How to Take the Perfect Headshot


How to Take the Perfect Headshot


Lesson Info

How to Take the Perfect Headshot

Please help me welcome peter earley come on wait listen all right thank you, kenneth somewhat weigh yourself thrilled to have you here for the very first time and we have a very short amount of time with you. Ninety minute segment I'm going to let you take it away awesome. All right, awesome. Oh, my gosh guys, I am so psyched to be here is well, I have ah, I missed it last year unfortunately I had to pull out last minute so I am here and I am psyched to be here in twenty fourteen thank you guys for coming we got an awesome audience for me to play around with today but we're talking about you guys know what we're talking about everybody know what we're talking about we're talking about how to take the perfect head shot I have to there has to be an aside here because I have never this is a secret you ready? I have never taken the perfect head shot this is actually how to perfect the head shot. You could never take a perfect head shop because everybody's got a different opinion about it. ...

I could take a perfect head shop for me. For me a shebang and head shot is one that makes me feel something all right so if you feel something from a head shot you took then it's perfect for you but for us to convince everybody else and that is a different story you have to love your work if I had altered my thought of what my work was because of what people thought of it I would not be standing in front of you today you bear down you plant your feet firmly in the sand you decide what the perfect shot is for you and then you go for it that's what today is about that's what you're going to be learning we are talking about upping your game in the head shot territory I am going to show you exactly what I do how I do it I brought a bunch of I brought my set up I'm showing you my set up that I use every day have used this particular set up since two thousand four I brought some of my products I've got the hurley pro board back there and that is I'm going to show you some of my images I've been shooting that recently and I'm going to show you I've got this set up specifically the way that I shoot these gorgeous images with a with a nice smoky black background um so for the next ninety minutes guys is going to be a wild ride I'm going to fill you in left right and center on how to play this game how to take somebody put him in front of a camera and really get you to get confidence whenever there's a human being in front of your lens are we ready ready all right I love it let's go all right so when my photography career started I realized that there was something there was something missing in headshot land I call a headshot land I was immersed in new york I was ah actor model bartender dude and I picked up a camera so that I didn't have to tend bar anymore and lo and behold stuff happens so here I am I really realized that I found a new love and all the stuff that I did was to prep me for what I'm what I'm doing now which is great because I really got a great working with actors but I was really wanted one thing in it in the shots that I did because when I would look a tw shots of other people I didn't I didn't want to look at them for very long I would be like that doesn't do anything for me what I want is what I've termed look ability all right and I make up words you better get used to it ah that's what I dio so what is look ability of course I made this up this a good definition but I kind of made it up so a measurement for an image is ability to secure attention from an on looker isn't what we want our shot don't you want people to look at him? I mean, you want to look at him yourself when you really want others to enjoy your work in order for others to enjoy your work, they gotta have likability, and the second definition is even better shit banging shot that makes you want to stare at that sucker. All right? So to me, this is look ability if you're a good headshot photographer, if you're good with people, if you're a good portrait d'arvor, you can take amazing pictures at a moments notice it can happen any time you have to realize there is always a picture in front of you. I'm a photographer because of bruce weber, and I'll tell this story. So bruce and I met on I was modeling for ralph lauren believe it or not, I used to have some sort of looks that disappeared, and I got a polo job, so I'm working with bruce, and it was my first day I've never model before. Yeah, I mean, with tyson beckford and bridget hall, and I'm on this sailboat. It was so cool, and bruce is photographing me, and all of a sudden we're going out this channel in in miami. On a boat and there were these cruise ships and helicopters and he's shooting for po and he just turns and he starts shooting stuff like like the cruise ships and now and I was like he was just photographing license where is it where to go? And any time I was with bruce he would always do that and he made me right there is always a picture to be taken you have to have your eyes open to it I'm a headshot specialist I'm a portrait specialist I think I walked by beautiful landscapes all the time and never shoot him but sometimes I do see him and sometimes I take a shot there's shots in this room right now that could happen at a moment's notice this shot is of a student that was sitting in front of me in a class and I looked at him and I went dude, come on you are bad to the bone this alfredo he was awesome and I I put him up in uh you know, I put him in there and we got this in a classroom setting I never expected to get one of my favorite shots in my portfolio during class the shot is always there you always have to you have to understand that you have power with these things these cameras, these things you pointed people's general direction they have power and when you take something like that I feel it do you feel it? I feel it the guys looking through our soul how you get to that point is a connection you need to make a connection with your subject my thing is all about connection it's all about people it's all about taking somebody in and it's about teamwork I teamed up with how afraid or to get this and we nailed that sucker to the wall I get to shoot a lot of actors I pride myself on taking very simple shots that have look ability I use actors too create expression to change their face to mess with them actors you can mess with you could do anything with them they signed up for it. If I get an actor in front of the front of my camera they say no, I can't do them like what kind of operation are you running like? You're acting I get that all the time and you guys shot actors never get no I can't do that we have what we want what business are you in like just one eye opening windows so you can jump out just get over it I mean that's just crazy so we want to create this look ability you see the image I like expressions that are off kilter a little weird what is she doing exactly what I want you to be thinking that's mine now some agents casting director will say oh no we don't like this at all that's not good she can't use it she's not gonna book anything with this picture it doesn't matter to me I want to show you something when I shoot the black this is something that always brought me I people know me for my white background I just launched a new website peter hurley dot com like last week and and the old pete earley dot com one award in two thousand four for being one of the best from the best website awards like in the world, we didn't change it since then I barely ever put new pictures on I've been so busy I never revamped it and I really wanted to create a new look, so I started shooting I've always shot white I still love white, white still my favorite, but when I shot a black background it really bug me went black fades in the black when you put somebody in black and it fades into the black. So I created the hurley pro pro board to get people so that you can see that I don't know if you could see it on the screen but so you can see the black jacket and you can see off the background so they don't get sucked in I don't like people to get sucked in I want them come off the background so back the black owes a chalky like kind of chalky really, really dark dark dark thunder gray almost black all right, so we're gonna do that on this one and of course it depends on the screen we're looking at you can see the outline of the black turtleneck off the black right so that to me brings them off they don't get sucked into the black eye was felt like people got sucked into the black so again off the black background look ability shebang let's do a soft one we can do you don't have to yell shipping all the time it could be some really so I want to do a whisper shebang you ready? Three two one very nice. Very nice all right, look ability guys can you do me a favor? Can you tell me how gorgeous this woman is? Can you tell me that if you shot her you would not read touch a line on her face please please tell me that stop retouching lines on people's faces people I want people to be riel I like lines if you want a plaster people like crazy and use those crazy things that I don't touch um I think it cheapens your work if you want it to be riel keep keep the lines if somebody has a lot of lines that you don't like and it draws attention away don't use that person in your portfolio if you want a light in