Michael Calas Photography

Just how important is your headshot in comedy?

The first time I was asked to bring a headshot to a gig it really hit me: I was a performer not just a “comic.” I needed something to represent myself.

In a pinch I went to someone referred to me by an actor friend. The guy I chose had experience with actors in town but had never shot a comedian. The pictures that came from that shoot were missing something I was at a loss to name and I wasn’t satisfied with the results. I chalked it up to me just not being very photogenic.

Once I got more time behind me and met more comedians I saw much better headshots for some of my fellow comics. One photographer’s work really stood out-Michael Calas. I was excited to learn that he was also a working comedian. After meeting with him and performing with him I knew he would be able to tap into what makes stand up comics different from other performers. I decided to take another round of headshots.

The results were amazing. The whole experience from start to finish was delightful. Michael’s studio is located in downtown LA and has a chic urban New York feel. He welcomes you in the lobby and is warm and personable through the entire shoot.

During the shoot Michael really put me at ease-a hard enough task as I really dislike having my photo taken. The entire process was fun and enjoyable.

After my photo shoot I got a chance to speak with Michael about why headshots are so important and what makes his work stand out from the others.

Michael Calas was born in Habana, Cuba and raised throughout the Caribbean and in Miami Beach. He is now a leading Los Angeles based professional photographer, specializing in portraits. Michael’s father was also a photographer and some of his earliest memories are of being in front of his father’s camera.

Michael graduated with a BA degree in fashion design and photography and started his career shooting for numerous catalogues throughout the US. He has also worked as a professional make-up artist with some of the top names in the beauty industry such as Chanel, Este Lauder and Lancome. In Chicago, he worked as a fashion stylist for various top photographers and commercial production companies. These experiences helped him hone his†photographic†skills†and in turn, give his clients an added advantage when shooting with him. Most of the time Michael will do his subjects’ makeup prior to the shoot: this gives him yet another edge. Michael explained:

“ It’s really good to get your picture taken by somebody who knows you. That way the walls are down already and that’s why I like to do my clients’ make up before a shoot. That way we already have a bond when we move away from the make up table and step into the photo shoot. We’re already familiar with each other and comfortable with each other.” He went on to say “ I really like to bond with someone I’m photographing. Most of the time my clients leave hugging me. That’s how I can tell if I’ve had a successful shoot that day- if they leave with a good enough feeling to give me a hug on the way out the door.”

Another aspect of Michael’s work that makes him stand out is his experience performing stand up comedy . I asked him what is the most important aspect of selecting the right headshot and he drew upon his comedy training for the answer:

“ First off most people get caught up in little details that most casting directors won’t even notice – for example if there’s a wrinkle in their shirt or there’s a hair out of place. In the five seconds that a casting director has to look at your picture they will not see or look for those details. The single most important thing to convey in a headshot is warmth. It’s the same thing when you’re performing: you want to project an air of likeability and warmth onstage- that’s even more important sometimes than being funny. For a picture you can’t go wrong showing and projecting warmth.”

I asked Michael what he looks for while shooting a client- particularly a comedian:

“I tend to concentrate more on a person’s personality and emotions when I’m photographing them and I try to bring that out. That translates to a better picture that gets noticed by people in the industry.”

I asked him next what are the common mistakes comedic performers make when taking their headshots:

“Making funny faces or using silly props. Because casting director’s will see you very one dimensionally if you make a funny face on your headshot. There’s some great casting directors that hate to be hit over the head with a ‘character’-because then you’re doing their job for them. Again- casting agents and bookers see hundreds of headshots a day: they have maybe 5-10 seconds to look at your picture and get an impression.”

In summation I asked Michael what advice would he give to anyone selecting headshots for their work:

“ Knowing your strengths as a performer is crucial and working with someone who can recognize those strengths and bring them to life will really make a difference.”

Indeed that was the case as I perused my shots from my session with Michael. I must say it’s the best I’ve ever looked in pictures….