The Photo Shoot – How to prep for a great headshot

You’ve scrimped and saved, done your research online and narrowed down your prospective photographer list.  Now, how do you ensure the best photo shoot you can get for your precious, hard-earned dollars?  Below are some tips and useful information, to not only have a successful shoot, but to enjoy the experience as well:

Interview the photographer

Meet up with 2-3 photographers you like, based on recommendations from friends and the agents you would like to have representing you.  Don’t bother with folks who are not in your price range–that’s too much pressure for a successful shoot.  If you feel relaxed and like it turns into a conversation as much as an information-gathering meeting, that’s ideal.  Shoots can feel awkward so you want to eliminate as much of that as you can.

Questions to ask:

• How long their shoots usually are and how many snaps they take.
• Ask if digital or film.
• If they shoot indoors, outdoors, or both.
• Color or B&W  (Actors want color these days.)
• Ask about frames:  close-up (head and shoulders), mid-frame (waist up), full frame (whole body).
• Ask about orientation (portrait vs. landscape – you want plenty of both).
• When your photos will be ready.
• Is a photo retouch included and if not what is the price.
• How long a retouch will take.
• Will there be a watermark or “bug” on your pictures (this is the photographer’s name, usually placed with subtlety on the bottom or corner or side of your pictures; this is pretty standard).
• Do they mind working to music, and does it need to be their playlist or can it be yours.  (If theirs, ask what music it generally contains so you can get an idea—if you hate Van Halen and that is what they always need to play to work, then your shoot isn’t going to produce pictures of you at your best).
• Be sure you know what the final amount is, what you are getting for that total, and how s/he wishes to be paid.
• Ask how long the make-up artist usually takes.  If your skin gets over stimulated with touch (most make-up artists take at least 45 minutes, and many will take up to 2 hours), ask if a 15-minute break is ok during makeup application so your mood stays relaxed and jovial.
• Ask if you their schedule can accommodate a time that will allow you to get maximum rest and prep the day of the shoot.  Don’t schedule an 11am shoot if you know your schedule won’t allow you to get up in time to have a relaxed morning with full preparation for the shoot.

And a great idea:  Bring examples on your digital device or prints of headshots you like and be able to clearly articulate what you love about these.  Also, pull/choose shots from their online portfolio and be able to clearly articulate why you are drawn to those and ask how they got those looks/moods/etc so you can determine if you’d be able to get that desired look or feel as well.

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Preparing for the Photo Shoot

One Week Before

As best you can this week, keep your evenings free of everything that isn’t relaxing or ends past 8pm.  You want to go to bed early and get at least 8 hours sleep each night this week.

Hydrate all week.  Carry water with you everywhere, and only drink purified water (like Smart Water, Function Water, etc), freshly squeezed juices (non-pasteurized, 100% juice—easiest to go to a juice bar/Jamba to be sure), herbal, non-caffeinated, non-sweetened teas, smoothies.

Nutrition is surprisingly key.  All your snacks should be fresh fruits, and ensure that one meal each day is substituted with a nice-sized salad with a fruit or oil & vinegar dressing (see below for a great recommendation).  Stay away from dairy.  All of this will ensure clear, bright skin, which is crucial to your shoot.  If you want to go the extra mile—which with the price of a great photo shoot these days, you should—then cut out all packaged/processed foods for this week as well.  It will pay dividends for your skin, the brightness of your eyes, and your mood.

If you dye your hair, make sure that you have had your roots recently treated. Studio lighting can exaggerate dark roots.  Getting a new cut?  Make sure it’s a cut you can live with until you can afford new headshots, since they want to look at your headshot, look up at you, and see the same thing.  Get that cut one full week before the shoot so it relaxes and works itself out.  The hairstyle you should come to shoot with, should be the hairstyle you will normally go to auditions with.

Grooming should include a facial mask, and be sure to deeply moisturize/use oils after shower while your skin is wet/still hydrated. No new products though unless you buy pure organic—even if you have never had allergies, this is not the time to find out there actually is a product you are allergic to.

Avoid sunbathing so you don’t burn; self-tanning isn’t a great idea in case of streaking.