the lines just a touch up to you but don't take him away don't change people's appearance we're not here to change people's appearance these things change people's appearance it scares me every single person on planet earth has beauty in their face right now every single one you are taking away their beauty by changing their face and that's just messed up a lot of people say to me well say peter oh my gosh we need help I got this email once I couldn't believe it I've got this girl coming and she's got a horse face what do you do with it? I was like I've never seen a horse face on a person I have no idea what to do it he sent me pictures the girl's adorable was like what the heck are you seeing like what is wrong with you? The thing that you have to understand is that society's perception of beauty is totally different than the beauty in each individual everybody the beauty is in everybody it's always there I never miss it I know it's there it's our job to pull out your bar is to take the best a picture of that person in their life if you have done that you have captured their beauty now they're not going to go walk down a runway for gucci but you did it right? Maybe I mean you know what I mean but that's the point I think our perception of beauty in this in this country is based on models or or you know, whatever people see as beauty but that's not beauty beauty to me is capturing the essence of somebody and we've all got this energy and us and if you capture it should bang you done you did it just awesome I love working with her she walked that was like, wow because she's got the beauty inside now now she does model I believe I mean she's just got you know but amazing, right? So it's a touch of a button that's what does this it's a touch of a button? But you know what it really is it's all the prep before the button gets touched, isn't it? I don't hit the button until I got something no reason to hit the button if you don't have anything while you're doing that you got your camera burst, don't you? You get that thing fired a million you got like a one d x or something and the thing fires like ten fifty frames a second and you're pressing that sucker down hoping a shot jumps into your lens doesn't happen that's not the way it happens not that's, not the way energy transfers into a camera and injury transfers into a camera because you made a connection with that person and they didn't see the camera they saw you throw it he's seeing me through it, I'm creating it and I'm prepping them and I'm coaching were coaches that's what we do we coach likability okay? This is a guy he's my buddy shelby he's a photographer tell me has never had a good picture of himself in his life I did a head shot intensive workshop, a two day workshop he took in chicago I said, getting from my lens everybody the workshops like, oh, he looks awesome he's going to be great he's like no, I hate being foot around on look good at all. I can't look, I can't I can't look at myself! I shot a portfolio of shot of the due in two seconds and I changed his perception of his own beauty for was that worth the shot to me? I like to say that I'm not shooting well the way I say it is maybe shooting people's heads, but I'm aiming for their heart if you can hit them so that they walk out of your studio with a skip in their step feeling better about their appearance, you did your job, you did a better job than you could have done had you not that's, I don't care about the pictures as much as I care about the feeling and what happens is hey, I shoot bad shots too, and people need to warm up, you know? They get stiff, I shoot ones where they look totally freaked out and then I warm him up and I get him there during the session, you know what the people care about? They care about their performance, they normally don't care about the shots because their brain is so there's, so many shots coming and they don't know that this was there, so they care about their performance if they are caring about their performance, guess what they're they're not doing, they're not performing for you, they're carrying about what's going on, they care about how they feel, they care. I'm like nobody's going to know how you felt when I took the picture. What do you stop that don't care about your performance care about the five gems that we got out of this session? Guys delete everything that sucks if it sucks, you delete it, there is no reason for a shot that sucks to be go beyond your computer out into the world do not post that on the internet, why would you do that? I take that pictures too, I don't show him anybody. There was this photographer would did a ted talk and he said the difference between pros and amateurs is the pros only show the good stuff it was something like that, you know? Did you see that one? I just did a text talking cambridge the other night and it was it was amazing it was on this new program I'm working a new company called saif pathology uh and it's all based on this stuff it's a bit based on I'm working with a psychologist, I've always called myself ninety percent therapist, ten percent photographer when people in front of the cameras, the technicals out the window so I teamed up with with a psychologist and we're working this new program called side pathology, where we go into companies and we worked with their leaders and we've created some major buzz about it and the tendex talk was just amazing. So anyway, um back to shelby, I know how much that meant to him that's what it is that's what I get to do every day, how cool is that? I get to do that every day I'm going to show you how to do it it I would say it's not easy, but it's simple does that make sense? There's nothing I'm doing everything is right there, right it's all right there, so what am I doing? It's this somebody's going to find out somebody's gonna get in front of that sucker way got some shooting to d'oh look ability right god has created by there's got to be a moment you need a moment I need moments I need moments and you gotta find people's best self you've got you've got to figure out like this dude have you ever seen a drawn line like then look at this thing it's like a for convene it's unbelievable eyes this is the guy walked in I was like max buddy his name's max to I was like match you got you got like you did not know to shoot this guy straight on you have an issue like there is a problem look at that you don't get that kind of symmetrical jawline like cranking down like that like this guy hopefully becomes big actor I really like I mean really he's really nice but look at that shot look ability right boom shaka laka that's my mother yeah he's gotta hitem gotta hit him you got to make them make the person think you gonna make the person think does he make you think anybody know is recognize him? He was on a thirty rock he was in smash you see, my thing is making the people look like they're up to something that's what I like to do once I do that with a lot of these air actors okay um so once I do that then I can start to stretch the expression any direction I want all right with non actors I don't have to do is much I can why not? Why wouldn't you? Well, when you have fun with people there in there get him going the I got tell you all these guys with the name max or stud c I'm gonna have to photograph you have another shirt or you gonna wear that in public? I might have that I have to work with that sure, I'm going to give him a shirt to shoot him and I can't that's too busy for me. All right, all right, all right. So this is max see the look ability? I think I did an actual in the air somersault when I saw this picture on my screen that's you need to show the person in front the camera that's why you need confidence? You need to know when the shots good you need to convince him it's good. You need to get him going. You need to convey that to them so that they feel the energy too, right it's the same in here I'm hitting you guys with and if I stand here and I was going, this is max and I shot max and it was a very good shot of max and we had fun on the shoot and I talked like this the whole time what we have so much fun, you got to give people energy and hey, you know, I'm a little not some of the out there I never used to be this is the other thing you can realize I took my first commercial class, I realize I couldn't I was blown away that I got through this ted x talk I was blown away because I went back to my first commercial acting class where there were ten people in the room and the acting teachers said I was I had a modeling agent who sent me to all my children and the casting director there said, oh, you're great we're going to put you in is a as an extra, but you're going toe and then you beyond for awhile and you'll start talking and I was like, okay, cool, I'll start talking but you've got to get in an acting class I was like, ok, so I was the hospital orderly on all my children and I think my first day on the set I'm standing there in my orderly outfit and susan susan lucci comes up to me she goes high it's so nice to meet you, I'm susan lucci I was like she was I couldn't believe I was born away she's so nice I was like, oh my gosh, so I'm doing this hospital really thing, and I'm petrified that I would ever talk, so I never talked and I get in my commercial acting class and they say, slate your name, so I get up there, all I have to do to slate. My name is, say, my name's, peter hurley and