The key to consistency throughout a company with regards to wardorbe for headshots

Executive headshots by Vanie Poyey

I thought it only fitting that I post a blog about corporate headshots today since I’ll be gone all week shooting over a 100 people for a client.

The same client had a few questions about wardrobe and what I’m most impressed with is how my answers were neatly summarized into the following list, so I have to give them credit especially since they added a few more useful tips!

• Wear business attire (coats and ties for men, business suits for women)
• Avoid pinstripes as they can confuse camrea lenses or draw attention away from your face
• Avoid chunky or large jewelry as they can be distracting
• Have a contrast in shades between your jacket and shirt
• Avoid beigh and chocolate brown as muted colors can come across less powerful visually
• Do not wear bright colored jackets but bright undershirts are okay for an accent color to pop the photo
• For ties and accents, choose primary colors.  Small patterns are okay.
• If you wear glasses, wear them for your photo if you have anti reflective coating. 

Below are some examples.

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3 Tips on Preparing for your Executive Portrait

Corporate Photographer: Vanie Poyey

• Think about the market you are trying to appeal to and shoot your photos accordingly!  No need to shoot an environmental photo if the environment doesn’t add to your message.
• Put together clothing that clearly communicates who you are as a professional.  Are you the “business casual” or the “upscale executive”?
• Accessorize your image!  Take with you those accessories that define what you do.  In the case of environmental shots, props also work as great accessories.

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How to take a great business portrait

Corporate Headshots:

Recently I’ve fallen in love with the grid.

The images below are shot with one grid placed behind the subject to create a gradient, and a key light placed either directly above the head or slightly off to one side.

Depending on how severe I want the gradient to be, I measure the gradient light at either 1/2 or 1 stop brighter than the key light.  I sometimes use a 1:1 ratio as well.

If need be, I soften shadows on the subject’s face with a white reflector.

Below is an image of Gwen Dophna, shot with butterfly lighting and a grid placed behind her.

Dr. Moshe Wilker needed a hair light (in this case placed directly behind him), to separate his dark hair from the dark background.

In this image, the grid is one stop brighter than the key light on a white backdrop, creating a gradient from white to gray.

 

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