Your company website/About Us/Leadership

 

 

I wrote this a while ago but did not share widely so here it is again in case you missed it! And if you are viewing this on your phone I apologize…please look at it on a computer or something with a screen big enough that you can see both the photos and the words. Hopefully they will make you smile.

 

And on that note, please take the following in the spirit in which it is intended…it’s not criticism…it’s feedback, for your consideration!

 

When you look at these “leadership profile pics” which set of photos makes you think this “company” values and respects their people, and values how they come across to customers, and other interested parties?

Which photos are more likely to make the people pictured feel supported and valued and respected?

Which ones will the people pictured view with pride and confidence?

Which ones sort of say “we really don’t care how our people look to you or how they feel about their profile pics? We just needed to put something in the spaces beside their names.”

 

I work with people all the time who cringe at their existing profile pics. No doubt in some cases viewers are cringing too, even if subconsciously. We all know photos are important…but not just any photos…they don’t count of they are bad ones which may, in fact, not just fail to support but actively undermine your individuals’ and company brand(s). Doesn’t it make sense to go a step further than asking leaders to “please send us your headshot”?

 

Good, considered photography is empowering.

 

I‘d assert that if your people don’t look good (due to low quality photography) then you as a company don’t look good. And, no, to positioning a lack of investment in photography as your way of allowing everyone to show up as their authentic selves with their own “curated” selfies.

 

Please understand the job good photography does, and conduct yourselves accordingly. 😉

 

I’d be happy to help.

 

kathryn@hollinrake.com

hollinrake.com 

 

Should I smile?

 

 

Profile photo clients often ask me "should I smile?"

 

And I'll usually ask them if they smile in their role, at work. If yes, then yes.

 

I love that the question comes from a place of wanting to get the best and most effective photo possible, and yes, business profile photos are supposed to be effective, at showing people who you really are, and showing your warmth and approachability, your love of what you do (and if that's not resonating for you perhaps that's another conversation).

 

The key is not to get too caught up in your head about it. It doesn't suddenly become your job to smile. Rather, it becomes your job, simply, not to censor yourself by trying NOT to smile.

 

Sometimes clients have strong ideas about perceived flaws associated with their smiles: their eyes look smaller when they smile, they don't like their teeth, they don't like their cheeks rounding when they smile, they don't like the wrinkles that form when they smile. But...

 

Trying to control what's happening on your face because you have an issue with your smile will generally not lead to a successful, comfortable-in-your-own-skin-looking photo. If you authentically feel a smile coming let it fly! Most photographers will capture multiple frames...you don't have to choose the smiling shot you don't like, and you may be surprised how compelling it is.

 

It is important to remember that as gorgeous as you are, and as much as you may worry smiling will compromise your good-lookingness, that is not the primary goal. The main goal is to make a powerful and appealing first (and repeat) impression, because you look like someone a viewer can trust and would want to work with. For most of us a smile is going to pull viewers in. Your profile pic has a job to do. Let it do it!

 

Way better writers than I have written excellent articles with a lot more detail and evidence in support of smiling in profile portraits. I'll share a really good one in a sec.

 

My question to you: How confident and approachable do you look in your current profile pic?

 

As always my suggestions are presented to help most people, most of the time. They are not rules, and they don't cover every circumstance.

   

Here's a really good article: https://www.forbes.com/sites/rogerdooley/2025/04/02/should-you-smile-in-your-profile-photo-heres-what-research-shows/

 

kathryn@hollinrake.com

hollinrake.com 

 

Personal Branding Photo Sessions

 

The final set of retouched selects from one client's half day personal branding shoot

 

I probably shouldn't admit this but something like a decade ago I designed a brochure for an on-location personal branding shoot, then got busy and shelved it. I am still busy, of course, but with more requests coming in for a "package" like this I thought it would save us all a lot of time if I had something ready to share that will outline a typical offering and answer a lot of the questions people have.

As such, I'm not going to make this a long drawn-out post because now, once again, I have a handy little PDF I can easily share with you at your request. But I'll fill you in a bit so you'll know if you want to request it.

What's changed in the past ten years? So much, right? But in terms of branding photography, there's more real estate than ever to be populated with your branding imagery. From websites, and various other online platforms and social media, to internal directories, digital work spaces, newsletters, and digital and traditional media depending on your particular circumstances. For some people one quintessential image will do the job. But for those more prolific with their online presence and posts, a larger set of photos that show some variety can ensure neither you nor your viewers get sick of seeing the same photo over and over and over, and give you some flexibility in terms of the version of you you want to deploy at any given time.

