Joe Henson Photography

Joe Henson Headshots featured in Backstage Article!

2011-09-27T23:56:00.001-04:00

Last month I received an email from Backstage asking me to submit two of my favorite headshots with an explanation of my shooting philosophy and specifics regarding the images I had chosen. It seemed like an interesting proposal and I immediately started considering which images I would choose. When I went back to re-read the email to see what size images to submit and how long the explanation should be, I noticed the subject line of the email. It said To: Joe Henson...and 454 others! When I clicked on the 454 others, I saw an endless list of headshot photographers who had been sent the same email. 454 others! I knew that the market was getting saturated with photographers since the advent of digital, but WHOA!

I decided to go through with the submission anyway, curious about how my work would stack up against the potential 454 others' work. These are the photos I chose and this is what I had to say...

Last night I received an email directing me to this link http://bit.ly/nDNFBu. I was one of 14 photographers in New York whose work was chosen to be featured!

My takeaway from this experience? 14 in 454 odds are...not so bad!

Joe Henson Author Photo of G M Malliet!

2011-09-24T10:54:00.001-04:00

Congratulations to our client, G M Malliet on the publication of her new mystery "Wicked Autumn"!

G. M. won the Agatha Award for Death of a Cozy Writer, which initially won the Malice Domestic grant, G.M. MALLIET attended Oxford University and holds a graduate degree from the University of Cambridge, the setting for her previous series, the St. Just mysteries.

We had a wonderful shoot in Washington DC this past June and are honored that she is using our portrait as her author photo!

Joe Henson, Guest Speaker at ACT-STRAVAGANZA on July 30th!

2011-07-28T09:41:00.000-04:00

I'm excited to be a guest speaker this coming weekend at ACT-STRAVAGANZA, an all day Acting Industry seminar. We are encouraged by the huge turn out of attendees, so we have expanded the seating. There are still a few tickets left, so check us out and register today!

http://seanprattpresents.com/?page_id=449

Joe Henson Fine Art at Montclair Art Museum Show!

2011-05-19T19:31:00.000-04:00

I'm excited to be accepted by the Montclair Art Museum for their Collecting Art Show on June 11th and 12th. Please stop by and say hello!

New Beauty Shot!

2011-04-26T18:10:00.000-04:00

Kerry-Lou and I are excited about a new project incorporating beauty and body painting! We spent last Sunday night with a very patient model, Susannah, who stood stock still for over three hours of Kerry-Lou's air brushing and body painting. The theme of this shot is "Summer" and we're planning more images to add to the mix. Check back soon for more installments...

Joe Henson interviewed by Commercial Print Guru, Aaron Marcus!

2011-04-20T14:25:00.001-04:00

Please listen to my interview on ModelTalk Radio conducted by Commercial Print Guru, Aaron Marcus at

You'll learn the inside story about Headshots from the perspective of a New York Professional Headshot Photographer with 28 years of experience. Tune in and let us know what you think by emailing me at joe@joehenson.com!

Joe Henson interviewed by Commercial Print Guru, Aaron Marcus!

2011-04-14T17:00:00.000-04:00

Please tune in to a webcast on Friday, April 15th at 5 PM est of my interview conducted by Aaron Marcus, renowned Commercial Print Guru. We'll be discussing "Headshots - the Inside Story". I'll be sharing the knowledge and opinions I have garnered in over 28 years of shooting actor's headshots in New York City. It promises to be a useful and entertaining time. The webcast address is www.voiceamerica.com/channel/246/voiceamerica-variety.

Announcing Boudoir Manhattan!

2010-09-27T13:28:00.000-04:00

We are excited to announce the launch of our new Boudoir website! Please take a moment and check out http://www.boudoirmanhattan.com. Kerry and I have been working hard to expand our business and the Boudoir Manhattan website is our most exciting project to date! If you have feedback, please feel free to write us at joe@joehenson.com.

Drunk Stoned Brilliant Dead

2010-09-21T09:22:00.000-04:00

Check out "Drunk Stoned Brilliant Dead", a recently published coffee table book profiling the writers and artists who made the National Lampoon insanely great. The image rich book, written by Rick Meyerowitz, the artist who created one of the best known Nat Lamp covers ever, the Mona Gorilla Da Vinci cover, tells the story of the Counter-Culture's funniest and most provocative magazine from an insider's prospective.

