your wedding memories. When sitting down with our clients we want to identify what you are looking for so that we can incorporate your lifestyle in your wedding day.

Accept the Reality of Photography

What do I mean by this? Let’s say you hire a single photographer instead of a team of two or more. Is that one photographer going to be able to get everything from your wedding day? Possibly not. Maybe they were in the process of moving from one location to another during the ceremony and missed the kiss. Sometimes the bride and groom are nervous and they kiss so quickly it can be easy to miss even with a photographer at the ready. Or maybe the bride and groom were getting ready at two locations and the photographer could only manage to get to one. Maybe your family is wild and crazy during the formal portraits portion of the day and missed that picture of you with your favorite aunt. Not to mention large groups where someone is looking in the wrong direction. This all can happen as a photographer is only human. Don’t get mad about it or ask for money back. Accept that as long as you can tell the photographer worked to the best of his or her ability, and that what they gave you matches within the expectations they set during the initial consultation, the reality is not everything is perfect.

When Will the Pictures Arrive

It will take few weeks before the photographer has your photographs ready for you. Processing that many images from a single day takes a lot of time. And try not to forget you are not the photographer’s only client. So besides processing your pictures, they are also processing others, and still taking pictures for new clients. I know people are often excited to see the pictures after the wedding but would you rather have the photographer rush them to you and give you something that might not be the best? During the consultation, a photographer should go through the time it will take to get you the images. If they don’t, be sure to ask.

Who Are They

A professional photographer needs to know manual camera settings, composition, off camera flash lighting and natural lighting, lenses, and most importantly how to work with people and how to pose people. They need to have the personality that makes them a good photographer. And that comes with experience and time.

A professional photographer is more than having a fancy camera. A fancy camera is just a single tool in an arsenal of tools that they use on a wedding day. The band you hired has good equipment but it’s not that equipment that makes them a great band. It’s practice, knowledge, and experience that make them good at playing their instruments, and at reading the crowd for the right song. The same skills make a good wedding photographer, too.

Personality

The wedding photographer will most likely be around the bride and groom more than almost any other person on the wedding day. It is important that the photographer has a personality that you enjoy being around.

Some photographers are casual and laid back about everything while others are a little more controlling at running the show. The casual laid back photographer is most likely not going to get in the way much, and is going to capture the candid shots that everyone loves. The more controlling photographer is going to be able to get people where they need to be and set up some perfect shots for the fireplace mantle. Most photographers probably fall somewhere in-between the two. It’s all up to the bride and groom to decide who they want to spend the day with, and which pictures are the most important for them.

A photographer is someone that arrives before the wedding begins, spends the day interacting with just about everyone who attends, and will usually stay until the end of the night. It is important that that person be professional, courteous, and blends in properly with the guests. If the photographer is disorganized or has a bad attitude, they should probably be avoided.

Price

It’s important to set a realistic budget for a photographer. Once that budget has been set, make sure to understand what is being provided by the photographer for that price, including the cost of any extras. Examples of extras include: extra time, additional prints or flash drive, albums, and more.

Photographers don’t just charge for a product, they charge for time, and that needs to be taken into consideration. Processing pictures and creating albums are all time put in after the wedding day and we have to take this into consideration when creating our prices. Weddings are enjoyable to shoot but wedding photographers have to earn a living as well. Generally, anyone who is a professional will price accordingly. Someone who is just looking to expand their portfolio or has a full-time job might charge less.

References

Personally, I don’t put much stock into references (although a lot of bridal magazines and sites recommend to get them). The reason for this is they can be faked easily. It’s easy to get a friend to pretend to be a client, answer the phone and talk about how great the photographer is. Instead of references I would recommend checking their online profiles. Check their Facebook page for reviews, yelp, google reviews, and others. These are generally more likely to be actual clients leaving a review. Keep in mind they might be new to the business, so the sampling might be a small number. This is where you will need to go more with your interactions with them and sample work.

You can also ask a friend. I’m sure we all know a few people who are currently married. Ask them who they hired as a photographer and if they liked that person. Referrals are a great source of business for photographers, which is one reason the good photographers are able to stay around so long.

Number of pictures

With digital technology, the number of photographs taken at a wedding are too numerous to use. What is really important is the quality of the photographs received. A photographer can take a thousand images at a wedding, but if only 10 of them are any good, it’s kind of a waste. Yes, ask what you get from them and make sure any images provided are fully processed if being provided digitally. But don’t think that more is better.

To Summarize

With so many wedding photographers to choose from there is no reason to settle on a photographer that isn’t going to be exactly what you want. Sometimes personalities match and sometimes they don’t, there is nothing wrong with acknowledging it.

Take your time and meet different ones if needed. Good photographers don’t really take offense at not being selected to photograph a wedding, in the same way you should be willing to accept that the photographer might not want to work with you. A photographer might ask why you didn’t select them and if so, be honest. We like feedback and it often isn’t in an attempt to resell you, it is to see if there is something we can improve on for the next customer. Or maybe we will agree and say, “yes, that makes sense.”

The post Advice When Having a Consultation with a Wedding Photographer appeared first on D Studios Photography.

I do think, however, that sometimes the best photographs can happen when people aren’t looking or thinking about the photograph at all. For example in this photograph. I set the little boy in the suitcase with some toys. The intent was to get a picture of him looking at the camera with the toys around him, which I was able to do. But I also manged to get this picture, which I like, because he is reacting to his new situation, looking at the back of the suitcase and potentially reacting in a way that will make a great photograph. If I had tried to distract him from that I might have missed this picture.

In this image my intent was to have him looking at me and her at him, then as they were playing around, he looked off as if he was too cool and we ended up with this lovely spottiness moment.

And for this one, the little girl was making faces at her family off camera for this fantastic expression.

The moral of the story,

Don’t be afraid to look off camera, I don’t mind at all.

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