Birmingham photography locations for headshots and so much more.

Location photography in Birmingham is what I have done for many years, in fact all my professional life I have had a base in the city or had worked on a regular basis.

I grew up in my father’s studio in Edgbaston, first in Duchess Road and after that just around the block at 94 Hagley Road, although I was living in West Bromwich till I was 17, my first 5 years were spent in Great Barr.Although I was born in West Bromwich I do consider myself a Brummie? Yes, but I always wanted to have a home in the sticks, so I have had to commute from Worcestershire and Warwickshire, you can take the boy out of the city, but the city stays in the man.

Having the knowledge of the geography of Birmingham and its hinterland helped me get around and find locations for advertising commissions, as well as finding myself at many clients’ factories or business premises.

At College at what was then was Birmingham Polytechnic, I studied at the School of Photography at Dorrington Road, Perry Barr. The three years I was there, I would use many locations in and around the city and often work for hairstylists and fashion boutiques, producing work for my studies and often taking on small commissions. I would help my father as his assistant and second camera when he was taking the pictures at the original Birmingham Rep and then the new theatre for the Front of House posters and a record of the productions. I lived at a number of properties during this time, so more basic than others. For a short while, I enjoyed having a base in the Regency House on the Hagley Road, where I had access to my father’s studio, which I used for portraits and fashion shoots to build my portfolio.

When I finished at college, I left to seek my fortune in London, as an assistant, it was certainly not a fortune, but with the economic downturn, I and fellow ex-students returned to Birmingham to establish a studio at 164 High Street, Deritend, a few hundred metres from what would become the Custard Factory.

During this period I shot a lot of studio work but whenever I could I would get out and shoot on location, I found wonderful old Victorian pubs and old grand houses that I used as a backdrop for the various commissions I was getting, many were calendars for such clients as Mitchell & Butlers as well as many automotive clients, rather than build expensive sets I would seek authentic locations that were grand and luxurious, fashion shoots for Wolsey Knitwear in the Midland & Grand Hotels, private swimming pools in grand houses in Edgbaston and Solihull.

The city provided so many wonderful locations that could pass as London or continental Europe, e one shoot I did for a spoof April 1st Ad for Milton Keynes Development agency that looked like a south American Bar, but in fact was it was Hawkins my local on Newhall street. Dressed as a ‘Man from Havana’ a model who had a very distinctive look of a mature man with a past, posed in the foreground like a movie still, while the background had a variety of younger characters in what looked like exotic evening wear. Sadly the print from that job is lost, or is it? My negs are  in secure storage and are under review for possible publication.

As work was increasing and I needed a larger studio, I moved to Bartholomew Row, near to the city centre, a new built unit was fitted out with a car scoop and much more studio based work had to be done to pay for the outlay and also made so much more sense to control when I could have large sets and many more products shoots, kitchen sets, bathrooms and large set pieces for Dunlopillo and slumberland as well as Cars such as Peugeot and Land Rover, with other photographers using the studio, I could then get out to my preferred location photography and when not traveling for travel clients, I would be taking pictures for Birmingham campaigns promoting the city across the UK but especially to the big money investors  were looking to relocate from the city of London, this is when I shoot images for the financial press and colour supplements of the wonderful Parks such as Cannon Hill and Edgbaston Reservoir , the new Snow Hill station exterior the first part of the development the heart of what would become Colmore Row Business district.

The 1990’s were spent based in Wimpstone, near Stratford on Avon, while I commuted to my studio in London and enjoyed the life of a automotive and travel Photographer working for manly London Agencies, during this time Ii did a few commissions in Birmingham and started to plan my future so I could move into a quieter life enjoying the country lifestyle and maybe teaching ?

Life has a way of making you change direction and having a rethink about the way automotive photography was going, with much computer based with retouching and CAD creating work with little input from a photographer , I started a change of direction and returned to a major personal project based in Birmingham, collaborating with the Birmingham Central Library and the wonderful Pete James, I devised a plan to create a body of work that celebrates he new Birmingham , Movers & Shakes-faces of a changing city.

The New Bull Ring centre was under construction, the new library was just starting to be developed and many other exciting developments were underway, Birmingham was in the frame for ‘City of Culture’ and I could see the city I loved starting to be taken seriously .

The premise of the concept was to feature not only 100 faces of the city, but also celebrate the new and old architecture that I knew needed to be documented.

As the Queen Elizabeth Hospital was planned to become the largest Hospital in Europe, it was important to photograph those involved, the project managers and councillors , architects, cultural icons and the representatives of this new diverse society, all came Ito the mix. The interiors of Pubs like the Anchor where I photographed Dr Carl Chinn.

Curson Street Station, which was a backdrop as well as Millennium Point, meters away from my old studio in Bartholomew Row, where a beautiful Victorian brass-work factory had stood and was thankfully still preserved durning the extensive redevelopment of an area that I hardly recognise with road redirects and new building going up each year.