The book features my photograph of Ed Subitsky, a brilliant (and still living!) cartoonist. I remember his shoot well for two reasons, one that he was the epitome of the mild-mannered, bald guy with glasses; and two, that his partner Susan seemed to share a psychic link with Ed and spoke for him throughout the entire experience. "Ed would like the photo to reflect..." she would say, while Ed smiled and shyly nodded. I'm not sure I ever even heard Ed speak throughout the shoot. My guess is that he speaks through his detailed and psychologically subversive cartoons which you can sample in Drunk Stoned Brilliant Dead. Go Ed! "Blessed are the meek!"

"The Warmth of Other Suns"

2010-09-08T11:49:00.002-04:00

Congratulations to our client, Pulitzer Prize winner, Isabel Wilkerson, on the publication of her book "The Warmth of Other Suns". We had a wonderful time shooting Isabel's new author photo which accompanies the book. The review of her book is the cover story of September 5th New York Times Book Review, http://nyti.ms/cj3eyQ. Please take a look.

Isabel Wilkerson, photo by Joe Henson, NYC

Joe Henson Interview on "Destination Montclair"!

2010-07-26T08:52:00.000-04:00

We're excited to present my interview on "Destination Montclair", an interview show based in my hometown which features profiles of local artists. It was my first TV interview (besides my celebrated appearance on Romper Room in 1960!). It was shot live, with no rehearsal, a bit nervewracking, but at least no Albert Brooks flop sweat! Please watch and enjoy...http://bit.ly/bH7Wmf

New Beauty Shots with Margie and Jacqui!

2010-07-22T07:10:00.000-04:00

Our most recent beauty portfolio additions are the result of a collaboration with Hair and Make-up by Margie Bresciani (Kerry-Lou's talented Hair and Make-up team member) and Jacqui Rossi as our lovely model. Our objective was twofold, one shot with clean glamour and Margie's concept piece, which uses paper doillies and air brushed lace. Voila...

Memory Inspired by NPR Show

2010-07-13T14:37:00.002-04:00

Driving back from a weekend shoot in DC yesterday, I was listening to NPR. The subject of the show was learning poems by memory and what effect that had on the "memorizer ". I love listening to NPR. The hosts seem so cultured and civilized... reminds me of my old college days, surrounded by people dedicated to improving their minds. Listeners were invited to call in to the show and recite poems they had committed to memory. The show was both entertaining and emotional. Many of the callers reflected on the effect that certain poems had on their lives, or poetry and how it was linked with memorable moments in their lives. The host quoted a line from Alexander Pope's Essay on Criticism explaining why poetry connected so strongly with so many people.

"True Wit is Nature to advantage dress'd,
What oft was thought, but ne'er so well express'd;
Something whose truth convinced at sight we find,
That give us back the image of our mind."

My thought on hearing this fragment was that Pope had stated the nature of all art, to create something that both rings true and also refines and gives detail to the vague images that swirl through our shared universal consciousness. Art...you know it when you see it.

These thoughts led me to remember a shoot I once had with Dick Cavett. Some of you are old enough to remember his TV show in NY and the many amazing moments it was responsible for generating. His show was urbane, compelling and full of surprises. Remember Cavett's interview with Marlon Brando and Brando's post show attack on Ron Galella (the first paparazzi star)? Brando got tired of Galella tailing he and Cavett as they walked the streets of NY, so he whirled around and punched Galella flush in the nose. Subsequently Galella would follow Brando wearing a football helmet. Once Cavett convinced Katherine Hepburn to come to his studio just to get a feel for it because she was considering an unheard or rare interview. She surprised him by deciding on the spot to do the show which forced Cavett to pull off a fantastic spur on the moment interview with just a skeleton crew. And then there was the time that Cavett substituted for Johnny Carson one night and interviewed my 60's idol, Jimi Hendrix. I still remember one exchange between them.

Cavett - "Jimi, you are a Sagittarius, aren't you?"

Jimi - "Constantly..."

Very cool.

So what does poetry have to do with my shoot with Dick Cavett? In our shoot as we developed a rapport and because I knew that Cavett took pride in his intellectual abilities and education, I challenged him to play a game wherein each person would recite the first line of a poem and the other had to complete the second line. It was my attempt to keep him involved and connected during the shoot. I lead off with T.S. Elliott "Let us go then, you and I..." and he took it from there "When the evening is spread out against the sky, like a patient etherized upon a table." He countered with Archibald MacLeish "Quite unexpectedly as Vaserot, the armless ambidextrian..." and I bobbed and weaved with " was lighting a match between his great and second toe..."

And on and on it went. It was great fun, made the shoot fly by, and I'm sure my English professors would have been pleased.



The end result was this shot, of which I am very proud, because he came in wearing the leather jacket but his manager wanted him to wear a sports coat. I thought the leather jacket looked great, so I suggested that we shoot some in that. It wasn't in the original plan, but it was the shot he ended up using, even when he did the Broadway production of "Rocky Horror".

