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BY LUCIA MAURO
Brian McConkey’s photography studio in the Warehouse Lofts of the industrial near-West side sets the stage for a creative and comfortable headshot session. The maze-like building, with its outdoor walkways and geometric courtyards, leads to a spacious atelier with hardwood floors, high ceilings, exposed pipes, a corrugated metal ceiling, over-sized furniture and vertical windows through which dramatic natural light pours. If the client is willing–and the weather cooperative–he’ll move the session outside, to the roof or to one of the sharp-angled balconies.
"I’ve been in this space since ’92," says McConkey. "I love the fact that I’ve got natural light, open space and high ceilings. And I like when it rains on the roof."
Atmosphere and aesthetics, therefore, are high on this photographer’s list of priorities. But he also works to bring out the essence of an actor’s personality within the constrictions of what casting directors require in standard theatrical and commercial headshots. McConkey consults with casting directors to get a sense of what they look for from basic smiley pics to the more moody, fun and creative shots.
"In a way, actors are under a certain degree of pressure to perform when they’re being photographed," says McConkey. "They typically have to show two looks: the 'hi,’ no-muss-no-fuss commercial one and what I’m terming the ’You Shot,’ which is the more individual photo preferred by theatres.
"So I like to make the actors feel as comfortable as possible. I talk to them throughout the session, and direct them in a casual way. I find if they go through a monologue, I lose them because my business is a fraction of a second. I have to capture that precise moment when they reveal something unique about themselves. If I let them hang too long, it gets old very quickly."
McConkey also has actors repeat words or phrases that both loosen them up and help shape the face in a pleasing manner. For vibrant smiles, he might ask a client to say "Bud Light" or "We’re goin’ to Gurnee Mills." He also encourages them to speak with vigor to prevent a stilted or monochromatic feel. He inquires about their favorite food and music and where they’re from.
"Everyone is different," he notes. "My job is totally improvised. I have to get a feel for each person. My approach varies with each one. But overall, I want to make the experience fun for them."
A native of Jackson, Mich., McConkey majored in Spanish at Ohio Wesleyan University and moved to Chicago in 1988. He knew that he wanted to go into photography and got his start by working as an assistant for a variety of photographers. His duties included everything from making appointments and running errands to answering phones and taking out the trash. For three months, McConkey got experience in the baby-photography field, then assisted a food photographer.
"I knew I really wanted to focus on people photography," he recalls. "I was temping at an agency and noticed this wall of headshots. I was drawn to this style of photography. So I took a picture of the wall. Someone noticed me taking the picture and asked why I was doing that. It happened to be [former Chicago headshot expert] Tom Lascher’s wife.
"At the time, Tom [who has since relocated to Los Angeles] needed someone to work in the dark room. I worked for him from 1991-92. By spending so much time developing photos, I was able to study people’s expressions. I also handled bookings and became familiar with actors’ needs and concerns. Tom let me use his studio to shoot people I knew. I learned my craft on the job."
McConkey started his own business in 1992. While he has seen the style of headshots change over the years, he has found that it’s very practical for actors to plan on doing a traditional black-and-white headshot and a 3/4 shot. He prefers the horizontal headshots, with a substantial border on the bottom and room for the actor’s name. These photos, he says, mirror a tight, TV-screen angle. The 3/4 photos show a greater sense of movement. But McConkey is quick to point out that actors should convey movement and energy in the tightest headshots, too.
"Actors need to think about subtly showing their mysterious sides," he stresses. "Make them wonder about you. I remember a talent agent liked a particular photo but complained that the actress didn’t have a 'secret.’ That’s what they look for in commercials that require a bite and smile,or smelling a cup of coffee and indicating a look of satisfaction."
McConkey wishes he had the luxury to photograph actors in truly experimental or quirky ways more often. He enjoys doing this for actors who want to create a personalized postcard. One of the more spontaneous photos on his wall is of an actress with a world-weary expression, sporting huge curlers in her hair. There’s also a color shot of Brian Dennehy posing in front of a door for one of Famous Door Theatre’s auction prizes (a series of well-known actors standing before various portals).
McConkey has extensive experience working with novice and seasoned actors. He sets up a consultation and will often ask to look at an actor’s resume, a previous headshot and talk about specific goals. He put together a list of suggestions for clothing and make-up (which he thinks should be done by a professional make-up artist whenever possible). Here’s a summary of his recommendations:
Bring a small variety of clothing suited to the different looks you want to achieve during your session. If you need to do some shopping, please do so. These pictures are your calling card. So the better you feel and look, the better your shots will get the attention they deserve. Include light and dark colored clothing. Mix it up with some medium to darker clothing as well. Texture is good. Be careful of too many pastel colors; they tend to blend with skin tones. Keep clothing more fitted than baggy. Body consciousness is key.
Women should bring different bras (smooth, especially for tighter-fitting shirts); your own mascara; shoes with heels; simple jewelry; jeans; black slacks; and other kinds of slacks, skirts and dresses if you are more comfortable in them.
Men should bring dark socks, a couple pairs of shoes; belts; jeans; slacks; and newer T-shirts (white, black and dark gray). A fresh T-shirt fits tighter around the neck and looks more clean and crisp.
Basic tips: Pick up dry cleaning well before your shoot date. Bring something to drink and a snack to boost your energy. Don’t worry about facial blemishes–McConkey can re-touch photos digitally. Bring up-tempo CDs that make you feel both relaxed and energized. Arrive on time. Call in advance if you must cancel.
McConkey offers two packages: one that includes two rolls of film and make-up, and lasts 1 hour and 45 minutes; and another that includes three to four rolls and make-up, and lasts three hours.
The photographer obviously enjoys his work. He prefers to set actors at ease and make the experience a fulfilling one. McConkey cheerfully made time for this interview only a few days after his wife Rachel gave birth to their son, Jack Harrison (they have a 3-year-old son named Quinn, whose sweet and mischievous photos also line the studio’s walls).
"I love working with people," enthuses McConkey. "My motto is have fun and chill."
Brian McConkey Photography, 312 N. May St., Suite 6J, Chicago, IL 60607; 312/563-1357; Fax. 312-563-1615; Web site: gratefulheads.net.