Taking your own Head Shot. by Megan Dill

Transcription

1 Taking your own Head Shot by Megan Dill

2 The Head Shot A head shot is a portrait, typically involving the head and shoulders, that aims to capture the personality of the subject for promotional or personal purposes. Regardless of whether you are in business or not, your head shot is your first impression, and serves as an opportunity to communicate your individuality or brand to your intended audience. Many of us are well-equipped in terms of both camera gear and skill to take our own head shot via a selfportrait. If you have never done so, I highly encourage you to try!

3 Getting Started I recommend using a remote for head shots. Remotes are inexpensive and easy to come by. The continuous shooting option is very handy with self-portraiture. You can make slight changes to body language and expression without pulling out the remote and hiding it after each shot, which can interrupt your groove. I like the Vello Freewave wireless remote, which has options for options for single, 2-second delay, and continuous shooting. If you don t have one you can always resort to the self-timer feature on your camera, but I find this to be disruptive since one is constantly running back and forth. As a result, the portrait may end up feeling contrived. Plus, your hair may also get all messed up! A few other things to consider: 1. Keep your personality and/or branding in mind. If you shoot entirely in black and white, then a black and white head shot is a natural choice. If you are known for your use of vibrant color in your body of work, then it is only natural for your head shot to reflect this as well. If your work is generally happy, then definitely smile in your head shot! 2. Keep the background simple. The focus should be on you, after all. 3. Pay attention to your shoulders. Even though the head is the main player here, good posture will emanate through your cranium. Consider angling them a little doing so makes your portrait more inviting as opposed to confronting.

4 Focusing Stand-in focusing Choose an inanimate, stand-in object of sufficient height such as an upright vacuum cleaner or broom, and place it where you will be standing. If sitting or lying, grab something smaller such as pillow or a stuffed toy. These can be easily tossed aside once you are positioned in the frame. Then set up your tripod or place your camera on a trusted, flat surface. Next, roughly compose the scene without yourself, moving the tripod or camera as necessary so any cropping in post-processing is minimal. Lock focus on the stand-in object. I am a toggler when it comes to setting focus, so I zero in on the object using the closest focus point in my camera, and then lock focus with my lens set to autofocus (AF). If your camera isn t set up for back button focusing (BBF), switch your lens to manual focus so that the focus does not change when the shutter is depressed. Back button focusing separates AF activation from the shutter release, which keeps your camera from auto-focusing each time the shutter is activated using the remote. Finally, move the stand-in object out of the way, stand exactly where it was, and snap away using your remote. Reverse focusing This is another focus method that is very useful for self-portraiture. With reverse focusing, the tripod itself is in effect the stand-in object. Just stand where you will be positioned for the self-portrait with camera in hand, focus on the head of the tripod using autofocus, switch to manual focus after the focus is set (if not using BBF), and then place the camera on the tripod. Then, go back to the spot where focus was set and take the photograph.

5 10 Useful Tips 1. Take lots of photos. Taking lots of photographs will give you much more to work with if something is slightly off whether that be something technical such as motion blur or expressive, such as a forced smile. Experiment with different body language, expressions, and crops.

6 2. Shoot your best side or angle. Experiment to see where you feel most comfortable. However, keep in mind that your self-portrait is not the same as the image you see in the mirror, which is reversed! We are used to seeing the mirror image of ourselves not the version that our family, friends, and acquaintances see on a regular basis. If you have doubts, ask a trusted friend or your spouse/ partner for an honest opinion. Or, consider flipping the image horizontally in post if you prefer it that way.

7 3. Close down your aperture. A very wide aperture will allow for a very narrow focal plane, so if you move or don t stand in the exact correct spot, the focus will be soft. You ll have many more keepers to cull with a smaller aperture. Consult with a depth of field calculator (I like DOFmaster.com) to get an idea of the necessary focal length needed to sufficiently capture focus at different distances from the camera and different focal lengths. Camera: Canon 5D Mark III measurements from DOFmaster app for iphone Lens Distance (ft) Wide Open f/4.0 f/5.6 f/8 35mm f/1.4l ,525 50mm f/ mm f/ mm f/2.8l

8 4. Utilize a tripod or a trusted, flat surface. When selecting a tripod, pay attention to the maximum weight load. The tripod should be able to support your camera body and the heaviest lens in your bag. My tripod can handle a total weight of 11 pounds, which is more than sufficient and gives me total peace of mind as long as I am using it as it was intended.

9 5. First select your aperture and shutter speed (I don t normally go lower than 1/125), and then select the lowest ISO that will result in a correct exposure. This will minimize digital noise in your work, which may not be desirable. 6. Position the camera so that it is angled slightly downward. This is oftentimes flattering for female subjects. 7. Metering is oftentimes a process of trial and error. I typically take a few test shots, chimping to get a correct exposure. I ll pay special attention to my in-camera histogram to make sure I m not blowing any important highlights or clipping necessary shadow detail. The Zone System is handy in getting an initial exposure. I strive to get it right in-camera to save myself headaches in post. 8. Consider focal length. Longer lenses (e.g. 85mm, 100mm, 135mm) tend to compress features and are generally very flattering when used in traditional women s portraiture. However, it isn t always feasible to use a longer focal length indoors. Also, your personal style may have you grabbing for your wide-angle lens, because that is how you shoot. Be deliberate with your choice of lens.

10 9. Use light to your advantage. Light is a powerful tool in all portraiture. As a natural light shooter, there are three main things that I consider: (1) window location, (2) angle of subject to the light source, and (3) distance between the subject and light source. A north-facing window offers the most reliable light, since light is diffuse here throughout the day regardless of the sun s position in the sky or the degree of cloudiness. Diffuse light is flattering for portraiture as it provides a gradual transition from illuminated portions of the skin into shadows and a softer complexion. I tend to gravitate towards a 45 degree angle, which reveals contours and sculpts features. It can also highlight imperfections such as scars and blemishes, which may or may not be desirable. I find that short light, where the side furthest from the light source is wrapped in shadows, is particularly flattering for female subjects. Keep in mind that the closer you are to your light source, the greater the contrast between light and shadow. Light will transition to shadows a lot faster if you are positioned right next to a window than it will if you are standing several feet away.

11 10. Take some silly test shots. These are a great way to work any uncomfortable feelings out of your system prior to executing the portrait. I ve been known to make a goofy face or strike a ridiculous pose to prepare myself. Although it sounds silly, doing this is actually quite effective in eradicating feelings of awkwardness!

12 About Megan Megan is a hobbyist photographer based in the lower Hudson Valley of New York where she lives with her musician husband and two young sons. She enjoys playing with light and shadow to create evocative images, and gravitates towards moody black and white processing in her work. Megan has an interest in the therapeutic power of photography, particularly when it comes to self-portraits. She shoots with a Canon 5D Mark III with an assortment of prime lenses, and several film cameras. See her work at