that's it and I was like, and I was embarrassed and I walked off this thing that you need to find when you're coaching people is yours. You do it your way, you got to figure out your way to do it. If you're shy with people, they're going to feel that if you're a quiet person, be a quiet person, but don't be shy, be quiet, be yourself, but be confident if you're confident it will show through. It does not matter. You do not have to jump up and down, you know, should bang and go crazy and be like medium nuts. It works for me, I like, and I have fun with it. You have to find it for you, everybody's an individual it's not it's, not you can't do it like me. I can't do it like you, but you've got to find this as long as you're confident and what it is you're doing, I do, buddy. He'd be really upset if I said his name I guess so I won't because he's petrified he took my headshot intensive and he was sitting like over in the corner and he was like cowering over there and I was like, dude, what are you doing over there? Come over here come over sit down and I told him the story about the product told a different story where I was really shy and quiet everything so we start taking pictures the second day of the intensive and I turned and I looked at his screen and I could not tell if I had taken the shot or not he is an absolute rock star victor velasco's um and he did it his own way he did in his own way do anybody else way didn't do it my way he did it his own way he was the one that proved to me that anybody can do it but you have to figure it out for yourself and you know how you do that? I wish I had the answer for you, kid. Well, you have you know how you really do it you get is many people in front of your cameras you can't as many if you can shoot a person's face every day, you know, how could you get if the person's four feet in front of a camera every day and shooting is awesome I mean how could I not be good I've been doing this since two thousand I started my hand shot I started picked up a camera in two thousand two thousand two I decided I'm gonna make a buck with this thing I'm going to go in that head shots his headshot land was oh huge in new york I just got nominated best headshot photographer new york by backstage magazine last week I've been runner up for like ten years straight that they had it fixed some dude kept doing the voting himself and I never won and I so they called me this year they said we're changing it you've got to go for it I'm like I'm not going for anything I'm pissed that you got and then I want so I'm sick so I finally I could say that on the best in new york um but anyway that the point is is that get a person in front of a camera and experiment freebies and friends or what you experiment on if you are charging for your services you have to have your act together if you are not you have room to play and play you will look ability agent hated every shot I took of her she was on some big show I don't know what it was like one of those game shows she was like a up and coming actor she was she's a superstar loved this is alice um I love her I freaked out about shooting her I think I overshot the crap adam er and I just couldn't get enough of her so I was like and I loved every picture and then she called me she goes my agent doesn't like one of them I'm like so what does that prove? Did I take the perfect head shot? Not for the agent apparently you know what I told her? I said tell your agent I will I would have called the agent personally and told them this but I said alice just telling because I'm so pissed off tell her never to send me anybody ever again I never want a human being from that agency in front of my lines ever, ever, ever for the rest of my career again that is look ability that is that is a superstar I've seen her in action and that is a shot that could take her to the top there are three things on your face I want you to notice a theme there's three things on your face that you can change who knows what they are somebody given to me smile, eyes and had like position of your head position had position but that's not movement on your face like if I move my head my face moves independently in my head right us weii eyebrows eyebrows so smile his mouth yes you can what can you do with your eyes? You can look you get like a good can you do with your eyes? You guys don't know what you get with your eyes you have never seen me in action sne eyes who said that all right can you leave no no, there is a better word than that it is called click winching because squinting there is a definition the definition is to narrow the distance between your lower lids and your pupil and that gives you an idea of what you have to do so mouth eyes I breast so for me I like to say that eyebrows for me are the golden head shots like if I look at my work from two thousand twelve and before I realized I wasn't working with hybrid I really didn't get much eyebrow action in there I love I'm growing I can't get enough but now I'm forced people to jack browse give me some brown pressure what he got? Yeah now jackie brown no yeah. Okay now particularly your brown no can you articulate a little bit? Can somebody please show me brow articulation he's got it he's got it looked the brow activity on you unbelievable he's got all sorts of he's got all sorts of action in that area but I want you I want to go back through and I want to show you let's look at these still good a little brow activity a little bit right she's giving us a little lift major brow activity that's brought pressure brown's create think about I want you all teo and everybody out there to where are you? But I want you all I want you I want you all to go about your business today and watch people's eyebrows when they're just milling about walking down the street hanging out doing something I don't be creepy or anything but just watch people don't let him catch you but watch out as humans we use our brother all the time watch me I use my brown so using a lot all right so you want to if you can get brow action into your work amazing little tiny bit of brown pressure there see it right? Not much brown activity there not much a little brown pressure a little bit up with the browns there's brow action give me some brow action no brow action this was before I took this I would have gotten him to do brown there's some brow action you see it subtle but the fact that it's there creates us to get to react to it brow activity, some brown action there isn't there she's messing with us so I want you teo I want you to think mouth, eyes and eyebrows when you're photographing people all right does anybody know what my favorite thing to make people do when they're with him? I think they studied anything that I've done as anybody I'm I ask the people online what's my favorite word that this is conveying that you know we're trying I try and get out of everybody I photograph there is a word we're going to keep going you guys don't know it but somebody out there will know brow pressure brought pressure brow activity if it doesn't have brown activity and I'm not feeling the shot it doesn't go on my website look ability you see the likability it's all about likability this is the cover of my new book called the head shot it's coming out as soon as I finished writing it actually got to finish writing it this week hopefully and were pre ordering it but anyway likability mary but let's if you are not adding this to your portrait reppetto art in my opinion you are missing the boat completely I believe that headshot photography is the fastest growing genre photography other than cell fees itself he's in gun nuts but head shop photography my goodness you guys, you've got it if you are charging four head shots if you're not charging for headshots and you charge for any other sort of photography you got and head shots that what you're doing why would you not do that? It's huge it's growing like crazy because people no longer want a good head shot they need one. How many? You guys have a good head shot? You have one you guys need everybody needs a good head shot and any photographer out there that doesn't have a picture of themselves on their about page is just this just created two bloggers my mind I'm fed up with that. So what number one reason for this in this society is this with the climate the way it is with business everybody needs to be on this people get can tomorrow they need to have a good linked in profile you know what they need they need us. You know how I know because I shoot more corporate these days than actors that's crazy I shot actors all my life I never shot a corporate person all the senate corporate person comes in I don't know what to do with him I was like, I tell actors crazy stuff I can't tell the ceo that he acts like he's a he's a crack addict who just stubbed his toe I can't do that. What am I going to say to him? I can't say that stuff to a ceo so I had to change my entire stick around this corporate thing to start working with corporate people and there is so what I did wass I did that I started to change and I started to more corporate and then I started this thing called p h two pro dot com, where it's, the biggest headshot community of photographers in the world. There's six thousand head chopped tarver's on there. Get in there, it's free! Sign up! Sign yourself up and put up a portfolio what's happening is headshot photographer he's growing like crazy? I'm