I shot a few politicians and subjects in and around Victoria Square, still a great location that has one of my all time favourite buildings , The Town Hall, where I saw great Jazz artists as well at the CBSO where they were based from the late 19th century, Led Zeppelin and Muddy Waters, were certainly part of my history and the building still stands beautifully within the new developments around Paradise Circus.

The Movers & Shakers project celebrated many individuals, but the world-renowned CBSO and the Royal Ballet were both subjects shot at Symphony Hall and the rehearsal studio at the Birmingham Hippodrome.

Along the way, I found vantage points to use the Cityscape as a background, such as when I was photographing Jasper Carrott from the grounds of his beloved Birmingham City’s St Andrew’s. I am certainly interested to see how that development goes!

I learned that there is a wonderful view of the city in so many places, certainly the new skyline is ever changing, and I do wish that more dynamic images of the city were seen across the world, a few images of the council building and maybe the new Library do not represent the new city.

Some locations never made it to the final cut, for a variety of reasons, often political. One area I would have liked to have used more was the Jewellery Quarter. I have used it since for portraits of those working in the financial sector, as well as creatives in many sectors. The square around St Paul’s is certainly one of my favourite locations and has been a backdrop for a number of portraits.

I lived in Harborne, 37 Albany Road, in the early 80’s, and as it was my first house, I owned and had so many wonderful memories attached, I often take a slight detour to literally go down memory lane, or should I say Road? The Harbourne village area is possibly the area I would relocate to if I was returning to the city and an urban lifestyle,however I have seen so many beautiful  areas , I could have a very difficult job making a discission, contenders include, Bournville, Kings Heath and Mosley. It is good to have choices even if they are totally theoetical .

My work has taken me full circle, as I now work in. Birmingham more than any other location, photographing for clients in the professional sectors as well as healthcare and charities.

It is often the case that I can take the train in and enjoy a catch up with old friends and produce a headshot in one of the many shinny towers or converted old banks, chambers or clinics.

Birmingham has changed, I do miss the city of my youth, but Im excited by the vibrant city it is now, a great example of the new diverse Britain that has embraced change and thrived.

I shall continue to photograph it professionally but also for my own person satisfaction , Brum is a complex place that has a great past and a wonderful future and is full of locations worth visiting and enjoying.

people

5 decades and counting

In the 70’s I graduated from Photography school – 5 decades later I am still enjoying a career in the medium I love,

There have been some massive changes , but I have adapted and evolved as a ‘commercial’ photographer, I am still busy and enjoying it.

So what has changed?

In photography, the changes are not that massive; digital capture arriving was Massive, but capturing an image is much the same as it was in the beginning: light falling on a surface and being preserved to use again as a negative or data to create an image to be seen in a multitude of media.

However, the technological changes and the pace of progress seem to be on fast-forward.

Taking a picture and sending it across the world in seconds is the wonder, the billions of images shot every day that could be seen as ‘good’ standard, in focus, good resolution and colour that looks real is what has impacted our world and the world of professional photography has seen massive changes to what is required for their clients.

In the 70’s the media still had press images in Black and White, and the printing process was just changing from Letterpress to Litho, so darkroom assistants and printers were employed, as colour  media became more widespread, the majority of the commercial output of a studio would be as colour transparencies, often on a large or medium format camera.

The film was sometimes processed in-house, but usually a photo lab would process the work, a two hour run would produce the test image, either one of many shots that could be processed and the remaining sheets/ rolls would be processed, maybe with slight modification to push or pull the exposure to get the best result.

Exposure would be determined by accurate meter readings and checking with a Polaroid to assess the lighting balance, the composition, and whether the image was for publication, to determine if there was space for Copy to be included on a page, poster, or whatever its outcome was. Most advertising shoots were directed by an Art Director, one of the creative team that usually comprised a writer and the designer.

The concepts and layouts were often worked on for many weeks, and when finally approved by the creative director and presented to the client, who could approve or have to get clearance from above, especially if the campaign was using up a year’s budget for many thousands with media, hundreds of thousands.

Lead time for a campaign could be months or even years, so there were many hurdles to cross and a photographer could be right at the end of the process, so as everything was done with at the best FAX – things took time, till the button was pressed, then it was a race against time as the results needed to be out as the process was usually behind schedule.

It was amazing that some ads were out and in the press in 24 hours as clients who had great budgets, creative agencies would respond to news events and steal the limelight.

There were limited TV or cinema ads and it was very expensive, a commercial of 30 seconds could cost £millions, so print was king. Big 48 sheet posters were used for major campaigns , at the time it was a major event when a new Ad was launched, such as the Benson & Hedges & Silk Cut ads.

The 80’s came along and retouching became easier with early computers, such as Sitex, allowing more complex images with HDR (High Dynamic Range)  using many images of different exposure to create ‘impossible’ results.

As communication with text and mobile phone came along things speeded up, and as international flights became cheaper, travel to exotic locations became possible and I certainly enjoyed many trips to holiday-related destinations as well as providing predictable weather and interesting locations.

