Master the Art of Executive Headshots

Select the Right Wardrobe

Think of your shirt as the frame for your face. A wrinkled polo or a loud, patterned blouse will steal the entire show. I once had a brilliant CFO show up in a shirt with tiny, intricate paisley. In the photo, it created a weird, buzzing moiré pattern that made your eyes hurt. We swapped it for a simple navy crewneck sweater from his car, and he looked like the confident leader he was. Your goal is one color, solid, and in a mid-to-dark tone. Navy, charcoal, forest green, or burgundy work for almost everyone. Avoid pure black—it can look like a floating head—and stark white, which often blows out on camera.

Bring three options. Not one. Three. This gives you a backup if something wrinkles in the car or just doesn’t photograph right under the studio lights. For fabrics, choose matte over shiny. A silk blouse that reflects light can create distracting hot spots on your chest. A wool blazer or a cotton twill shirt absorbs light, keeping the focus upward. And don’t forget the neckline. A V-neck or open collar subtly leads the eye toward your face, while a high, tight turtleneck can shorten the appearance of your neck.

Optimize Lighting for Impact

Flat, overhead light is the enemy. It creates shadows under your eyes and makes you look tired, even if you just had eight hours of sleep. The light must come from the front and slightly to the side. I position my main light about 30 degrees to the left or right of the camera, and about a foot above the subject’s eye line. This creates a small, defining shadow on the opposite side of the nose—that’s what gives the face dimension and structure.

You need a second light, too. A reflector or a soft fill light placed on the other side, set to about half the power of the main light, softens those shadows so they aren't harsh. The ratio is key. If both lights are equal, the face looks flat again. If the fill is too weak, the shadow looks like a dark streak. We're sculpting, not carving. Finally, watch for glare on glasses. Have the person tilt their chin down a tiny bit, or angle the glasses' temples up slightly off their ears. Sometimes, we just pop the lenses out of the frames for the shot.

Master the Pose for Power

Stand up. Even if you ultimately want a seated shot, start standing. It automatically improves your posture. Roll your shoulders back, then relax them down. Now, turn your body about 45 degrees away from the camera. This is more flattering than staring straight on, which can make you look wider. Here’s the critical part: turn your head back to face the lens. This creates a slight tension in the neck that defines the jawline.

Your eyes are the anchor. Look directly into the lens, not at the photographer’s forehead. Imagine you’re looking at a colleague you respect on a video call. A tiny, almost imperceptible squint—more of a thoughtfulness in the eyes—beats a wide, “say-cheese” stare every time. For your hands, if they’re in the shot, keep them relaxed. A clasped hand resting on a knee or a single hand in a pocket (thumb out) works. Avoid fists, straight fingers, or the dreaded “floating hand” with no connection to your body.

Avoid Common Mistakes

The most common error is a forced, toothy smile held for too long. It strains the eyes. Instead, think of something that genuinely amuses you for a half-second before the shot. The smile that follows will reach your eyes. Another major mistake is leaning in toward the camera. It feels engaging, but on camera, it makes your head look disproportionately large. I tell clients, “Imagine a string pulling the crown of your head gently toward the ceiling.”

Don’t ignore the background. A cluttered office shelf or a slightly crooked wall seam will become the most interesting part of the photo. We use simple, textured fabric or a grey wall 99% of the time. Also, shoot for at least 15 minutes. The first 50 shots are warm-ups. The real, relaxed confidence often appears around shot 70, when you’ve forgotten about the camera and are just talking.

• The "Deer-in-Headlights" Stare: Caused by not blinking naturally between shots. Blink often.
• The "Floating Head": Caused by wearing a black shirt against a black background. Create contrast.
• The "Stiff Shoulder": From holding a pose rigidly. Take a deep breath and exhale to reset.

Achieve a Polished Final Shot

Retouching is not about creating a new person; it’s about removing temporary distractions. I spend about 12 minutes on a final file. I will remove a stray hair, soften under-eye shadows that were caused by the lighting (not life), and reduce the shine on a forehead. I will not reshape your jaw, whiten your teeth unnaturally, or give you a completely different skin texture. You should look like the best version of yourself on a very good day.

Ask for a black and white version. Color can be subjective—is that tie too blue? Black and white strips the image down to pure expression and contrast, and it often feels more timeless. When you get the proofs, don’t just look at your face. Look at the lines of your jacket, the set of your shoulders, the background. Your gut reaction to the first second you see the image is usually the right one. If you think, “I look tired,” even if your friends say you don’t, that’s the photo to skip.

A great executive headshot isn't a mask. It's a clear, confident handshake in a visual form. It tells your story before you say a word. Focus on the simple, concrete things you can control: a solid colored shirt, turning your body, and thinking a real thought instead of posing. That’s where the real power comes from.