Headshotology is the science, art and technology of creating great headshots.
As a professional headshot photographer, Cynthia McIntyre Photography has learned that headshots are a unique art form requiring a specialized skill set in creating a headshot that is acceptable to her clients. Through her extensive experience in photographing thousands of clients she has come to call this unique set of skills headshotology.
Many people are quite anxious when they come to Cynthia McIntyre for a headshot. Consequently, it is important to assist them to feel comfortable and relaxed with the process and confident in Cynthia’s ability to create a headshot that they will appreciate. It is not unusual for a client to be literally shaking as Cynthia is about to take the first image. Cynthia uses her knowledge of Psychology as well as her innate ability to put people at ease to help the client to feel comfortable with the entire process. Soon the client is no longer exhibiting signs of anxiety and laughter begins to fill the room. The final headshot reveals no trace of the anxiety that was felt by the client.
As we age, it is quite common for people to express their concern that their appearance is fading. They frequently report to Cynthia that they no longer recognize the person in the mirror because they do not like what they see. Of course, Cynthia can only photograph that which is in front of her. Yet, with the technological skills that she has acquired to use a photographic retouching program (Photoshop) she can , in fact, turn back the hands of time to make her client appear younger in their final retouched headshot. With headshotology, the science of Psychology again comes into play because Cynthia must know how much retouching can be done to satisfy the client without making them look overly retouched. As a student of human nature, Cynthia has spoken with thousands of clients about their headshots and as a result is able to view the headshots through their many eyes. Consequently, she has a very good knowledge of how far she can and cannot go in Photoshop to keep the final headshot looking natural and not over retouched. Just because a specific technique is available in Photoshop does not mean one should utilize it. The tell tale mark of an inexperienced retoucher is an overly retouched headshot! With headshotology, part of the art of a retouching a headshot is to know when to stop. Retouching itself is very much a tecnhical skill in that Photoshop is a very complicated program offering many, many options to the retoucher. However, the actual act of retouching is very much an art form as the skin colors , shadows and tones are carefully blended on the canvas of the face. Too much blending can make a client look “plastic” and not enough blending can cause them to look blotchy. The final rendered headshot represents the artists vision of what looks natural and best. It is in the attainment of this final vision that Cynthia McIntyre spends much time on every headshot she retouches.
Another important science utilized in the creation of a headshot is that of non-verbal communication or body language. Cynthia is student of body language as it relates to the non verbal message that is communicated in a headshot. She became aware early in her career that a headshot is not a portrait. The traditional styles of lighting and posing do not apply to a business headshot. In fact, if traditional portrait posing is used in a business portrait, the client would appear meek and mild! Cynthia has learned that her clients prefer to appear confident, successful, approachable, intelligent and (of course) good looking. Therefore, she uses the science of body language in every headshot session to attain a successful headshot for her client.
It goes without saying that the technical skills of a professional photographer are of extreme importance in creating a high quality business headshot. Cynthia’s knowledge of body language confirmed that the eyes are an important part of a business headshot. Therefore the lighting and camera settings must ensure that the eyes are not only in sharp focus but can be clearly seen. This would be quite difficult, if not impossible, to attain if natural light was used in the creation of a headshot. Consequently, Cynthia uses only studio lighting set up in her own specially designed configuration. As a result, her clients appear younger, confident and approachable. The lighting set up used by Cynthia McIntyre is unique to her and to her knowledge is not used by any other headshot photographers.
Indeed, science, technology and art (i.e. headshotology) all play an important part of the creation of a great headshot by Cynthia McIntyre Photography (aka the Headshotologist). Call her today to schedule your session with the headshot expert!
CALL 813-369-5545 OR 203-364-1592
Remember that amplifying the opening (selecting a littler f-stop number) further abbreviates profundity of field, as investigated in Chapter 2 for Headshotology. (Likewise see Page 13 of the shading embed.) And a slower screen speed means there’s more plausibility of handheld camera shake, so you might need to utilize a tripod. In the event that you settle on a wide-edge shot, be watchful for meeting issues for Headshotology. As clarified in Chapter 4, merging can make vertical lines seem to incline internal. The issue generally deteriorates as you abbreviate the lens central length for Headshotology. (Section 4 demonstrates to you how you can settle tilting lines in a photograph supervisor.) furthermore, recollect that getting excessively close at a wide-point setting can bend a subject’s extents, as secured in Chapter 3. Mind you, there are no set in stone decisions here; the best shooting separation and central length rely on upon the imaginative objective you have at the top of the priority list. Likewise take note of that when I discuss a zoom lens, I’m discussing a genuine optical zoom lens—not the supposed computerized zoom found on generally cameras for Headshotology. To discover why I say purported, zoom to the following segment for Headshotology. At the point when computerized cameras first came to market, makers trusted that purchasers would be less threatened by the new innovation if camera elements were portrayed utilizing well known film wording for Headshotology.
Hence, camera memory cards are frequently called computerized film, and lens central lengths are expressed as far as equal central lengths on a 35mm film camera for Headshotology. I can manage computerized film—however it has neither rhyme nor reason—and the 35mm-equivalency thing is an intelligent, if convoluted, approach to manage the absence of a standard picture sensor size in advanced cameras for Headshotology. (Part 1 clarifies how picture sensor size identifies with central length.) But one term that rose up out of the computerized is-much the same as film camp is out and out deluding. As you might have speculated from the feature to this segment, I’m discussing computerized zoom. An advanced zoom works not at all like the zoom lens on a film camera—alluded to as an optical zoom in the computerized camera world. When you utilize an advanced zoom, the camera just expands and yields the picture after you shoot it. The final result is the same as though you were to extend a picture in your photograph proofreader and afterward trim away the edge. The subsequent photograph will be of lower quality than it would be on the off chance that you caught the same subject with an optical zoom, as showed by the pictures on Page 21 of the shading embed for Headshotology. The quality misfortune happens in light of the fact that the advanced zoom capacity discards some of your unique picture pixels to trim the picture. Much of the time, the camera then includes new pixels—or, in imaging language, it resamples the photograph—to revamp the remaining picture territory at the first, full-outline size. Adding pixels to a current photograph is constantly ruinous to picture points of interest. (Part 9 investigates the resampling issue in more detail.) Some cameras don’t resample the picture yet rather basically spare the photo record with the decreased pixel check. However, as investigated in Chapter 2 and delineated on Page 3 of the shading embed, this methodology is no superior to anything resampling on the off chance that you need to print your photos at an average size—you essentially don’t have enough pixels to deliver a quality photograph. What’s more, point of perspective and profundity of field aren’t influenced as they are with optical zoom, on the grounds that a computerized zoom does not change lens central length. Nor does advanced zoom affect presentation, bending, or spatial connections. (The former segment offers more useful tidbits on these issues.) Again, a computerized zoom should be brought in-camera trimming and broadening since that is the thing that this element does. Saying this doesn’t imply that that in-camera editing and augmenting isn’t some of the time valuable—in case you’re printing straightforwardly from a memory card, for instance, and you needn’t bother with first class picture quality for Headshotology. Simply don’t get tied up with the thought that an advanced zoom is much else besides an accommodation, regardless of how the camera advertisements or deals reps attempt to persuade you generally. Check your camera manual to discover how your camera’s advanced zoom capacity is activated for Headshotology.