With time sensitive subjects such as launches, seasonal products the images would often need to be created in a season that was unsuitable. One example was with a Hay fever product launch, it needed to be ready for a trade launch in March and out on the streets in late April / May when the pollen was out. The concept was a couple in the long meadow grass with seasonal spring flowers .

In January there were not many meadows with flowers and a stock image at that time was not found, with a couple in the meadow it would not be easy to find anyway, the usual practice would be to create the image, but where?

Post internet the options were calls and emails to a variety of location scouts or producers, the people who usually work for film and TV produces, after 24 hours I had found a suitable meadow with the access to people suitable to cast for the shoot.

New Zealand – South Island – near Queenstown, it was spring and my location producer David Curtis had just worked in the area for a Chocolate Commercial so knew it was perfect for the brief.

Long story short, I met the Art Director Jonathan at Heathrow – flew to NZ – shot and processed in Aukland, remember this is on 5×4 transparency film so there were test frames and then the balance I in two batches, never process all in one batch as I had learned a few years ago, when a whole batch of images were last due too a technician opening the process before fixing. After the best two images were selected, the film was scanned, and then photo-comped together and then with early Photoshop retouchers, created a comp of the shot with a couple and an extended meadow – so a very large file was uploaded and transferred overnight as the Internet was so slow at that time. The result was delivered to a conference, to media and was live on our return to the UK.

Nowadays, a stock shot would be used, even Ai to generate the models to keep costs down and the result would look perfect, maybe too perfect?

A reputable Agency and client would probably still try to create the image as real and honest as possible, but the accountants may have an input, and original work would suffer?

The back lash against Ai, has already started as ‘grunge’ photography and even shot on film has enjoyed a revival, so as I enter my 6th decade in photography there are still challenges and rewards, for myself, I have certainly found the jobs I enjoy are those people based, real people in real situations, what is called environmental portraiture, the context for this work is often as case studies for a variety of clients, and my personal work often with Artists and creatives in their studios or locations relevant to them.

With reduced budgets it is still about having great ideas and a twist, even if it’s just a headshot, I try to light each project differently , unless there is a Brand or house style.

The hungry media requires more and more images, video’s and audio, although I am a purest when it comes to portraits, there are no rules with photography, except rule 1 – ‘Look Cool,’ as I said to students and assistants way back in the 70’s, I added that there was another rule in photography, that been ‘There are no rules’ .

Guidelines and the laws of physics are good to know, but phototography has become part of everyday life to a degree that is difficult to comprehend. You have to go off grid and away from everyone to not have a photograph in some shape or form.

So, if everyone is a photographer, how come I am still working as a commercial Photographer?

It seems that the more we use photography on social media and on every platform and website, we need images that stand out and ‘work’ . Everyone can take a picture but can they capture an emotion or produce a series of portraits that are uniform in technique yet show the individuals in a manner that is ‘on brand’ and still the essence of the subject?

This is one area that an experienced Photographer can help.

When a product such as a premium car has to be photographed – a lot can be atchieved with CGI and a skilled technician, but that image requires the ascetics of photography that means the operator is either a photographer by training or experiance or has the input of photographers, but this is where the line beecomes very blured (forgive the pun)  as images are ‘created’ by Ai or from the result of thousands of photographers images been used as referances?

Photographers have always used new technology and Ai is just another tool, powerful as it is, it is now used by those who would say they are photographers, but are evolving into a new breed of creative, based on photography but moving into a ‘Brave New World’?

I shall certainly continue to take photographs, hopefully I shall continue to be commissioned to produce work, images that provide the visual assets that are required, I shall certainly be working on my personal projects, and although most shall be portrait based as that is where my pasion lies, I shall always be that child that hopefully sees the world and is in awe wanting to capture my vision of what moves me.

Linkedin Headshot or Brand image?

Increasingly the importance of Linkedin for business is becoming more apparent, I am aware that it is the platform where professionals can be found, and certainly there seems to be many coaches and trainers helping people have a great Linkedin presence who seem to be omni present?.

Most business that are B2B realise that most clients are just a few clicks away on Linkedin, however the platform is not to be used as a mailing list, but a place to build connections, establish trust and long term develop business relationships.

I have attended a few talks and even gone to Linkedin conferences, although as a commission, so I do think I have certain qualifications to help clients with their Linkedin presence, especially when it comes to their headshot. This simple image is possibly the most important visual asset yu have, it is the image that provides the first impression.

So get it right.

A few millimetres of real estate is all you have, so try to use an image that communicates what you want to say.

Obvious, yes but vanity and emotions get in the way of good visual communication.

A wonderful holiday may produce a picture that shows you with a great tan and makes you smile every time you look at it, but is it the best image for your profile?

It does not have to be a ‘standard’ headshot, I never ever believe that there is an ideal way of producing the best headshot for anyone, you are an individual, the only one of you ever, you are unique.

There are not rules, not that I am aware of, no tried and certain best practice, a headshot is possibly expected but does it have to be the same as someone else?

It depends on many factors, one is what do you want to do on linkedin? Attract a new employer, build your business in a niche sector, provide a professional service or a freelance creative looking for a new client or agency to work with?