getting asked all over the place hey, way found you were in albuquerque, new mexico, who who can shoot us? Well, zach, sentencing now in new mexico somewhere go shoot with him, you know, I've got I need toe have photographers all over the world to help me with this thing because we will refer people to you when they asked me where they need to go and I'm building an app around it that's going to go huge and we were going to get we're going to connect people with photographers, forehead shot photography. I do all my coaching through ph two pro, I do all that stuff. So anyway, only in your digital identity when you guys google yourself what images to people see what images when your friends google themselves what images come up? Are you in control of that if you aren't? Then people are making up their mind what your digital identity is for you what's the first thing what's the first thing you do when you come in contact with somebody like I get a lot of people that say hey can I assist you blah blah blah blah blah and I usually I have an assistant I usually don't look for assistance but I get him every day so what do I know? I was like all right let's check out this person's site let's google on let's see what they got going on maybe check out facebook if I have time or I'll tell my assistant to do it or something what if they're not in control their digital identity so we have I have now become a personal brand manager I'm no longer if attire for I am managing people's brand I am creating their digital identity for them every single person in the corporate environment needs this I go into companies I shoot a whole slew of people you know those people do they're so charged they put their shots immediately on facebook immediately on lengthen they come they email me I've never gotten one hundred life before my life you know how it's so people love their face well I mean they love it and shows they love their face all right it's more important than ever to do it so who's going to take these images right you've got to get good at this you get good at this, you're gonna be awesome let's blow through some stuff so I could show that the shoot so I could shoot some but in order to get good at it, you need a game plan you need a game plan how are you going to do without a game plan if you have? If you went into work every day without a game plan what you're going to get done that day not much you need a game plan starts with your stick you all have a stick I got one you're seeing and I roll like this this is my schtick when people come in I'm like crazy like this and stuff. So what is this stick it's an entertainment routine or given? Basically imagine that this room was empty and it was just you and somebody you were photographing in here what's the first thing you'd say to him some people say to me I don't have a stick I was like, you know what you're going to say the men and you get somebody in front of the camera, what you going to say to him what you say? Think about it, you already do it, you probably say the same thing over and over again, right? You have a stick now you just have to develop it so my days air spent developing my stick I don't think that as photographers we ever met, we will never master direction I'm going into my grave still working on my direction every day I get better I'm a better photographer today than I was yesterday and I only feel as good as the last person I shot if I didn't get it done, I didn't get it done. So what happens is is that when we get somebody in front of a camera one of four things happens, we're going to the people are going to do one of four things, so they either they're going toe ownit pose diminish or they're gonna run and what happens is most people are diminish er's you get in front of the camera, everybody changes I mama for eight years you put me in front of a camera, I change, people diminish that's what happens all right, runners are the people that were like, I don't let me anywhere near that thing they don't want to be in a fifty foot radius of that sucker posers you get these people that pose models pose like when I modeled, I was like, I really didn't know what did I never took a mind and know what the heck I was doing as a model I had this uh I was on this job for wrangler the hardest thing like when I was doing polo, I was like sailing, and it was cool, but when I was doing wrangler like I was on a white psych and I was standing on the psych and I was just in the genes like this and I'm standing there and there was the art director and everybody kind of like a bunch of people like you and in front of me and the photographer who had zero shtick said to me, just do what you do, I'm just thinking, I don't do anything, I don't do anything one thing I'm going to do, so I went like this, I was like, I don't know what to do I had no idea what to dio I was diminished, I needed the photographers helped to lift me up. I wasn't even a poser when I got better at modeling, I'd be like, you know, I'll be like, I used to get booked for my smile all the time my agent was like, how did you do it? She goes any time there was a smile job, I knew you were gonna book it, and I was like, I just going on go like this in the casting, I booked it every time, I don't know what I guess they like, my, uh my my smile now posers aren't authentic there they're trying to be something that they're not so I want people to be really so models that getting imposed for me they get about maybe five or ten minutes and moves and then they got to repeat everything again so they're just doing the same thing so I'm not getting anything real out of him I'm just getting them like ok, sometimes sometimes they start to own it and be riel I got to shoot sofia vergara and uh I put her in front of the camera I was all jacked I was excited to shoot her and I start shooting and I'm trying to direct him like, wait a minute she's just she's just awesome she just wasn't opposing it's like she was just going so when somebody goes and they're owning it, just let him go out of ten people you shoot two will own it off the bat maybe one probably one or two these are the people you put in your portfolio, you just follow them, let them go I was just shooting and and as it got longer and she started to do let's I threw in a couple of my things and I gotta run well, I got some stuff out of her that I felt they did, but she did most the work I was like, I was just lucky this photograph it was cool so that's different but you have to be able to notice when they're when they're owning it posey it posing diminishing front most of them diminishing you're going to run him up the chain so what I do is I posed people on purpose I hate the word pose I called position position people because posing makes you feel like this unlike now I want you in this position and then loosen up a little bit p s people that run have I had I had a friend came in to shoot with me and he's like I can't get anywhere near the camera I was like why not? He was and he was there with his with his wife and I was shooting his wife but he had a good look so I was like come on you got to get in there for two second no no no no I have I m p s I was like hecky talking about he's like I can't get near their I got picture avoidance syndrome I was like what I was like oh, I'm using that thank you, tom oh my gosh, I was like, I'm running with that one so these air runners people that does anybody here on ps you d'oh, we got three of them for oh you're the first people who get in front of a camera all right, you're not a p a s sir it usually looks like this when they get now they don't necessarily look like that. But that's what's going on internally, right that's what's going on internally what happens externally to your camera this internally there like externally how many of you guys know what your face looks like right now? You know what, do you have some sort of mirror out here and like, how the heck do you know what you know? None of us have any clue is my face okay? Because I just woke up and looked in the mirror once it's more I don't know if I'm together they put makeup on me and you know, it was good, you know, powdered up. Um, we don't know we wake up in the morning or eyes go out, they open up to the world and then we walk around like this hoping that we look good to people and then I'll send you you and you don't really think about and then you get in front of a camera and you're on display and you go ok, I hope my face looks good. Whose job is it to tell them that their face looks good? You've got to tell them you've got a team up with them on this and you got on your turf, all right, that is your turf when you look through there you have to see them if they mps and start to work with them once somebody creeps into this area, that is it it's your domain and if your own and nobody else will, it is your turf. The minute I looked through this bad boy, look at this house, this field when I pointed at you too it's terrible, right? And you guys are oftentimes first oh my gosh, look at you guys and the ps is right. You've got to own this that's your term that second, my eye goes like this every single thing in that space, I'm in charge, it looks pretty good. I'm in charge if I don't own it who's going on it, you're not only your terms, I don't care what the person is doing in front of your camera, you're responsible for their expression. If there are runners, you gotta build