At B&H’s Depth of Field 2019, photographer Peter Hurley shares a ton of great information on how to become a successful head shot photographer. He stresses the importance of using social media platforms to build your business, and he believes that the journey of every good photographer is one that requires constant evolution. Check out the video for more great tips and photos.
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all right so make some noise through theater guys thank you very much thanks I gotta thank this guy for bringing me here and doing a lot for me I have to say that uh and I told him I was gonna get emotional so I'm gonna try not to but this company means a lot to me you guys are all here and this company brought you here and I used to be you I was sitting out in a crowd at these things and somebody at this company called me and said hey do you want to do a talk your we know you're a really good headshot photographer do you want to talk I never talked before and they put me in this room that that guy ran for years called the event space and I did the basic head shot and it was my first time ever speaking and the room was packed and I was really really really nervous I couldn't even stand up I couldn't even say my name I didn't you remember right and it launched something completely different for me it launched my speaking career so I wouldn't be up here if it wasn't for this company and that guy and and I was so honored that you asked me to come here and I told you I was so guys I don't know how many of you know man I didn't expect to just lose it right in front of you right off the bat but I'm big on goal-setting and I'm big on I was I was living on 42nd Street in a and I wanted a southern facing window I wanted to build my business around natural light because I didn't know how to light so I got an apartment with a southern facing window and I started shooting and I remember I used to work in the darkroom I went to B and H and I bought my first darkroom and I put in my mom's basement and this guy Milton helped me in the in the darkroom area and it was way back when when we were doing Phil I was getting chemicals all over my hands and I always had this I I find it amazing that I put somebody in front of my camera I press the button and I make an income off of that I have twin daughters that just turned 16 I'm able to support them through Hedgehog photography I have a studio on 26th Street that you know I'm proud to be in that space for the last ten years because a headshot photography I can't say enough about the fact that you know putting somebody in front of my camera and get paid for it is an amazing thing how many professionals in here how many people have charged for their services charge for their services as a photographer okay how many want to charge for their services but never have there you go all right this is the year to do it this is the year to do it what opened up the whole world to me was really being H in this speaking thing because for me it's about having multiple sources of income because how many people could I put in front of my camera and press the button and get paid right I also needed other sources now I travel all over the world teaching I run the headshot crew which is my coaching site and I have these sources because of opportunities that I've been given from being behind the so today we're gonna talk about a little thing which became a big thing which for me is hedgehog photography and I'm gonna start this thing off with one word some of you know it some of you may not I'm gonna put on the screen and I want you guys to yell in unison 3 2 1 what is this shebang what is it shoe bag guys shebang is a characteristic contributor trait that an image possesses that produces a visceral gut reaction of approval in the artist who upon viewing it for the first time rejoices by yelling shebang at the top of their lungs it's ugly just what I yell but I want you guys are all artists you know that so whatever right when you take a picture you're an artist see she's one how many people are already seen here all right all right if you didn't raise your hand think about it next time you're all artists you have a camera right we produce our art through a camera so what happens is is when that screen I shoot tethered who shoots tether do you guys know that tethering is my number one coaching tool are you guys aware that if you photograph human beings and you show them the pictures they usually get better as they go number one coaching tool unless your Lighting's bad if your light is bad don't show them anything yeah I got to get funny see I had to get funny that all the other emotion had to get out of it for a second but seriously I shoot tethered you know and what happens is when that shot comes up on the screen and I go that's the shot that's to me is a shebang I said it once and then it became this huge thing and it went viral in this video I'm gonna show you in a little bit but guys I'm big on on social so if you take any pictures or anything definitely post follow me I need I'll take the extra followers whatever but take some pictures post them send them around you guys should all be on Instagram you show all of your owns you should all be building it we're all getting jobs off Instagram these days as you build your filing you put your work up there it's really important don't fool okay I'm Peter underscore Hurley if you want to oh this doesn't have my thoughts in it okay that's okay alright alright so it was on my computer so it's now on their computer so it's okay if there's one thing I've learned over the course of my career it's as photographers we don't arrive we evolve okay many of us how many of you guys feels good is your last shot right it's true I mean I I had I wanted that last shot I took better have been a good one because we're constantly evolving right you guys and and without evolution there's not gonna be any growth right and and did you know this you know what the for who knows what the first law learning is it's the same thing that your work must evolve from nobody knows what the first law learning is you're gonna learn