You will get the most benefit by being intentional with your photography, and making sure it is up to your professional standards and effectively supports your personal and professional brand. In a world over-saturated with hastily (and often poorly) produced images, one way to stand out from the crowd is high quality photography. And the best way to get that is to work with a professional photographer. Better yet, an experienced one who knows how to bring out the best in people whose expertise may not include being in front of a camera.

That's where I come in.

Let me tell you a little bit about a half day location shoot like the one we did to get the photos above. First we have a chat. Then we do a location scout so I can make sure that where you want to shoot will work. (If you don't have a place to shoot we can talk options, such as rental spaces.) To get the most value on the shoot date, it's helpful for us to figure out in advance precisely where we're going to want to shoot, so I can previsualize and think about lighting, and you can plan outfits and prep the spaces (tidying up, etc.).

In this photo (below), for comparison's sake, I'm showing you the shot we took at the scout (top), versus the one we did on the day. We knew we wanted a shot of J working at her dining table/sometimes desk but we weren't sure what angle would work best. It is so common these days to WFH, but that doesn't mean want to emphasize the homeyness. Having time to previsualize between the scout and the shoot allowed me to pre-plan the best angle to show J looking unequivocally professional. And we were able to set up and light the set quickly and efficiently on the day.

Top: The background is busy and distracting and there's no separation between the subject and the background. Bottom: The angle, composition and lighting emphasize the subject in a flattering and aesthetically pleasing way.

 

Another thing that promoted efficiency was my working with a photo assistant. It's always my preference to work with an assistant on location because I bring a pretty big pile of gear. I do this because lighting is everything. I never rely on available light. Ever. That doesn't mean I won't use available light. If it looks amazing I'll use it. But usually a combination of ambient and artificial works best. Sometimes I need a light somewhere it can't easily be mounted so my assistant will hold it. 

The other reason to work with an assistant is the moving around of stuff that has to happen, whether it's my equipment or something in the background we need to shift then shift back, eg. furniture, art, etc. The time to make sure there's nothing distracting in the background is when you're shooting, not later during retouching. An assistant also provides an extra set of eyes on set, again potentially saving us from noticing wardrobe malfunctions like a flipped up pocket or crooked lapel, backwards pendant, etc., after the shoot when it's too late.

 

A snapshot of my by our client, studiously checking what we're getting as we're shooting tethered (ie. into the computer) so we can all properly see in detail what we're capturing and make adjustments as needed.

 

At this shoot we chose seven spots to work with, which is a lot, and J had six outfits. We were lucky because the house was very photogenic and the weather happened to be beautiful, so we had more options than we needed. The extra, alternative indoor options would have been very helpful had it rained. Shooting in winter would also have precluded the two outdoor shots, because leafless trees, whether you're outside or seeing them through windows in the background, can really compromise a photo.

For this shoot we also decided against a Hair and Make-up artist because J was confident and comfortable doing her own. Professional Hair and Make-up can be a great addition to the experience and really elevate the results, but it also costs more and takes more time.

After an intense and focused but fun five hours we were done. I sent J a web gallery of proofs with my recommendations. We collaborated on selection of the, in this case, seven winning images. Then keeping in mind, as always, the importance of striking a balance between polished and real/authentic I touched up the selects to my standards and delivered the high res files once they were approved. Now J has a well-rounded set of images she can use as she continues to grow and promote her business.

Not every shoot is going to look the same because no two clients and no two locations are the same. But there's nothing as invigorating and confidence-building as having great looking personalized visuals to support your business and your brand, and a flexible, creative and experienced photographer can help, whatever your circumstances. I look forward to helping you show up.

Please call or e-mail me if you'd like to see the PDF. It'll answer many of your questions.

kathryn@hollinrake.com

http://www.hollinrake.com

Don't Pick Me!

 

Photo credit: Me by me. Background: Dynamic Wang, Unsplash

A funny thing happened... 

 

I don't usually share personal stories because they're not generally very professionally on brand for me. I am not always the same person IRL as the perfect and awesome photographer I want seared into your minds. Nevertheless, I see a way to tie this short story into a relatable moment for photo subjects, so here goes...

 

Some who know me know that at various points during my career I have ventured onto the other side of the camera and acted in commercials. I also, many years ago, tried improv classes at Second City but sucked at it so I quit. I even managed at one time to get a small part in a docudrama, which was one of the most stage-fright-inducing experiences of my life. So, between the horror of that and the impossibility of balancing two freelance careers I quit acting and got back to focusing on my real job as a photographer.