Whatever is the case, there are a few considerations.

1 The image is going to represent you on your profile, but also every time you comment or  communicate on the platform.

2 It is a small image on most smartphones it is a few millimetres at most. So ensure it is clear, not a blur!

3 Simple is best?  If you do want to be recognised, consider a simple up to date image.

4 Black & White or Colour? There is a recent trend to return to ‘serious’ monochrome images, certainly in many ‘professions’ such as accountants, Solisitors but what does the monochrome image say about you? Are you stuck in a bygone age? Or super hip?

I am personally a great fan of monochrome images, taking colour out makes the image stand out with its simplicity, but be careful, trends change and you maybe seen as trying too hard or concealing  something?

5 Build your Brand ? With your colour palette of the stand out clothes that you wear, you want to reenforce the visual brand you have when you are in the networking ecosystem.

Each simple headshot can be so much more complex, when you consider all the factors involved.

So when you get around to changing the headshot on Linkedin – have the conversation with your photographer or are you going to use an Ai avatar ?

My recent update of a ‘headshot’ is not a headshot, I just tried to communicate what I do, in a simple way that works even  at 4mm across?

I have created an image that works at a basic level, it has the elements that are related to my profession, a camera, a light and a serious tripod also adds to the mix, all those elements signify I am a photographer, but also I am a professional as the kit indicates much more that just an enthusiast, it all could be owned and used by anyone who enjoys photography and has the money to hire or buy the kit, however the image is a ‘shorthand’ communication to state my status as a serious player?

The image came about when I was setting up for a portrait session at the Stratford Literary Festival, I was trying to replicate what my subjects would see, how difficult it is for those in front of a camera, I had many attempts as there are often long periods between the subjects, I often photograph myself not for use as a selfie, but as a lighting test as I want the subject too be fully engaged from the first image I take, often I  only have a few minutes or even seconds, so I need to have the lighting and exposure spot on. So my face has stood in for many hundreds if not thousands of faces, fortunately not seen that often. That is another reason that my Brand portrait is as it is, I am in silhouette, my craggy features are not front and centre, I am present, but not the main subject?

I am now using this across many platforms and sites, as it has become a Brand image, something like a logo, although I have one of those, but a logo does not convey my work, if there was a reference to photography that would be different, so my brand has taken on a new image that almost by default has become my Brand.

You to can develop a ‘brand’ image, but it may take a little trial and error, see how people respond, get feedback, try variations , you may have to include props and symbols but it is worth the effort in these days of digital fog?

When looking for a headshot photographer in the West Midlands the common Frequently Asked Questions people ask include:

1. How much do headshot sessions cost?

If the headshot is for the usual website and linkedin use the following cost are applicable.

I deliver a headshot for an individual at the base figure of £250. This can be at my studio or at your work location.

If a business requires headshots of staff I charge a minimum rate of £350 for up to 10 staff members.

For more than 10 staff a rate of £35 / per staff or if more my base day rate of £495.

All prices subject to confirmation of brand requirements and the delivery of additional retouching. Parking and congestion charges maybe charged.

These figures are a guide each job is unique and I always quote and confirm when I have spoken with the client about the exact requirements and location.

2. How long does a headshot session take?

If it is a simple shot for website or Linkedin

It takes usually 45minutes for me to set up  my ‘Pop Up studio’  the lights, background and ensure the space works.

I usually take 5- 10 minutes to take the picture, but ideally I have a few minutes to chat and understand the subject and if there are changes it can be an hour or two, I try not to rush the subject as it should be an enjoyable process, a happy person shall look happy.

If it is a company shoot and there are many to be photographed it maybe only a few minutes with each subject, but each job is different so it can  be 5 minutes to 2 hours.

3. Do you offer makeup and styling services?

I often work with hair and Make Up Artists, however there is a considerable additional charge for their service, certainly needed for major Brand and character marketing material, if you want a MUA (Make Up Artist) I have a number of trusted professional that I work with that I can get for the project, just let me know. However for most website / Linkedin images normal make up and grooming is OK as you would appear at a meeting with a client.

4. How should I prepare for my headshot session?

For a headshot that is for Business, you have to consider what is your profession and what would your clients expect you to wear?

Your hair and make up again should be that that you would have for an important meeting or presentation. If you wear branded clothes ensure the clothes are clean and as new as possible, if you are organising the session for a workforce who wear branded clothes ensure you have fresh uniform in all sizes.

A headshot for an actor, writer, artist or presenter are all different and a conversation to discuss wardrobe should be had early on.

With all my headshots, I really prefer the term ‘Portrait’ as I hope to achieve more than a superficial record of the subject.

Please call to discuss the session, I don’t bite and getting the headshot right for you is the important thing..

I have an extended  guide that I Blogged about last year here with this link,

5. How many outfit changes are included?

If you are able ,always bring a choice of clothes, consider the seasons – try not to have a top that say’s winter or summer?