something today good repetition I do the same thing over and over and over and over and over again and I've been doing it since 2002 when I started shooting headshots I do portraits to I do the same thing over and over and over and over and over again and you know what happens it changes little by little by little by little until you start getting better and better and better and better and finding out your style and your creativity and what it is that you have that's special what people are gonna book you for let's see if the click does it clicker work oh my gosh I could got the clicker going now alright how do I know this right I want to show you something I'm gonna teach you a concept and this is amazing to me so I am a what do I say I'm a what's the what I'm a student of the game right like you don't ever master photography anybody master photography in this room I don't think anybody live has mastered it like you just don't master photography like you can't master thing you can't you you could be good at it like what do they say it takes 10,000 hours to master something right well what I've shot more than 10,000 people thirty or forty thousand people I haven't mastered this headshot thing right we got work to do so I'm gonna give you some tips I'm gonna show you something what angle are the arms going out of the frame is something that when I shoot a headshot I never paid attention to I didn't realize it and I didn't realize it till recently because it became really important to me so look at this I was doing a workshop I do this workshop called the headshot intensive and I do him all over the world I do him about every month and I had this guy Sam and he's sitting in the workshop and I'm teaching this concept and he's like he's like you see the arms the way they go out of frame see this angle that's like a ski slope right but over here would be more like a cliff it's just how I gonna do this over here see it's like a ski slope there and this is more like a cliff watch this so he says you want the arms to go out of frame straight down not on an angle and I was like yes right and why does that matter because of this so what is she doing what's the number one place people put their arms when they're when they're being photographed what's the easiest place to put them on your hips does that look good that's like the worst place to put them now if you're far away and shooting a portrait it doesn't look as bad but that's not good and then what's the second place that they put them straight down that looks like that but I do this little move who knows the move who knows the move you know the move he knows the move look at that guy he's doing the move it's called holding your sub watch this watch as she holds her sub boom Shakalaka you got me from there to there why does that work why does that how could that possibly could that be possible from there to there to there right this is why it's possible watch this now I had a silly haircut do this I want you to act like you are holding nobody told me submarines and bring your elbows in bring your hands out keep going out right there what we're doing is we're streamlining our arms to the camera and we're creating a some sort of trajectory situation when we're taking this area and we're just opening it up to slim down arm and that's a key element whenever you're taking a picture of yourself it is a six-foot sub it is not a small sub this is a wide Sun we got to hold this up but you got to hold it wide and you got to keep your elbows in boom now you really got to get it going you're gonna hold your sub yeah is that an awesome maneuver like look what like this is the thing so your clients will gain confidence in you in your ability to direct how many people photograph people people shooters people photographers I should say hey you know we would point a camera at some and press the button you know watch you show them to do that and the rest that you teach somebody that right at the beginning of your session guess what they do the entire session they're like this the whole time they're never gonna stop doing that now does it work if I'm not shooting a headshot it's a little tough to do full-body with this move I mean you could twist the arm a little bit but it gets a little strange but in a headshot look how important it is going down now watch this November 11th November 13th 2008 November 13 2008 what what could be so special about that day that was the day Mary Ellen came in and I photographed her is that angle of that arm is that going out on a cliff or a ski slope it's a kind of steep sleeve ski slope but it's not a it's it's not a cliff right I want you to look at these pictures look at her and look at these pictures that is a weird arm situation there why is that arm doing that doesn't that look strange to you okay I took these pictures on November 13 2008 okay now there's some weird slope to the shoulder going down now I've got some weird body angle going out of frame now I'm really weird like is this does this look does this look strange the way the body's going out of the frame that's totally strange that to me is strange I don't like it now I created wrinkles on her neck whose fault was that could she see it nah it's my fault that anytime you see that the photographer caused it so if you got neck wrinkles on somebody you caused it it's very easy to undo I just didn't know in 2008 what I was doing I hadn't mastered it yet I still haven't mastered by no not to get that and there's sternocleidomastoid tension who knows what that is right here see this sucker you twist somebody too much like this and you get sternocleidomastoid tension right now I got her laughing she's laughing now I shot wave from above her which I can't stand then I twisted her up again hair is kind of messy now I get is that a ski slope or a or a cliff ski slope right ski slope ski slope I got neck wrinkles I got weird positioning the arms going out of frame in the back funny right now I'm shooting way from above now the arm looks weird the body looks weird now she just looks like a hunch like she's a hunchback or something right like it's like it's like