How to Look Professional on Video Conference Calls - Backgrounds

New Product Launch!  Executive Video Conference Call Consultation and Set-Up Package

Ah, the joy of video conference calls! Does your heart fill with joy and confidence at every opportunity you get to showcase your professional awesomeness in a video call? Do you have a set-up that supports your showing up clearly and professionally?

At this point all indications are that video calls are not going anywhere, with some companies planning to hold off on bringing employees back to their offices until 2021, or possibly ever. A lot of people are not comfortable with video calls. There are a number of reasons for this, not the least of which may be the feeling that it's like having photo day (the horror!), over and over again. And not only do you have to show up on camera yourself, but people may see your home, your private space, and depending on your particular circumstances maybe a big part of it, or a small but messy or ill-lit or unattractive or distracting part if it. Not a great set of circumstances to reinforce your confidence.

It can be an uncomfortable proposition and I know for some the solution is to turn off the camera. But turning yourself "off" is not going to serve you in the short or long run. That said, we are way past the point where just showing up on video is enough. People may not say anything about their teams' and colleagues' poor set-ups, but I know from experience that they are noticing, they are (in some cases) distracted, and they are (in some cases) not impressed. Recently a high level executive told me in person that some of her team looked terrible on their calls. And I've heard stories of executives showing up in sweats. So truly, people do notice. Looking bad on video calls is not what you want to be noticed for, but you do want to be noticed! Think "executive presence" (but not the guy in sweats!).

Video conference call background #1. The stand is included and is to be positioned right behind your chair. The single stand makes for a tiny footprint, perfect for small spaces. (Photo updated My 2021)

Still from video capture showing me in front of photo fabric video conference call backdrop #1. The image for this backdrop was shot in an office downtown and modified for use as both a digital portrait background, and later a video conference photo fabric background. (Photo updated May 2021)

When the whole video-conferencing-for-everyone thing started I had, like many people, to figure out how to go from no video call set-up to looking professional on camera overnight. I didn't have an appropriate spot in the space I share with my family, and had to set something up. I, at least, had the advantage of being a photographer. So after doing some research I made a little movie with some helpful tips, understanding that not everyone would be as excited about experimenting with set-up details as I was. Here's a link to that if you're interested: https://youtu.be/10l1QrJrVzc

One of the biggest challenges, and the source of much of what is distracting about people's set-ups, is the background. Initially I became obsessed with virtual backgrounds...finding them, designing them, using them, and helping other people use them, until I came to the frustrating realization that they seemed, really, only to work well on Zoom, and even there it helped to have a green screen. So the many users on other platforms were out of luck, to varying extents. Fast forward and I finally realized that I already had a simple solution for everyone to look good on any platform -- actual physical backdrops which I have been specially designing for portrait shoots for years. All that was needed was a redesign to make them image-appropriate for individual business people, and work in their personal spaces.

These backgrounds simplify the set-up part of the equation in an easily accessible way for non-photographers, so professionals can set up quickly, easily and consistently, never have to clean up their space again just for a video call, and feel comfortable and confident about showing up on video (whether on video calls or filming messaging videos for their teams).

Expertly designed and created these small, home-office friendly backgrounds (mounted on a small single stand that’s included) are specifically designed for one person to sit in front of, to hide the room, and create the illusion of a nice, tidy room space. They are designed so that the image frames your head and shoulders, and there are few elements in the "room", just enough to suggest a nice, tidy, home-based (in most cases) space. Even the art on the walls in these images has been modified or created to be innocuous and not distracting. (This, I'll just mention, is in direct contrast to many of the virtual backgrounds on offer out there, which are often highly distracting and filled with eye catching art and furniture...exactly what we don't want as they take the focus off you and onto the background).

Working from home often means space is at a premium so the kit is really small. The super small 3.5 x 5 foot backgrounds are printed on anti-wrinkle jersey fabric*, and the single stand is 5 feet wide (fixed width, adjustable height). This means it will fit into a small space, and the single stand means the footprint (ie. space required on the floor) is tiny. And once you set it up (or I set it up), you can easily move it aside to be popped back behind you whenever you have a call. If you do want to put it away the backdrop can be rolled up and stowed, and the stand is collapsible. *As of spring 2021 the jersey fabric is no longer available and has been replaced with an opaque black rubber backed fabric which does not wrinkle easily, and does not allow light to shine through.

