headshots in small foyer
Although this is not the most flattering angle and lens selection for my incredibly handsome face, I wanted to show the space where I worked last week to photograph 9 headshots for one of my good corporate clients. Although many other photographers dislike this constrained format, I have always found a good deal of craft satisfaction in headshots. I also recognize that the box of the headshot is a refuge from choice. I won’t expound upon that at the moment, but it is worth thinking about as we wander the world as photographers. Oh, all right…I WILL go there.
I REALLY like to deal with reality in photography. I am not a conceptual photographer who assembles multiple images into one final piece. And sometimes, the boxes that we deal with are welcome constraints. But having said that, I do accept that what I do is NOT reality, and I admire those who think conceptually on a regular basis (see Thomas Broening for example). They do not put limits on themselves, utilizing digital technology to create images that are difficult or impossible (or perhaps more crucially, too expensive) to generate in one capture or piece of film. And this is recognized by clients who desire to manipulate reality in order to communicate. Advertising clients are among those that have adopted this approach to great effect. It is perfect for them, as it allows for pinpoint precision of message. Now where the heck was I?
Headshots in small spaces. The fisheye makes this place look large, and it was just large enough to do the job pretty much unhindered, which means it is easy to duplicate, and looks just like headshots in larger spaces. It is a bit of an ananchronimsm though, the standard headshot on a neutral backdrop. In this case, the seamless looks better than usual (I HATE seamless), and may not require as much digital work as usual. I end up replacing the seamless in post at least 75% of the time. I sometimes think we should just shoot them against green as a matter of course, and then extract the subject for dropping on any background.
But back to the size of the studio. It was strange to be set up and realize that it was EXACTLY the minimum size to make headshots workable according to my standards. The standards are sort of hysterical, and they never occur to most people unless they do a lot of these kinds of photos. It is just not that simple, even though these are not the most complicated images imagineable. It is that funny paradox where simple is anything but. Sort of like good lifestyle photography (when you have an actual assignment and can’t just hang out and shoot your great looking youthful beautiful friends for your portfolio anymore).
I do hundreds of these photos each year, and I am always frustrated by the box of the headshot. This is ironic and futile since the formula and lack of surprise are their raison d’etre: here is a pleasant record shot that gives you a glimpse of the good personality attributes of the subject. I sometimes get wacky and shoot these on white seamless, but corporate styles and sensibility oftentimes prevent that extreme step. Gray is just the most flexible. Darn it. It is a strange love/hate thing that goes on with the boxes in life. The craft of the headshot would not be as necessary if there were more flexibility in the form. But with the limits come an understanding of the importance of the subtleties, and the freedom to examine and pursue something that cannot rely upon environment or eye candy to bury the whispers.
Advertisement