Dick Cavett and poetry, forever connected in my mind.

New Beauty Shot!

2010-05-01T10:11:00.000-04:00

We recently had a visit from our lovely muse, Susannah and that's always an opportunity for fun photography. Kerry designed and created a spring hat for the occasion. Amazing what talent, vision, and a hot glue gun can generate! Kerry did the make-up, hair, and bonnet. You can see more of her work at http://www.kerry-lou.com. Here are some images from the shoot...

Joe Henson's Headshot Article in Backstage On-Line

2010-03-31T12:06:00.001-04:00

We're excited to announce that you can access Joe Henson's article on Headshots - "Successful Shooting" at Backstage On-Line. Please follow this link to read - http://www.backstage.com/bso/news-and-features-features/successful-shooting-1004078219.story.

New Promo Shots for Katrina Szish!

2010-02-08T11:03:00.007-05:00

We recently shot a creative and extremely fun session with Katrina Szish. Katrina is a NYC-based pop-culture journalist and television personality. She has held senior editorial roles at VOGUE, GQ and INSTYLE magazines, and she is omnipresent on the airwaves. She is a familiar face on national morning shows where she masterminds makeovers and demystifies red carpets and runways; she appears on cable news networks alongside some of the world’s most renowned journalists to debate the hottest headlines, and her insights on the cult of celebrity have made her a staple on entertainment news shows. Katrina regularly appears on “THE TODAY SHOW,” “THE VIEW,” “THE EARLY SHOW,” “THE O’REILLY FACTOR” and “SHOWBIZ TONIGHT” and VH-1.

Katrina is also the Editor-in-Chief of http://www.pinkmemo.com.

Katrina wanted her portfolio to reflect a fashion forward sense of style with a range of concepts. Make-up and Hair Styling credit goes to Kerry-Lou, found at http://www.kerry-lou.com. Kerry has provided Hair and Make-up for Joe Henson Photography for the past ten years and is definitely our not-so-secret weapon.

Here is the first image - hot off the presses!

Beauty Portfolio Update!

2009-12-24T09:20:00.005-05:00

Kerry and I have been hard at work on our beauty portfolio. We enlisted the modeling talents of our lovely Susannah from Boston and lo and behold - lighting struck...twice. Here are the before and afters..

Soupy Sales

2009-10-24T17:17:00.006-04:00

Soupy Sales passed on October 22nd at 83 years old. He was a true comedic legend and a totally unique personality whose style influenced many after him including Pee-wee Herman and Andy Kaufman. He will truly be missed.

About 8 years ago my phone rang and low and behold, "Hi Joe, this is Soupy Sales! I need a new photograph and my agent said I should see you!" Another unexpected and exciting moment, and one of the reasons I love my job so much. I grew up with Soupy Sales as a household name. I had followed him from "Lunch with Soupy Sales" to "Whats' My Line" to "The New Soupy Sales Show". And there he was calling for a headshot! Wow! Soupy Sales! My mind was swimming with memories as I booked his shoot...asking the kids to go into their parents' wallets and send him the little pieces of green paper..."Doing the Mouse", his single, was the fasting selling single in history in it's time...and much pie throwing, even at Frank Sinatra!!!!!

When he came to the shoot, he couldn't have been nicer or more professional. He came with his wife Trudy, who was an ex-June Taylor Dancer from the Old Jackie Gleason Show. She was still a stunner.

The session was easy and fun and Soupy was open and crazy and totally frank with his industry war stories and opinions. I loved the shoot with Soupy. I told him about seeing his sons who played in "Tin Machine" with David Bowie and he told me how proud he was of them. At the end of his session, he invited me to lunch at his apartment on the Eastside and I would have done anything to go, but alas, I had another session to shoot.

After our work was done, a signed 8X10 arrived in the mail. It was our photograph and he had signed it "I love you, Joe,
Soupy Sales"

My shoot with Soupy Sales - a big memory for me. Rest in Peace Soupy.

Bridal Variations

2009-10-12T20:16:00.003-04:00

Kerry and I shot Christie for a bridal portfolio last week. We got the shot we wanted and then decided to play around a bit. Makes it all worthwhile!

Having much fun with Photography!

2009-08-10T19:14:00.016-04:00

This summer has been one for play, and hopefully growth. We have been working in the portrait game as per usual, but also pushing on some new markets. Last Sunday our whole family converged on the studio to work on Jennifer's art project. It will be a magazine and art piece all at once. Jennifer designed ensembles that are an artistic take on a blend of Hip Hop fashion merged with Hippie aesthetics. Kerry did the Hair and Make-up, Jenn did the styling and design, Abbie and James were the models and yours truly put it all on pixels. Here are some of the shots we took...

