Revisiting Tip #19 from my tips on how to prepare for and get the most out of your next business portrait session: Glasses

 

Left: more reflective lenses, no good in this position. Right: less glare-prone glasses.

 

I have been a glasses wearer for years and, as such, feel I don’t really look like myself in a photo unless I am wearing glasses.

 

I am also seeing more and more people who wear glasses at photo shoots, and just as I want to wear my glasses in my profile pics I expect to photograph other wearers authentically bespectacled as well. However, as I’m sure you know, glasses can cause problems with reflections in the lenses, some more than others.  

 

Recently I lucked out and got a great deal on two new pairs. Time for a new profile pic!

 

Right away I noticed that the lenses in one of them seemed to catch the light all around me way more than the other ones. Every time I saw myself in a mirror with pair #1 I could see lights reflecting in them. The other ones didn’t seem to do that.

 

Sure enough as soon as I went to photograph myself (I get to do this; I’m a pro 😊 ) I confirmed that if I held my head a certain way the lenses reflected the light, partially obscuring my eyes, and creating a distracting retouching nightmare (if I were to actually shoot that way). This is something we ALWAYS want to try to avoid. When this happens, we are, right away, limited in terms of head position and to some extent full self-expression because we have to angle away from the light. Photographers can also angle lights so they are less prone to hit lenses, but that is limiting is other ways. (Note that I lit these shots in my high-ceilinged studio to mitigate glare; I could never have fit this set-up in an office downtown, and it didn’t fully solve the problem anyway.)

 

Of course, wouldn’t you know, of my two new pairs of specs my favourite ones are the ones that are the bad reflectors. Another suboptimal-for-photos  thing about them is that they tend to sit low on the bridge of my nose, meaning it’s hard to achieve a flattering head-relative-to- camera angle that doesn’t result in the upper part of the frame bisecting my eyes.

 

So I did try pair #2 (photo right), and they were much less reflective, but I just don’t love them.

 

What is the upshot here? For me, with the luxury of having two pairs of glasses to choose from, I can consider the pros and cons of each and pick the lesser of two evils. (Some non-glare lenses don’t reflect light at all which makes them a delight to shoot…if you never notice lights reflecting in them you may have these and if so, yay you!). Of my two new pairs I really prefer the ones that are harder to shoot, so those are my choice for my new profile pics…too bad for the photographer and for the subject (ha-ha)…I understand the draw backs, and I am willing to work with it.  

 

My advice to you, my fellow glasses wearers, is to remember that eye wear can impact photography, and to bring more than one pair to your shoot if you have them, and see what happens. It may really help to have an option or two. But don’t wear ones you hate, because then you’ll probably hate the photos.

 

If you follow me you may have seen a version of this tip before. Here's the link: 

http://khollinrakemakemepretty.blogspot.com/2022/04/30-tips-to-help-you-prepare-for-your.html

 

Hope this helps! 

kathryn@hollinrake.com 

hollinrake.com

How do I know when it's time for a new profile pic?

 

When is it time to get a new profile portrait? I answered this question in the comments under a LinkedIn post just a few weeks ago but thought it may be helpful to write a more considered response here. If you Google that question you'll see lots of answers from other photographers and branding gurus, so you don’t really need me, but I'm happy to chime in, and I can start with an example from personal experience.

 

In 2021 I did a personal branding self-portrait (above) ostensibly of me shooting a portrait. About a year ago I changed my hair style to a much shorter one. I was also reminded every time I saw my profile pic not only how red my hair looks in photos (this is not uncommon with hair that has even a hint of red), but how much my natural red has actually faded.

 

I still really liked the concept of my photo which was still relevant, but it was jarring to see an old self that no longer looked like me every time I logged onto LinkedIn. Beyond my hair losing some of its colour my face had also continued to age, as they do! If it was jarring for me I imagined how surprised people would be when they saw me IRL, not a great way to start a business (or any other) relationship.