Whether you are using your actual environment in your home or office, or you choose to use a virtual or physical backdrop here are a few tips to make sure the focus is on you (in fact, these are the guidelines I follow for my photo fabric background designs). Unfortunately some spaces are never going to look good on video because they are just not conducive; for example there's a door right behind your head or stuff you just can't put anywhere else, in which case a backdrop really may be the best option. But here's the list:

• Keep it simple. Remove clutter.
• If there are shelves behind you, remove objects that may appear to be "growing out of your head".
• Keep background plants off to the sides, not poking out from behind your head.
• Remember that most web cams have wide angle lenses so you need to tidy up all the way to the  edges of the room.
• If you do use a photograph (for a virtual background) make sure it's royalty free, and if it has a lot going on it it, try cropping it to remove some of the more distracting elements and blurring it a bit.
• And this is not a background thing, but it's the reason I include a small lamp in the kit...make sure there is light on your face!
• The focus should be on YOU!

Rough mock-ups of 6 specially designed video conference call photo fabric background options. (Please check back for new, additional options.) Please note that colours and crops are approximate; backdrops will appear more tightly cropped when used in real life (as web cams won't see edge to edge), camera and body position will affect the view, and body/head/hair shapes may obscure more/less of the image areas.

Of course it's not just the backgrounds, but the lighting, camera type and position, microphone, wardrobe etc., etc. that affect the way we show up. (I have lots to say about those things as well, just not here or now.) But if you have a nice background and a flattering light you will be a long way towards showing up brilliantly!

The basic package includes:

• 3.5 x 5 foot horizontal fabric backdrop that hangs from a single stand. 6 images to choose from so far. New designs will be added to over time. 
• Small collapsible stand 5 feet wide (fixed), adjustable height
• A small daylight balanced, flattering and flexible desk lamp, the exact model of which may change  based on availability. (What's available and priced right changes all the time. Key features will always be daylight balance, tall enough to be able to shine from above your computer screen, and soft bulb for flattering light.)

I would love to include a web cam and flexible camera mount in the kit, but due to the same circumstances that have us needing to do video calls in the first place, availability has been severely impacted and the webcams I would want to supply are still not available as of my writing this. So I can't promise web cams just yet.


And last but not least I will mention the two options in terms of the consultation part of the package: Option 1 includes initial video call consultation followed by an in-person set-up (in and around Toronto), while Option 2 would involve the virtual consultation only. I can say that from experience it has been found to be very helpful for me to physically visit the space as no two set-ups are the same, and there will be tips and advice on how to get the best results in your space that I'll be better able to offer if I am there and can see the specifics of a space. I also know from feedback that it can be helpful for me to set up the stand and mount the backdrop (as simple as the process is).

I can't wait to help you elevate and align your video presence with your personal brand. Harness the power of looking good to feel good! It could not be easier. I look forward to working with you!

kathryn@hollinrake.com

hollinrake.com

Pricing

Please note: I do not have e-commerce enabled so to buy a kit please e-mail me. Thank-you!

In-Studio Executive Portraits - Take the Time

Three Final Retouched Portraits

 The point of this short post is, primarily, the value of committing an appropriate amount of time to the process of getting the portraits that will really serve you best. My lovely client, Amanda wanted to come away with three final, different shots to give her some flexibility. Uses might include her online profile (company website, LinkedIn, etc.) and various digital and print documents: proposals, marketing materials, publicity, speaker profiles etc. I had asked her to expect to be at the studio for about an hour and a half, two hours max., with the goal of producing a headshot against an environmental backdrop, another against a more plain backdrop and a torso shot.

Amanda brought a small selection of very appropriate wardrobe options -- professional looking, neutral, solid colours, mid-tones, and perfectly fitted -- as per the wardrobe blurb I share with all portrait clients prior to shooting. In her garment bag she had a solid dark blue dress, a gray skirt suit with some stylish black leather detailing, and a round necked, short sleeved gray dress, all neatly pressed. The few wrinkles that had manged to sneak onto one of the dresses were quickly steamed out.

We started with the environmental head shot which I had worked on ahead of time because it's the most time-consuming to set up and I like to be as close to ready to shoot as possible when a client arrives. As always I was very glad to have different wardrobe options we could work with because the one I initially thought would work in this setting just didn't...the dark dress just looked too heavy below Amanda's fair skin and the light-ish backdrop. 