Big Gallery Opening Night Party!

2009-06-22T12:58:00.019-04:00

Our opening night party was wonderful!

It started out badly. As Kerry and I were driving to the gallery, the skies opened up and a monsoon began. As I bemoaned my fate, Kerry stepped in and cast a spell. She cleared the skies of clouds above the gallery and as we got closer, the rain lessened and then stopped! Note to myself - Never mess with Kerry - Strong powers there!

We were pleased to see so many of our friends from Manhattan and all over the area. It was extremely heartwarming to get that support.

I want to thank Krista Hyer, the gallery owner for the wonderful job she did in the presentation and organization of the show. And to all of our friends who showed up - it meant a lot to me that you made such an effort on a drizzly night.

I am very pleased to say that we have sold 3 prints so far, and the show will be up until mid July. Please stop by!

Mona Lisa Gallery
168 Maplewood Avenue
Maplewood, NJ

I Always Wondered What My Portraits Would Look Like 30 Feet High!

2009-06-07T10:14:00.003-04:00

Normally I see my work in an 8X10 inch format. On my way to DC yesterday, I was surprised to see a billboard on I-95 of my portrait of Chubby Checker. I've always wondered what my stuff would look like at 20X30 Feet!

Joe Henson Gallery Show Opening!

2009-06-03T10:48:00.003-04:00

Please join us for the opening party of my latest Fine Art Photography Gallery Show! There will be wine, food, a tent, and a bunch of Joe Henson NUDES!

You never know who's going to drop by!

2009-05-12T10:42:00.002-04:00

Tyson Beckford dropped by the studio yesterday. He roared up the block on a tricked out Yamaha R1, dressed in full racing gear with a matte black helmet and mirror visor. He looked like an action figure. When he pulled the helmet off you could hear an audible sigh rise up from the FIT girls and the Chelsea boys! He was fun, charming and extremely ripped. I'm starting a diet today!

Early "Studio"

2009-04-28T13:48:00.008-04:00

Early in my career, I was working out of my one bedroom apartment on 76th Street and Columbus Ave. I turned the bedroom (all 130 square feet of it) into a studio and moved my bed into the living room on top of a raised platform. My back was literally to the wall when I shot headshots. I considered knocking down the closet wall but I wasn’t sure yet that the headshot thing would fly. We set up a make-up area in the living room. The kitchen was “reception”. And this was where I started my campaign to take the headshot world by storm. The apartment was on the top floor of a brownstone and there were exactly 76 stairs from the foyer to my “studio”. I used to joke that I was a Darwinian Headshot Photographer because only the strong could make it up the stairs to shoot with me. If a client was older or had difficulty walking, I would come down and help push them up the stairs.

Looking back it’s amazing how many high profile people made the ascent to that cramped apartment, I mean “studio”. Sean Young, right before “No Way Out” was released, came to shoot. She was lovely and playful and I still have her thank you note which was signed “Mary Sean”.

Lou Jacobi, famous for his love affair with a lamb in “Everything You Always Wanted to Know About Sex” by Woody Allen came to shoot. A true New York icon, he was fun and sweet and sent me his reproduction for my portfolio. About a month after I received his shot he called me, “Joe…Jacobi…you know I didn’t sign that photo for you, would you like me to do that?” It must have been preying on his mind. I walked down to his apartment on Central Park South and he wrote a very complimentary note and signed his photo. He also invited me to brunch with him at The Russian Tea Room that Sunday. I was excited because he said he would introduce me to some people. When we arrived, the sea parted for him and we were led to the best table in the restaurant. He was treated like royalty and I got to draft on his star status. He suggested the blintzes and we dove in when they arrived. Every so often someone would recognize him and come over to pay their respects. It must have happened 15 times that we were interrupted and he would graciously introduce me as his “genius photographer”. I was flying high. It was a wonderful lunch. At one point a Hollywood “Suit” came over to say hello, “Lou Baby, I haven’t seen you since the party at so and so’s in Brentwood!” he gushed. He babbled on and on glad-handing Mr. Jacobi as he went. When he finally parted Mr. Jacobi leaned over to me, winked and whispered, “Who the f#^k was that?” Hilarious!