rounded out and there's neck wrinkles did I know any of this in 2008 no what is that now it's like a negative slope that's weird strange and unusual what is this why did I tilt her like that that's strange I don't like it I look at my all work and I'm like oh my gosh but guess what how do I learn to get better repetition and it evolved and guess who walked in ten years later guess he walked in a week ago was it a week ago not even on January 31st 2019 Mary Ellen brittle came right in my studio again do you guys know what happens when you get it first of all how many people love returning clients shebang right right but there's something very scary about them because one is I was pretty good back then I'm better now but I was good back then so usually I took pretty great pictures back then and now they've aged 10 years oh boy and I got to compare those to the new stuff well Mary Ellen didn't flinch I want you to look at the difference of the evolution so will everything you saw there was white background all I shot was white background back then and I had weird positioning weird arms weird everything look at the difference in the work it 10 years later everything's going straight down out of frame right still got her laughing right hairs better straight down out of frame with the arms look at the arms look at the aging process on her she's aged well I thought I told her it's wonderful see the difference in the work same photographers same human similar equipment different work what happened I evolved I evolved right through repetition I became better and I got her and I never let those weird things happen I lowered my camera I shot straight on I got the hair together I got the body going out of frame properly and everything to me looks better but what was it about simplicity these are way more simple than the other ones did you notice that what was I trying to do I was trying to overdo it you guys I can't tell you enough I coach like crazy I'm trying to get everybody to not overdo it you think you have to add something you got to add a twist you got to add a turn you got to raise the Cameron tilt it like this you got to saturate the like crazy you got to do all sorts of stuff you don't have to do anything you have to evolve from where you are to simplify and the simpler it goes the better you're gonna get and the more confidence you're gonna have behind your camera and you know where that confidence goes where's that confidence go if you're confident behind your camera I'm gonna give some love to this side of the room I've been over there the whole time where does it go confidence goes to the client right the your confidence will get will be infused into your client and guess what happens when that happens how do your pictures look so much better so much better amazing so what do you need to evolve you need a game plan if you don't have a game plan you're not on the track to anything I did portfolio reviews yesterday I'm doing again today anybody you get to sit with me if you want I just put it out there aren't I doing them again and doing them all afternoon what I saw most of the people the people that impressed me the most were the ones it wasn't even the level of the work it was the consistency of the work if I know somebody's consistent I know they can involve if you're a haphazard don't know what you're doing you can't evolve because you're all over the place you've not you haven't gotten something and go oh I like this you have to go and look and be like I like this let me go down that path so then you keep going and the evolution happens by itself but you have to be a constant learner I don't stop learning I was standing in the back room listening these guys and I'm trying to pick up something these guys that were on before me right everybody who talks everything I mean it's like we're photographer I'm constantly trying to get better right it doesn't stop you know I never had a client come in and say Peter I know you're really good but you can pull back the throttle today you don't dude he's so great with me did you ever know and did you ever do that when you take a picture do you ever go alright let me see if I can get this half right do that we go all we're going a hundred percent all the time and when you have people there the wild card right there the wild card did you ever have somebody come in and go oh Peter I mean I never had somebody say this Peter this is your lucky day my skin is flawless my hair is perfect it's gonna be a piece of cake for you no you never had that right what do they do they come in and they go oh my gosh I have bags under my eyes I didn't get any sleep I didn't get to the hairdresser I'm pale I got this big zit you know they write when does that start did you ever you got how many people shoot kids kids shooters yeah we photograph kids photograph I'll say it photograph kids did you ever have a ten-year-old say you know I wish I should have lost that ten pounds before I did this shoot never happens it does not happen so what I do in my work and my game plan is I call it the cross process and I forgot to put it in here so I'm gonna talk about a little bit the cross process is this when you're shooting a person and you're a portrait photographer you have to be a technician and you have to be a director at the same time you have to have multiple hats right so what happens when you're being technical and working on your lighting in the and the person standing in there and you're having a lighting problem where's your director gone gonzo like you're just like oh my gosh I gotta get this light right or your settings are off or something and the person's sitting there like this person doesn't know what they're doing you know and then when you're directing right so you have to we have to we have to be have it's like a choreographed dance in our brains between being technical okay I got the light I got chains that I sew right now and then oh by the way you look beautiful you know between our brains and our directorial person persona that comes out and you have to have that it's part of your game plan all right let's see what this game planet is all