Do lots of yoga or some other form of stretching, so your muscles can look longer and your poses come more easily.

Use a full-length mirror to practice a variety of poses.  Find what you like in magazines, in other headshots, etc.

3 days before

Confirm with the photographer and makeup artist.  Go over the route to the location as well as the amount of time it will take.  Then add 30 minutes more time to your planned commute in case of traffic or transit problems.  Get the mobile number(s) of the photographer and make-up artist and make sure they have yours.

Go over all the paperwork and release forms, and the sheet/website confirming what you are getting and what rate you are paying.  Ask what forms of payment are accepted, and prepare to pay for each person separately and possibly with different methods.  The photographer may take PayPal but the make-up artist may need cash at the shoot.

Prepare your own playlist.  I recommend an mp3 player with a purse-sized/small portable speaker in case they don’t have one or have technical problems on the day of your shoot.  Choose a variety of songs and keep them in sections, so that when you are working on a certain look you can have 2-3 songs in a row that will bring out that mood (introspective, partying, vivacious, serious, etc.).

Wax and shave now if you can, so that any red bumps can go away in time for the shoot.

Not a bad idea to email pics of you in the clothing you are hoping to wear in the shoot to get quick advice.

Don’t forget your workout – yoga/stretching and weight resistance.

2 days before

Manicure, tweeze, hydrate body inside and out.  When you manicure, just use a buffer – don’t use color polish.

Don’t forget your workout – yoga/stretching and weight resistance.

Day before

Get your “go bag” ready with all the things to take.  Make sure all clothing is spot/stain free, and sans wrinkles.  Plan the best way to pack it and travel with it so it arrives sans wrinkles as well.

Hydrate your body inside and out–lots of liquids and use hydrating creams, lotions, oils.

Don’t forget your workout – yoga/stretching and weight resistance.

The day of the shoot

Relax and meditate that morning!  Be in a fantastic mood.

Hydrate body inside and out.

Do free weights or calisthenics (think resistance using body weight, like push-ups, tricep push-ups, lunges and such) 90 minutes before if you can.  Turns out that the work visibly shows up, especially in the arms.  Don’t let it tense you up, though.  It’s more important that you are relaxed and your body’s energy has great flow.

Eat a light, nutritious meal one to two hours before the shoot. Take water and fruit with you to the shoot.

If you hire a makeup artist, come moisturized and makeup-ready, but no makeup on—not even concealer. Stick with mattes, not shimmers.  Bring your own mascara(s) to avoid a shared mascara the makeup might be forced to use if you don’t have your own. Don’t skimp on a makeup artist – find a budding/new one if you can’t afford a professional.

As your base, wear a thong or trunks that won’t show lines through your clothes,  and strapless bras—try to make all a nude color.  Even white or black can show through.

Wear antiperspirant or nothing at all under your arms, so as to avoid visible stains/marks.  Bring Refresh Tears with you to the shoot in case you have bloodshot eyes for any reason.  Better yet, don’t stay out late or expose your eyes to extreme elements the entire week before.

Get there 15 minutes early.

Packing your photo shoot kit

Take these things with you to the photo shoot in your “go bag”:

Hair:  brush, bobby pins, bands, light pomade, holding spray

Face:  mascara, concealer, mirror

Body:  nail clippers, nail file, washcloth, tweezers, toothbrush/paste,

Clothing:  close-fitting clothing that clearly shows your body type but is not tight.  And no, don’t show your cleavage, even if your friends did in theirs.  Solid colors or simple patterns, more classically stylish than hip or nouveau. Bring a classically masculine/feminine look, a business look, a boy/girl next door look.

Jewelry:  Very subtle jewelry is best for classic headshots.  Scarves create problems and hide your silhouette.  Hats hide your hair.   You don’t want that.

Shoes:  Classic pumps/dress shoes that are up-to-date for today’s style are wise. Make sure they are completely clean, even the bottoms for an indoor shoot.  Polish them and if laces, wash them and make sure they look crisp, not wrinkled.  Shoes or boots, open-toed or closed-toed, are all fine.  Leave the club/party shoes at home.

Food:  Bottled water, snacks that won’t mess up your clothing, makeup or teeth, like apples, bananas, grapes.