Robert Downey, Sr., a director famous for his edgy independent films in the 60’s and 70’s such as Putney Swope and Watermelon Man did a session. He was very charming and kooky. During the shoot he told me that his son was getting his feet wet in the acting world and was “doing pretty good with it”. Guess so…

Jackee, the star of “227” shot with me numerous times in that apartment. She used to love drinking champagne through a straw throughout her session. It never seemed to effect her. She was a natural in front of the camera and we always had great sessions. She even flew back from LA a few times to shoot with me. She laughed and confided in me that her manager wanted her to shoot with a $10,000 a day photographer in LA, but she told him that she would prefer to go back to her guy on 76th Street. What a love!

Definitely one of the most confusing experiences in my early headshot years came when the phone rang on weekday morning. I was watching a video I had made the night before of a comedy special on HBO called “Women of the Night”. It consisted of the stand up routines of 4 of the hottest female comics in the country. A very soft-spoken, proper brunette comic with a full head of curls was taking the mike when the phone rang. I answered “Joe Henson” and the same soft proper voice responded, “Hi Joe, my name is Rita Rudner.” At the same time on the TV the woman’s voice spoke “Hi, I’m Rita Rudner”! What was happening? Had I gone too long without a vacation? It was an amazing coincidence! Rita Rudner called me just as she started her routine on TV! I said “I’m watching you on TV right now!” and she and I marveled at the peculiarity of that. Sometimes I think the universe just likes messing with you.

Rita shot with me a few times and really hit it big in the comedy world. A few years later I was out in LA doing promotional shots for my brother, John who was the host of Talk Soup at the time. After the session we flew to Vegas for a few days’ fun. In the cab ride from the airport to the hotel, I saw a big billboard with my shot of Rita Rudner who was appearing at one of the hotels. When we got to our room I called the hotel where she was appearing and left a voicemail for her. She called back and told me she would leave passes for us to see her show, one of the nicest perks of working in my field, and to be sure to come backstage after the show. That night after breaking the bank at the Black Jack table we jumped into a cab to see Rita’s show. We were seated in a VIP booth and got complimentary champagne all night. Rita was hysterical. At the end of the show, she brought out her sheepdog and did a few bits with her. Rita was really on her game. She killed, as they say. After the show, we were escorted back to her dressing room. I introduced John and we all had a nice chat. As we were talking, I absentmindedly petted her big sheepdog when it came to give me a sniff. I am extremely allergic to dogs, but I guess the endless bucket of champagne had impaired my vigilance. I rubbed my eye with the dog petting hand and my eye preceded to swell and tear immediately. Rita must have noticed that I had suddenly become Quasimodo, but she thankfully did not make my rheumy eye the butt of her jokes.

I am so appreciative of the fact that my early clients were able to overlook the decidedly un-glamorous nature of my first studio. My studio now is at least 10 times the size of that apartment on 76th Street and I thank my lucky stars everyday that my back is no longer to the wall in the Headshot business.

Close Encounter with a Lionness

2009-04-25T09:40:00.004-04:00

Here’s a quick, fun story. I was hired to photograph Shirley MacLaine for the premiere of a new film she was starring in. I was excited about it, but also approached the entire session with a degree of trepidation, her reputation as a Hollywood lioness preceded her. Before the shoot I was contacted by her publicist who told me in no uncertain terms that I better have my act together because Shirley did not suffer fools gladly, and that I would have a certain (very short) length of time to get my shot. I was also warned that if the shoot did not go to Miss MacLaine’s liking she would bolt without hesitation. Well…ok, I’ve dealt with pressure before and I was not going to run away from this challenge, I was going to stick my head right in the lioness’s mouth.

I got my lighting set and tested it on Kerry and basically prepared for anything that might possibly go wrong. Part of being a professional is trying to predict any element of the system that might break down and having a back up for it. Murphy’s Law is always proportionate to the importance of the event it is affecting. In other words, the bigger the stakes in screwing up, the more chance it will happen. On days like the Shirley MacLaine shoot, Murphy would be working overtime, so I had to assume that and prepare accordingly. Deep into the night before the shoot I organized, tested and tried to find the answer for any breakdown in the system.

The big day came, Miss MacLaine arrived and contrary to my expectations, everything went according to plan. And the shots were great. After the shoot, I was escorted into the theater and given a seat in the front row. Miss MacLaine was in attendance and was slated to speak before the film was shown. She arrived to much hoopla and was walked down the aisle and seated right next to me! Waiting her turn at the podium set up in front of the screen, she got adjusted in her seat and then turned to catch me in the beams of her amazing blue eyes. “You’re the photographer, aren’t you?” She challenged. Well, I did have a camera with a giant zoom lens around my neck, so there was no hiding the fact. “Yes” I half whispered, not knowing what was coming next. She fixed me in her stare and in her best lioness growl roared, “You did good. And you know, I would rather have great lighting, and a great photographer…THAN A MAN!” Close encounter with a Hollywood legend and I lived to tell about it.