about here's one of the biggest mistakes that a photographer makes when directing a subject you guys are anticipating this I'm gonna hold the anticipation are you ready here we go are you ready how many of you said this before you click your shutter think about it you don't have to raise your hands think about it but I guarantee everybody in this room has said this at one point or another before they click their shutter one two three what the heck are you getting I'm ready for could you imagine if one two three worked nobody would be in this room I wouldn't be standing up here can you imagine one two three and all of a sudden they look fantastic I don't have to do anything I just have to press the button press one two three stop it stop saying that you're not getting ready for anything you're actually calling out there conscious brain how many of you have controlled your expression since you woke up this morning and everybody you walked in here you thought about your face and concocted it and looked at it how many did that did anybody do that anybody got that on their plate what controlled your expression since you came here I mean when you got your coffee nobody freaked out it was fine they looked at you right right you were fine what controlled it your face has a mind of its own you know we have to let their their face do the work for us but what do you think controlled it your subconscious mind so expressions rub and subconsciously you don't think about them we don't have time for that we don't have the ability to do that I want subconsciously driven expressions in my work because that means the person was was reacting to something I I got out of them which is more important than saying one two three which immediately brings up the conscious mind there's only two times you ever think about your expression really I think and it's when you're in front of a mirror and when you're in front of a camera and I think that's it maybe now if I'm talking about you guys can think about your expression and what's on your face right now how many people know what their face looks like I don't know what mine looks like is it okay I did suss myself out in the mirror this morning though did you guys everybody took a once-over in the mirror I hope before they walked out the door right just to make sure it was all put together you did right so when you were looking in that mirror you look back at yourself and you could change your face did make an expression that was interesting to you couldn't you cuz you can see it what happens when somebody looks in the cameron consciously controls their expression do they know what they're they know what they're looking at the the coolest thing that I I think this is the coolest thing I've discovered since I've been a photographer that our brains will try to tell us what our face looks like but it does not know your brain will tell you what your face looks like but it does not know it knows when it looks in the mirror but not when it looks in the camera and it does not know what your face looks like right now and how do we know that because when I point the camera up at people and they make that face it's a face that they would never make you know until I have to direct them out of it so what happens when I get somebody and they're looking at my camera and I'm looking back at them guess what I have to become for them their mirror you got me so I'm looking at their mouth eyes and eyebrows seeing the expression they're making which is normally I call it NAFA face looks like this non-existent facial activity and you guys shoot it I've shot it I want you to stop I want you to see it and I want you to change it I want you to talk to that person I want to give you some tips today how to do that I don't want you to let them behave through conscious activity if you can if it is conscious then you're directing them if you if it's reactive it's subconscious and that's why the best smiles are always real nobody knows what their face looks like right now the brain will attempt to you have to behave like they're mirror I want you to think about how you behave when you're behind your camera and your subjects response to that behavior you ever do that next time you're shooting a subject take your phone and hand it to a friend or somebody else in the room if he's around or prop it on a tripod your phone just put it right on you for two minutes and watch how you direct and you'll know where you're at just take a little video and then see what you said how that person reacted to what you said how your technician work compared to your director how you were talking to each other it's a great thing to do all right when we're rolling with our subject we were only repeating three things when we're shooting there's really only three things you're doing well besides the technical stuff but the first thing you're doing is you're positioning them body and facial you're moving them right then once they're in the position you're going to shoot them in you're composing your shot right and then the last part is the thing that gets dropped off all the time photographers missed this completely it's the connection with their subject what do you do you move them you compose and you press the button without saying anything or without doing anything how many are guilty of this come on I am too all of us are right I want you to change it right and then when when you do change it you create I make up words you guys have figured that out by now I make up words you create look ability I created this word look ability and I defined it you ready look ability a measurement for an images ability to serve secured attention from an onlooker or in my book of shebang and shot that makes you want to stare at that sucker so this is the shots we want to take right like you don't take pictures to leave them on your SD card do you plop them in an external and never look at them again you don't do that do you don't and and they're not only for your eyes I hope especially if you're photographing people right it should be for the for them too so this is what we want to do so I use a when I coach on that my headshot