Acting School: Headshots 202

by Bob Fraser

As you probably know, I get lots of questions in my email. I also make it a point to visit all the groups and try to answer questions I see posted.

Recently there have been some queries about headshots. One had to do with the whole question of who owns the copyright on the photos – and another was what they should cost.

First let's deal with the copyright issue. Your photographer can and does claim copyright over his work. However, that is rarely the point since a photographer cannot actually use your image for his benefit without your written permission. It's called a "release" and is a result of laws that say you are the sole owner of your face. Very few people, who are paying for their own headshots, are asked to sign a realease.

Photographers typically keep the negatives for a purely pecuniary reason. When you need 8X10 prints for making copies, they make some more money. BTW, that's an acceptable and general practice.

(In the last few years digital photography is changing this practice somewhat – photo sessions are being delivered on CD and pictures are being distributed electronically. Photographers are adjusting their businesses to this new reality and it seems that most are giving the actor the CD.)

So, the bottom line is this: If you want the negatives after your shoot, (or the CD) be sure and check with the photographer first. Some don't care. Others are strictly business and want to make more money. If the photographer wants to keep the negatives, (or the CD) and you want to keep them – well, I guess you'll have to find another guy (or gal).

(A side note on this: Allowing a thoroughly professional headshot photographer take care of your negatives is a good idea. They know what they're doing. They rarely charge more than a reasonable price for 8X10 prints. Plus, you are dealing directly with the person responsible for making a good print for reproduction. If you have problems, there's someone to complain to.)

Some other lists are all hot and bothered about the price of headshots. Someone paid $795 for a session, plus 100 bucks for make-up. Lot's of raised hackles – "this is too much" etc.

Here's the scoop. When you are starting your career you will probably get an average of 5 or 6 headshots before you find one that works. (Some lucky people get a "worker" right away. but 5 or 6 seems to be about average.) When I say "works" I am explicitly talking about this scenario – you send out your headshot and people call you in for a "meet."

If you send out lots of pictures and no one calls - "Doh! That picture don't work!"

So, the upshot of this reality is simple. Only buy reasonable (affordable) services in the beginning. My first photo session was $25.00 (of course, this was in the Bronze Age - 1962) and that was considered median at the time.

15 years later I got a headshot that literally "zoomed" and I booked 6 commercials, 3 sitcom guest star roles, 2 films and the top agent in town in about 6 months. That photo session was 75 dollars. Still reasonable. Still in the middle of the spectrum. (But also still back in the dark ages – 1976.)

When I was a recurring character on Benson, had just signed a big deal with Paramount and created a a new sitcom and a game show, I got a publicist. At her insistence, I booked one of the best guys in the biz to do my pictures. This is a guy who shoots covers for TV Guide. That session cost 2800.00 bucks. (1985)

Today, a good headshot specialist charges between 50 and 200 dollars a roll.

If you know what you're doing – (you can learn that in my course, Headshot Secrets Revealed ... plug plug) – then one or two rolls is all you'll need to get a "keeper." The low, mid range is 50 to 75 dollars a roll. So expect to pay at least that much, to get a pro. You can get away with as little as 75 bucks (1 roll, a few prints) or splurge for the full color, big studio, 20 to 30 roll shoot for around 5 or 6 grand.

My advice? Since it may take a few attempts to get a headshot that gets you called in, I'd budget this part of my plan very carefully. And, for goodness sake, before you pay out hard-earned money – find out how to get in front of a camera and "communicate" with the viewer.

This is one of the hardest things an actor must learn and you'd better get started right away. I don't have to point out that movies are "photography," do I?

How you look in the picture is your responsibilty – don't pay through the nose to learn this crucial part of an actor's career ... in front of a camera that is costing you some serious cabbage.

But be realistic, too.

Your cousin's friend who is the audio-video guy over in corporate is not who you should be going to for your headshots.

And a digital camera does not a photographer make.

The good ones are the ones who know when to click the shutter. This is a skill. Not everyone possesses this skill. Go to a pro.

If a photographer has been advertising in Backstage or New England Entertainment Digest or The Florida Blue Sheet – or other local "trades" for a while – (s)he's probably professional ... and probably adequate for your needs.

Do your own "due diligence." A good photographer (for you) is as important as a good doctor. Don't hope to get a good result with a half-hearted approach. Your headshot is the most important tool you have. If you don't have a good one (one that gets you called in) all your other efforts will not have the desired outcome.

A good headshot is the DOORWAY TO: Where you want to go.

You can argue that your talent will be recognized, or keep using the same old picture and insisting that agents and casting directors (against their own better judgement) just aren't looking for new faces – but the reality will still remain ... you need a good headshot to get through that first door.

It's up to you how much you want to invest in it. Time, effort, and money.

If it's too much trouble to keep trying (when the picture isn't working) then maybe it's time to reconsider that job you can fall back on.

If your answer is to hire the "best" – judging entirely on how much it costs, and then sit back waiting for the limo to show up to take you over to success – well, I see a picture of disappointment.

Spend what you can.

Work hard to do your part right.

Keep trying.

Keep reminding yourself, "This is the way in the door."

A good headshot is how you will meet every casting director, assistant, agent, assistant, casting consultant, assistant, director, assistant, and manager in the business.

... 'twas ever thus.

There's hardly any other way in the door. Well, you could star in a Broadway hit. Or a little independent movie. Some little bits in TV. Maybe a feature role in a commercial.

But, realistically, you're going to need a headshot to get in those doors.

Well, I have lots more to say about headshots and their importance to your results – but I don't think I should do two plugs for Headshot Secrets Revealed ... in one article.