him up. If they're diminishing, you gotta build him up. If they're opposing you gotta get known it you are not going to get a shebang unless you on your turf I want you on your turf, then you can get what you need to get out of him. All right let's get technical, I'm blow, I'm going were moved, we're on the move let's get technical alright, I should capture one software I shoot a phase one I q two fifty this one hundred ten millimeter lens on it I shooted at four hundred s so I met uh one one twenty fifth of the second at seven point one I shoot with a pro photo over moat on top I have my lights my might two lights on the backdrop and when I'm doing the black pro board that one's on four point owned that went on about five point three maybe do you think that I need to be technical when I'm shooting I want that out the window once the person steps in front of your camera if you were being technical and fiddling with this you are not doing the right thing you have to get the technical out the back went out the door and I don't want any of this you don't shoot it look at the camera and leave that person especially in these these things are bright you leave him in there freaking out no, you're not technical so I already went through this I like a longer focal length with head shots I love my feisal tripod I shoot on tripod for a couple of reasons and I'm going to show you why right now one of the reasons is this thing's heavy this thing is not like and I shoot all day right? But the other reason is is that I direct with my hands I used my hands like crazy if I'm holding okay, so I don't have this one on the tripod right now. All right, so what do I have to dio I can only use? I'd like using both my hands. I don't. I can't shoot if it's in this hand and I use my right hand the line I use my left hand, we're gonna go over some hand gestures, all right? And I use anarchy swiss ball head. I want you to watch something. This is important to me. Maybe a little tighter that I like it to go and stay where it will because I'm moving all the time. I love the feisal tripod because of the rotating center comb. If your tripod does not rotate in the center, I'm not a fan. I break those because I put a lot of pressure on this thing. I've had this thing like almost three years. It looks brand new it's unbelievable. So I want to talk about natural light. A lot of you guys are like, oh, look at this fancy set up. I don't have any that I learned with naturally you know why I did this? I did this because I love natural light my first studio, I was given a opportunity there's this big building called sterrett lehigh building in new york it takes up the whole block on twenty sixth street I was living in an apartment on twenty on forty second street that I got because it had a southern facing window and I would look out that window and see flashes going out often that's terribly high building and you know what I said to myself one day I'm gonna have a studio in that building you know what happened one day I get a call from friend who said, hey, I just got a studio in this building and has got a little room off to the side of the main studio would you like to come take a look? I was like, yeah, but I got in there and guess what it was a small little room with no windows what was I used to shooting natural line? I could not figure out strobe I couldn't feel the light with stroke stroke goes off it goes all over the room I couldn't feel it back then. Now I've got a better sir sense of strip it takes a very long time took me a very long time to get a sense of strobe lighting for me to have the control that I had I still love the keynote ideas pro photo like crazy now I feel I could get the same look with the pro photos that came with the key knows now I feel confident and but it took a really long time back then, I couldn't I couldn't figure it out. This was two thousand four in walks this photographer named perriand him from england, and he was shooting some big story and he had and I walked in, I would became friends with his first assistant, and I was like one of those and he's like their kingdoms, they're really cool, and then they left and that they left the studio and they were sent on the floor and I asked the studio manager, what the heck are those things doing? And they said that the rental places picked him up on monday. This was friday guess who was in there the whole weekend? I thought the whole lot and I've been shooting him ever since. Now one thing I need, which is coming, I want you guys to sign up for the newsletter and hurley pro here because I am designing lights that are more portable than these I can't bring that could bring these here with me really hard. Now I travel around the companies all the time, I need a portable solution. Everything I'm doing is a portable solution. I've got a new product coming out that will rid the world of these it's called h two pro. We're gonna do some water wait um so be on the lookout for that was supposed to be here didn't make it it was in the last year or something I don't know I'm just not happy but I started with natural light is a photographer you've got to be good at natural light every single lighting everything lighting wise is trying to emulate what the son you've got to get good at last the light I started sitting my butt on a window taking these in black and white for actors I put my I was on a window sill the winner was behind me and I shot these things this is my first work back then actor's head shots were all black and white I was pretty good back there I should go look at some of this stuff I love window light looking the national kicker from the back window how awesome is that killer I love kickers I'd use kicking like crazy we're gonna use a kicker I gotta get somebody in there well hold on my twitter thing first if you guys don't know my twitter and my shebang is peter underscore hurley and hashtag shebang hold on I think I have a slide here yeah this is the slight I just put this up because I wanted to show you some modeling picture I just actually want to show you how ripped I was back then because I got nothing now this one was for abercrombie and fitch. This one was for polo and this one was for hugging us, which was the best job I ever did. I was eating chocolate ice cream all day and they were like the miles eating ice cream and you want more? I was like, yeah, I want more that's awesome brigitte lacombe, bruce weber, bruce weber look him up if you don't know those names, whoever can tell me what boat that is wins the online intensive you win the online intensive how do you know that wins? I was on the two thousand united states sailing team because of that boat. I trained for two olympic games and I made the u s team in two thousand, so the boat is a laser and there we are, waiting for you. All right, so who's got ps you do a ps ready let's do it, you know, give her that might get the mike you don't want to shoot. How nerve racking is that for you? I'm bad with myself. He's on trial with yourself, you didn't see it in there. Get in there! Come on, let's, go way got to shoot a little bit and as I shoot, I'm just going to go through all the other stuff that we, uh we're talking about in the uh I'll go through the slides as I'm as I'm doing this oh, my gosh. Can you handle that? Is that light abuse? Come forward. What you doing way back there? I need my john can you uh we could turn him along with the master thing? Pharma all right, all right. So, guys, what I do when I started I use this window light so I got this beautiful window light coming through so when I got kino flows I just jam is much light in the person's face is possible so and I like the light I I like I use the inverse square law so what I like the lights is close to the faces possible to now I don't want her had a light convergence or anything but I wanted I wanted pretty close so she's standing in a good area the light looks good I'm going to bring this down a little bit. This thing has toe see if it catches on here a little bit there we go. Yeah, you got it all right. Now you sure ups you don't look so bad to me. All right, so he knows all right, so let's, fire up a little, uh, capture one bringing over here, hit the little plus thing and get this thing get this show on the road so I'm going to give you everything that was in the slide show we're going we're going to talk about right now so first thing I do when I'm shooting people is I know my settings right? What did I say? Who knows my settings it's on my four hundred seven that's it don't show my settings there said I'm usually just going to say oh, I miss she was freaking out a little bit I'm usually the first shot I like to see how look at that so even if it is a little bit hot on her skin right so I can bring it down but I can get I don't take test shots I take guest shots I'd like to guess at what the shot would be because of that expression was perfect it would've been flee if I was often just not paying any attention to my first shot then it wouldn't I would I wouldn't have a shot she's a little hot so I'm just going to bring it down let's go f let's go effy now I didn't director at all right no direction how that feels right? Okay, good stay right there I'm really going to get you going now ready that's what you guys are doing you're not saying anything to them what are you doing and you don't say anything? Did you see how she felt it's horrible, it's. Horrible. Hold