Dress too dark

I find a V neckline often works very well in headshots and suit jackets provide this. So once Amanda had changed into the suit option, it didn't take long to get a great selection of expressions -- comfortable, confident, happy and approachable -- in spite of the fact that Amanda, not atypically, had apparently not exactly been looking forward to our shoot. (Picture top left)

Next in the schedule was the torso shot for which we had planned to use a plain gray background, but the thing about plain gray backgrounds, or any plain background is that they tend to look not just boring, but they can make the subject look as if they are not in the real world. They're great if you need somewhere to put type, like the title of your book, or if flexibility and consistency between multiple portraits is key, but those were not considerations in this case. 

Frames from the ultimately unsuccessful process of determining the best combination of lighting, and wardrobe to go with a plain gray background

So, as we worked to choose a combination of background tone, subject lighting, and wardrobe that worked well together, ultimately we decided to start again with a different set-up entirely: a couch and an upholstery fabric backdrop which would give Amanda more of a chance to settle into the space and exude her real personality, in a somewhat more real looking place. It added a bit to the duration of the shoot, but it was worth it to have the time to explore what would really work best for this particular individual, and get to the point where she was able to utter the magic words "That's me!" (Picture top middle)

We had just enough time to do one final set-up (to finish at the two hour max. beyond which we could not continue due to her tight schedule) and again, rather than use a plain background I quickly fashioned the upholstery fabric from the couch set-up into a corner (I'd planned ahead of time to possibly do this) and had Amanda lean against it, which was again, totally conducive to the more informal, personality-specific look Amanda wanted and could really roll with comfortably. (Picture top right) 

Did this shoot really need to take two hours? There are times when that kind of time is simply not available. But because we blocked a full two hours, just in case, it gave us both, the photographer and the subject, the room to really work through what was working and what wasn't, which will be different for every client. Had Amanda not been willing or able to commit the time, we may not have achieved what we did. In the end, each of the three final portraits succeeds, and each has a distinct feel to it, so Amanda will be covered regardless of who requests her picture or what requirements come up, at least for a while.

One final note: I have a personal preference for a 5x7 format for portraits (as per the three finals), as opposed to 8x10 which is sort of a shorter and fatter shape. Clients will often stipulate 8x10 (which is a well known standard), maybe because they have previously committed to this format and need new portraits to match. But, generally, I don't love the composition; there's too much space beside the head unless you crop quite tightly, which then removes too much of the shoulders and clothing really limiting the flexibility in terms of using the image in different layouts. I always hope that if clients decide to use their 8x10's on LinkedIn they'll crop them tighter, but they often don't and their heads look small. So to all my clients, if you'd like me to do an additional crop of a portrait file for LI please feel free to ask and I'll throw it in, no charge. 

Looking forward to our next shoot!

kathryn@hollinrake.com
www.hollinrake.com

New Environmental Background for In-Studio Corporate Portraits

Dave arrives with shirts cleaned and pressed, on hangers. Yes!

These days there is a growing trend towards environmental business portraits (in which the background is the space where you're shooting, as opposed to a photographer's fabric or paper background). Environmental portraits tend to be a bit more interesting and a bit more 'real' looking. I love this trend. However, not all business people have access to an aesthetically appealing boardroom or office or professional looking space in which a photographer can set-up and shoot. Typically, if the shoot is an in-studio one and there's no budget for creating an interesting custom set, we would be limited to using plain seamless paper or painted muslin. So I decided to create a simple to set-up option for affordable in-studio corporate portraits, that kind of hints at an office (or a somewhat appropriate interior) environment. 

I also wanted a fresher, brighter look this time. I've shot Dave before and one of the tests we did at the beginning of the session looked similar to a past portrait in which the shadow areas were larger and deeper, and the background darker, making for a moodier image...

Wrong shirt for a bright background,
but I didn't want this dark, moody look

not what I wanted at all, but we tried it because the first shirt Dave put on was so pale it didn't separate enough from the lighter background. In this test, the shirt stands out well from the background, but to the detriment of the shot overall. 

