What’s a Catchlight? (And Why You Need One—Actually Two!)
What’s a Catchlight (And Why You Need One—or Two!)
Merle Oberon, a British movie star who worked in Hollywood in the 1930s and 1940s, found that when a cinematographer put a small light on top of the camera that causes a specular highlight in a subject's eye in an image—a catchlight—that she looked best. So, she began to request a light on top of all cameras filming her. That got known as an Obie light and it’s a term still used in cinematography to this day.
Merle Oberon, a British movie star who worked in Hollywood in the 1930s and 1940s, found that when a cinematographer put a small light on top of the camera that causes a specular highlight in a subject's eye in an image—a catchlight—that she looked best. So, she began to request a light on top of all cameras filming her. That got known as an Obie light and it’s a term still used in cinematography to this day.
When I photograph your business portrait, I will insist on a pose that creates a strong catchlight, because with one, your eyes look alive. And without, they’re dark. So catchlight it is.
It looks like this.
It’s actually seen in any good professional portrait and gives you a clue as to what lighting device was used to make the photograph. In the first one, the light is off to the subject’s left, which is why the side of her face closest to the camera has a light shadow, and why the catchlight is seen in the upper left of her eye. Sometimes you can see an umbrella shape in the catchlight if the photographer used a lighting umbrella for a modifier. The eye creates a perfect representation of the lighting device used.
It’s a fascinating look that once you see it, you’ll notice it in magazine portraits and advertising photographs all the time.
It’s what makes eyes look alive!
The Beauty of Hair & Makeup
The Beauty of Hair and Makeup
It started with a call from an executive who wanted a new headshot, as most calls begin. But this one knew that she wanted the full treatment. Usually, it’s offices that bring in a hair and makeup (HMU) person for their full staff, but this woman booked a single business portrait and she wanted someone there to take care of her look. So, I called Marnie Brooks, a professional I know who’s worked in the industry for years and booked her to take care of my client.
It started with a call from an executive who wanted a new headshot, as most calls begin. But this one knew that she wanted the full treatment. Usually, it’s offices that bring in a hair and makeup (HMU) person for their full staff, but this woman booked a single business portrait and she wanted someone there to take care of her look. So, I called Marnie Brooks, a professional I know who’s worked in the industry for years and booked her to take care of my client.
We worked together to make multiple looks for her, some with glasses, several with different outfits. And I always work without a deadline, I want to create portraits until we get the various looks my client wants and can use. So, we do. That’s just part of the session. And as always, I compose horizontally knowing we can always crop verticals but if I were to photograph in a vertical format, creating a horizontal photo would be impossible, and there are many conference directors that request horizontal format photographs for their programs, so I create all headshots in that orientation.
It was a good day and a good photography session. The photos show her confidence and she has various looks for different purposes.