that. Ok, now I can't shoot her unless she's in the position I like. So who knows? My favorite positioning move. Somebody knows that. There's a big video that's got, like, two million hits, you know? Yes, exactly. We're talking jaw line. So I want everybody in the room and everybody at home to imagine that there's a hook in the top of your head and is pulling up to the scene. I want to be very straight. And then when you're up there, I want you increase the distance between your ear lobes and your shoulder blades. You got it. So now I'm up. Now I want you to know you can come out here so that you could see this. Now I want you to jam your forehead forward a little bit. Let me see. Yes, perfect. See the difference now go like this. Like this that's a mess. Yeah. You know, this is the number one thing that makes people feel like you know what you're talking about if you make there john line look good immediately. You took away the ten pounds that they thought they had that they don't and boom, you get a sharp draw line, you wrap it around. We're going to see so let's see if we could sharpen up this juggling she's got a good john I just got to get her in that position so I like calling it hook and get in there and hook it forming there you go further. Yeah, you should be in pain. I want you have to call your product higher, director later. Now I'll wait for the reaction with now she didn't react to that so she's diminished I could tell you right? You know, jam your forehead out. What kind of operation? And came down a little bit. There you go. Good that's it good. So now I've got better positioning on the jaw line I waited, but do I have the face? The face is saying this feels weird all right, put the jaw mine's better now we gotta work on the face. What are the three things that can move? Mouth eyes, eyebrows all right, jim, that forehead forward. What kind of yeah, there you go home that and do something with yourself in there to bring the chip that's that notion you're not this is not this is now she where she went from diminishing opposing did you see that high five there you go, she's working and she's playing with me now now we're getting somewhere now now once the energy gets going then you keep going you give him some tips so if you all know the squints I'm going to tell people to squint you tried switching let's see go like this with your just pull it forward on both sides like that yet that night yeah good you got some bangs going on there good they look can you stand do the hook you're not looking it you get where you from spain all right cool so again what did I do while I'm shooting? I don't talk to them beforehand if I can get away from with it what did I do? I heard the accent I asked where she's from you know what I'm looking for what am I looking for? Who knows what I'm looking for a common thread oh my gosh I've been to spain e I got my first camera in madrid bringing chin out I was in miami at six forty five was with person hey was doing something in severe and I we went down there and I screwed this way a little bit there's this photographer ramiro montoya taught me everything I know about dark room and he got me started and he lives in madrid we're dealin where you live here but you're from spain where we were to grow on bringing down your closure where okay gotcha perfect good now what I'm trying to do is come stop her from thinking about being in front the camera but it's not working she almost can't tell me where she's from because she's so mesmerized by the camera did you notice that where's the squint why in the ice so big there you go there you go tim your forehead out is she now is she getting their house that is she getting their people eyes that a shebang I know is that she bankable is that she bankable three to one all right, come on out you're out and then no more pain are the flashes going up so you see how she's got the black on but she's floating off this black I really like that all right so can we move out let's move out the black alright guys so what I want you to do? I have what I call my goal for light mikey nose or my goal for like I don't care if you're go for like is is I made it up it's supposed to be funny go for like come on it's what's wrong with you people so I go for this light every time I question what I'm doing all right now I have a bunch of lights that I can use because I tested him on I'm really trying to expand my horizons with my lighting but I love my goal for light my go to lighting is always aquino's right? It used to be natural light, you know, all the way to the back all the way to the back. We're going to we're going to build this thing out. We're going to show you how to shoot a white background all the way back. You want to separate that white background as much as you can see, you don't get spiller flare over your subject and then put that kicker right in the corner next to it right there. This one, um, you left your right it we've got to get in and official, we're going to do that. All right? So go for like, I don't care if it's national light if natural light you're go for light, you're going for that don't get out of your element if you want to make strobe, you're go for light, you've got work to do, you gotta work it, you've got to get it going. You got to know your set up, you got to know your exact set up, you got to know where it is is all. This is exactly the way I do it every day. This my studio sits like this and I walk in every day and I'll have to touch it since two thousand four occasionally I'll go to a square light. If I want to get to people in there or I want to soften it up even more that triangle like just gives a little bit of ah some shadow detail under the chin very little but that's my goal for light there she is that's it it's in my back pocket it's not technically I don't have to think about it right it's my goal for life so you got the kino flows I do it I'm going to show you how I do the men's pro photo it is has sponsored us here and they sponsor my I'm doing an illuminating the face tour starting a workshop with that because I did a dvd called illuminating the face and I used the d one d ones on the backdrop but my biggest thing and I use the air ramon my biggest thing that I love so far is this I've been running around with the ones I can go anywhere now I can get my light anywhere awesome there are two things I combine in every face that I have to get it if I don't get it I failed what are they where is where what did the eyes do somebody why don't I switch the eyes why do you squint your eyes so you can look deep in time you can connect now now no come on hurry up squinting giorgio minutes john eyes you combine this way where awareness fear come from where does fear come from self down here in the headlights eyes so what's the opposite of fear confidence who said that? I mean all right winds leaving his standing up you're gonna win the dvds thank you confidence guys confidence confidence confidence is key if your people don't look confident they don't look sure themselves into campy say is something that they want to represent is their personal brand you got to make people look confident got to make people look confident all right the other dvd giveaway is coming up so I'm going to do the second one what's the other one from confidence what's the other thing we have to add if we have confidence but we don't have this we don't have a shot that's convinced what? Yeah, but it comes from the mouth you you have to be you know there's people online having it starts with an a no well that it does start with all right you win approachability yes said he got it got it got it got it. He got it with what I say no did I say I put this back to this right back to this we saw this already so how do we do it? You need to have you you are their coach and you need to build their confidence to build their confidence but you also need to build it in you you got to direct them directly so the way that we do that you give them subject you give them tips, right? Simple tips that get them going and then you show them the results so even after we got the shebang right I show her bring around show er how do you think she's going to step back in there? I got this now let's go now it's a different ball game now you're on a different playing field now you just took her you took her from diminishing she was runner she was a runner you saw her diminish when I was asking her where she was from she couldn't even answer then we got her posing and then she should bang really quick we ran or through the steps then we bring around we show her the good one and she goes back in pat yourself on the back a little more confidence s and she gives you what you need all right very good you want to team up on with with this and the number one thing max do me a favor get in there number one thing you want to do now what I'm going to do my men's lighting we don't use this so turn this turn this bad boy off I don't I don't up like guys very, very much because I like guys look a little rugged little rough and tumble around the edges can you look I don't think he's capable looking rough and tumble in that shirt I don't have time we're shooting the striped shirt come over so put that in the back next to the next all the way in the back yeah so I always like the center of the light and about the ear scoot this way a little bit yeah yeah hold it right there that's it all right so now