New York City Headshot Photography, 421 8th Avenue, #61, New York, NY (2026)

05/23/2023

Our latest session with Actor, Jim Garrison. Shot with a Nikon D4s and 85mm Lens.

03/19/2021

5 Easy-to-Start Freelance Ideas

Whether you're currently looking for extra money to support yourself or you've got a high-paid job and just want to split your revenue eggs into more baskets, starting a freelance business can be hugely beneficial.

The good thing is that it doesn't take a ton of time to get started.

Here are five simple freelance ideas you can do from home that can bring in significant money after just a few months:

1.Website Design ($500/website or more)
2. Photography ($200/shoot or more)
3. Video Editing ($300/job or more)
4. Writing Copy ($300/job or more)
5. Life Coaching ($500/month or more)

These are just five quick examples with the most base-level cheap rates.

And if you have no idea how to do any of them, Google has the answers.

The ideas above could theoretically each pay you 10X or more once you're experienced. Plenty of web designers earn $5,000 per site, photographers earn $2,000 per job, and I know life coaches who charge over $5,000 per month.

There are TONS of other ways to freelance for extra money, and I encourage you to think about what you might be able to do so you have an extra financial cushion should you ever need it.

07/17/2020

"Fair is Fair" immortal words spoken by Helen Slater from the Film The Legend of Billie Jean. Now I am not one who usually gets philosophical, especially when it comes to film. But, The Legend of Billie Jean is more than a film, it's an anthem for what is right! If you have never watched or heard of this film, well consider adding it to your watch list because it will give you a sense of empowerment and make you realize how relevant it is right now.

The movie hit theatres in 1985 and stars Helen Slater, in the title role, Christian Slater and Peter Coyote, with Keith Gordon, and Dean Stockwell in supporting roles.

If you're like me and love watching great films from the 1980's as a way to connect with a generation, you can't pass up the opportunity to watch this emotionally driven film. And as you watch it, it will become clear why it is an important statement about who we are as humans and what it means to be human.
So here is a brief synopsis without too many spoilers.

So what I loved most about this film classic is the emotional progression and rebellious virtue Billie Jean delivers. At first, she is a sweet and down to earth girl, living life and though economically poor, enjoying her summer with her younger brother.

After an act of violence to her brother when having his scooter stolen, she confronts the perpetrator and his father. And all Billie Jean wants is to collect the money thats owed to her family for the violent destruction of motor scooter and an apology.

But in keeping with the sleazy horribleness of his son, the father grabs her and tries to sexually assault her, fortunately she escapes his filthy clutches, a hair away from being r***d, with the scene ending in her brother shooting the creep in the shoulder.

This is where the movie truly begins to heat up. Billie Jean has now lost her innocence and goes on the lam with her brother and their two friends. With this first propulsion in the plot, it's difficult not to get swept up in the sense of chaos that they’re getting into deeper and deeper. The scenes are filled with news and television reports on the shooting, lots of running, hiding and fast driving. Throughout the film, Billie Jean keeps on getting stripped of her innocence and identity by the exploitation, corruption and by the ensuing sensationalism surrounding her story. As the search for Billie Jean and her brother surges so does her progression into an unwitting teenage icon and heroine for all to follow and stand for what is right. She takes ahold of her persona, becomes a rebel for the cause by cutting her hair off and publicly declaring war for truth and justice via the very media that tried to pin shame and criminality on her and her brother.

She takes charge of their predicament, endures it and does not stop until she is heard. She is in it for the long haul and this is why she becomes a Legend to many. In doing so, many join her in her battle cry, “Fair is Fair." They believe in her as a heroine!

Hell, I BELIEVED IN BILLIE JEAN! And so will you. From the beginning through the end, Helen Slater's portrayal of Billie Jean is flawless. I can honestly state that her portrayal predates the manner in which Uma Thurman’s character, Beatrix Kiddo, or Linda Hamilton’s Sarah Connor are allowed to show their vulnerabilities and yet remain powerful.

In my opinion, The Legend of Billie Jean should be considered as an important film reflecting tenets of the cause. I mean the character of Billie Jean is given a story arc which highlights her fortitude and she, alone, is responsible to resolve how to be an outlaw within her person. Billie Jean is a protester, sending a message to the powers that be that they can no longer stomp down on us. She doesn’t shrink back from it at any point; in fact, she becomes more resolute, while not denying her vulnerabilities, her bewilderment, her commitment to her morals, her fight for justice, and the shedding of her identity in favor of adapting to her new role as a righteous warrior, inspiring those to follow her willful plight. This film coupled by Helen Slater's performance should be placed among an elite class of films of the decade.

Oh did I forgot to mention the awesome soundtrack? There's Pat Benatar’s theme song “Invincible” to shout out along with, emphatically. And of course Billy Idol’s “Rebel Yell” blaring in the background.

I miss the 80's, but to enjoy this movie and movies like it, you have to remember the generation from which it came from and consider it an especially lovable and classic film.

That's it.

01/10/2020

In all walks of life, we all have to work. However, in the following advice, you will be given information that can help you work smarter, work better, and be happier and more successful in the process and make work enjoyable.

Let’s get to work.

What Is the Origin of the Quote “Work Smarter… Not Harder”?
The term “work smarter… not harder” originated in the 1930’s. Allen F. Morgenstern, an industrial engineer, the creator of the work simplification program, coined the term. The program’s intent was to increase the ability of people to produce more with less effort.

