Before you go digging into New York casting calls, you’ll want to make sure you have a great headshot on hand that accurately reflects what you want to project to casting directors. Headshot photographer John Keon shares what makes a successful headshot.

How did you get started as a photographer?
I have appreciated beautiful photography for most of my life, but I didn’t buy my first DSLR camera until 5 years ago.  At first, I was using it mostly to take photographs casually – simply to capture great moments in my life.  When I started getting compliments on those photos, I realized I could pursue a career as a photographer. About a year and a half ago, I started taking headshots of my friends and doing photo shoots for free to build my portfolio. These sessions provided me with great on-the-job training about the relationship between the model and the photographer, as well as ways I can build on my talent. Even today I continue to learn from my photo shoots, which is one of the best parts about my job. It doesn’t hurt that my friends all love having their photos taken – I get lots of practice!

What should an actor look for in a headshot photographer?

Obviously I think you need to like the style of the photographer first.  You can usually tell right away by looking at someone’s portfolio if they are someone you want to work with.  But I think there is a more important quality an actor should look for: chemistry between the actor and photographer.  If you and the photographer don’t get along, the camera will pick up on it, no matter how good the actor is at acting.  So look for someone who makes you comfortable, and doesn’t intimidate you.

How should an actor prepare for their shoot day?

First, get some rest! You’d be surprised what a difference some beauty rest makes. Next, put a little time into thinking about your ideal shots. A headshot photographer will have ideas about what will look good – that’s part of our job – but ultimately they are going to be your headshots, representing you. Look at the photographer’s portfolio. Are there shots you particularly liked? (Hopefully, since you’re shooting with them!) Mention those to the photographer. Do your research.

(The actor needs to think about what they want to get out of the shoot.  A photographer will have their own ideas about what will look amazing, but at the end of the day you need to make sure that it will work for your final headshot.  So do some research and look around at other people’s photos.)

What types of clothing are best for a photo shoot?

Nothing that wrinkles easily, nothing sheer, nothing baggy, nothing with logos.  Basically your clothes should be fitted and comfortable.  I do like to see colors in a photo, and maybe some subtle prints, but that is a personal preference.  If you bring something with a lot of patterns it will most likely draw attention away from your face, and that is usually not the goal with a headshot.

So consider your wardrobe carefully, but don’t overthink it. Bring a couple of outfits with you so you don’t regret wearing that wrinkled shirt that looked so good on you the night before!  Also, the photo should convey your personality as well as the role you want to play.  You don’t want to look like a high school kid if you are auditioning for a role in something like Chicago – or vice versa!

Do women need a hair/make-up stylist on the shoot?

Each woman is different.  I personally do not require you to have make-up and hair professionally done.  You should feel comfortable with being able to at least apply a simple layer of make-up that looks natural.  One of my clients once used the make-up artists at Sephora to get her face done. It cost her about as much as she’d have paid for a lip gloss, and she looked awesome. However, there is something to be said about having someone on location with you, if nothing else than peace of mind.

What do you prefer-studio or natural lighting?

I prefer natural lighting because it makes each photo shoot unique.  It also makes the location much more flexible.

What are your thoughts on retouching?

Of course there will always be some retouching done – but there is a line between making you look like the best version of yourself, and making you look like someone else.  It is similar to plastic surgery (which I’m not a huge advocate of): you should really know when to say enough is enough. It can be so easy to get a little carried away and remove every single mole or freckle, take out every single wrinkle, and bleach the teeth whiter than snow. Your photo, however, should look like you! And I assume it is safe to say that you are not an upper east side cougar. I like a photo to look natural.

John Keon started his photography business nearly two years ago, although he has had many more years to develop a passion and love for photography.  The majority of his skill has been self taught, however he’s very fortunate to be surrounded by inspiring and talented people which he’s learned so much from.  This was one of his motivations of moving to New York four years ago from Washington State.

If you have more questions, feel free to contact him via his website at:  johnkeonphotography.com

If you want to be cast to perform in NYC, it’s important to know what casting directors mean when they talk about a hold versus a first refusal. A casting director explains.

Q:  What’s the difference between first refusal and a hold?

A:  This question come up a great deal. Technically nothing.

Many years ago SAG came up with a rule that we weren’t allowed to use the word “hold” unless we were just about to book someone. We needed to use the term “first refusal”. Anyone who used the word “hold” and didn’t book the talent was subject to a session fee if the talent didn’t get booked.

Most Casting Directors will put all talent on first refusal when the callbacks are given to them because the advertising agencies only want to submit talent to the client if they know that they are available.

However, “first refusal” is just a courtesy. Talent is allowed to accept other work even if they were on first refusal for another project. It will not make that Casting Director very happy but they do have that right.

When talent is put on first refusal all that it really means is that you are still in the running. You may be the only one on first refusal for that role or there may be 50.

Also if two different clients want to put you on first refusal for the same date, the proper thing to do is give the first one who calls a first refusal and the other one a second refusal. If the second client is ready to book, it is customary to do what is called a “book or release” which means that first client has to make a decision.

One disclaimer…..rules change all the time but this is my understanding of the the rules.  It is not locked in stone.

Some actors and celebrities deal with loneliness when they are not in the spotlight. Here is a short list of techniques that actors can use so that the fear of being alone doesn’t become a major issue in their lives.

1.Find An Activity
Find an activity that you enjoy and where you can meet a lot of people. Lots of New York acting schools have short-run classes that you can enroll in. Doing something that you like to do will make you happy and will increase your chances of making friends.

2.Spend Time With Animals
Spending time with an animal or pet can help us to feel better. Animals can be of good company to all of us whether we are alone or not. There are many local shelters that could use your time and talents.

