Your headshot is the first thing a casting director sees, often as a thumbnail in a column of hundreds of submissions for the same role. It has one job: to make them want to see you, and then to match the person who walks in. Every rule below serves one of those two goals.
It looks like you, today
The most common headshot problem is a photo of somebody slightly different: younger, smoother, thinner, with the hair you had two years ago. Casting calls you in because of the face in the picture. If you walk in and it is a different face, you have wasted their slot and made them distrust your next submission.
So the test is simple. Would someone who knows you say "that's exactly you"? Your headshot should show you on a good day, rested and well lit, and still be unmistakably you. The same goes for hair: wear it the way you will wear it to auditions.
The eyes, and the thought behind them
People look at eyes first, and casting looks at eyes almost exclusively. In a good headshot the eyes are pin-sharp, catch some light, and look straight into the lens, so it feels as if you are looking at the viewer.
The less obvious part is that the eyes need something going on behind them. A blank face that is "just being natural" reads as empty. The headshots that stop casting directors scrolling have a specific thought in them: you have just heard a secret, you are about to tell someone they are wrong, you are trying not to laugh at a funeral. You do not need to share the thought; it just needs to be there. Good photographers will talk to you the whole time to get you there, and you can come in with a few prepared.
Framing, light and background
Framing. The standard US headshot is a vertical image framed roughly from the chest or shoulders up, with your face as the clear subject. Tighter crops are common and fine. Avoid full-body shots, heavy tilts and anything arty that pulls attention from your face.
Light. Natural light and studio light can both produce excellent headshots. What matters is that your face is evenly lit, your eyes are visible, and the light does not create a mood you cannot match in person. Very dramatic shadows suit a few actors and a few roles; for most people they hide too much.
Background. Soft, plain and out of focus. A blurred wall, a bit of greenery, a studio backdrop. If someone notices the background, it is too interesting. Color is the norm almost everywhere now, including the UK, where headshots stayed black and white long after the US switched.
Theatrical vs commercial headshots
Most actors eventually want at least two shots.
Theatrical. Used for film, television and theater. It tends to be more grounded and specific, closed-mouth or with a slight smile, and suggests the dramatic roles you are right for: a doctor, a detective, a worried parent, someone with a secret.
Commercial. Used for ads. It is brighter and warmer, usually with a real, open smile, and suggests someone you would trust to recommend a car or a cereal. Approachable is the word casting uses.
Both should look like the roles you are actually cast in, which means knowing your type. If casting keeps calling you in for young lawyers, a shot in a rumpled hoodie is working against you. Suggest type with clothing and expression and stop there; costumes and props make a headshot look like a character still from a film you were never in.
Clothes, hair and makeup
Wear simple, well-fitting clothes in solid colors that flatter your skin. Avoid logos, busy patterns, very shiny fabrics and anything that dates the photo. Mid-tones are generally the safest; pure white and pure black can be harder to light, though a good photographer can manage either. Layers are useful, because a jacket over a T-shirt gives you two looks in a minute.
Many headshot photographers offer a hair and makeup artist, and for a lot of actors it is worth it. The goal is to look like you, polished. For men and anyone who does not usually wear makeup, that may mean little more than powder to stop shine. For more on dressing to read as a type, see what to wear to an audition; the same thinking applies.
Retouching: how much is too much?
Retouch what is temporary and leave what is permanent. Removing a spot that appeared that morning, a stray hair or lint on your collar is standard. Removing a mole, scar, freckles, lines or the shape of your jaw is not, because you will walk in with all of them.
Ask a photographer what retouching is included and whether you can see the edited image before it is final. If the retouched version is the one people compliment and the untouched version is the one that looks like you, use the one that looks like you.
How to choose a headshot photographer
Look at their portfolio of actors specifically; a wedding or corporate portrait photographer can take a lovely picture that is a weak headshot. In the portfolio, look for three things. Do the people look like different people, or does every shot have the same mood and lighting formula? Do the eyes have something going on? Are there actors of your type, age range and skin tone, shot well?
Before you book, ask how long the session is, how many looks or outfit changes are included, how many final retouched images you get, whether hair and makeup is offered, and what rights you have to use and reproduce the images. Ask local actors and, if you have one, your agent which photographers they trust; agents often have firm opinions. Prices vary widely by city, so compare what is included as well as the total.
If you can, talk to the photographer first. You will relax more with some people than others, and that shows in the eyes.
Sizes, formats and choosing the final shot
In the US, printed headshots are 8x10 inches, with your resume trimmed to match and attached to the back; here is how to format an acting resume. Prints still get handed over at in-person auditions and theater calls. For everything else you need high-resolution digital files that meet each casting site's own specifications. In the UK your Spotlight profile photo is the one most casting sees; in Canada, Casting Workbook is widely used, and in Australia, Showcast.
To choose, look at your selects at thumbnail size, since that is how casting first meets them. Ask people who know the business, and a few who barely know you, which ones they would call in. Your agent, if you have one, should have the final say; if you are looking for one, strong current headshots are among the first things they ask for, so see how to get an acting agent.
More questions
Should acting headshots be color or black and white?
Color, almost everywhere. US headshots moved to color years ago, and UK headshots, which stayed black and white much longer, have largely followed. Casting wants to see your real coloring, so a color image is the safe default for every market.
Should you smile in your headshot?
Have both. A commercial headshot usually has a warm, open smile. A theatrical shot is more often closed-mouth or a slight smile, with a clear thought behind the eyes. Which one you send depends on the role.
How often should actors update their headshots?
Whenever you stop looking like them: a new haircut or color, a change in weight, a beard grown or shaved, or simply time passing. Many adult actors update every year or two. Children and teenagers need new shots far more often.
Can you take your own acting headshot with a phone?
For student films and early self-submissions, a well-lit, sharp phone photo against a plain background can work. For agent submissions and union work, a professional headshot is the norm, and agents notice the difference at thumbnail size.
What should you wear for acting headshots?
Simple, well-fitting clothes in solid colors that suit your skin tone, with no logos or busy patterns. Choose a neckline that frames your face. Bring a few options that hint at the roles you play, such as a jacket for professionals or a soft sweater for warmer parts.