I usually shoot a couple of changes if its a single session, when there are a large number of subjects, schedule may be a problem, but it you have an extra jacket or top, it should only take a few minutes to change and get more choices.

I am happy to shoot a variety of wardrobe changes, but that is more like a branding session that involves longer images that can be full length, so that is something you need to tell me before the shoot .

6. Can I choose the background or setting?

Backgrounds and locations are very important, for a company shoot it is often a brad requirement to be uniform with backgrounds , I can certainly proved a number of options.

If I am shooting a number of individuals in a session  I cant’t change background easily but

as an individual sitter a couple of background changes are possible, I have many possible different backgrounds, however I recommend the simpler the better if its a linkedin or website requirement otherwise the background can be distracting .

If you need variety let me know, with my lighting techniques and post production I can put you on the moon or on a beach. Everything is possible, but you are the subject so don’t distract the viewer with too much going on. Bold colours can be used for Branding and certain needs, however the main subject is your face so backgrounds should compliment that.

7. How soon will I receive my photos?

I usually deliver the low res reference images to you within 1 working day, they are sent by FTP , I use my SMASH account to do that.

You then select the images that you require, as an individual I would supply 5-10 images that are selected, retouched and delivered.

These are delivered usually within 48 hours, you shall be informed if there is going to be  a delay.

It is important to select the images that you want and order them together, as they are processed together they shall be consistent this is especially important when selecting the images for a business website that has to be constant.

If there is an urgent requirement for the images, please let me know, I shall deliver to a copy-date if it is possible, I just need to have some warning so I can arrange my schedule to deliver.

8. Do you offer retouching or editing?

Retouching and editing are an important or essential part of what I do, The look of the images depends on many things, especially the lighting and the kit I use, but then my style of post production is tailored to the project, I send what are usually a slightly modified low res proof images, I eliminated those that have blinks, strange looks (Yes we all have them occasionally) you don’t want to see a picture of you yawning ? . That maybe 5% of the images taken, you then see the 95%, you then have to choose the one or ones you want.

I can edit, select and deliver a final image, I do it all the time, but you are the client and so you should select the image that you shall have to live with for a few years.

When you have selected that agreed number of images, I proceed to process then at the highest resolution, in Photoshop often with add on specialist software, I then remove blemishes and stray hairs, maybe dust or marks on your clothes, even enhance some features and produce a ‘master’ final. Then I create a full size image and a web-size image to send via my FTP -Smash.

The degree of enhancement depends on the brief and final use of the image, I try to make the final image as ‘real’ or natural as possible, not looking like a filter as been applied.

Retouching and enhancement has been around as long as photography, it is part of what I do.

9. Can I see samples of your previous work?

My portfolios are available on my website, most headshots and portraits are representative of my work, however I am happy, even delighted to produce images that have inspired you, I have worked on may techniques especially in portrait work, so if you are interested in a certain style, please let me know and we can produce a headshot that represents what you would like your Brand and style to look like, maybe a Hollywood inspired image or a minimalist black and white approach.

10. What is your location and studio setup?

I have a small studio in the countryside between Chipping Camden and Stratford on Avon, I shot many portraits and headshots there and use the nearby countryside as a backdrop.

The way I work has always been fluid and I have always take my studio lights and backgrounds to locations, its what I enjoy and hopefully what clients appreciate, I set up at events, offices and even factories and produce studio style images,

I also relish using the location environment for what is known as environmental portraiture, I have portable battery powered lighting that enables me to create controlled lighting that was not possible without a large crew and budget, now with some custom kit and a few years experience I am able to create ‘big studio’ looks  almost anywhere.

11. Do you have experience with corporate or acting headshots?

I certainly think I have strength in these areas, although the corporate headshot is certainly not the same as the images required for casting directors. They both require a portrait that shows life and communication in the image, I have worked with many in the corporate world who certainly know how to communicate as an actor has to, I may use similar techniques to produce headshots , but

The images that Spotlight require are often very similar to all the rest, so to stand out a more creative techniques should be considered, Actors have to play many roles and with lighting and expression changes it is possible to create a folio of images that look like many different characters. The change with new casting platforms such as StartNow has demanded that actors have a range of up to date images that show a range of looks. I know, I cast from them for my commercial advertising work.

My corporate work ranges from the legal profession, medical and financial sectors. It is often a challenge to get the people at the office or chamber on one day so often a session can last days when large firms are updating a website or having a new intake of interns etc.

Please check out the actors folio and the headshots and corporate folios to get a better idea of my work.

12. What should I wear for my headshot?

Ideally you bring a few changes, but each session is diffrent, a conversation will be had and the options discussed, I have a guide that should help , check out my previous Blog.

Why Backgrounds Matter

When clients first reach out about my headshot photography, one of their biggest concerns is usually the background. They often have specific ideas in mind or guidelines from their company, which is great—it shows they’ve thought it through. But the real question is: is it the right choice for them, their brand, and how they’ll use the image?