crew I use a look ability scale on a scale of one to ten I want you to think when you look at a image go back and look at your work this is what I want you to go through your portfolio look through it look through it with somebody you trust or their eye or whatever and think about this what how much does this image secure my attention on a scale of one to ten and if it's like six or lower there is a button in the upper right hand corner over the computer that you need to hit like seven eight nine ten is good so this picture that I'm going to bring up has a high look ability factor for me and I put on Instagram it it's it was the most likes I'd ever gotten on Instagram and I shot it in a trade show and it's in at Photokina and it's in my pour flow in Germany I shot this on a trade show floor and if you go to my facebook page there's a video of me shooting this picture that I just posted like a couple days ago but I shot it a couple years ago and it's gotten more likes than anything tell me in your brain when you look at it scale of one to ten immediately look ability ready tens tense is it a shebang should we shebang three-two-one shebang there's another thing an image for your portfolio can be taken anywhere I took this on a trade show floor does anybody need to know that does it matter will that get me work unbelievable you anywhere there's always a picture for your portfolio everywhere you are if you're that good it's always there now it was my lighting I designed it lights with Westcott called a flex kit and I brought it to Germany and we shot it over there and it's it's gorgeous light as continuous LEDs once you've got this look ability down then it's to trying to build consistency in your work okay does this look consistent this is a portfolio that I got for somebody in my head chakra and they were like trying so you if you get 15 shots by me in a portfolio you can become an associate of mine I've got them all over the world there's over a hundred and some-odd associates as part of the crew this guy submitted this for associate status you think he made it why if you went him would you know what you're getting right what a client know what they're getting absolutely not so what do we do in the crew we do repetition right repetition you do the same thing over and over and over again now look at the difference this is an associate photographer and the headshot crew shooting for Dell did he make it he made it right right what's happening with headshot photography right now look at this these people all need shots they all need to be consistent I'm sending work all over the world through my network it's a referral engine to these photographers because I've trained them to be consistent what's my point guys go back look at your work and figure out consistency you want to hone your craft and learn it then you got to join the crew if you want to you can join a headshot crew comm anytime you like and you can use the code free month to get a free month and today if you join I'm gonna give I have a box of books so we'll figure out a book we'll do sort of book deal but that wouldn't get you the consistency it'll put money in your pocket headshots a great way to make an income I love it I mean I'm amazed that it grew cuz I only used to shoot actors but this guy just posted this and the crew was our post of the week because he shot this for Prudential and I'm putting on their mic if you're watching I put it I put you in buddy you need the slide for the crew this one you could take a picture of that and I have stickers too who wants a headshot crew stick well we'll hand them out afterwards and I got stickers anyway but this this is the key if you're when I first picked up a camera right what did I shoot to make make it make an income what I shoot I shot everything I could that I would get paid for right is that what you how many people do that you just shoot anything that they'll pay for you shoe right that's what you do I'm like I'm gonna milk this thing for all it's worth I can do this so I shot I shot weddings I shot I shot sneakers my first job was shooting sneakers my first commercial job was shootin sneakers for Reebok because my friend was an art buyer at an ad agency and she started she's like and I had just picked up a camera and she's like okay you're gonna shoot some sneakers and I was like what she's like yeah I'm gonna give you these sneakers you're gonna shoot in black and white real simple and you're gonna give him back to me and we're gonna retouch them into the ad campaign because the ad campaign was shot with the wrong sneakers on I was like okay great my first paycheck is a photographer I shot the scene I was freaking out I remember and I I was a model as as David said and Bruce Weber told me to pick up a camera so I picked up a camera because of him and I got this job at the same time right after which I called him and I was like person I can't handle this is for Reebok this is crazy this is my first he's get shipped to sneaker stop it you're gonna be fine I was like okay so I'll shoot the sneakers so I shot the sneakers and I gave her the shots and they liked them and she called me like a week later and she said hey I got another pair of sneakers for you I'll take the sneakers give me the sneakers she gave me ten pairs of sneakers that year I had never made a dime with a camera every pair of sneakers I shot I got three grand three-two-one somebody that's it guys so you do whatever it takes to get work with a camera and get paid for it now if I shot sneakers since no but it helped launch my career and get me going so I got to thank Reebok and Josep for getting me going getting me going should I tell the other story another good one this is too good this is good I'll do it real quick I don't know how much time in same same woman friend of mine I grew up sailing with her and she she trusted me and gave me work so anytime the ad camp the the ad campaigns or something went wrong or they had to change something she would call me and be like look we gotta shoot this I'm like okay and she was the artprize so she helped me with the Billy and she did it all and we had to