3. Helping Others
There are many people out there who could benefit from your time and skill sets. Helping others can give you a source of pride and accomplishment and also can lead to friendships.

4. It Could Be Worse
It isn’t fun being alone, but sometimes there are worse things. For instance, imagine that you are married or stuck in a relationship that you can’t get out of and also makes you miserable. As a result you are stuck living with someone that you can’t stand and makes you depressed. With this viewpoint, being alone doesn’t sound that bad.

5. Be Constructive
Sitting around and doing nothing will not make things any better whether it is dealing with the fear of being alone or something else. Take it one day at a time and stay committed in trying to solve your problem.

6.  Things Can Change
Nothing remains the same forever. No one can predict the future with one hundred percent accuracy. Events change all of the time. Even if the thing that you feared does happen there are circumstances and factors that you can’t predict which can be used to your advantage. You never know when the help and answers you are looking for will come to you.

Remember that everyone deals with loneliness sometime in their life. Focus on your life and don’t compare yourself to others.   If being alone bothers you then seeing a counselor can help you with these issues.

BIOGRAPHY:

Stan Popovich is the author of “A Layman’s Guide to Managing Fear Using Psychology, Christianity and Non Resistant Methods” – an easy to read book that presents a general overview of techniques that are effective in managing persistent fears and anxieties. For additional information go to:  http://www.managingfear.com/

Casting offices can get crowded, especially with kids. Imagine a large group of children in a cramped space, waiting to be judged by strangers. Add strollers, siblings, gameboys, iPads, food, backpacks, and cell phones to the picture. Then imagine kids running lines and primping, preparing for their “big break.” Not to mention the chatter about who booked what job and the catch-up conversations between parents. Acting classes for children (let alone for adults) may not ever have covered audition etiquette.

Auditioning is part of life for a child performer. And it’s tough.

Jen Rudin, an award-winning casting director for film, television, animated movies, video games and theater, began her professional acting career at age eight. By twelve, she knew she wanted to be a casting director. Rudin believes in “creating an honest, positive, and comfortable audition environment.”

“It’s a very small world and certainly casting directors talk to agents and production managers,” says Rudin, who has spent much of her career casting for Disney and now works through her own agency, Jen Rudin Casting. Her work includes “The Princess and the Frog,” “Chicken Little,” “Meet the Robinsons,” and “The Incredibles.” Upcoming films include Tim Burton’s “Frankenweenie” and Peter Bogdanovich’s “Squirrels to the Nuts.”

Rudin views the waiting room as a professional workspace. “You may not think you are distracting [actors] but subconsciously you are shifting their focus away from their audition material and ultimately depleting their focus,” she says. “That can be really detrimental.” Rudin believes that casting office etiquette begins with kindness and respect. “As my father likes to say ‘All you have is your name, so leave a good name.’”

Casting kids means, to some extent, casting their parents as well, and Rudin looks for “good” people. “Be pleasant to the casting assistant in the waiting room because they are going to tell me anything wacky that happens,” she explains. “It’s their job. I hear plenty of stories. Sometimes I will love a kid and say to my assistant, ‘So, what happened in the waiting room today?’”

Rudin suggests that conversations, especially between families, be kept to a minimum. “There is nothing that another actor, or another mother, is going to say to you in the waiting room that is going to make you feel better at that moment,” she says. Any audition-related conversations with your child should take place once you leave the building and be limited to “Did you have a good time?” “Whatever you say in a public space could end up being overheard,” warns Rudin. “You never know who is in the elevator or in the toilet stall next to you.”

Shaking hands is one of Rudin’s pet peeves and strongly discourages the practice to prevent the spread of germs. “It’s bad enough I have to touch hundreds of resumes during the day. I don’t want to shake everybody’s hands,” she explains. “A kid should come in and be themselves. Shaking hands seems a little manufactured and a little artificial to me.”

Finally, Rudin adds, “Take it all with a grain of salt. You’ve got to go on a million auditions before you get something. If you can remember that, you are going to be a lot happier in the waiting room, and your child will give a better audition.”

Casting Office Etiquette Tips

Arriving at the Audition
Arrive 10 minutes before your appointment time. To ease overcrowding, don’t arrive too early or late.

Don’t bring strollers or siblings, especially toddlers.

Finish eating, drinking and attending to the bathroom before you arrive.

Come Prepared
Actors should prepare before they arrive. You can’t control the casting office environment and there are times when casting may run ahead of schedule.

Review the audition sides quietly without distracting others.

Be Quiet and Respectful
Do not speak with other actors. A simple hello is best.

Do not discuss industry business such as recent auditions and bookings.

Use of Electronics
Never play electronic games.

Headphone volume should be kept to a minimum.

Do not talk on cell phones. Place cell phones on silent.

Privacy Considerations
Don’t stalk the sign-in sheet. It can make others feel uncomfortable and lends itself to gossip.

Listening at the door is awkward for your child and others. You don’t want to be that parent.

The Audition
Be ready when your name is called.

Greet staff with a simple hello and be ready to slate. Allow staff to direct any small talk.

Do not shake hands with casting director or staff.

Parents should not go into the audition room with their child, regardless of their age. An important aspect of the audition is how confident a child feels in a room with strangers.

No tears. Reevaluate if your child does not enjoy auditioning.

Leave the room with a simple thank you and goodbye.

After the Audition
Don’t linger. Quietly collect your belongings and leave.

Do not discuss what took place during the audition until you are outside of the building.

Do not correspond with the casting through social media. Use a post card or email.

Be cautious about reading or sharing information about castings via the internet.

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