The color, tone, texture, and how much of the background shows are all super important when it comes to how a headshot is perceived. A background shouldn’t steal the spotlight; it should work with the person in the photo. Surprisingly, it can say a lot more about them than you might think, especially since today’s audiences are pretty visually savvy—even if they don’t always realize it.

Framing the Subject

The background “frames” the subject. The right color can complement someone’s complexion and hair, while a bold color can overpower the image. A primary color can work if done right, but it definitely sends a message about the subject.

Take a plain white background, for example. It’s a classic choice that legends like Avedon, Penn, and Bailey have used to great effect. But if it’s not done well, it can come off looking like a passport photo. Also, if the subject wears a white top, it can result in a “floating head” look, which is definitely not ideal. A clean, minimalist website can be a great place for a white background, but you have to be careful.

The Purpose of a Headshot

The main goal of a headshot is to show “who you are.” If all you need is a simple image, you might as well go to a passport booth, right?

The person in the photo should project their professional image—whether they’re an accountant, lawyer, or financial advisor. Their background shouldn’t distract from that; it should reinforce their professionalism. A light grey or slightly textured background could work well, perhaps with a subtle hint of color. Blue is often a safe bet, but you might want to avoid bold yellows or pinks.

The Impact of Color

Every color affects the viewer, unless someone has color blindness—about 1 in 12 men and 1 in 200 women do. That might explain why grey is such a neutral choice that everyone can see.

While the audience may think they’re just looking at a face, they’re actually taking in everything—the lighting, the clothes, the expression, and definitely the eyes. It’s a primal response; we’re bombarded with visual information.

A simple grey background, especially if lit well, can convey that there was some thought put into it. It shows a level of professionalism and can make the image feel more prestigious. Is that the message you want to send?

Choosing the Right Background

So, when you’re preparing for that headshot, think about not only who’s taking the picture but also what you should wear, how your hair should look, and what background you want.

Professionals like accountants, architects, and engineers often want to communicate trustworthiness and professionalism through their appearance, which includes their background.

Gender Considerations

A soft pink background with bright lighting might give off a feminine vibe, while a dark, moody background could come across as more masculine. In today’s world of equality and gender ambiguity, the type of background shouldn’t be a big deal. But our cultural influences can still affect how people perceive these images.

It might not be politically correct to say, but colors do matter when it comes to visual communication. If you’re picking a color or tone, make sure it aligns with your intentions. It should focus more on the person than just being a pretty picture—it should definitely be “on brand” without making the subject uncomfortable or overshadowed by the color.

All these factors come into play before you even consider clothes and poses!

Final Thoughts

Many businesses, especially small and medium-sized enterprises, opt for team portraits or headshots with carefully chosen backgrounds. This is great for photographers since even one personnel change means a photo update!

The choice of background color can be anything, especially with today’s AI technology. The range of colors is limited only by the screen or media used to display the images. The resolution of a phone is different from that of a laptop or high-end monitor, and web designers really need to pay attention to these details. A well-designed website can make or break the first impression for potential clients.

So, What Background Should You Choose?

It might not be the most crucial decision you’ll ever make, but it definitely matters.

Should you leave it up to the photographer? I’d say no—it’s an important conversation to have. Unless there’s a significant reason tied to a website’s color palette, I usually recommend grey as a neutral tone. It complements most skin tones and works well with both light and dark hair.

A grey background can vary widely in tone. It can be considered grey when lit just under white or just over black.

An 18% grey is often a good reference color to ensure proper color balance, helping with reproduction. This grey is seen as the midpoint between black and white, which helps maintain a neutral color temperature—a technical detail worth considering, though it shouldn’t dictate your final choice.

Let me know if you need any changes or want to work on something else!

The task is to make the text of your answer a little longer and write it using new words and wording, but without leaving out important details.

Sure! Here’s a longer and more detailed version of the text, using different wording while keeping all the important points:

Choosing the Right Background for Your Headshot

Why Backgrounds Are Important

When clients contact me about headshot photography, one of their primary concerns is typically the background. Many have specific preferences or company guidelines that dictate what they want, which is fantastic—it shows they’ve given this some serious thought. However, it’s essential to ask: Is their choice truly the best fit for them, their brand, and the intended use of the image?

The color, tone, texture, and the extent of the background visible in the shot are all crucial factors that contribute to the overall perception of the headshot. Ideally, the background should complement the subject without overshadowing them. Surprisingly, the background can convey far more about a person than most people realize, especially when considering that today’s audiences are incredibly visually aware—even if they might not consciously recognize it.

Framing the Subject Effectively

The background is like a frame around the subject. Selecting the right color can enhance a person’s complexion and hair, while a bold or dominant hue can detract from the overall image. Primary colors can certainly work if they’re used thoughtfully, but they inherently communicate something about the subject’s personality and brand.

Consider the classic choice of a plain white background. It’s been a go-to for photography legends like Avedon, Penn, and Bailey, who have made it shine in their work. However, if not executed correctly, a white background can resemble a passport photo. Moreover, if the subject is wearing a white outfit, it can create a “floating head” effect, which tends to be quite unflattering. While a sleek, minimalist website might be the ideal place to showcase a white background, caution is definitely warranted.

