This image is one from my first test
shoot with Ericka. Often, when I do non-
commercial work with a model for the
first time, I’ll take headshots of the
model without even telling her I’m doing
so. That was the case with this shot, cre-
ated when Ericka thought I was taking a
full-length image. I’ve found out over the
years that models in general tend to
“freeze” when they know a headshot is
being taken. Traditionally headshots are
vertical, but I chose to capture Ericka in
a horizontal format because I liked the
mood created by the background. Plac-
ing the model to one side of the image
enhanced the mood. The use of an
octabox in this image also created a
more brilliant catchlight with the darker
irises of her eyes. (Camera:Canon 5D;
Lens:Canon 85mm f/1.2L, USM lens, ef-
fective focal length at 85mm;ISO:100;
Shutter speed:^1 / 125 second;Aperture:
f/5;Lighting:Hensel Integra Pro Plus
500 monolight fitted with a Chimera
Octa57 octabox;White balance:6000K)
HOWDOIGETTHATPOSE?107with the corners of the lips. Unlike the typical Hollywood actor’s head-
shots, glamour headshots can be a little more dramatic and not so “head
and shoulders” or stiff looking. While a headshot should be a simple por-
trait, it doesn’t have to be a mug shot either.
If a model comes to me and says she needs a headshot and that’s all she
wants, that’s what she gets. However, if I can ask her to just shoot a bit of
everything, it makes it easier; that way, I can take the headshot whenever
I see it. I work this way because many models become very self-conscious
the minute you mention you’re going to take the headshot. I’d rather just
photograph them, then move in for the kill, as I often say, without them
knowing. With a zoom lens it’s as simple as zooming in. I tend to use
prime (fixed focal-length) lenses, though, so I move toward my subject for
these shots, letting her know she’s looking great as I shoot. It works!
When taking a headshot of a glamour model, you should always focus
on the eyes. The eyes are the most important part of the image and must
be sharp. I place my focusing point on the model’s eyes, grab the focus,
then—still lightly holding my shutter-release button—recompose the
image and shoot. I often educate my models and let them know why my
camera seems to move back and forth as I’m shooting. Focusing on the
eyes is key and very critical. (Note:The whites in the eyes should be white,
not bloodshot. If I know I’m going to do only a headshot of a model, I
book it for the midafternoon so I know she will be well rested. If not,
there is always Clear Eyes at your local pharmacy.)