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The Headshot: The Secrets to Creating Amazing Headshot Portraits (Voices That Matter)
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From the Back Cover
IntroductionChapter 1: The headshot recipe that started it allChapter 2: Hitting the technical on the headChapter 3: Lights, camera, action-or not?Chapter 4: Establishing a rapportChapter 5: Let's craft what's in your director's toolboxChapter 6: The art of Sherlock HolmesingChapter 7: Breaking the nonverbal two thirds barrierChapter 8: It all starts with the jawChapter 9: The beauty of the human smileChapter 10: Make em squintChapter 11: It's all about the therapy/direction and the inner dialogue going on between us and our subjectChapter 12: Pre-shuttter release checklistChapter 13: Don't shoot it if it just ain't right
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About the Author
Peter is a New York and Los Angeles based photographer specializing in advertising and commercial work, including portraiture, fashion, beauty, editorial, actor's headshots, events and corporate photography. “Let me give you an idea of the round about way I picked up a camera and found a new love. It and most of my life revolve around the sport of sailing. In 1993 after graduating from Boston University I hadn't a clue as to what I was going to do with myself. That summer I was doing what I had done every summer since I can remember, racing sailboats.In August, I won a National Championship and decided to train for the 1996 Olympic Games in Atlanta. While training full time, a friend sent me to see a designer at Ralph Lauren, who was in search of real sailors to model in a Polo Sport advertising campaign. I had an incredible time and months later my picture was seen around the world. More importantly, I met a true friend and eventual mentor, Bruce Weber, who was the photographer on the shoot. Bruce continued to take pictures of me sailing and after failing to make the '96 US Sailing Team, I found myself in New York at the start of a new modeling career. Modeling led me into acting, but the dream of a gold medal still lingered in the back of my mind. After a few years, I dropped everything and decided to jump back in the boat and train for the Sydney '00 Games. It was during this time that Bruce encouraged me to start taking pictures of sailboats. My training paid off landing me a berth on the 2000 US Sailing Team. Shortly afterward, I took up the camera and while shooting a regatta I turned the camera on a fellow model/actor and friend of mine who had come along for the day. Those pictures ended up in his portfolio and created the outset of my new career. Since then my pictures have led me into advertising and my clients now include Levi's, Reebok, DKNY, Johnnie Walker and Axe Deodorant to name a few. I am continually growing as a photographer and I'm so glad that my crazy path has landed me here with a camera in hand. I would like to give a special thanks to Caggie Simonelli, Bruce Weber, and Josette Lata for making this possible.”
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Product details
Series: Voices That Matter
Paperback: 240 pages
Publisher: New Riders; 1 edition (August 13, 2015)
Language: English
ISBN-10: 0133928519
ISBN-13: 978-0133928518
Product Dimensions:
9 x 0.8 x 8.4 inches
Shipping Weight: 1.3 pounds (View shipping rates and policies)
Average Customer Review:
4.4 out of 5 stars
164 customer reviews
Amazon Best Sellers Rank:
#88,757 in Books (See Top 100 in Books)
I would like to thank Peter Hurley for sharing his secrets with the rest of us- he lays it all out in this book, which goes into greater detail than his YouTube videos, which I also highly recommend watching if you want to try Mr. Hurley's technique. I didn't know the first thing about photographing headshots before I got this book, except that I couldn't seem to get any good ones taken. They were so awful that they didn't even remotely resemble how I look in person or in the mirror and frankly I just wanted to cry. I love the conversational tone and humor in the book, and there is no contesting that Mr. Hurley has mastered this type of photography.I needed headshots for LinkedIn because I just graduated from college and I'm looking for a job, and I need to look professional. I was worried because I have never considered myself to be photogenic- I wouldn't want to scare potential employers off with a horrid pic. You just never know these days... The campus photographer offered to shoot some pics for me, but they came out hideous. I'm not sure what lens he was using but I must have gained fifty pounds in my face alone. He is great at photographing the sports events but not so much with a headshot. I'm grateful that he took a stab at it anyway, he was trying to save me some money from hiring a pro. I have a Nikon D7000 and decided that I would give it a try, using the remote. Lots of equally horrible shots later that miraculously did not break the camera, I ordered some books on posing and this book on headshots because I knew there was something I was missing, and I had to find out what.I liked what Peter Hurley had to say about people who think they are not photogenic, and paid lots of attention to his techniques on not adding weight to people with the camera. I watched his YouTube videos, practiced squinching in the mirror, and got a tether cord for my camera. I downloaded a free tethering software program called digiCamControl so I could shoot tethered. I rigged up my own fluorescent light box using four 4-ft long 2-bulb fixtures from Home Depot and Lowes, and I used 6500k bright daylight bulbs. Expect to pay around $20 for a T8 fixture and $12 for a T12 fixture, and two-packs of the bulbs ran about $11 each. So you can set this up inexpensively, and then you have lights you can use for other purposes, like starting seeds if you garden. I have a chrome shelving unit that I put directly in front of my desk, and I zip-tied the upright light fixtures to the shelf posts and rested the bottom edges on the desk. I laid the top light across the top shelf, and set the lower one on the desk. My square is more like a # but it does the job on the budget I have. I set my laptop on the shelf and put the mouse & pad on a hardback book that I held in my lap. I put the camera on a tripod behind this shelf rig, and dinked around with it until I got it the way I wanted it. I put it on full manual and used the settings Mr. Hurley recommends on page 33; I could change the ISO setting from the laptop with the mouse afterward. I had a 30x40" foamboard from some art classes I took, and I binder-clipped that to a chrome shelf I had behind me.If you