A good actor headshot is a sharp, professional photo that looks exactly like you on a normal day, with your eyes in focus and nothing pulling attention from your face. Most actors refresh theirs every few years, or sooner when their look changes. We put headshot questions to 25 casting directors, and the rule they repeated most was simple: it has to look like you.
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We asked 16 casting directors for their headshot dos and don'ts. Meg Morman put it simply: it should look like you "on an average day", not the best day of your life.
They also want life behind the eyes: a caught moment of real thought rather than a pose. Lisa Beach told us the whole point is that the photo makes her want to meet you.
And they want your real energy. If you're earthy and funny, a sultry glamour shot gets you called in for the wrong roles. Gayle Pillsbury said her office has a phrase for that: the headshot is a lie.
For retouching and cropping rules, see What Headshots Do Actors Need?
Yes, and in the first pass it's often the only thing they look at. When a role gets thousands of submissions, the first cut is made from a grid of tiny thumbnails, long before anyone opens a reel. Risa Bramon Garcia described scrolling page after page of small faces, and asked how yours will be the one that pops.
A strong headshot can get an unknown actor seen. Lisa Zambetti told us a headshot will draw her to people she doesn't know, and she then clicks through to the reel and slate. If the slate doesn't look like the photo, the interest ends there.
Prices vary enormously by city and reputation, from a friend with a good camera to the most in-demand photographers in Los Angeles. Judge the portfolio, not the rate card.
Casting director Kahleen Crawford said you don't have to spend a fortune. She has seen actors shot really well by a friend who understands photography, because they were relaxed. SAS founder Kym Jackson treats headshots as the main marketing investment in an acting business, and suggests checking each photographer's work with actors who look like you.
For child actors, Jess Orcsik and Karen Workman both said to be reasonable at the start. Children change quickly, so you'll reshoot more often.
When your look changes, and not much more often than that. Kym's rule of thumb is a fresh shoot every two to three years, with no single photo in circulation for more than about five.
Casting directors tie it to change rather than the calendar. Amanda Mitchell said to update after any significant change, and Lou Mitchell pointed out that a new cut or colour a week after your shoot makes the photo useless. Old photos get you called in for roles you no longer suit.
It depends on the character the photo is selling. For a main theatrical headshot, Kym suggests warm eyes and a natural smile rather than a big grin. Keep the serious, intense look for darker outfits and the open laugh for comedy and commercials.
Casting directors were relaxed about smiling as long as it's real. Lou Mitchell likes to see a smile, and Kahleen Crawford said the old "don't smile" rule has gone, provided it's the right kind of smile. Scot Boland warned against the fixed, close-up commercial grin on a theatrical shot.
Theatrical headshots, for film and TV, are calmer and more grounded, built to show your essence. Commercial headshots are brighter and bigger, with colour and a sense of "you can trust me".
Shaan Sharma suggests building commercial shots around wardrobe categories: casual, upscale casual, business casual and business professional, each with a matching attitude. Kym's advice is to trust your commercial agent's picks, even when they seem odd, and go with your gut and your theatrical rep on the theatrical set.
Compare at least five or six before you book. In each portfolio, check that the eyes are crisp, the background is softly out of focus, the lighting is even, skin isn't over-smoothed and no faces are cropped off.
When the photos come back, get help from your reps, not your relatives. Most agents only want your top few choices; a manager is more likely to go through the whole shoot with you. Our headshot photographers directory is a good place to start looking.
Mostly not, but carry one anyway. Of the 23 casting directors whose answers we read, 12 said no, 8 said yes or sometimes, and 3 said only for callbacks or tests with a director in the room.
Those who still like hard copies said directors and writers enjoy holding something, and indie projects often have no print budget. Kerry Barden added that commercial auditions are more likely to want one. In the US the standard print is 8 x 10 inches.
Whenever your look changes noticeably, such as a new haircut or colour. Otherwise, a fresh shoot every two to three years is a sensible rhythm.
A natural smile with warm eyes suits most main theatrical headshots. Use serious looks for edgier characters and bigger smiles for comedy and commercials.
Ideally, yes. Commercial headshots are brighter and more energetic, while theatrical headshots are calmer and show your casting type.
Most no longer ask for them, but some still like a hard copy, so it's worth carrying one.
A headshot that doesn't look like you, whether from heavy retouching, glamour styling or an old photo.
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