 

Then the pandemic happened. After way too much time away from people, and with my mood faltering — I'm sure many can relate — I decided to try comedy again. Back to Second City I went. First, I did a virtual comedy writing course. Then when it was safe I signed up to try improv again. This time, it turned out to be one of the most fun experiences I have ever had. Level 1 was just a relentless blast. It was still fun, but things got more challenging in Level 2, even more so in level 3 and even more so in level 4. And here I hit a wall, because at the end of Level 4 you go on stage, briefly, in front of people who have, some of them, actually paid money to be there...not a lot of money, but money. 

 

Initially I told my instructor I would not be participating in the end of term show. But what kind of person abandons their classmates like that? I knew I would never forgive myself for chickening out. As you can guess, I did not die. But neither did I enjoy. So no Level 5 for me, Level 5 being all about creating a show, and performing it, in front of people.

 

I moved on from Second City and started taking classes at another comedy club where I figured I'd be safe from the stage, at least for a while. (Although last week my current teacher let slip that he had a special surprise for us...never mind...I'm not available that night anyway! Thank goodness!) 

 

Anyway, one day I got a promotional e-mail advertising discounted tickets for a new Second City show that sounded great. So I went. The usher walks me down to the front row, right in front of the stage. My general rule at improv shows is "do not sit at the front," or "do not sit anywhere the performers can see or talk to you." But I let my guard down. I figured "what could happen?". I know you know where this is going. 

 

Of course, to my total horror, at the beginning of one skit, a tall performer guy walks up to the edge of the stage, points down at me and says...I don't actually recall what he said because my brain was imploding, but it would have been something like... "You! Come on up and join us." A spotlight shone down on me. I would have looked quite a lot like my photo here, absolutely mortified, saying "oh, no, no, no..." desperately wanting him to move on and choose someone else.  He was not receptive.  

 

Next thing I know I am walking up the little staircase to the stage, overwhelmed with the irony that the last time I'd been at this establishment I had known in my relieved heart that it would be the last time I'd ever have to set foot on a stage here. How did this happen?! And it turns out it's not just a quick moment, it's a whole bit. I was clicking my heels, but going nowhere (I didn't have Dorothy's shoes). I was stuck there, trying not to die, just trying to get through it. Once again, I know you know that I did not die. 

 

Why am I sharing this story? I'm sharing it so that all those people who dread having their photos taken will know that I really mean it when I say I understand how they feel, on some level. I understand not feeling confident about how you come across, not feeling comfortable out of your element, with lights and a lens pointing straight at you.

 

One big difference is that I, as your photographer, am not some idiot performer that won't listen to you no matter what you say. :) I do care how you feel. And unlike that guy I am not going to let you show up petrified, or any other way than in your power. 

 

So if there's a take-way, other than don't sit in the front row at an improv show unless you are OK with potentially being in it...good for you if that thought doesn't bother you at all!...it's that being photographed by a photographer that cares is much safer than some other circumstances in which you may find yourself. Yes, there are some less caring and patient photographers. I actually experienced one yelling at me "I hate you!" a million years ago when a friend convinced me to try modeling and I couldn't relax...that went nowhere. See, I really do get it. But, back to improv for a sec. There are so many great things about improv  (ask my friend and client author of "The Yes, And" Business Evolution Improv Skills for Leadership and Life - Tracy Shea-Porter), its main and most noteworthy tenet being "yes, and", which is a good note to wrap up on here. "Yes, and" getting professional branding photos. Feel the fear and do it anyway (thank-you always to the late Dr. Susan Jeffers) and trust you'll be safe in the caring space created by sensitive pro's like me. 

 

(Originally published on LinkedIn April 30, 2025.)

 

#businessportraits, #corporatephotographer, #personalbranding 

 

kathryn@hollinrake.com

hollinrake.com 

Why Does a Good Headshot Matter?

 

I see them all the time and so do you...

 

profile photos of highly skilled, talented and accomplished professionals that do not in any way reflect those characteristics.

 

When you look at your photo, if you think "ugh" or "meh" what do you think others think?

Maybe you think nobody is noticing and nobody cares...nobody has said anything...lots of other people have less-than-great photos, and you don't have the bandwidth to prioritize a good headshot right now. But what if you understood that people are noticing, and they are learning something about you the minute they see your photo? Consciously or subconsciously they are getting your message...which is somewhere on a spectrum from "I don't care," to "I am all about excellence and I understand the value of making sure that's clear."

 

What if your profile photo makes the difference between someone finding you on LinkedIn, wanting to learn more about you and reaching out vs. finding you on LinkedIn and moving on? Or what if it influences someone's perception of your value as a provider of whatever you do? If the deciding factor for the profile pic you are using was that it “doesn’t look that bad” and fills the space, the question isn't just "is it really working for me?", but "is it actually be working against me?".

