PRE-SESSION PLANNING
Decision time. How do you want to look? (You might love that spiked hairdo, but will the industry?) Satisfied with your choices? Fine. Now look that way for as long as you use those shots (probably a year or more). Your hair color, length, and curliness may vary only slightly. Your makeup can't change much either. And moustaches and beards cannot be grown/ cut off. Want to change? New photos.
Next, raid the closet. Clothing should suit your type and what you want to project. Medium-to-light-colored clothing is best for your commercial headshot (a quiet plaid under a sweater is a highly saleable commercial look); darker colors are okay for your theatrical headshot. But avoid white or black, loud plaids, prints, shiny fabric - anything that distracts from your face. Skip jewelry too. Pick out a dressy and an informal outfit - provided, again, that either doesn't conflict with your type. Don't be shy. Bring a load of clothes and ask the photographer for his opinion.
Finally, go over in your mind what you're going to do. A good photo session is a combination of the actor's ideas and those of the guy with the camera. Photographer Dale Tarter advises, "It's as important for you to be prepared when you come to see a photographer as it is going on a movie set. Do your homework. I love it when an actor knows what he wants."
THE SESSION
Do what you planned. Don't be pushed into poses that are wrong for you. Outside of that . . .
- Nerves: If you're a bit shaky, say so. A good photographer will do all he can to calm and reinforce you. (We know one photographer who routinely pretends to shoot a nervous actor for about 15 shots. Then, with the actor over the jitters, he really goes to work. Works like a charm.)
- Lose glasses/contacts: Specs block the eyes, and contacts reflect light. You can use glasses for a specialty shot, but be careful. "Half the pictures under the category of 'character' in the Academy Players Directory show people wearing glasses," says theatrical agent Joel Rudnick, "You know, they do various things with them like putting the glasses at the end of their noses . . . and I don't think it works. It just looks hokey."
- Don't squint: Occasionally, between shots, squint as hard as you can. Then relax. Feel the difference?
- Other tricks: Moist lips photograph better, so, every once in a while, lick your lips. To avoid glassy eyes, look down to the ground. Set your mood. When the photographer is ready, suddenly look up. If he shoots at that instant, you'll have a lively, animated expression.
EXAMINING THE PROOFS
In Universe 27-B, everyone's a millionaire, nobody ever hits a red light, and every shot on all proof sheets is fantastic. In our universe (which continually gets mixed reviews), when your proofs are ready, you'll have to be picky.
Using a magnifying glass - ideally one with a light - employ the criteria mentioned earlier under "Choosing a Photographer."
Usually the photographer's choices are dead on, but get other opinions. "Actors should never pick their own pictures," says resume photographer John Sanchez. "They just don't know the industry." Certainly show your choices to your agent and any other industry-wise person you can pin down. Just remember, we said industry-wise. Mom will fall in love with a mantelpiece shot that's a disaster as a resume shot.)
Don't narrow your choices to one shot. Why? We're sure it's gremlins, but no picture ever looks the same blown up as it did on the proof sheet. Have as many shots blown up as common sense and your pocketbook will allow.
GETTING AND CHECKING YOUR (ORIGINAL) PRINTS
You'll think you're going nuts. On one print, a shadow that "wasn't there" on the proof sheet will now be skiing down your nose. On another, those eyes that "jumped off the proof sheet" now look like Dracula at feeding time.
Like we said, gremlins . . .
With those Twilight Zone prints out of the way, examine the rest, again using the criteria under "First Meeting With the Photographer," and add:
- Are there any spots or scratches?
- Is the focus fuzzy or sharp?
- Is the photo too light or dark?
Okay, with at least two good original prints - one commercial, one theatrical - it's time to say "bye" to the photographer and move on to the printer.
PRE-PRINTER DECISIONS
Since printers tend to specialize, before contacting them know:
- The finish you want.
- Whether or not to have a border.
- The location of your name.
- The appearance of your name.
There are four in wide use: "glossy," "matte," "gloss-tone," and "pearl." There's no industry standard. Your choice is wide open.
- Glossy: Your pictures will look shiny. It's the most- used and usually least expensive.
- Matte: (Pronounced "mat.") Your pictures will have a cloth-like look and feel. The preferred finish for composites.
- Gloss-tone: Sort of a toned-down version of glossy. Open a magazine and look at the photographs - that's what gloss-tone looks like.
- Pearl: Rather difficult to describe. Looks cloth-like but shiny. Sort of a jazzed-up matte finish.