Dave is a really happy, positive, friendly guy which serves him extremely well is his capacity as a real estate agent for Re/Max Hallmark Realty Ltd., so we knew we wanted him in a bright environment, smiling. In fact in Dave's case the challenge was to rein in his infectious smile enough that he didn't look too happy (not that anyone can ever really be "too happy").

Dave - Final Portrait
How could you not trust this man?

Is there anything I don't love about the picture? Dave could have worn a plain shirt so I could have retouched out the wrinkles, but this shirt is a favourite of his, it's a great colour on him, and the wrinkles aren't really too distracting. Other than that I think the shot captures Dave's personality perfectly, and I like the feel of the "place" where this photo was taken.

kathryn@hollinrake.com
www.hollinrake.com

How often should I get a new portrait?

A rare non-smiling self-portrait taken in studio

Is it really time for me to publish yet another self-portrait? Well yes, I guess it is, for two reasons: I needed a picture for this post, and I just got new glasses. But seriously, how often should a person update their profile portrait? 

Obviously it's easy for me to say you should do a new profile portrait every time something changes because I can shoot them myself for free. And given that I'm constantly advocating for professional quality profile portraiture, I am aware that hiring a photographer every however often may not be practical or, frankly, affordable.

However, in these days of social media and the (seeming) need (for increasing numbers of people) for constant self-promotion, I would suggest that the need for more frequent updates has arrived. I used to suggest a portrait could be expected to last maybe three years. But in today's faster-than-ever-paced world, in terms of the personal and professional evolution possible in that interval, it seems like a very long time to present one version of oneself. If people are seeing your face all the time in their online networks, a picture is going to "wear out" much more quickly than it did in the past. Furthermore, when you update your profile, you get the added benefit of your network being notified (subject to everyone's settings), and your showing up again on people's radar.

What are the kinds of things that could prompt a new portrait? You might have a new look -- new haircut, new glasses, weight loss, weight gain, Botox, or new overall style perhaps because of a new role, or new company culture you want to reflect. Or you may want a different kind of portrait for your website, for example, from the one you submit to a professional organization, board etc. Not only do fashions change constantly, but photographic styles evolve, too, and what once looked great can come to look dated. That's actually one of the reasons I end up with so many self-portraits -- I am constantly testing new ways, between jobs, to light and shoot (even after all this time as a professional) to keep my corporate portraits fresh, relevant and interesting.

In the shot above, for example, I used a simple, new in-studio set-up designed to create a sense of place where it doesn't actually exist. (My studio has no inherently background-appropriate walls.) Also, sick of producing almost the exact same smile every time I shoot myself (believe me, I can relate to all my clients who think they have one best look), I decided this time I was going to change it up. Usually, if I don't smile I look like I am either about to cry or kill someone (another thing I can relate to, my lovely similarly challenged clients!), but I think I got it this time! I also changed my technique by adding some motion to the mix, moving during the exposure so my skin looked smoother (from the blur) and my hair blurred a bit at the edges in a subtle but interesting way. There was a fan, too.

How long am I going to stick with this shot? Probably not long at all since I just made an appointment to get my hair cut. And, as I always tell my clients, studies suggest that people look friendlier, more approachable and more trustworthy when they smile.

In closing, a question: what do you think of the idea of buying a package of portraits to be taken within a certain interval of time, for example a three portrait package good for one shot every four months? Or maybe a frequent buyer/loyalty card for portraits? Please drop me a line and let me know. 

Thanks for reading! And if you need a new portrait...

kathryn@hollinrake.com
www.hollinrake.com

Executive Portrait Day

Two of the day's environmental head and shoulders portraits

There are many ways to approach corporate portraiture. Here's one way -- this post recounts a recent one day shoot downtown with nine executives.

In this case our client/organizer was able to facilitate scheduling a number of individual executives from different business groups within the organization. A lot of work for her as these are busy people, and available boardrooms can be hard to come by, but it's much more economical to book multiple portraits within a day, and much easier to book one room for one day.

In this case we were also offering executives the choice, ahead of time, between a standard head and shoulders portrait on a gray fabric background (which we bring), or an environmental portrait which shows as little as just head and shoulders to full torso (or full body if so desired) against the backdrop of the boardroom environment. It helps a lot if the boardroom (or other location) is visually interesting and attractive and has some texture and colour, as opposed to four white walls, although I do bring a background banner stand designed specifically to either break up blank, boring walls, or cover distracting elements such as black columns between bright windows. 

