A smiling headshot will do, but a composite will do better...
...A bakery owner and a commercial casting director are thumbing through photos. First, there's a headshot of a man in a business suit. Next, a composite, including a shot of a friendly fellow in a chefs hat, holding a tray of rolls.
Which actor gets called in?
Don't hock the wedding ring. Your agent can use your commercial head shot(s) until you: can afford a composite, are sure you're happy with him, and are convinced you'll be going out enough to warrant the investment.
THE "USUAL" SPECIFICATIONS
A composite measures 8% by 11 inches, slightly larger than your headshot. There's one large close-up on the front and from three to six other photos on the back. (Four, usually.) It's printed in a matte finish, with three holes punched out on the left for easy insertion in agency books. Unlike headshots, in addition to your name your stats are included, as is your agent's logo, address and phone number.
GETTING STARTED
Shooting a composite can be three hours of Disneyland or dental appointment, depending on how much planning you do. Then...
Talk with your agent
First, ask him to show you some composites he likes. Note the layout, how many photos, etc. He may direct you to a printer familiar with this look, maybe even one who already has a negative of the agency logo. That's legit - even if he suggests a photographer or two - provided all rates are reasonable and he doesn't insist on any one person/shop. (If so, he might be getting a kickback.)
Next, find out what he thinks will sell you. Are you the classic "P&G housewife with perk'? Are you too young for a "loving daddy" shot? Do you look like you belong in an office? A supermarket? A kitchen? A baseball diamond? Would you look silly holding a monkey wrench? If so, how about a bookkeeper's shade? Does your agent see you selling dishwasher detergent or shampoo? Trucks or computers? Try to agree on the "must" photos. Remember, it's your composite, but his agency's name will be on it too. Then go and get…
A good photographer
One who's good at commercial composites - not just headshots. He'll be willing to go "on location" to a park, a supermarket, etc., and will work with a child if needed. He'll have ideas, but will respect yours. Don't depend on him, or let him push you into agreeing on all his ideas - not unless you want recycled poses. Decide who provides the props and costumes (bring many of your own - his are already in other composites), set the time (avoid high noon - the light is too harsh), and go home and think about . . .
WHAT'S ON A GOOD COMPOSITE
A good composite includes:
- At least one (smiling!) close-up for the front of the composite;
- One shot of you from head to foot;
- Probably, one shot of you in a business suit, jacket or dress;
- At least one shot in casual dress (can be most shots);
- At least one "costume" shot (meaning anything from a pair of glasses, whether you wear them or not, to an apron and chef's hat, a football uniform, tennis togs, nurse's uniform, etc.)
- For women, at least one variation on hairstyle if possible;
- One shot in full- or three-quarters profile.
- The "loving mommy/daddy shot": Vital, if you're the type, even if it's rent-a-kid time. Be sure you're relating warmly to the child, but keep the focus of the picture on you. He steals your heart - not your scene.
- The "consumer shot": Chomp a burger, sip a shake, push a cart full of groceries, pump gas into your car, etc. (Keep brand names out of sight - if you're up for an M&M's commercial you don't want to be seen unwrapping Lifesavers.)
- "At work shot": That's white- or blue-collar, and includes housework. Make these shots active and full of fun. Look like you might work in a supermarket? Deck out in cap and apron and "rescue" a teetering stack of apples.
- "Outdoorsy/sports shot": You jog, fish, play baseball, go camping, jump over the net with a racquet in your hand, and so forth. Your entire composite could be outdoorsy if that's "you." Important note: show only activities you can do.
Above all, know your type and shoot it. A terrific example of this is the composite of an actor named Edward Ashley, who's got an upper-class air, indeed even a slight English accent. His composite consists of five photos:
On the front, Mr. Ashley in a jacket and turtleneck, hair neatly in place, a warm smile on his face: your basic commercial headshot.
Picture two, on the back, is a full body shot of Mr. Ashley in a suit, a small briefcase in his hand, leaning against a Rolls-Royce with a mansion in the background (his "at work" shot).
Picture three is Mr. Ashley in an expensive tux, menu in one hand, warmly beckoning the viewer to sit down. In the foreground, an expensive-looking bottle of wine is barely discernable (a mixture of "costume/at work" shot).
Picture four shows Mr. Ashley in a shirt and hat suggesting an African safari guide, looking very handsome and elegant (a mixture of "costume/ outdoorsy" shot).
Picture five features Mr. Ashley on a boat, wearing a casual jacket and open-necked shirt. Yachts are seen in the background ("outdoorsy" shot).
Each picture, everything you see, proclaims "upper class," "expensive," "cultured," exactly the aura the actor exudes when he walks into a room.
Now that's a composite!