Memory Lane and Some Headshot Advice

2009-04-23T08:20:00.005-04:00

When my studio phone rings I can never predict who it might be. Sometimes the caller is a household name, someone I’ve heard about all of my life or someone I saw on the news that morning. There is an ongoing joke in my studio when the phone rings; I always say, “This could be the most important phone call of my life!” And sometimes it is. “Joe Henson” I state as I answer the phone. “Hi Joe, this is Tyler Perry, I need photos and your name was given to me by a friend.” Very exciting to get a call like that! I also never truly know what the future will hold for my clients after our shoot together. I have photographed many stars but I have also photographed many stars yet to be. I remember when Adam Horowitz (King “Ad Roc” of the Beastie Boys first came to shoot with me. He was about 15 and two things stand out in my mind about him, first, he was the first person I had ever seen with a “bed head” hair style and second, he was wearing a “Def Jam Records” t-shirt. His hair was sticking straight up off his head at crazy angles. “What about your hair?” I asked. He took a glance in the mirror, “Looks alright to me.” he stated. And so my first “bed head’ headshot was committed to film. I asked him what “Def Jam” was and he said it was his record label. “Record label? Are you in a band?” I asked, and he proceeded to tell me about “The Beastie Boys” and how they were slated to tour with Madonna that summer. He was 15! I thought “Yeah…Madonna…right” and we continued shooting Well…I’ll be damned! Guess he wasn’t dreaming.

Is it possible to predict who will hit it big? From my point of view behind the camera, I would have to say that the headshot experience sometimes has very little to do with the acting talent of my sitters. A client who has never acted before, but has just been bitten by the bug, might have a much easier time with his/her first headshot session than a seasoned actor who might approach a headshot session with trepidation and loaded with previous bad headshot baggage!

Many actors psych themselves out with the importance of their headshots. They think their entire career is riding on this one photo and the hideous fact is…sometimes it is. I’ve had past clients call me with stories about how the shot we did got them seen for amazing projects…big roles in big films.

One of the toughest shoots I’ve done was with Annette Bening early in her career. She had already won the Tony for “Coastal Disturbances” and great things were looming for her. She was wonderful and sweet but I remember that she had a very difficult time with the shoot. She was over thinking every detail of the session, watching herself and having trouble getting into the here and now, what actors call “the moment”. She’s very smart but it was working against her, stopping her from committing to the shoot. We finally got things rolling even though you might be able to tell…it was a bad hair day!

The best way to approach a session is with confidence, energy and to be loose. Go over the top with your expressions, mug a bit and loosen up. Play. In the digital world, a bad shot is just one click away from the trash. Engage the camera, play to it, and create a relationship with the person you put inside it. Tell the viewer that you want to do something to them…threaten them, cajole them, seduce them, tell them that you feel good, feel cocky, feel funny. I would rather pull a sitter off of the ceiling than be faced with the dreaded dead stare. A great photographer can encourage you, help you, point out issues to address, but no one can get inside your face and make it happen. Take responsibility in the result. It’s collaboration and a game. Play along, you’ll get better results that way.

Dectective Magazine Mock-up

2009-04-16T10:44:00.000-04:00

Another portfolio piece. We wanted to try our hand at creating a noirish detective magazine cover. Holly was the model and special thanks goes to Tony Marando for the fabulous Graphic Design work.

Kelilah gets masked!

2009-04-16T10:38:00.001-04:00

We're working on some beauty shots for our portfolios now. Kerry is mastering airbrush make-up and wanted to try her hand at airbrushing on a mask. Kelilah Israel Jordan, our lovely model patiently became Kerry's human canvas and 2.5 hours later...VOILA!

How to get Great Headshots - the Inside Story

2009-04-15T18:39:00.002-04:00

Q. What are Actor’s Headshots and how are they used?

A. Actor’s headshots are images of actors which are used as an aid in casting by Casting Directors, Agents, Managers, Directors, Producers and anyone involved in auditioning talent for the various markets in the entertainment industry. From the earliest Hollywood “Pub Shots” i.e. Publicity Shots to current Electronic Submission Digital Images, headshots have been the currency that circulates through the industry representing actors in an effort to be seen for a role. An effective headshot is a mix of esthetic value (it is pleasing to look at and makes the actor look good) and casting viability and clarity (it defines the elements of the actor’s type that are important in defining the logical characters that actor can play).

