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It used to be that the only people that needed professional-looking headshots were actors and models, but now thanks to Facebook, Twitter, LinkedIn, and social media in general, headshots are hot! They've never been more in demand than they are today, and Peter Hurley's unique headshot style and trademark look have made him the most sought-after headshot photographer in the world today. Here's your chance to learn exactly how to create "the look" that everybody's after.
This is bankable stuff! If you're not adding headshots to what you offer as a photographer, you're leaving a lot of money on the table. Peter knows first-hand the secrets to not only lighting your headshots like a pro (there's a whole chapter on that alone), but in this book he reveals, in the very same fashion that made him a famous name with photographers everywhere, how he gets authentic expressions and incredibly flattering positioning that will make your clients look better than they ever have in any photo—period!
It's all here: he shows you his positioning techniques, his secrets for getting genuine smiles and images that look so natural you won't believe they're posed (but of course, they are), and you'll learn the very same techniques that Peter uses to create amazing headshots for everyone from execs at top Fortune 500 companies, to Silicon Valley startups, to actors and public figures who know all too well how important a great-looking headshot really is.
Peter doesn't hold anything back. He reveals all his tricks of the trade, from his trademark lighting look, to how to create good-looking backgrounds on location, to positioning tricks you won't hear anywhere else, and it's all written in Peter's fun, quirky, inspiring style that lets you know, right from the beginning, you can do this, and you can do this big! These are the techniques that Peter has crafted from years in front of the lens, as a model for top brands like Abercrombie & Fitch and Guess, and years behind the lens, giving him an insight few photographers will ever possess, and he's willing to share every bit of it—every trick, every technique, and every nuance—in this book that will pay for itself at your very next shoot. Yes, it's that good.
- Sales Rank: #48808 in Books
- Published on: 2015-08-13
- Original language: English
- Number of items: 1
- Dimensions: 8.90" h x .80" w x 8.40" l, .0 pounds
- Binding: Paperback
- 240 pages
From the Back Cover
Introduction
Chapter 1: The headshot recipe that started it all
Chapter 2: Hitting the technical on the head
Chapter 3: Lights, camera, action-or not?
Chapter 4: Establishing a rapport
Chapter 5: Let's craft what's in your director's toolbox
Chapter 6: The art of Sherlock Holmesing
Chapter 7: Breaking the nonverbal two thirds barrier
Chapter 8: It all starts with the jaw
Chapter 9: The beauty of the human smile
Chapter 10: Make em squint
Chapter 11: It's all about the therapy/direction and the inner dialogue going on between us and our subject
Chapter 12: Pre-shuttter release checklist
Chapter 13: Don't shoot it if it just ain't right
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.”
Most helpful customer reviews
2 of 2 people found the following review helpful.
He does not approach a great deal of studio lighting concepts but he does discuss ...
By Nico B
Interesting book-great content from a guy who knows the field. He is the most infamous and famous headshot photographer in existence so if you are in the field you should get it. I am also a headshot photographer-I shoot 500-700 people a year so for me this book was a curiosity and I think he did well putting it together. He does not approach a great deal of studio lighting concepts but he does discuss the field and his approach to humans so it is an interesting book
0 of 0 people found the following review helpful.
Flyer300
By Marshall R Moran
Totally amazing book for anyone wanting to photograph head shots. All practical on how to set up a studio, help relax people, and get the shot. I've read 3 times and keep coming back to it. Thank you Peter.
53 of 60 people found the following review helpful.
Peter Hurley writes about Peter Hurley -- oh, and also about taking headshot photos
By Keith Ammann
Roughly half of The Headshot is about producing good headshots; the other half is about being Peter Hurley. His hyperactive, grandiose, self-promoting showoff personality is on prominent display throughout. So is more than a touch of defensiveness, as he talks about how some subjects and agents have expressed a dislike for his style but he's an artist and that's just how he does it, man. What he calls "Sherlock Holmesing" bears a troublesome resemblance to what pickup artists call "negging," and at least one other reviewer has already pointed out the distasteful incident in which he expresses a desire to smash an insecure subject's boyfriend's face into a C-stand. (This book's release date was pushed back twice -- seven months altogether. It makes me wonder what shape it was in at press time. Did it contain an even higher Hurley-to-technique ratio than it does now?) He goes off on so many personal digressions that I often needed to refer back to the chapter subheadings to remind myself what information I was supposed to be receiving.
The upshot is that this book is intermittently informative but not well-written. If you take all the tips in this book at face value, all you're going to learn is how to shoot like Peter Hurley, and Peter Hurley is probably better at being Peter Hurley than you are. The challenge is to pick your way through all the puffery to find the actual useful information, of which there's a good amount (though probably not $45 worth), practice with it for a while, decide how much of it suits your own visual style and way of working and how much doesn't, and disregard the rest. In the end, I figure I'll probably use between 10 and 30 percent of what this book contains -- and yet even that 10 to 30 percent will make a significant difference in my portrait shooting, so I'm glad to have it.
ETA (12/3/15): Having gotten some friends to volunteer to let me practice on them, I'm more appreciative of some of the details that are buried in Hurley's rambling, which I didn't think about until the issues came up -- things like checking hair with each shot, and how to get through to "avoiders," "diminishers" and "posers." I do find myself wishing, however, that he'd given more attention to shooting subjects with eyeglasses: he talks about how to avoid glare but neglects to discuss lens distortion. Anyway, I'm upping my earlier estimate of the book's useful content from "10 to 30 percent" to "30 to 50 percent."
One other way this book is useful: the sheer number of examples. Hurley never talks about it at all, but by systematically going through every headshot in the book, categorizing each one by mood, and noting the positions of the subject's chin and collarbone, I was able to create a posing guide for myself, which is improving my workflow dramatically by keeping me from wasting time on poses that aren't going to work. Maybe this book is worth $45 after all.
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