I got my men's lighting pretty much set up I think I'm about the same we need that light back here we needed both lights what did you pull that light right here? I want to hit him with this but we're going to go we're going to do a put in a put on ten I'm going to show you guys something that everybody screws up everybody screws this up so I'm going to show you how to do it all right? I am gonna like that white background I wanted to go white right? Everybody wants to go wine you know what they do? They hit it with too much life spills over the subject. I don't have any v flats here unfortunate was supposed to that's another product I'm coming out with the hurley pro pro v so look out for that too and I would have had it but it wasn't ready yet my team is all for guzzled all right? So so I'm going to shoot a shot and I want to show you I'm going for a white background right I just want white but first I want to show you something the number one thing that we use I'm going to use it with him this is positive you want to use positive reinforcement this is the opposite all right max come on in here chin down a little bit okay good you're just gonna look in there like there are you sure man you could be better looking you're giving me a hard time everyone is that could you move your nose and we know that doesn't work now you don't have any angle your face it's very nice this is going to be really tough on me how I'm going to do anything with you today did photographers do that no you can't do that you have to be like oh my gosh match your smile rocks chin down a little bit look that john look how quad perfectly quaffed your hair is positive reinforcement we have to do that right it's got to be in your toolbox it's part of your stick but guess what if that's all you have what's he going to think after I told him so money after I told me it's great for an hour he's going to be like this guy's you know just taking me for a ride you have to you have to have other things but we have to use positive reinforcement good job great nice perfect you did it you did this you did that but if you do that the entire shoot guess what you get after about a minute they go ok saying everything's nice great when we're going to dio all right so let's go let's go for a white background all right pull down just see okay here we go he's already doing brown to the chin down a little bit bring your forehead up oh my gosh the background when white all right so this is what happens people start with their strobes on the background it's like the highest power that's crazy and then they get blown out like this and then they bring their strobes down till they think it's ok I do it the opposite way I bring it all the way down to go all the way let's go all the way to before I could do it from here is that are they both going down for put it for put it for all right chin down a little bit that's it hold it right there it's better there you go now I'm still blown out and they're both informing the power was still in sick chin down a little bit bring now we gotta bring him back there we go that's better that's it okay, come forward a smidge so now what do I have to do now? I got a nice tone of gray in there now I can build it up till it feels like it's about white. I like to be at about two. Fifty two to fifty two to fifty two. I don't go to fifty five. I don't need that. I don't want anything a wash over him. I just want to bump it up so I will bump it up. One little goto let's go up to four point five will go up a half stop and see if we get it just to peak off. Greg, come forward, it's! Mitch! Now that kickers a little hot on him. I like very subtle kickers. Can you just dim that? Just a touch for me, max, bring your forehead. Do the hope with the forehead out and down giving that barack to be a loving he's a pro working knows towards that I'm favoring. I'm shadowing up this sites on favoring his left side because that's, his good sight so knows this. We need you on that side. They need to step closer. That light stop fooling around. How we do is that then getting white yet hold, then is that thing getting one yet? Look at the difference on the angle better angle, right? All right let's go up a little bit we're still a half stop. We're still gray. I'm going to go a half stop again where a five point o now we have five point on that one. Yeah yeah it's where everything's fine and also this I love the pro photos because I don't have to move anymore it's great now we're still there. I'm not seeing any flare yet I could I usually go to about five point three chin down a little bit forehead down good turned a little bit this way guys, I want you to imagine that there's a suction cup on your face right now suction cup to the face this is why I'm on a tripod ready right, right come back with me. You're not doing what's wrong with you. This is very easy. Such a cup to the face ready? You're not doing it either. He's got problems some people won't some people will be directionally challenged you have to work with them to so imagine such a couple of face follow me head this way till ted this way come back this way that worked all right or you gonna figure to the nose you know, like the doctor makes your eyes this time you're gonna move your nose with the finger there you go there you go now you're with me that's it so this is all the directorial stuff I do that when I start to get them in the angle and the position I want chin down a little bit more than you think there you don't go for the brow articulation oh I love it he's got brow activity up the wazoo I would not shoot him without abusing the brow now I'm I'm not getting the same power and it could go a little higher I always like the light on the shoulder so these should be a little bit higher should be right about there on the shoulder because I shoot with with the camera just about at the bottom of the year lobes of the lenses at the bottom of the year lobe good that's it he's doing a great job isn't it? Can we give him a round of applause? I actually like that's a nice shot can we raise that background like tooth for two seconds raises background for two seconds just a little because he's taller than your average male so we're just gonna raise it up a little bit leave the clamp on what you doing make me making me nervous we can re touch that but I just want to see if I can get max fired up now start firing on all cylinders don't hold back on me no no no you're holding don't hold back anymore good that's it so I'm just paying attention or what he's doing I'm shoot away I'm still making sure the shots there I'm still getting my framing I need the job by now a little bit more turn your body slightly this way which one did you see what I did which way did he go directionally challenged turn about him there we go all that I shoot these like crazy look at this oh I missed it but I try and get those going now keep the body like that go knows that way hold that go knows a little bit this way there you go hold that there you go he looks a little bit eager I want you look cool they're give me give me a little brow action chin down a little bit good hold on good that's it I like that yeah pull the corners of your mouth toward your your lips slightly max three two one thing thanks buddy. Awesome all right guys so we got some white background in there we got the such and cup in there I got four minutes I'm gonna run through this like you would not believe we got the jaw line and we talked about squinting nose to the figure we got it's all about the jaws my video that it was on youtube that's gotten two million hits you can go to peter hurley photo and you can see it all right and this is it but we're not going to watch that let's find their sweet spot this is important all of you guys have a sweet spot okay if you look every angle max I worked on the left side of his face because I thought the left was good I'm working her on the left side I'm working him on the left side if you have a sweet spot don't you think you have to find it for these people everybody's got when you have to find it for them sixty five percent of the time I found said there was a study done they said eighty percent of the time people's left faces more left side of their faces more attractive I was like that's crazy first of all who are these guys that did this study and they didn't even ask me I was like what's wrong with him there's no way that's true I was pissed so I started to watch every people come into my studio and it was true I was like oh my gosh it is the left side like and but I found out it's about sixty five percent so guys real quick tell me which side of my face is it is the better looking side you ready? I'm going to do a little spin how many people like this side you like that I got it right still got it over here right over here this sign people like this I come on there is something called being and the facial where you could shoot people on both sides I was very upset when I came in here yesterday I was disappointed because I have to shoot like this I don't think this side is that bad but this smokes it whenever I model they hit this side like you wouldn't believe this is my side if you were shooting then you didn't get me over here and I'm going to be happy no why would I be happy if you don't know which side to shoot on people what are you doing? You gotta find out they're good sign and it's so subjective it really is it could be it could