Headshots are one of the most effective elements of an actor’s arsenal in terms of “being seen for a role”. A strong headshot can be an effective entrée into the offices of the people who hold the reigns of power in the entertainment industry. A great headshot can not tell someone how talented you are, but it can define your qualities as an actor that in turn define the types of roles you should be playing. We have all heard stories of actors whose headshots have “gotten them in the door” of a big shot agent and launched a successful career.

Headshots are used in two primary forms, the reliable 8X10 reproduction and the rapidly growing Electronic Submission. The 8X10 reproduction is exactly what it sounds like, a print of the actor’s headshot reproduced on 8X10 inch paper and usually printed in large quantities. Reproduction Houses that specialize in making copies dot the landscape in most large cities that are centers for actors. Actors submit a “Master Image” either in the form of a Master Print or Master Digital File and the Reproduction House makes carefully controlled copies of that shot. These copies come in two basic forms, Photo Reproductions which use continuous tone photo paper and produce copies which are indistinguishable from the original, or Lithographs which are lower cost and lower quality reproductions of the image using a fine dot matrix process, much like the images in a newspaper. Budget and personal style determine which process an actor goes with and there is an ongoing debate concerning the best choice. Typically actors who use expensive photographers looking for high photographic quality will want to maintain the elements of that quality in their reproductions. Reproduction Houses have price points throughout the spectrum with Photo Reproduction Houses charging around $115 for 100 Photo Reproductions to Lithographic Houses charging $50 for 500 lithographs.

Electronic submissions involve emailing a low resolution JPEG to the appropriate party. It’s important for every actor to learn how to resize their digital headshot file so that it will sail swiftly through cyberspace and land gently in the queue of the target’s email. Currently there are no established standards for image size but most offices prefer that the image be sized under 1 Megabyte and be converted to 72 dpi. If that sounds like gibberish to you, you can learn to resize your photos fairly easily through many of the photo software programs out there. Typically the programs that are packages with your digital camera will explain the process and allow you to resize your image “for the web”.

Headshots are submitted to industry people who are involved in the casting process. Depending on the level of professionalism, this could mean sending them to an agent as a means of making contact or sending them as a response to an ad for a Student Film Casting in a local actor’s newsletter or giving them to an uncle who knows someone who knows Steven Spielberg. They carry the hopes and dreams of many actors in getting discovered.

Q. What makes a great headshot?

A. A great headshot is the perfect balance of quality, individuality, and effectiveness. A great headshot works on two levels, first esthetically – it looks good to the eye, even upside down. It grabs the attention of the viewer and pulls him/her in. Agents receive thousands of headshots a month. Your headshot has to stand out from the group and grab that agent by the lapels and say, “Look at me!” Secondly, it has to place the actor within a context that makes it easy for the industry professional to mentally cast that actor. They should be able to picture the actor in specific types of roles. This actor would make a great Romantic Lead, that one would make a great Villain. The headshot should be specific enough to define elements of a “type” but not so specific that it limits the actor to only one note. No one headshot can represent all of the possible roles that a talented actor could play, but an effective headshot can represent qualities that logically give a perspective for casting that actor.

Q. How do I go about getting a great headshot?

A. The search begins by sifting through the maze of avenues available to get a photograph that can represent you as an actor. Yes, it’s possible that your Uncle Charlie who works at the DMV could take your picture and it will be in focus and will look like you to a certain extent but in the competitive world of Acting, better headshots present the actor as a professional who takes pride in his/her presentation and understands that the first line of offense is “penetration “. A Casting Agent receives a headshot (with a resume attached to or printed on the back) and decides whether that actor is worth a look or whether that headshot goes into the circular file (we all know what that is). Take a look through the dumpster behind a Casting Agent's office and cry for the lost opportunities tossed in there.

If you decide that the best approach is find a professional photographer (obviously my choice) and not to rely on a lucky accident by a friend, then you are faced with the prospect of figuring out what your budget will be and who is the best qualified photographer you can find for that budget. Professional Headshot Photographers come at all price points from the $99 special to the $1500 Hot Shot. Is more expensive better? Can you get a great headshot for $99? The bottom line is that as in real life – quality usually costs something. It comes down to this: A professional who has pride in his/her work, makes a living doing that work, and has tons of experience is invested in the result that they create, and has a sense of the market and current styles. Lower prices depend on volume for profit and must then cut back on personal attention and care. Yes, it’s theoretically possible to get a great shot for $99, but it’s also theoretically possible to pay $99 seven times to come up with something that could have come the first time from a trained qualified professional who knows the value of their work and depends on positive word of mouth to stay in business.