Music:  MP3 player/portable speakers.

After the Shoot

Send a nice thank you to the photographer, the assistant if there was one, and the makeup artist.  Each should get a separate thank you—email is fine and will get to them soonest.  You might say something about how easy they made it, how relaxed you felt, how great you felt about the shoot and how much you are looking forward to the results.  Mention an incident that you especially enjoyed, or if you offered to send them info (e.g., the name of that indie film you loved, that discount website you mentioned, the yoga studio you like, etc.) be sure to remember to include that.  If you especially liked them, let them know you plan to recommend them by word of mouth, or ask them if you can include their link on your website or blog, or in your next newsletter.

Celebrate by treating yourself to something!  Just stay away from your own addictions, whether that be food, substance, retail therapy….you know darn well what that would be for you (don’t we all?!).  Instead, make it a movie, a visit with a good friend, a walk in that awesome park or museum you love, a fantastic book, playing around on your guitar or with your paintbrush…whatever!  I always recommend roller skating.  Because who ever gets a chance to do that?

Have a great time!

More questions or suggestions?  Let me know, below:

Duality – Letting go of the character when rehearsal is done

The role I’m doing in the play I’m in right now gets intense very quickly; sometimes I have trouble putting down the emotions it stirs — what do you recommend?  This play hits right where my ego is softest.

Sounds like you are struggling with duality.

The root of this, mostly likely, is that you are indulging too much in the emotions of the character.  Ask yourself this–are you balancing the emotional life of the role with telling the story (without becoming your own director and getting in your own way)?

Check to be sure you aren’t putting your entire current emotional and social life into this play/character right now because another/other areas of your life are bereft.  It sure does feel like it, but acting is not therapy.  It’s entertainment and meaningful performing art.

But, to do something more delineating….after rehearsal, create a 5-10 minute “cleansing” ritual:  Meditation.  A cup of healthful herbal tea in a cafe without reading the script, but just people watching and re-entering the vast world.  A warm cup of almond milk while listening to classical music on your iPod (classical music jumps around a lot so you can’t get lost too much in your own thoughts if you pay attention to the music).  A walk around your local park, making sure to pick up a twig or a leaf or a rock and kinesthetically experience it.  Things that bring you back to reality, in a very present and simple way.

Another physical manifestation could be a “catch phrase” to button your rehearsal experience, much like famous anchors with their sign-off phrase.

Additionally, identify what emotion your character has that you are becoming too intensely connected with.  Because that’s a you issue, on some level.  And that’s ok.  But it’s there.  And it’s worth looking into dealing with, whether reading a self-help book, finding a community online or (better yet) in person, or seeing a clinical psychologist every/other week, which I always recommend anyway, especially if you have insurance to cover it.

In the meantime, just having this awareness is huge.  But you have to put it on a shelf outside of rehearsal.  Try a ritual.  If it doesn’t work, try a different one.  Try not to let the ritual involve an addiction, which for many might be food, alcohol, tobacco, etc.

And remember what you love about this role.  It’s fantastic that you can identify so closely with it, but when what you are identifying with is dark or negative, the balance between onstage life vs. real life is key.  You do want to indulge on stage and make the role rich and deep, with complex layers; but you also want to understand that for actors, duality is a major part of life, and your craft.

Did you try any of these things?  Share rituals that help you decompress after an especially intense and involved rehearsal!

What questions can I ask during the audition process? When is it ok to ask them?

You are definitely wanting to read the energy in the room for this one. If they seem very formal, with a polite but closed off “hello”, best to stick to business—they are likely behind schedule or some other arbitrary thing that has nothing to do with you personally.

Also, be sure to read the audition sheet and all the materials they have out or have sent out carefully (audition listing(s), company info sheet, etc.) so that you are not asking questions that have already been answered. For every audition you go on, no matter how many you have that day, do the simple prep work of jumping on their website and seeing what information they already have up about the show/season you are auditioning for. Usually, this information includes general rehearsal schedule timing (i.e. “weeknights and weekends”, etc.); performance dates, times and venue(s); whether there is pay; perhaps the role(s) they are casting.