 

 

So I needed to redo this shot. For one thing, I felt that it would serve me to be more intentional about the background, ie. to use one more in keeping with the environments in which I often shoot (corporate offices). I also tend to photograph younger than I am (not just my hair) so I really had to hold back on the retouching and leave in some of the wrinkles that I've "earned", as a client recently put it when she wanted me to put back her wrinkles (which I'd slightly over-zealously softened).

 

So tip #1...if you feel jarred every time you see your own photo it’s probably time for an update. 

 

Here's is my possibly slightly repetitive 7 point list of reasons to get a new photo:

• You look different now.   
  
• Your profile pic looks dated (last season's colour palette, or maybe your hair style or wardrobe scream "not current!"). The general recommendation is to update at intervals anywhere from 2 years to 3 to 5, with the caveat that any significant change warrants a new profile pic ASAP.
• Your current shot is not working for you – eg. you’re trying to attract clients and your photo is not helping, maybe because it is not depicting the you you want them to see, or that they want to see. You might look very pretty/cute /handsome but not be exuding a “You can trust me in business” vibe.
• You just don’t like your current pic…I can hear the chorus of “I never like myself in photos!” and I get it, but, realistically, is your photo not showing you in your best light, so to speak? Did you never really love that photo of yourself in the first place, or you did, but you just don't look like that anymore? Either way, time to refresh!
• Your current pic does not reflect the professional that you are…maybe you used a shot that was OK because you needed SOMETHING, but it’s glaringly obviously not a professional quality photo, eg. you’ve cropped your head out of a shot with other people in it, lighting is bad, wardrobe is inappropriate, expression is inappropriate, photo is dark, blurry or grainy, etc., none of which suggests you care about how you show up (wherever you've posted that photo).
  
• You are in a new phase of your professional journey. We are all growing (hopefully) all the time, in business and life. A business portrait broadcasts your brand to the world and should reflect and represent each new and improved iteration of yourself. 
• You need a consistent set of branding images for multiple uses and you only have one (which you are so sick of using over and over again!), or ones that have been created in a piecemeal way.

 

If you don't have an up-to-date, relevant, and appropriate professional looking profile portrait I'd ask you to 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), feel good (knowing you've got a great full time first impression generator working for you)!

 

Let me know if I can help.

 

kathryn@hollinrake.com

hollinrake.com

Getting a quote for business profile portraits (aka headshots) - a checklist

 

 

I’ve got to admit I used to hate it when companies started running back to school ads not even half way through summer, and I didn’t want to be that killjoy, so I’ve dawdled just long enough to still give you time to start planning if you have to organize one or more profile portraits for the fall get-back-to-serious-work-and gear-up-for-a-successful-fourth-quarter season.

 

Regardless of the time of year, if you need to get a quote for business profile portraits (aka headshots, a catch-all term which anyone who knows me knows I avoid… this checklist is a big part of the reason for that) there are some things it will help you and the quoting photographer(s) to know in order for them to quote efficiently and accurately, because photography is not a one size fits all proposition.

 

1)    First off, just to get this out of the way, is there a specific date or dates on which you need to shoot? If so this would be the first point to cover as there’s no point getting an estimate from a photographer who is not available when you need them.

 

2)    What is/are the photos for? For example, if for a website is there a designer and/or layout into which the photos have to fit that will be dictating the number, shape, size and look of the image(s)? Do the images have to match a previously existing set of portraits?

 

3)    How many people are to be photographed?

 

4)    Do you need head and shoulders, torso or full length shots? This could impact the time and space needed to achieve them.

 

5)    Is the subject or are the subjects executive level or support staff level? This could affect the amount of time and the budget you’ll want to dedicate to the shoot. For example, an executive portrait might be scheduled for a 30 minute on-site session which would allow that executive time to review images and make selects during the shoot (which, by the way, can be much more efficient and less work for the organizer of multiple portraits who otherwise may be tasked with managing the selection process  - ie. sending contacts to individuals, getting them to respond with selects, and forwarding the list to the photographer, etc.). In another example, if there is a team of support staff (which could involve anywhere from 5 to 100 or more people) requiring photos the shoot and individual session duration, logistics, and cost, would necessarily be very different.