It’s a cutthroat world out there for Actors. There are a myriad of businesses specifically designed to separate an aspiring actor from their money. Modeling schools that make empty promises for hefty sums, Casting Agents who charge for meetings, Agents who receive kickbacks from unscrupulous photographers, Acting Teachers who put the moves on students or take advantage of naivety. You’ve definitely got to listen to your gut, but forewarned is for-armed and it’s certainly a buyer beware situation. But all is not lost and actors do get their money’s worth by finding the photographers who deliver great results for reasonable prices.

The first step is to put your ear to the ground. Find a network of actors who are happy with their headshots and the rate they were charged. I mention the rate they were charged because the trick is not to break the bank, but to pay a reasonable rate to get a satisfying product. What is the going rate? What is enough to spend? Logic dictates that people who do something well get compensated for it. That goes for Doctors, Lawyers and Headshot Photographers. So, if the $99 deal seems too good to be true, yes, it probably is. Most New York Headshot Photographers fall within a range from $350 to $850. Does paying $850 guarantee a great shot? No. And beware of the “flavor-of-the-month” photographer who makes a big splash but can’t deliver consistent results over time. New York City is the land of hype and Lemmings form a line at every cliff face along the Hudson River. Most photographers in the range from $350 to $850 would probably do a fairly competent job, but the best shots come from a collaboration between a great professional that you connect with personally and feel comfortable with, and an actor who accepts some responsibility in the process.

Q. What then is the actor’s responsibility in the headshot process?

A. An actor should be clear on the markets he/she wants to work in first of all. Do you want to get TV commercials? Well, you need shots that target those markets and present your type in a strong clear way. Are you a Business Person, a Mom, a Dad, an All-American Boy/Girl Next Door, A Pop-Culture GAP/MTV Kid? That’s what should be evident in your commercial shot, and you might be more than one type. You need to cover all of your types. You might have an 8X10 of your strongest type and then a postcard with a shot of you as a different type on it. How about Film or TV or Theater? That’s called a Legit Shot. A Legit shot defines the qualities that an actor projects and that fall into broad categories in the acting world. Are you more on the intense, edgy side or the loose, light, comic side? Are you going to be hired as the love interest or the best friend? Are you strongest as a more specific type like a thug or a general type like a romantic lead? And within those categories, where do you fall. Are you Ross or Joey or Chandler? Are you Monica, Phoebe or Rachel? Actors need to define themselves so that others can see it. A great photographer has the perspective to help you project your type so that Casting People are goosed in the right direction for casting you. If they understand the roles you would be good for, and your shot accurately and powerfully defines those elements, you’ll get called in for parts that you are right for, a big important step in getting a role.

Q. When I look at most Headshot Photographer’s work, it all looks the same to me. What differentiates a great Headshot Photographer from a good one?

A. It’s difficult if you don’t know much about photography to differentiate levels of quality in photography. This is where in this interview I have to speak personally, based on my experience and what I do to make my work stand out. One aspect of portfolios that is fairly evident is whether the photographer has a limited formula, which is stamped out on each client. It’s not too difficult over time to master the technical elements in portrait photography. With enough experimentation any photographer can hit on a combination of lighting and lens that makes a pretty picture. What separates the greats from the rest is a photographer who generates the style of the headshot from the style of the client, who has a deep bag of tricks and has mastered many forms of lighting and shooting so that the headshot tells about the actor and not what photographer took the photo. Many agents pride themselves on being able to pick out the photographer who took your headshot, and while there are just a limited amount of photographers out there, the goal should be to sell you, not the photographer and their style. It’s helpful to look through magazines that profile actors. The best photographers in the world shoot the actors for those magazines and you can learn a lot about quality photography, taking in those images.

On the most basic human level a great headshot makes a connection with the viewer. The actor and the photographer work together to make that happen. You need to look through the lens and see the person behind the glass. Bring it to them; create an emotion, intensity, and a statement that is defined in your mind. I encourage my clients to feed me emotions or intent. Some have an easier time with that than others. For those that find it difficult, we play games to loosen the flow. I don’t commit to shooting until something is happening. I look for the moments when I feel the connection and BANG – there is a headshot!

The sitter is creating the role and the photographer is directing the action, choosing angles, and lighting, backgrounds that enhance the overall statement of the headshot. There is powerful magic in a great headshot. It commands attention and makes the viewer want to meet that person. As human beings we are drawn to truth and beauty, and those are the elements that make an outstanding headshot. A great photographer is excited by the search for those elements in all of his/her clients.

- Joe Henson 2009
©Joe Henson 2009, All Rights Reserved