 

And of course LinkedIn isn't the only place people need profile portraits. Here's a case in point. A while ago I had an opportunity to photograph the core partners of a marketing firm for their new website. Originally, they thought they'd just get their Manager of Digital Marketing to shoot them, since part of that person's job is photography. But they determined that there is a difference between the often somewhat temporary nature of social marketing photos and the longevity required of 'foundational' photos that will reside on the company's website and other places for some time to come. These images needed to be of high quality, clearly convey the company's brand, and, of course, look really good.

 

The younger partners did not have a lot of experience with full-fledged photo shoots, and weren't entirely sure what a "real photographer" did. This is so much more common these days, as the barriers to entry into "professional" photography are increasingly low, much can be done with little equipment, budgets are tight, and it can be challenging to communicate the value of hiring a pro. In the case of social marketing posts which have to be executed quickly, economically, repeatedly and ongoingly, it would be logistically and economically impossible to have a pro quote and produce a shoot every time a client had to post a pic, so people make do, including when they "just need headshots".

In this firm's case once we did their profile portraits, they 'got it'. The photos went on to serve them and their company well, and they had a much better understanding of how to position professional photography to their clients, when appropriate.

 

But back to you, if your profile pic screams "did it myself" or "got my partner to do it", or doesn't look anything like the current you, or looks like it was taken on holiday, or at a wedding, or makes you look timid, mean, uninterested, unfriendly, unapproachable, uncomfortable, unprofessional, uncertain, tense, tired, or cute, or makes you cringe, and it doesn't make you think "I'd want to connect with me!" every time you see it, then what are you doing? This is not the you you want to show to the world. This is not your brand.

Even as I was writing this I happened upon a Linkedin post by Julie Cole, LLB, MA in which she says "... fair or not, first impressions matter." (Apil 16, 2024) You can want your visual presence not to matter but that's just not reality. If you're going to have a profile pic it is going to matter, and no, I do not recommend not having one.

 

If you don't have an up-to-date, relevant, and appropriate professional looking profile portrait consider what it might be costing you. Make sure you are not undermining yourself with your photo. Bolster your confidence, and support your professional self...look good (in your photo), and feel good knowing you've got a great full time first impression generator working for you!

 

And one more thing...I've got to say this...no amount of AI is going to help elicit from you your best self. Remember, the point of a profile photo is not to provide a map of your features, it is to show people who you are. A great photographer will capture that in a way no AI ever will. 

 

(Originally published on LinkedIn April 22, 2025.) 

  

#businessportraits, #corporatephotographer, #personalbranding

 

kathryn@hollinrake.com

hollinrake.com 

Head and shoulders or half-body profile pics...what do I want?

 

Me in my studio: half-body main shot, and cropped version for LinkedIn

                       

A question I'm often asked regarding business profile photos is whether I recommend going with a head and shoulders crop or framing to include more body.

 

Usually, if the photo is for LinkedIn, or an internal company directory, or something similar, then I suggest a head and shoulders shot, unless there is a good reason to show more. If you are a dancer or a body builder, or fashion designer or, or have tattoos, or are someone with uniquely expressive body language that is part of your personal brand, that might justify showing more. But generally, where there is a little circle or square space for your photo...think how small it appears on a smart phone...most of us will show up best in a fairly close-up shot of our faces; viewers scanning our profile will quickly get a good first impression of who we are.

 

Other advantages of a head and shoulders shoot:

• easier posing for the subject,  faster to shoot
• you don't have to figure out what to do with your hands
• less to be self-conscious about if don't like having your picture taken (you can be a total mess from the chest down!)
• less wardrobe to be concerned with, ie. what to wear, how well it fits 
  
• easier to hit a power pose
• for those not at their ideal weight tighter crops can be more flattering

 

But, as I acknowledge, there are times when seeing more of a person's body can really serve the cause. Let's say your body language is very indicative of who you are in the world. Maybe you are very relaxed and comfortable in your own skin and are physically expressive; having the freedom to move during your photo session, showing more body, and standing instead of sitting for the photo might really work for you. 

 

Another reason people might opt to show more body is for variety and flexibility. Maybe your photos are for LinkedIn but also for a website, and/or multiple other possible uses -- speaker/contributor profile, author portrait, board member, your organization's website (maybe with a with a mouseover to an expanded crop), newsletters, annual reports, etc. In some cases, the photos need to tell a bit more of a story about you, or simply physically fill a bigger space than a head and shoulders photo would do. Or maybe the environment in which you are being photographed is part of your story.