 

6)    Further to #5 how much time do you have for this shoot, on an individual basis or for the whole shoot if it’s for multiple individuals? Keep in mind that more time will generally be more conducive to great photos. It’s not about a photographer being able to shoot fast, it’s about making sure you put aside enough time to make the whole exercise worthwhile…a more relaxed, not-rushed experience will generally result in better pictures.

 

7)    If there are a number of individuals to be photographed do you also need a group shot or shots of them?

 

8)    What kind of background do you want? For example, do you want a fairly simple, clean seamless, or do you want an environmental background? If environmental do you have somewhere suitable (aesthetically pleasing, adequately spacious) for the shoot, or does an off-site location need to be found and arranged? Or can we use digital backgrounds?

 

9)    In tandem with question 8, if shooting on location is not a necessity for aesthetic or logistical reasons, would you prefer the photographer to come to you, or for you or the subject(s) to come to the photographer’s studio? In my case if we come to you, you save travel time but incur additional costs such as that of an assistant (who I hire only for location shoots). There are other considerations re shooting in studio vs. on location which you can discuss with your photographer, as these will vary depending on the photographer and your circumstances and needs.

 

10)  Will you want a hair and make-up artist? Sometimes this is a very good idea and sometimes it’s less necessary. It’s something to consider. (Talk to the photographer.)

 

11)  How many final files do you want? Meaning, how many high res, retouched images? Every photographer will do this a bit differently. In my case I have a flat rate for a basic portrait retouch, per individual image and I only release high res files once they are touched up, because having unretouched high res portraits out in the world will serve nobody. (This issue of retouching, whether to do it, how much to do it, etc. is for another post, but the thing about high detail, professionally shot images is that they tend to render detail to an extent beyond which the human eyes perceives those details IRL(not necessarily a good thing). So in my opinion some level of retouching is a must.)

 

 

When you reach out to a photographer for a quote it will help the process tremendously if you have an idea of the answers to these ten+ questions or are at least open to discussing them. Which brings me to one of my biggest tips…talk to your (potential) photographer. They can help you figure out the best way forward and I’d assert it’s way more efficient to have a conversation than to e-mail back and forth at this initial stage, especially when for many seeking quotes the language and logistics of photography are not necessarily familiar. Professional photographers are problem solvers and we have the experience to guide you through the whole process of organizing a shoot. 

 

As for the quotes you receive, keep in mind that if a photographer seems really cheap or really expensive there’s going to be a reason for that. They are doing, or not doing, something different. Assume photographers are not charging wildly disparate rates for the exact same thing. And watch out for false economies like quantity over quality.

 

Finally, a request on behalf of all providers of proposals, assuming you did actually ask them to quote:  get back to the quoters as to why they did or didn’t get the job. It’s the nice, courteous, professional and right thing to do and it will better serve everyone involved, in the long run. It’s impossible, for anyone, to function effectively in a vacuum.

 

(If you need more convincing that getting back to quoters is the right thing to do there’s this: https://www.linkedin.com/posts/kathrynhollinrake_why-ghosting-is-harmful-to-your-reputation-activity-7025967576300085248-EVI_/?originalSubdomain=mu  )

 

Good luck organizing your next shoot! Let me know if I can help.

 

kathryn@hollinrake.com

hollinrake.com

How to get the most out of a "quickie" headshot

 

Here’s a scenario I know many people will relate to:  you go to a conference or event and as a bonus for attendees there is a headshot booth or headshot photographer. This can be a great opportunity to get an updated profile portrait for very little or even zero cost. But how often are you really camera ready at an event?  Here are a few tips on how to get the most out of a quickie headshot.

 

If you know in advance that this opportunity is going to exist, dress appropriately: wear something appropriately professional that you look and feel great in, with a flattering neckline in a fabric that doesn’t wrinkle easily and isn’t too distracting (eg. no big patterns).

