Before we get to the habits mentioned in the title, consider the following premise: there are two basic, overarching concepts of photography that contribute equally to a successful photoshoot. In no particular order, the first is what I’ll refer to as the “technical” aspect of photography and lighting. Photographers have invented, evolved, and/or co-opted from other artistic disciplines (and the sciences) a variety of terms and phrases that describe the various technical aspects of taking a photo. Rule of thirds, the inverse square law, depth of field, exposure triangle, dynamic range, fstop, aperture, ISO, and reciprocity failure are just a few that come to mind. Each of those terms or phrases describe one aspect of the technical approach to “properly” exposing either a frame of film or a digital sensor in order to create a photo according to the photographer’s vision. That can be a lot to absorb and can create barriers to entry for new photographers or can contribute to disappointment when photographers invariably begin to critique (often entirely too harshly) their work .
The second (and I would argue) even more difficult aspect of photography is relating to and communicating with a subject. Granted, there are many genres of photography (product, landscape, urban x, real estate, etc) where you could spend an entire career as a shooter and never point your camera at a human. But if you’re set on shooting people (portrait, fashion, editorial, headshot, weddings, etc), then quickly becoming adept at directing, posing, relating to, communicating with, and empathizing with PEOPLE is your first task before the first photo is ever taken.
Since most people we shoot are not professional models, they will look to the photographer as the professional in the room and will rely on them for guidance, direction, skill, and advice in order for the shoot to go well. Photographers who focus on the technical aspect of photography at the expense of making that human connection first will often (maybe always?) fall short of capturing genuine emotion in a photograph.
Here are a few ways that – you – the “non-professional model” can be made to feel uncomfortable during a photoshoot. Let me be clear: I am NOT referring to predatory behavior or harassment. That is something entirely different, absolutely reportable, is a matter for the authorities, and is something that no one should have to experience. Ever. Full stop. Instead, I’m describing the unintentional unease that may arise during a session with a photographer that does not have the people skills and the ability to properly direct, pose, and/or communicate with the model.
#1 – Discomfort. On set, the photographer is the director. The tempo of the shoot and the levity (or gravity) that everyone feels while on set directly stems from the photographer and is dependent upon the goal of the session. You might certainly expect that two portrait sessions (one with a 100-year old World War II veteran and another with a child actor) might have completely different emotional expectations and tempo. It is the photographer’s job to “read the room,” understand what the expectations are from the client, and dial up (or down) the energy to match those expectations. Any unease you’re feeling during a photo session will translate into photographs that are diminished to some degree.
#2 - Introverts Assemble! Many introverts find themselves in positions where they “put themselves out there” intentionally in order to achieve their artistic goals. We’ve all read or heard about genuinely shy people who achieve great success in politics, entertainment, law, etc. Those people have – at some expense – managed and harnessed those tendencies into more positive and productive behaviors when the situation requires it. People who can’t do that, will quickly become “energy vampires” on set. They often don’t finish on time, can’t/don’t get the shots that were required and agreed upon beforehand, and will leave everyone feeling uninspired and unsatisfied. I recall a portrait photography workshop that I attended long ago when I first picked up a camera. Upon approaching the model, I literally asked her to close her eyes while I “tested the lights.” I don’t know why I did that except that I was simply struggling with something (anything) to say to her before I started shooting. I recall that shoot (even if my turn was only my 5-10 shots) felt really uncomfortable for me. I can only imagine how it made her feel.
#3 – Posing: Posing can be a challenge and can take a photographer quite a while to perfect. Inexperienced photographers often struggle with the details of posing, can get their lefts and rights mixed up, and can fall into repeating patters of a few poses that can leave the model stiff and uncomfortable. Handheld props can help clients be more comfortable as long as they don’t detract from the photo. Some photographers like to have a laptop or iPad onset that contains sample photographs they and the client have seen prior to the shoot. Taking this approach, you and the photographer can refer to those photos during the shoot for reference and inspiration and as a way to break a repeating pattern of poses and to add some variety in the shoot. Experienced photographers are skilled at providing quick and targeted posing direction – all while constantly engaging the client in conversation (much of it humorous) and then capturing those “in between” moments where genuine emotion comes through and the client is at their most relaxed.
#4 - Chimping / Lack of Confidence: chimping is the tendency that many photographers have of quickly checking the shot they just took to “make sure they got it.” Some chimping is fine; obsessively chimping over every shot shows a lack of confidence in ability and can cause the photographer to actually miss shots they should’ve taken. Chimping can interrupt the flow of the shoot and can unconsciously communicate the photographer’s lack of trust in their own abilities. By comparison, experienced photographers “dial in” their lighting, composition, and exposure often before the client steps into frame (if there is enough time and someone to stand in). The check their screen for the first few shots and then won’t need to obsessively check every shot thereafter unless they make substantial lighting changes.
As I have hopefully described, successful headshot photography is best achieved through a combination of excellent people skills and a detailed understanding of the technical aspects of camera gear and lighting (artificial or natural). Each photographer brings a different set of skills to the set, so the discriminating client must choose carefully before committing to someone’s services. Experienced photographers will likely want to meet with the client in person to discuss contracts, approaches, and expectations. Notice how that photographer carries themselves during this meeting. Are they approachable, do they “hold their own” in the conversation, and are they engaging and likable? Couple your impressions there with their body of work. Is it consistent? Does the photographer have a personal style that is reflected throughout their body of published work? Does that style intersect with your vision of how you want your headshots to look? If you can answer yes to these questions, then you likely have a photographer that you can trust with your personal brand.