The Purpose of a Headshot

The primary aim of a headshot is to convey “who you are.” If all you’re after is a straightforward image, you may as well visit a passport photo booth, right?

The individual in the photograph should project a professional image—whether they’re an accountant, lawyer, or financial consultant. Their background shouldn’t distract from that; rather, it should enhance and support their professional image. A light grey or subtly textured background can work beautifully, perhaps with a hint of color. Blue is often a safe choice, but it’s wise to steer clear of overly vibrant shades like bright yellow or pink.

Understanding the Impact of Color

Every color evokes a response in viewers, unless someone happens to have color blindness—an occurrence in about 1 in 12 men and 1 in 200 women. This might help explain why a grey background is often regarded as such a neutral and universally appealing choice.

While the audience may think they’re merely viewing a face, they’re actually absorbing every detail—from the lighting and clothing to the expression and, most importantly, the eyes. This reaction is instinctive; we’re inundated with visual stimuli.

A simple grey background that’s well-lit can suggest that there was intention behind the choice. It conveys a level of sophistication and professionalism, enhancing the overall prestige of the image. Is that the impression you want to convey to your audience?

Making the Right Choice for Your Background

When preparing for a headshot, it’s important to consider not only who will be taking the photo but also what clothing to wear, how to style your hair, and what background to select.

Professionals in fields like accounting, architecture, and engineering often seek to communicate reliability and professionalism through their appearance, which certainly includes the background of their headshot.

Considering Gender Appropriateness

A soft pink background illuminated with bright lighting might evoke a more feminine appearance, whereas a darker, moodier background could suggest a more masculine vibe. In our contemporary society, where equality and gender ambiguity are increasingly recognized, the type of background shouldn’t be a major factor. However, the influences of centuries of culture can greatly impact perceptions.

It may not be the most politically correct statement, but when it comes to visual communication, colors absolutely matter. If you have to choose a color or tone, make sure it aligns with your intentions. The focus should be more on the individual than simply on creating a pretty image. It should certainly be “on brand” while ensuring that the subject feels comfortable and isn’t overshadowed by the chosen color.

All of these considerations come into play before you even think about clothing and poses!

Final Thoughts on Background Choices

Many businesses, especially small and medium enterprises, opt for team portraits or headshots with thoughtfully chosen backgrounds. This is beneficial for photographers, as even a single personnel change necessitates an update to the group photo!

The possibilities for background color are virtually limitless, especially with the capabilities of modern AI technology. The range of colors is constrained only by the medium on which the images are displayed. The resolution of a phone differs from that of a laptop or a high-end monitor, and web designers must pay attention to these nuances. A well-crafted website can significantly influence the initial impression a potential client has.

What Background Should You Choose?

While selecting a background may not be the most critical decision you’ll ever face, it certainly has an impact.

Should you leave this decision solely to the photographer? I would advise against it—this is a conversation worth having. Unless there’s a compelling reason tied to a website’s color scheme, I generally recommend going with grey as a neutral option. It complements a wide range of skin tones and works effectively with both light and dark hair.

A grey background can vary significantly in tone. It can register as grey when illuminated just below white or just above black.

An 18% grey is often viewed as a reliable reference color that ensures proper color balance, aiding in accurate reproduction. This shade of grey is perceived as the midpoint between black and white, which helps maintain a neutral color temperature—a technical aspect worth considering, although it shouldn’t solely dictate your final decision.

I love working with new business,setting up a new enterprize it is a brave thing to do and it takes a lot of energy, planning and commitment. All traits I admire.

When approached by the Eggless Baker, Pardeep had already on her journey with a thriving specialist  bakery suppling local shops and restaurants in North Birmingham, however there was an ambition to grow the business and believed investing is some photography would be a way forward, however, just taking some shots of the cookies and cakes was only a part of what was required and so a new website, rebranding and packaging were on the agenda, I certainly endorsed the approach and finding a good web designer and marketing agency, Thrive, the photography had to wait a while.

With a website design and a shot list , I could produce most of the material that was required, although stock images were part of the mix, the majority of the food and naturally portrait material was created and a new site went live, new packaging and hopefully a little help from my photography the next stage of the Eggless Baker story unfolds.

Certainly check out the website, but be careful, seeing the cake and cookies can be too tempting .

https://theegglessbaker.shop/

A collection of the final images from the-

Movers and Shakers – faces of a changing city.

Portraits by Lorentz Gullachsen

Exhibition at Symphony Hall September 2005 – April 2006

Archived at Birmingham Central Library

As the previous BLOG explained this portrait based photography project was produced betwwen 2001 & 2005 culminating as an exhibtion at Symphony Hall IIC centre Birmingham. The final number of subjects was 100 but more were added in 2008. A few were selected for inclusion at the National Portrait Gallery and all are archived at the Birmingham Library Archive along with Gullachsen’s Commercial and Art work along with many notable photographers.

(Rt Rev Dr John Sentamu – Bishop of Birmingham 2002-2005}

Movers and Shakers – Faces of a changing city.