follow his setup, you will pretty much be in the zone for the cropped head style he favors. Then if you follow his advice about finding your good side (for me, it's the side without the ginormous zit that just surfaced! coincidentally my good side is the left side), posing correctly ("it's all about the jaw"), and making sure your hair isn't ruining your shots, you will probably not even need to break out Photoshop. I have done two sessions so far as a learning process, and I could probably use what I have but I want to try again with a few little changes. The first session I did would have been fine except for some reason my hair frizzed up, and I had to wash it and restyle it before trying again. Then the second time some strands of hair ended up getting on my face but I didn't notice it until too late. I figured out what I need to do to my hair (strong hairspray!) and makeup to get it right, and I will resume shooting tomorrow.When I got the setup right, my photos came out WITHOUT adding weight and slimmed down my face, my skin looked luminous without a bunch of makeup on it, I looked confident & approachable like he says in the book, and the pics look way better than selfies with a bunch of distracting crap in the background and so-so lighting. I studied the pics in the book to get an idea of how his makeup artist does the looks and tried to copy it. I don't want to look like I'm wearing a ton of makeup, just want the natural myself-but-better look. (Which of course involves wearing a lot of makeup, but lightly and skillfully applied.) Keep in mind that the camera, with its single lens, does not have the depth perception that we do with our two eyes, and you can do some contouring with makeup to trick the camera into seeing what you want it to see. Wayne Goss and others on YouTube have lots of videos on how to do contouring, and IMHO it's necessary for still photography. That is one reason why you can look good in person and horrible in pictures- the camera only has the one lens and it flattens everything out to varying degrees depending on the lens being used.I am super-pleased because I got excellent results using stuff I already had, except for three of the light fixtures and the bulbs. I also learned how posing and lighting can make all the difference in whether you are photogenic or not, and Mr. Hurley's recommendations prevent reasonably attractive people from literally looking like trolls in photographs. I've taken a couple of photography classes but I'm still quite the amateur; I haven't taken any studio lighting classes, and being ignorant of that subject was hosing me over before I got this book. I love that the fluorescent lighting is continuous and you don't have to mess around with flashes. I also love the plain background which puts all the viewer's attention on the person in the photograph, and allows the subject's personality to show. I can only imagine what I could get with better lighting and equipment, but I was able to do a lot with what I had, and it's all due to this book. Loveee!
A book with a lot of fluff, like his own videos where he talks and talks and talks and talks about himself until the last 10 minutes of instruction becomes somewhat useful. The rest is marketing his own stuff trying to create a selling point into buying his gear (which is now defunct, but is sold through Adorama under a different name).It's more of a picture book, no technical info, and a lot of fluff about the man himself.
I've seen several of Peter's instructional videos. The ones which interest me most were his headshot videos... So, I was looking forward to this headshot book and am very pleased with it.Why? Well, Peter shares all his technical hoopla for sure... And, many of us photographers are all about the technical hoopla...What I particularly liked was that the majority of the book deals with posing, direction and banter... Peter tells pretty much exactly why and how he poses his headshots. How he frames them... and why... and ... he shares his banter... and the why of his banter.The why is often more important than the exact what... He does share the what... (banter) in detail.. exhaustively... and the examples help understand what he is intending and meaning pretty explicitly. And, the whys and hows are provided with sufficient clarity and scope to gives each reader the opportunity to come up with their own unique banter style... as banter is very personal.Peter's direction is laid out in a fairly formulaic manner. As Peter lays out a pretty straight and not too varied formula... It makes hitting his pose style pretty easy.I believe, as I believe Peter believes... expression is king. And Peter's book, after going into getting the position and lights the way he likes, ... is mostly about getting the expression.That said... While I don't like or love or feel every shot in the book is just awesome... I know the book taught me things I like knowing to make my headshots more awesome....If you are looking for a book that might help you get more expression from your headshots... This book might just be one of your best tickets.
Thank you for taking the time to allow us to take what we can from your writings. Having resources at every level I seek to participate in actually helps me make incredibly better images for clients that are willing to trust me to do just that for them. I have attended your workshops. I have watched your youtube videos. I have read some of your posting to various media. I subscribe to the Kelby training. In short, I appreciate anyone that is a force at what they do and are willing to share (in any form; paid or free).The content of the book builds on, reinforces, and introduces ideas, workflow, and technique to beginners and constant learners alike. Having a reference when working in the Headshot genre only enhances what we know and that is what I expected and found in this book. I have recommended the book to several friends and would recommend this book to anyone who wants to learn more about the art of making sellable headshots.Enough said.
This is my second purchase of this book as I have my own, and just purchased another as a gift. Peter Hurley has a bit of a cocky "tone" - if you can get past it, this is a good resource for producing his type of headshot. I refer to it every now and then as I only occasionally do headshots, but have had happy clients as a result. A friend of mine actually took a workshop with Peter Hurley in NY and has a successful business based on headshot photography. That same friend did my last headshot and I love it. No news yet on if the recipient of my gift has used any of Peter's techniques.
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