shoot hangtags for Levi's so we went down to the Meatpacking District in like it was two thousand and it wasn't like anything like it was like it was all dilapidated and we went on the streets and and she's like I'm gonna model and you're gonna shoot and and I'm gonna give you a thousand bucks and I was like great let's do it so we're down there and it's in this summer and it's hot and I got down there like nine it's like 4:00 in the afternoon and we're still shooting and I was like look I don't mean to be a pain but it's been a really long day and a thousand bucks could we do a little bit better than that she goes what are you talking about I'm giving you a thousand bucks for every pair of jeans you shot we shot 15 of them you gotta be kidding me holy smokes you know oh all right so I made up my greatest hits for you guys and what it is it's just my ways of directing it's my thing with people things that that have come up things I've learned you know one of them we already did and I want to talk about their evolution one of them we already did holding the sub right we already did that I'm always going for one thing from the get-go this is my first one there's one thing I'm going for so I'm a commercial headshot photographer right and I also shoot portraits and when I shoot my portraits I'm not as concerned about but normally if it's for personal branding I am concerned about their expression and how they behave and all that stuff and the expression on their face that I always go for because it's part of my style and my aesthetic is is this I call it my one shot deal moment and I call it CNA who knows my stuff confidence and approachability of course you know my stuff anything you're sitting there it's confidence coupled with approachability right now as a portrait photographer I don't necessarily need that I might want to shoot somebody showing a motion or something like that but as a personal brand manager of these people and I'm shooting headshots then I want this confidence coupled with approachability I want it where's confidence come from doesn't it on a human being where would confidence come from it's not rocket science what do you got deer in the headlights what's that know physically where does it come from the eyes right and it's actually coming from what I kind the squinch so the coolest thing about that was that Sarah was one of my clients I shot her headshot before she got any of her jobs so she used my headshot to get her jobs now she's been on Good Morning America she was on the view what is she doing now she's on everything she's doing I'm so proud of her and what she did and the fact that I got to get on the show and have her coming to my studio was like so cool that they gave it to her they couldn't give it to anybody at good morning mayor they gave it to her and I was like yes I love her it was so cool all right so what we're doing is we're I sell a ting that lower eyelid muscle everybody touch right here you got a navicular as oculi everybody's got one above it's a poppy burl ligament you got one of those too if you tense that without letting your upper lid go down too much that is squinching and you do it every day in normal conversation the thing is is that people get in front of cameras and they go like this which is strange and unusual that's what they do so you have to do that how many people know that they have you guys realize that human we're human right everybody in this room and we're not perfect nobody's perfect is anybody perfect in here I missed it I missed it if you were we have an I difference almost everybody how many people know that one eye of theirs is bigger than the other substantially look how many my answer in the room how many people know how to fix that when they're shooting somebody with that if that problem one yeah she knows cuz I taught it right it's called the independent squinching I want you to independent let's say you're right let's just say everybody's right eye is enormous your parents really messed you up and your right eye is just huge right I want you to independently squinch just your right eye come on guys practice all right so what I'll do is I'll work with my client I shoot tether did I mention I shoot tethered why do I do that do you know everybody looks good this big you got to blow it up and you got to see I will not know that there's an I difference til I'm looking at the tethered shots all of a sudden I noticed the I difference the person I'm with I show them I'm like look you've got a massive I difference if I bringing it up if I don't have a solution oh by the way I can't help you with that I bring it up because I do have a solution alright and we do independent squinching where's approachability come from where's approach if we want to be approachable what do we do when we look at somebody you're not gonna frown at him are you I guess smirk at him no are you gonna smile at him right we're gonna smile at him do you know I know all of you have said this I want you to stop this – no more one two threes and no more smiles when you tell somebody to smile what do you get what are you gonna get rid of it what do you get yeah how many have shot somebody doing this somebody's got in front of your camera and done this I'm gonna keep making you raise your hand yes you would all raise your hand like that's what we if you photograph the person somebody has done that what do you do when they do that what do you tell them it's very simple shut your mouth I got a shot I got no shot I got a shot I got no shot I got a shot I got no shot I got a shot I got no shot I got a shot look at that that's a great shot only said was shut your mental that's all you got to do if you're gonna get a smile guess what you have to elicit it from them because you want what who learned something what driven smile tone subconsciously driven smile you guys have laughed since I've been in here luckily I love it I love it you guys and what happens when you laughed you laughed because of a reaction to something some nonsense that I did up here right and then all of a sudden the laughter drained out of your body and was gone right I didn't see anybody