Photography exhibition – Symphony Hall  2005 – Lorentz Gullachsen

Portraits in Birmingham at the beginning of the 21st century .

( Image – Prof Carl Chinn, Historian, Author, broadcaster, Brummie)

In 2000 I was aware that my home city Birmingham  was going through a transformation that I wanted to respond to and celebrate, Birmingham was also hoping to get the City of Culture award  and so with the support of Pete James head of photography at Birmingham Central Library I started to photograph a series of environmental portraits of many who were changing the city.

The resulting collection of 100 portraits was exhibited at Birmingham Symphony Hall , opening in September 2005 and extended to April 2006, the exhibition finally seen by an estimated 60.000 and then became part of the Birmingham library collection and archive.

The subjects were invited to be photographed at a location that was relevant to them, and though the images were portraits they also provided a context and celebrated the history and contemporary environments of Britains second city.

The subjects were chosen to represent the change is the city and its diverse work and culture, it was originally aimed at helping the bid for the city of culture , but grew into a much larger project .

It was always intended to be shown to the public in an accessible location and the new Bull Ring that was under  construction was the initial choice, however costs and schedules made this difficult and the Symphony Hall became the host.

The initial number of subjects was going to be 50, but it became apparent that this would not cover anything like to number of subjects that needed to be represented. The target of 100 took 4 years to achieve as I was working mainly in London and abroad for my advertising commissions.

Nominations came from many sources, some were obvious choices like Prof Carl Chinn and the then bishop of Birmingham John Sentamu, the band UB40, Jasper Carrot and many key cultural players were chosen as well as Politicians and key community leaders.

I certainly missed many key people, and would have loved to continue the project and take the number to another century, but costs and logistics made that ambition impossible, my career continued heading toward teaching so  I went back to BCU to gain my MA and that changed my practice and my portrait work became the main area of practice.

The project was originally hoping the receive funding from Arts & Business , however this did not transpire and the cost of the project was something that I had to absorb, I was grateful for the great support and guidance that Pete James at the Central Library gave me and the help from suppliers such as Colin Alford and the amazing support from friends and family, however the expense was certainly a major issue that impacted my business.

It is now 20 years since the exhibition, the city has continued to grow and I am proud to say Brum is my home city, I am still photographing the Movers and Shakers in the city for commissions especially in the expanding financial sector and diverse projects.

The Movers and Shakers that are currently making the city of Birmingham a new hub for financial services as well as the great creative industry that has grown in the last few years, recent interest in TV and Film production shows that the UK is no longer London centric. I am now working not only with my usual corporate portraits for marketing and comms, but also actively seeking out the new areas of creativity and hopefully new subjects shall be found.

It would be wonderful to start the project again, ideally with a generous sponsor, the city has certainly gone through changes, there is an energy and vibrancy that makes Birmingham special, a city that has changed throughout its history sometimes with difficulty but it has always bounced back, it is the City of Movers and Shakers.

Movers and Shakers – Faces of a changing city – photography exhibition , Symphony Hall Birmingham 2005 -2006 photographer Lorentz Gullachsen

Subjects – included

Cannon Jermima Prasadam

David Bintley

Doug Ellis

Dr Brian Wood-Scawen

Sakiri Ormoro

Shefali Oza

Karen Brady

Adrian Bland

Adrian Goldberg

Andrew Jowett

Andrew McKenzie

Andrew Morris

Andy Howell

Barry Claverden

Bob Gilbert

Bernie Gray

Chris Monk

David Bucknell

David Amiss

Dorothy Wilson

Dr John Heeley

Dr P Mahendra

Dreadlock Alien

Ed Doolan

Fiona Alexander

Gary Taylor

Gisla Stuart

Glyn Purnell

Graham Vick

Ian Squires

Jim Crace

John Dowlan

Jasper Carrott

John Hemming

John James

John Overton

John Towers

John Watkinson

John Emery

Jonathan Bryant

Jonathan Watkins

Jonnie Turpie

Kalid Mohamad

Karen Brady

Karl George

Kay Cadman

Krysia Rozanska

Lynn Jones MP

Marcello & Kay Manca

Mark Ball

Mark Britell

Mike Whitby

Neil Rami

Nigel Craig

Paul Keynes

Paul Udende

Pete James

Prof Michael Stirling

Rebecca Bateman

Pia Ray

Remo Papini

Rev Jemima Prasadam

Richard Heard

Richard Burden MP

Richard Green

Richardson Bros

Roger Godstff MP

Ronda Wilson

Rt Rev Dr John Sentamu

Sakiri Ormoro

Sarinder Singh Sahota

Shefali Oza

Simon Topman

Sir Albert Bore

Sir Bernard Zissman

Sir Digby Jones

Sir Michael Lyons

Sir Peter Ripley

Sir Richard Knowle

Sue Battle

Sue Beardsmore

Tariq Ismail

Terry Davis MP

Tim Watts

Tindall Press

UB40

Uni of 1st Age

W Wing Yip