There’s a lot of advice out there on how to get killer headshots: from your fellow actors, your agent or manager, your acting teacher, and yours truly. And though the advice may be solid, why not look to an expert, someone who has been shooting headshots for over 17 years and is one of the most sought after photographers in Los Angeles? Here’s some serious insight from someone who has seen it all and knows what works: Brad Buckman.
CK: What mistakes do you see actors making when they come in for headshots?
BB: I know some actors would rather go to the dentist than come in for new headshots, so I feel their pain. They want to act, not pose for pictures. As for mistakes, remember your choices should driven by your most likely casting types. Once determined, watch TV for your “type” and study their wardrobe, hair, and emotions they express. Channel all this into your preparation.
CK: If the actor is prepared and knows herself well, what else can hold her back?
BB: Unfortunately, some actors have had a bad experience with headshots and come in with fear or even dread. Start fresh. Find a photographer whose work you respond to, and then trust them and their process. There are no points for being shy, so leave the past at the door, get out of your head, and really go for it. Be expressive. Be interesting.
During our sessions, I always encourage my clients to go further than what they think they need in a shot. “I do comedy, but I’m not the wacky girl.” Well, get a little silly, throw it out there. Or get intense, confrontational, pissed off. Challenge yourself to express a broad range of emotions during your session. I look at a photo shoot like a first draft of your script. You want to stay out of ‘edit mode’ and get it all out on paper first. Then you can pick and choose once you are looking through your proofs and decide what shots meet your objectives for getting reps or auditions.
CK: What can actors do to get more comfortable in front of the still camera?
BB: Remember that the most important aspect of your headshot is your expression, and the essence it conveys. So practice. Look in the mirror. Take selfies. Tape yourself. Connect what you feel you are expressing with what people actually see. Show us that you are: friendly; confident; flirty; silly; mischievous; skeptical; dangerous; the life of the party; a smart-ass. Think of different attitudes your character might convey, and play with it.
It might help to think of still photography as getting a close-up for film or TV. It feels unnatural, but so does acting in front of a green screen, or being on set doing a tight reaction shot with a tennis ball as your eye-line. Make it an acting exercise. What thoughts or feelings would your character be having? What lines of dialogue might they have? You can even recite a monologue if that helps, internally, or out loud. Just like any aspect of your career that is vitally important–like cold-reading or improv–you need to develop skills in having your picture taken. And sometimes, a sip of vodka can help.
CK: As a headshot photographer, what are your biggest challenges?
BB: A fellow photographer once commented, “At least you get to photograph people who want to have their pictures taken.” People outside the industry think it must be fun for the actor, and are surprised to hear otherwise. It’s a vulnerable thing to be photographed, and I respect that. From newcomers to Hollywood veterans, a lot of actors just don’t like doing it. My job is to make the actor feel safe and at ease. I want to draw them out and capture their authentic personality.
CK: What advice do you have for actors looking for a photographer?
BB: Producers and casting directors have told me, they are not looking for artistry in the shot itself. They want to see what you look like, and get a sense of your essence as an actor. When looking at photographers’ photo galleries, don’t focus so much on style. Study the actors. Do you feel like you know them from their picture? Are they speaking to you in some way? And don’t focus so much on price when choosing a photographer. A huge benefit in working with a seasoned photographer is that they can help you to relax and express yourself.
CK: And what is most rewarding as a photographer?
BB: I get to meet new people every day, and help them through a challenging situation. We actually have a good time. The shoot itself is a process of getting to know each other, of engagement and discovery. The best thing in a shoot is when your subject is being expressive and engaging – really drawing you in. It’s truly a collaboration. When the actor is present, and is bringing her personality, with an attitude and a strong point of view, it’s very compelling. Last week, I worked with Janel Parrish (Mona from “Pretty Little Liars”) who was a great example of someone who brought so much to the table. She is a beautiful girl, but also brought a strength and confidence. Being engaging in the shoot means you’ll be engaging to casting directors. And I love hearing from clients that they landed new representation, or got a great audition that they booked off of my pictures.
* Janel posted previews from her session with Brad the day after this interview, and each photo has received 80-100,000 likes. Nice!