 

Remember that you will get more potentially winning shots if you are nicely groomed and styled. You’ll want to take care of this before stepping in front of the camera. Yes, sometimes (not always) the photographer or assistant will be hands on and help in the moment, but this eats up valuable shooting time, for you (more styling = less shooting and fewer photos) and for the others in line behind you, so it’s best for everyone if you show up camera ready, meaning:

 

-  Teeth clean (if you have just had a coffee break or lunch make sure there are no food bits stuck between your teeth

 

- Hair styled. For very short hair cuts (eg. men) make sure hair is behind the ears where it’s supposed to be (sometimes if a hair cut is past due the hair comes down over the ears), and make sure your hairs are all pointing in the directions you want them to. Long hair can be a challenge. Make sure it actually is how you like it in photos…ie. forward on both sides, forward on one side, back on the other, etc. and if you have access to hair spray and have fly aways etc., use it. Long hair moves in real life so careful positioning of tresses is less important, but in a still photo wherever hair sits it’s locked in that position forever, including “mistakes” like strands stuck under your collar, and fly aways straying across your neck. Yes, if retouching is available that may be able to take care of distracting issues like these, but why pay to fix something that could have been taken care of in camera (if retouching is even an option)?

 

-Eye brows good… sometimes eye brow hairs get a bit mussed when we get dressed or whatever and we don’t notice. A quick once over with a finger can brush them into shape.

 

- Make-up touched up if you wear it. Pay careful attention to lipstick, in particular, making sure it is carefully, consistently and evenly applied across lip surfaces. Check for mascara blotches and other signs of tired make-up and fix them. If your skin is shiny, blot or apply powder if you can.  

 

- Eye glasses clean

 

- Lint and dust removed from clothing…if there’s no lint roller available at least brush yourself off so pet hairs or whatever dust etc. may have got on you don’t wreck your shots or make you pay for retouching (again, if that’s an option).

 

Once you’ve got your self camera ready, step in front of the camera when it’s your turn, take a deep breathe, exhale (and keep breathing), set your shoulders back and down and shine!

 

If you’re interested and missed my series of tips on how to prepare for get the most out of your next business portrait please see below for a link to my free ebook, and a link to my wardrobe blurb.

 

https://hollinrake.com/pdfs Business Portrait Tips by Kathryn Hollinrake

http://khollinrakemakemepretty.blogspot.com/2021/09/wardrobe-for-business-profile-portraits.html

 

#profileportraits, #portraitphotography, #headshots, #notjustaheadshot, #corporatephotography, #authors, #authorportraits, #bookcovers,

 

kathryn@hollinrake.com

hollinrake.com

 

Overcast daylight in my studio

My experiment succeeded and I'm not happy.

 

 

 

 

What was I trying to do and why? Well, Clients will sometimes say to me during the planning phase of their portrait shoot that they think they’d like to be outside. My initial response is always to ask how an outdoor background will help tell their story. And then generally we move on to choosing an indoor setting.

 

But, sometimes there is a good reason to appear to be outside (eg. you are in environmental services or some other outdoors oriented business), so we need to be able to make that happen without necessarily going outside where too many things will be out of our control. Better to perfect the art of simulating outdoor light indoors, one of the holy grails of professional photography. The other requirement for successful imitation outdoor portraits is digital backgrounds, ideally shot specifically for portraits (ie. more and less out of focus for different lens focal lengths), which I have.

 

Some of these backgrounds were shot on sunny days, some in partial sun, and some on overcast days mostly by accident because the sun disappeared. The overcast ones I never really used because overcast light is not, to me, great for portraits (and you want the lighting on the subject to at least somewhat match the lighting in the background.)

 

But maybe I was wrong. (I wasn’t.) So after some thought I bought a new light modifier, set it up above camera sort of like the sky, but cheated a bit with the angle to avoid the dreaded “raccoon eyes” effect of straight overcast light (you’ve seen this, when skylight shines straight down causing eye socket shadows that make your eyes look like little caves), photographed myself and did the appropriate post-production. And while I think I achieved my goal of creating overcast light in studio, I’m not really sure I’ll ever want to do it again.