If you haven’t done the research ahead of time, glean what you can from the audition monitor—without badgering them. Don’t ask your fellow auditioners in the waiting room—they are focusing and doing their own internal prep work.

So, then, what can you ask and when?

Most questions should be asked after you perform, but questions you might ask before should pertain to the performance you are about to give:

• “May I use this chair?”

• If their energy is especially welcoming, and if the listing offered only one option for an audition piece: “Would you prefer a Shakespeare monologue or a song?” (Always base this on the options they asked for. Also, only ask if you are feeling great about both—otherwise, if you prefer one over the other, do what you prefer.)

Not much else to ask before; so hop to it and enjoy the ride.

After you perform, it’s customary to simply say “Thank you!” in a positive way and head out, but if they ask you a question or invite your own questions, your best bet is to make it a conversation—albeit a brief one. Feel free to ask them anything about the production, while perhaps showing you’ve done your research. For example, after answering their question you might ask:

• “I notice you are only asking for 6 actors total; are you planning to have folks play multiple roles, ensemble style?”

Something like that shows that you have looked into their company, as well as a willingness and excitement to do ensemble-style work if that is indeed their plan.

Other questions you can ask about if you know the information isn’t out there already:

• What is the general rehearsal schedule?
• When are performances?
• Are roles double-cast?
• Who is directing?
• Is this a new play/musical (if it’s not published)?

These types of questions are professional, show an interest, and might even open up the conversation to include more inquiries into your own experience, or even something personal that you share with an auditor.

Break a leg at that audition. And remember, if you go in smiling and eager to perform, instead of treating it like a test, you’ll have a ball and do great.

What other questions are you wondering if it’s ok to ask?  Ask below!

Emotional Connection with Fellow Actors

Here’s a pertinent question I was asked today:

How can I improve my ability to connect with scene partners weaker or stronger than myself? I want to bring emotion to the work but I don’t want to force the issue or blow my partner off the stage.

Outdoor rehearsal of Curious Frog Theatre Company’s “Two Gentlemen of Verona”.

With this, I can only give general advice since I cannot sit in on a rehearsal.

From those cast members who you perceive to be weaker than you, use their text and what you know the intention under the text is, whether they realize that intention or not. Make sure they are playing at least some semblance of that meaning before you react to it though, simply by listening. If they are not, play the meaning as best you can but don’t overdo it or you end up looking like you are overacting.

For those cast members who you perceive to be stronger than you, just have 1) full intent behind what you are saying, and 2) a very active inner monologue as you are listening to their words.

Additionally, go back and make sure you have your script broken down into major beats within each scene, and that each and every beat has an objective in the form of “I want/need to (transitive verb) in order to (desired result).” Write that objective out beside the text of that beat’s section.

“I want/need to (transitive verb) in order to (desired result).”

If you feel full intent and very clear underneath each objective you are playing in rehearsal, then great—your objective is working well. If not, your transitive verb is probably not accurate nor strong enough. And remember, you can never “get” or “make” anybody do anything, so make sure those words never appear in any of your objective sentences.

In my humble opinion, never play emotion. Play objectives as hard as you can. Emotion is inside of us all the time, whether we want it there or not. You can go on stage and emote the whole time but the audience wants INTENT and TEXT and STORY. So, stick to the text and keep amping up/strengthening your objectives, using that sentence formula.

“I want/need to (transitive verb) in order to (desired result).”

The stronger your objectives, btw, the more your fellow cast members will become caught up with you in scenes; both the weak and strong actors. Play what you are hearing AND what you are getting, but most of all, play your objective and the story.

Questions?  Get in touch by commenting below or email me at renee@organicactingcoach.com.

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Organic Acting Coach

Renee has been teaching for the past 17 years, with credits as a private acting and vocal coach and university instructor, working and playing with actors of all ages.  Her students have been able to increase their callback rate exponentially under her tutelage; additionally, many have gained admission to the top drama schools in the United States and England.

Some have described Renee’s teaching style as “individualistic,” “dynamic,” and of course, “organic.”  Her philosophy is that “you are enough,” and all that’s needed is working toward removing blocks, increasing skills, and enhancing what is already there in you as an actor.