 

Obviously, the possibilities for a photo shoot are endless with unlimited budget and time. But if your immediate need and resources indicate doing one basic session to get one winning shot, you might get more bounce for your ounce by shooting wide and cropping later for LinkedIn. (I say "might" because some shots may not crop well, for example if the sleeves are wrinkled in a way that makes sense when you see the whole photo but not when you crop tightly...see photo below.) Just remember that the shoot may take more time, as there are more elements to be concerned with in the photo. Even with a great photographer's expert guidance regarding what to do with your hands, and the rest of your body, wider shots can be more challenging.

 

 

And if you're organizing half-body or full-length sessions for a bunch of individuals, remember you need to multiply the extended time for one person by the total number. Total time required can add up fast, especially if subjects are interacting with the background, eg. sitting on a couch, or on a stool, etc., so head and shoulders shots may be more practical for larger numbers.

 

I hope this helps answer the close-up or not too close-up question. Let me know what other questions you have! And remember to check out my free ebook on Business Portrait Tips for answers to questions you may not even know you had!

 

kathryn@hollinrake.com

hollinrake.com

Pay me now or pay me later.

 

You may be able to see the details better if you click to enlarge.

 

My retoucher tells me things. 

 

OK, not really, because I do most of my own retouching. But a colleague of mine who is a professional retoucher sees things I don't see, like photos done by photographers who are less experienced and less detail oriented than another one might be. I wondered why anyone would be unwilling to pay for good photography, but would be willing to pay to fix bad work. Probably because they don’t anticipate the additional cost. When my colleague shared with me some of the things she has been asked to fix I decided to write this post to try to spare whomever I can the pain of totally unnecessarily high retouching bills and time wastage due to backing and forthing by e-mail days and weeks after the shoot.

Wouldn't it be far less painful, and maybe even cost a similar amount to get a good, experienced photographer who knows what to look for while shooting (and tells you how much time you need to get good shots) and just takes good looking photos in the first place? 

 

My illustration is extreme to make a point, but here are some things that aren't uncommon: having one side of a collar pop out from under a jacket lapel, wrinkles, an earring hanging wrong*, lipstick/gloss having partially worn off or hastily applied, mascara smudged, hair on face or food between teeth after lunch.

(*I know you can't really see it here but viewed at full size, or in one of the other frames  where the earring showed more, you'd see it and you'd be bothered.)

 

These are all things that can happen, and that a retoucher may be asked to fix, but could so easily have been avoided with a little care. 

 

Despite the many advantages of digital photography (it's hard to imagine we used to shoot on film and had no Photoshop), when the digital revolution happened it removed a huge barrier to entry into the world of "professional photography" and made way for the notion that "anything can be done in Photoshop." When people proceed with the idea that any number of indiscretions can be fixed in Photoshop, there is a clear path created to a loss of precision and professionalism. 

 

While it may be true that anything can be fixed in Photoshop, there's a cost. Good retouching can cost a lot. The point this that there is risk associated with sloppy photography. From a practical POV, some issues like those on the left photo are not even really fixable, meaning clients end up settling for poor quality, and organizers end up with unhappy bosses.

 

Here's another reason to make sure you hire a good photographer...it is clear to me that there are lots of people who can't really tell the difference between a bad picture and a good one. This is not a criticism...their skill sets lie elsewhere. So if you don't know what's good or bad but you understand that photography is sending a message/telling a story, it really behooves you to hire an expert who does know what makes an excellent photo. Otherwise the story your photo is telling may not be the one you want it to be telling. 

 

While we're here I have a couple of "Don'ts" to pass on regarding portrait wardrobe, because what you wear can play a big part in the success of your photo. Neither the blouse nor the jacket were great choices. Why not? The shape of the jacket and sheen of the fabric meant that unless I could get it to sit perfectly flat on my body (which I couldn't) it would show wrinkles I wouldn't be able to fix in retouching. So make sure your jacket fits and sits well if you wear one. 

 

Also, for some reason, one side of the collar on this jacket tended to stick out way further across the shoulder area than the other side did. I needed fabric tape to pull them in and even them out for the photo on the right. It's rare to have time at a business portrait session to be fiddling around with fabric tape. And the blouse was made of very soft, floppy, wrinkle-prone, patterned fabric. I had to use a lot of fabric tape to get it to hold its shape in the photo on the right, and I still had to retouch it. If your shirt collar can't sit properly without being taped into shape (!) wear a different one.

 

That's it for now. Good luck with your next photo shoot! 

 

kathryn@hollinrake.com

hollinrake.com

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