More casual environmental portrait - torso

We always recommend doing portraits as early in the day as possible because people tend to look their freshest nearer the beginning of the day than the end. What we don't care about is the time of day, at least in terms of the issue of daylight, because we bring lights, so we're fully prepared to shoot regardless of what is going on outside, and whether there are windows or not. That's not to say we don't love a splash of sunlight on occasion to add some extra light and life to an indoor portrait. We just don't rely on it.

On this day, pretty much as always, we didn't know ahead of time exactly what each executive would look like (even if we looked them up online) or what they'd be wearing (although we provide guidelines) or exactly what kind of pose would suit them best, so we set up what we thought might work and hoped. When each person arrived we showed them a test shot (of my assistant) to see if they liked it, and if so, shot a test of him/her roughly in place and checked it with them.  If they or we didn't love it we either made a quick decision and adjusted the set, or showed them examples of previous portraits shot for other executives at their organization to determine what alternative they might prefer, and quickly adjusted the set.

As we were doing both headshots on a backdrop and environmental portraits we had hoped not to have to switch back and forth between sets as, for this job, we had only one set of gear, meaning we couldn't leave one complete set-up standing while moving to another. However, as it happened, it wasn't possible to book the executives in the order that would have facilitated that. So we just had to move fast. Between the head and shoulders on gray, and the environmentals, we ended up using five distinct set-ups, some of which we reused with minor variations.

Formal head and shoulders on fabric backdrop

Once we agreed on the set-up we got down to personal details. Importantly,  particularly on occasions during which we do not have a make-up artist, we carry a small kit with touch-up essentials such as a mirror, powder, chapstick and Q-tips, toothpicks, hairspray, combs, eyeglass wipes and lint roller so we can make sure the skin is shine-free, lips are freshly lipsticked or moistened, hair is styled, suit is lint free, glasses are clean, and wrinkles are smoothed out as much as possible, which we achieve in part by adjusting the pose (particularly in the case of the headshots). Again, more so with the formal headshots, we carefully pose each person to emphasize their positive attributes, and de-emphasize any less optimal attributes, so their jawlines are defined and they appear confident and engaged. Then we work with them to elicit their ideal expression and essence. As unnatural as sitting on our posing stool (which we bring for the headshots) can seem, subjects ultimately always agree that the end result justifies the means. The benefits of this attention to detail are why we generally opt for a quality over quantity model.

On this day we worked in 45 minute blocks: half an hour to shoot and review, and then fifteen minutes in between to backup the files and set-up the next shot. On this particular shoot each session had to include time to sit down with the executive to review the images, make sure there was one killer shot that they loved and confirm the select to be retouched. My assistant and I bring our experience to bear and actively advise the executives on which portraits we feel are the most successful while making sure to be sensitive to their personal opinions, as they are the ones who have to love their pictures in the end. The most fun moment of the whole shoot is often right at the end when the subject, my assistant and I reveal our favourite frame at once, the most gratifying outcome being a three-way agreement.

Another casual environmental portrait

At the time of selection we also offered each executive the option of basic retouching or a full hour retouch. If a portrait is destined exclusively for a small window online in a personal profile, little or no retouching may be appropriate. But for ultimate flexibility including print and presentation purposes, it's safer to choose the more comprehensive retouching option, since at high resolution everything down to individual pores can be clearly visible and distracting details beyond under eye areas, discoloured teeth and blemishes (covered in a basic retouch) can really detract from a portrait's success.

We had included in our quote one final retouched file for each executive, but clients always have the option of choosing additional frames, at the time, or in the future (as we archive all the shots). We don't charge any extra for e-mail delivery of unretouched low res files. Our goal this day, though, was to achieve one truly excellent 'signature' shot per person and in that vein, as planned, that's what we delivered.

A brief final note: As I'll mention in an upcoming post, I generally refrain from posting images (at least large size images) of business portrait subjects, as a courtesy, unless I have their express permission. I would like to thank the lovely clients pictured here and on my website for allowing me to share their portraits.

If you or your organization would like to take your profile pics to the next level,  please give me a call, or e-mail me.  I look forward to discussing your particular needs. 

E-mail Kathryn
www.hollinrake.com