rollover into the aisle and convulse on the floor over something I said it wasn't that funny right so the laughter hits and then it's gone guess what happens after the laughter is gone what does her face do when we laugh it contracts right all our muscles contract to smile it's a lot of muscles working what has to happen when we relax when we stop smiling the face is the most relaxed so I get the best serious shots after big smiles so I'm always going for big smiles and I have a way of doing it I call it direction by misdirection so I I mess with people a little bit in front of the camera and it creates this it's part of what I do and I and I give it to you guys because I have an app that I'm gonna show you that does it but I do a mr. I do something that makes them think because I'm preying upon humans wanting to get it right if you guys were in front of my camera I was giving you a direction you'd want to get it right that's just our nature we don't want to be wrong that just doesn't make any sense why would we we're wrong so I'm gonna give you a direction right now and we're gonna see who gets this right I'm trying to think about I think I know what you should all do so everybody just do me a favor and tilt their head slightly towards the Empire State Building who's got it right I think it's that way so you should all be looking at the ceiling I say that in my studio this the Empire State buildings right outside my studio what does it do did it can they can as humans can we think multiple things at once you really can and if we want to be right we're certainly not thinking about that camera if I give them a direction like that they're thinking about where to tilt their head because they want to look good right so they think I'm serious they're like okay he wants me to tilt towards the Emperor I don't know where that is this is the thought process that goes on with you while they're thinking about that can I can they think I want to look good and I want to be in front they can't think too so I'm shooting at this moment everybody do me a favor and well let's look at some of these oh I teach all this stuff at the headshot intensive it's sponsored by B and H beanie just sponsored my workshop since I started it six years ago I think seven years ago Susie how many times have you taken you've taken it once twice twice you took it twice anybody there headshot intensive alumni in here be FAS or you took it and Dubai right yeah awesome so I'm doing one here I'm gonna give you some insi mojo the headshot intensive is based on this to this type of direction this is called Hurley isms I want you to go to Hurley isms calm and what happened an app will run if you go to Hurley isms calm I will give you 50 of my favorite lines that I throw out at people try it if it works for you great if it doesn't work for you never look at it again you got it it's got to work for you but try it again it's gonna give you some instant mojo right here are some of them looking lightened and then I wait to see what their face does and then I shoot it decrease the distance between your eyebrows everybody try that alright give me a look like you're impersonating a rodent people actually do this for me look like you just experienced a conclusion do you think that they have time to worry about their what they look like in their face at the moment I'm saying these while I'm shooting fast they don't think about they thinking about this I got their brain off the camera and it creates laughter and it gives me the real deal alright so let's talk about jawline the evolution of the jawline so watch this here we go here we go this is Kayla now Kayla's back now you know I had her then I'm like no this doesn't fly show me what you got get that forehead towards the camera boom holy smokes guys look at the difference here from there to there come on you got to be kidding me look at this I got an even better one watch this watch this one we're gonna go with Callie here's Callie right pretty girl nice not bad with the Jolly you know we still it appears that we have some jawline here but watch we have some action in here I don't want to see I want I want to stretch that skin out watch this shebang yeah now we're talking oh my goodness alright now we got look at this from there to there unbelievable unbelievable guys alright so that that was the jawline video and go watch that so I think that's got four or five million they'll use or something anyway it is easy volve because I was having trouble with it so I want everybody imagine there's a hook in the top here this is what I tell my clients so take notes there's a hook in the top of your head it's attached restraint goes up as a ceiling little gremlin on the ceiling pulling you up everybody raised out of their chairs like this what did I just do I just strengthened my jawline bye-bye along gating myself right now if this guy's shooting butch Ernie Michael's shooting me right now if Michaels shooting me and he says get my jawline out and I go like this does that help me do my jawline go out no my shoulders came forward so I want you to imagine a lasso went around your neck and is attached to the back wall behind you but your heads like a giraffe if a drif had a lasso around its neck could that the head of the drifts still get the tree eat the leaves off the tree or whatever they eat right it could it could still go like this so imagine the lasas there so the collarbones can't move forward right and now Michaels got me I'm not moving my collarbones forward because I'm stuck like that I'm up like this and then I'm gonna run a string from my nose to the center of your lens and you're gonna act like you're pulling it just act like you're pulling something there you go and I go like this you see that strengthening the jawline right so it looks like this can everybody try that sit up straight Jim the number one way to make somebody look more attractive is to do this by the way just so you know it's the first thing I deal with everybody and jam this out just tightens all the skin up around the neck and it's great and that is the reason why you don't have to raise the camera when