 

So what’s wrong with this photo? I love this background...that’s why I wanted to figure out a way to use it. But it's not ALL about the background!

 

First of all, although I ironed my linen shirt it I still had to retouch out a large, stubborn and unsightly wrinkle (annoying, and as you can see not the only one!). It’s also a bit baggy, and not a flattering shape. So, bad choice of wardrobe.

 

But a bigger problem for me was that I couldn’t smile. Because in this lighting I looked awful smiling. It was just not flattering at all and no I am not going to show you. But I was reminded why I avoid shooting in this kind of light. Unless it is understood and embraced that there will be no smiling, say because the subject is the author of a book on climate change or some similarly dire topic. Of course nobody HAS to smile, but as I often repeat, studies suggest people appear more trustworthy when they are smiling. In order for a business portrait to really serve you best, and do its job it should really do the opposite of warning people that you are not friendly and not interested in connecting. That certainly wouldn’t serve me as someone who works with people. (This post will be the only time I ever use this photo.)

 

One more thought on the “smiling” thing. While some people are not “smilers” or don’t view themselves as such, I’d encourage anyone having their business photo taken to be open to possibilities. If you feel a smile coming on during your shoot just let it happen. You don’t have to use that frame, but you never know what magic the photographer might capture if you just let yourself shine through unimpeded by self-censorship.

 

On that note, thanks for reading. I look forward to not using this lighting on you.

 

kathryn@hollinrake.com

Hollinrake.com

Kathryn Hollinrake (Fake) Book Cover Project

 

Thanks to British photographer Glynn Dewis for the portrait style inspiration.

 

I will start this post by asking Graphic Designers to forgive me. And by reminding readers that it’s important, as always, to have a sense of humour.  

 

I have spent a lot of time over the past few years focusing on messaging to corporate clients, in 2022 dressing up as a “business woman” for my series of portrait Tips (see my previous post). Now, in a bit of a twist I re-imagine myself as a bunch of imaginary authors, to illustrate some of the (sometimes) more creative ways an author may want to show up on a book cover or jacket flap.

 

Authors always need profile portraits. If you know one or are one, I’d love to work with you.

 

And if you’d like to see some actual author portraits click here. 

 

Skies May 2017, me in my studio January 2023

 

James Gardens July 2021, me in my studio January 2023

 

Had there been room the subtitle for this one would have been “a biography that is never going to be written because this is my son’s dog who is now really my husband’s dog. He’s my dog, too, but my husband is the one for whom he wags his entire body.

And yes I do have tricks to make dogs (not just ours) smile like this. 

Rosetta McClain Gardens Aug 2021, Jagger and me in studio Feb. 2023

 

Aging myself here but anyone remember the 1976 song by Mary MacGregor Torn Between Two Lovers? I can't not hear it when I see this:

 

 

 

As a detail oriented portrait artist who is often focused on showing people in their best, most professional light, I often don’t  get an opportunity to venture outside the lines. But sometimes, there’s an author (or other client) who can stand to look a little less buttoned down. Even I don’t want to look perfect all the time. 😉

 

 

Does this next cover remind you of another cover you may have seen? It may be a bit of a stretch but here’s the back story…I hardly ever buy hard cover books but I bought Alec Baldwin’s Nevertheless because I LOVED the cover shot by Michael Tighe (check it out…he shot the front and back cover many, many years apart), and design by Milan Bozic. I was inspired to do my version of their cover, but I veered a little off course, first accidentally, then purposely running with making it a little more my own than I’d planned to, thus the title. It should have been no surprise I couldn’t exactly mirror AB’s familiar, intense expression as I am no AB! But when the title popped into my head I thought “that’s not the only thing in my life that wasn’t exactly what I expected”…so perfect title for a fake book (not) by me. 

 

 

 

And that's what I've got for now. I might do more, might not. In the meantime, I look forward to collaborating with you!

Get in touch: 

hollinrake.com

kathryn@hollinrake.com