be it could be anything so anyway okay we powered out the square inch we did that you're going to go to this you can check out the squints we don't want we're putting the password to bed I don't want you to say it any more, did you? Did you hear me say just smile the people know I say whatever why is this thing going backwards? All right, we're getting rid of it we're not going to say smile because and when I got to say cheese either get rid of that because you get this do you want that you don't want that and you know what you say when somebody does that it's very simple you say shut your mouth and then you get this and then you have a shot before you didn't have a shot when you see that shut your mouth is very easy to say to people and then you get a shot and then if you can get them to behave like this you have one in my opinion this is the playing field where people will do what it is that I need them to d'oh if they do this I think I have one now I could do anything with them if I could get them to that point I could do anything I know I have to wrap it up so we're going to wrap it up real quick let's go these are done three two one wait we're counting you down to the q and a so so I got a few minutes religion yeah, I know you a little jab take a deepening isn't fun that size is we've got people online all right? So everybody we are asking questions there's a the ability to vote your favorite questions which is over to the side of your screen so going do that but they had they had gotten too excited so we're gonna go with questions if any of you have one in here pick up the mic but we'll start with the chat rooms all right so we saw that you had these two subjects standing and so diello wants to know do you prefer the subject to be standing for a reason? Or is it just what you happen to be doing right now for this shit? No, I never said people unless it's a portrait or something where I have to sit them but for headshots, I we stand them because I want to create this separation between the neck and the shoulders and I want the shoulders down. I used to sit people, but they get hunched and shoulders get like this and I like it. I'm in this simplicity, the simpler the better. So extending the baht whenever you're shooting, even if they are sitting, you need to extend their bodies so they don't get this in this and all this stuff going on so keeping them from sitting also stops me from shooting down on them. I hate head shots where the photographers above the subject please stop doing that you are taking away that person's power. They look like a simp you want to lower your camera's, shoot a little bit higher on them or directly at them to give them the power back. That's great that's a huge point! Thank you. Great question with a question in the back once you capture you know that bank picture how much photo shop you use, how much post processing the on the on a picture not very much at all just sharpening or my re toucher does it. So I'm gonna die and sewing in tune with him that were on the same page. We face time while he's retouching to discuss things, and he'll send me stuff and all could season it's his name's, damien baton, elise amazing he's in plattsburgh, new york. But we sit there and do it all together, and we do very subtle stuff that he does all my stuff that goes on my website, color works and my si dot com is my retouching that I've been working with since two thousand two. They do all my actors, all my corporate stuff and all that stuff, so they know my whole drill is well, but he doesn't have time because he's so busy doing all my work, he doesn't have time to face time with me, so I do it all with damien, so but if you want to check out color works and dot com okay, so a question from and west bear. Hey, peter, are you pushing the forehead forward equally for men as you are for women? Is it all of those those things you just taught us it's that it's on an individual basis, some people need to jam it out there further than others. If you got a little extra action over here I'm gonna make you abuse yourself if you don't need to do it much don't have them do it they don't if they don't need to get out there you don't need to go crazy like I got a little lecture and I don't want to get out there you know a little action like this we can it doesn't have much not no I would not have you go out very far not even there for yeah because it looks it once they start to look strange turn done turtleneck all right, we got more questions to rapid fire how do you know when to put half the face in the shadow or not that's from kathy heidinger I think it depends on your aesthetic like I don't like head shots that have a lot of shadow but with guys what I do with the kino is I hit the cheek right here so the main source is hits here and then my buddy phil is that I call my feel like my buddy you're filling your best friend your best love it it's in illuminating the face I started to talk about phil so if but so phil I fill this side with my buddy and then I got my kicked back there so I I open up the cheek with the kick so I don't like shadowing from here on in head shops darby, but for portraiture and stuff where you want something that's a little bit more ominous or edgier than you khun shadow up all you want, but I usually like to make sure I got full light all over the eye, and then that the key light hits here all right time for just a couple more questions, one of the audience and then one online what's the main difference when directing corporate head, just like two actors such us on does it change is also dependent on the company or the level our own within the company you're working with. I think I've changed over the years. It doesn't change for the company it changes because of my confidence. When I wasn't confident shooting corporate head shots, I was very quiet and I would just be very straight with them turn this way turn that way smile tried the squint, but now that I've tried to be authentic and everything that I do, what you saw here today is the way I feel best. I like being energetic karma shoot, I like be energetic when I teach um I don't filter that because it's, not me, it doesn't feel like me, I used to because I thought I had to be somebody for them. And now I'm just the point where I'm just like, no, I want to be it's my day to it's, not their day. I don't care how big highfalutin they are, it's there in my space, they're working with me, it's my day to I'm gonna act the way I want to act, but I can't go is far with corporate people's I can actors, but believe me, the corporate people it's like going to the dentist for them, so they're just they just got told to do it. They get in there and they want to do it, and I mean, they don't want to do it and they get in there like, oh my gosh, can we just please get this over with? And I messed with them in a little bit, and they're like, oh, no, I don't have to go to back to work. Yeah, that and they just want to stay, so if I can get them to want to stay, if I could get us, if I could get fifteen minutes out of ceo, that was going to give me two minutes I want and then it is your day love doing last question, because this one had twelve votes, how many different head shots do clients need and that's from terry? An actor needs a variety so they might use it over the course of a couple years or whatever three, four, five, six head shots just for different roles. If I give them different expressions, a corporate person really only needs one, maybe two, maybe they need one that hasn't slightly bigger smile and one that's really kind of confident and tougher like if they want to see if their if they wrote something and they get asked by a magazine for something they want to look really intelligent, they might want the one that's, not a smiling, but on their corporate website, they might want to feel more approachable with their clients. They want one that's got more smile, usually with corporate types. I try and get big laugh around on them, but that's usually for their spouse, I'm like don't they're like get rid of that that smiles too big, you're thankful love it. Are you kidding me? Keep that in there, you know? And then and then as they get this, get so that's better that's, but that's the one they're going to use but that I don't filter what I'm trying to get him trying to get the range out of them and then it's all flying in the camera and just seeing what, seeing what works awesome

Class Description

If you aren’t offering headshot photography services, you are missing out on a huge opportunity. The demand for professional headshots has proliferated in recent years and in this class Peter Hurley will teach you shooting and selling techniques that will help you land that business.

A headshot can quickly communicate personality and create connection. In How to Take the Perfect Headshot, Peter will teach you how to quickly and consistently capture a person’s personality by identifying and photographing their best side. As a photographer you need to walk into your session with a plan. Peter will teach you the keys to this plan and offer tips on coaching your subject through the process and helping them relax in front of the camera.



Lots of excellent tips and I although there was some self promotion, I didn't mind. I like Peter and appreciate his enthusiasm and willingness to share his know how. My headshot photography has improved ten fold, thanks to Peter.