you're doing a selfie anymore because you're gonna lose your background right if your camera's up here during a selfie you're losing the background why are they raising the camera for the for this right so you just put it down you go like that that's a problem somebody tell the whole world first shot I take is a head-on headshot this is why I want you to I take a shot just like that everybody I shoot why because I'm sussing them out what do you do you want to get the best out of your subject you got a figure amount you got a sus amount you got to shoot straight on first and look at their face and you can't I look at people when I'm before I photograph them and kind of guess which side of the face they look I like but I always shoot this I want you to imagine the cameras there and the person is standing in the middle of a clock and I'll just go Michael shooting me still Michael you're still shooting me is that okay all right I forgot to bring my camera I usually have my camera anyway I don't have my camera onstage yo SR es our shooters shabang no yes it's awesome I love it I don't have it it's in the studio anyway okay Michael now you're shooting me straight on you're at 12 o'clock I'm in the center of the clock now I do not explain the clock to my clients don't go you're on a clock and it's 12 o'clock just for you guys to get this alright so what do I do I take three shots I take one Michael act like you shot me you shot that one alright now I'm gonna go to with my nose to 11 o'clock and you're gonna shoot that and then I'm gonna go to my nose to one o'clock and you're gonna shoot that and you got three shots of me and then he's gonna figure out which side of my face he likes right how did you guys do this why not what did you shoot the wrong side of somebody's face does everybody knows what their good side is right you guys all know you don't know some people do some people don't I'm gonna help you out okay here's the deal 60% of you are better looking on your left side how do I know there was a research study done and they said it was 80% and I thought they were nuts I was like those guys are nuts first of all they did it out of college and they studied a bunch of humans and then and then they came out with this thing that he said it was 80% and they didn't even ask me so I did my own study and I found it 60 percent left so my lights in my studio right now are set up to favor the left side somebody's face okay 90% of you part your hair on your good side so if you part your hair on your good now I know there's gentlemen out here that are follicularly challenged like you got your lacking follicular horsepower you have to think about where you used to part your hair but it's true it's true 90% of the time only 10% of the times the hair part theory wrong I found so what I do is I look at somebody they come in now I don't know what that hair is doing is there's no part on that it's just up so he's not helping me out so what do I have to do I got to shoot eleven twelve and one with him and figure it out all right so guys look at me you guys and now this is what I want you to your brain as a photographer you have an artist inside your brain is going to decide which side of my face you like the best and it's your art so you can figure it out so you're gonna look at me and you're gonna look at my faces I'm walking around the stage because I'm giving you different angles and you're gonna say I like that side your brains gonna talk to you what's it gonna say how's it gonna figure it watch I'm gonna move slowly figure out if you like my left side if you like me straight on or if you like my right have you figured it out everybody get an idea right and then what is your brain telling you and I don't have an answer for this because it's different forever but somebody saying Welles knows its jawline you know the I mean the some people are just saying he's just gorgeous everywhere why because I'm an bifacial I made that up I told you I make up words but how many people like the left side of my face how many people like straight on right how many people like the right side see and be facial I told you now I know if Michaels shooting me and I modeled I'm gonna help him out I know my sweet spot there's a sweet spot on him it mines right here it's about 12:30 you see that you see how good that is that's my money the money angle now if you shoot the wrong side of somebody's face you know what they say that doesn't look like me I'm gonna I'm going that doesn't look like me or that looks like my mother or something like I was like it's that a good thing or that looks like my father is that a good thing I don't know guys I'm gonna give you my pre shutter release split-second checklist all right and I wrote this book called the headshot with Scott Kelby everybody knows Scott ray is he amazing I love Scott I have to thank him for making me an author so Scott sat down with this book I said Scott I have a pre shutter release checklist and he said Peter just call it the Hurley system and I was like okay so I called it the Hurley headshot system but in the book it is called the Hurley system all right I did bring some books with me if you guess sign up for a headshot crew we'll figure it out after I'm done and I'll do portfolio review so if any of you have a portfolio you want me to see I'm gonna be up in the room but here is the system this is it now this is evolved Y from the book the book was written in 2015 guess what happened who learns who's a student of the game how does that change that changes because I change it because I figure out how I do it better you guys I want you to figure out how to do it better I want you to get people in front of your camera I want you to direct them yes take a picture of that so don't have to go through it all I want you to direct him at the beginning I had examples of my work so should i zip back and just show them the the he's gonna give me time to zip back and just show you I had examples of my work but I skip right by the slide I don't know why so I'm gonna show you my work we're gonna shebang it and then you guys are out of here right alright three two [Applause]