Rule #1 Work Hard.
We all have to work so we might as well work hard. If we don’t work hard, we may be able to reduce the effort a little, but we lose most of the value of the work. You’ve probably heard the adage, “A job worth doing, is a job worth doing well.”

If we want to do a job well done, we have to work smarter. If we don’t put in enough effort to do it well, then it is just a waste of time. For instance, I am writing this piece about working smarter. I can do a slap dash job and no one will read past the first paragraph, or I can put in the effort and produce something of value to others and give me the satisfaction of a job well done.

Rule 2: Recognize that Happiness Comes from Achievement, Not Idleness.
Happiness does not come from idleness; it is working smarter toward our goals that brings us happiness. It fulfills a human need for achievement. Think of work as a form of play. Many of the things some people do for work, others do for play. The only real difference between work and play is the attitude of the person doing it.

Rule 3: Love What You Do.
Fulfillment comes from loving what you do. If you hate your work, it will probably show in the final product. Every job, every task, every work project that we undertake will have some fun parts and some drudge parts, but you can only do good work if you can “find the joy” and focus on that.
For example, I am writing this piece about working smarter. The fun is collecting my thoughts, organizing them into rules, and finding the joy in the process of sharing these with you. I feel a sense of satisfaction and joy as I see a hodge-podge of notes start to come together into a coherent article. The drudgery part is proof-reading. I like creating, not editing.

-As an actor, take pride in your creativity. Enjoy the process and forget the rejection. Never give up on your goals because they may seem difficult or challenging. Meet them head on, and remain steady. Treat these experiences as life lessons. We may not always succeed at first, but with a little harder work... I mean smarter work, we will overcome each challenge and be better for it.

Rule 4: Do Your Best…Then Do Better.
You can always do more than you think you can. When you reach your limits, reach further. Always push yourself to take it to the next level.

Rule 5: Take Risks.
To accomplish great things you have to take great chances. It can be scary to try something new and face the risk of failure. Do it anyway. Take a moment to feel good about a job well done. It can be a small achievement or a great achievement. Take pride in your work and remember to appreciate all the little things you do. And, especially remember to appreciate all the little things others do.

Please Comment Below.

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12/20/2019

ACTORS GUIDE 101: BUSINESS OF ACTING

A large part of your job as an actor is auditioning for the role. And part of auditioning is being good to yourself. Don't sabotage yourself. Watch your choice of thought, how you talk to yourself, and where you focus your energy. Here are several steps to having a great audition.

-Nothing will make you feel more frazzled in an audition than running late. Sometimes you may have several appointments in one day, and traffic and public transportation are often unpredictable. Give yourself enough leeway by figuring driving and parking time into your schedule. Sometimes you might have to park in a structure and walk a fair distance on a studio lot. Don't let getting to the audition throw you off balance.

-The worst thing you can do is sign in and be called on when you are not prepared. Actors often complain that they weren't ready when they were called upon or that the casting director rushed them in. You can control this by arriving early, looking over the script, and going to the bathroom before you even sign in. No one can tell you that you can't go to the bathroom, and you can check your appearance and even look over the script a few times. When you return and sign in, if you are next on the list, you will have had extra moments to prepare. If it looks like there is a long wait when you arrive, sign in and spend your time rehearsing, not visiting with other actors.

-It's easy to look around the waiting room, see 20 people in your category, and start thinking all kinds of self-sabotaging thoughts. You've probably heard this negative talk or said it to yourself at one time or another: Why am I even here? I'm too young, I'm too old, I'm not right. Why did they call me in for this? This is a waste of my time. And on and on. You are there; try surrendering to the idea that you're there for a reason. The casting director had many choices of whom to bring in, and you are one of them. That is already a victory. If you are the only brunette in a room of blondes, why not think of yourself as the unique choice? It is not your job to decide in advance whom they'll want to hire; they often don't know what they want until they see it. Comparing yourself to everyone else is a violation of your self-worth. The one thing you are in control of in the waiting room is your choice of thought: Choose positive ones.

-There are a few actors at every audition who, consciously or not, spread negative energy in the waiting room. Over the years, I've identified three types of energy suckers and have done my best to avoid them. The "boaster" will complain, very loudly, about how he or she has been all over town and is exhausted from so many appointments. Of course this is said nonchalantly, to intimidate anyone within earshot. Keep in mind: If this actor were working, he or she wouldn't be at this audition. The "complainer" will whine about everything that is going wrong with the day and want everyone to jump on the bandwagon. This one will remind you that traffic is horrible, he or she has been waiting for two hours, and getting acting work is all just luck anyway. I've seen actors chime in and sabotage their own audition with a bad attitude. The "social butterfly" flutters around talking to anyone who will listen. This is the acquaintance who sees you preparing, in a corner even, says hello, asks you about your life, and expects you to engage in conversation. Choose to politely say, "I'd be happy to talk with you after my audition." You'll have reclaimed your power, and the leech will move on to the next victim. There will always be actors with negative energy. Choose your reaction, walk away, and focus on preparing the work.

-In stressful situations, such as auditioning, it's easy to bring up negative thoughts you have unwittingly programmed into your brain that keep you from feeling good about yourself and your work. Sometimes the smallest action can spark insecurity. Actors often tell me how easy it is to get intimidated in the waiting room just by signing in. The minute they see a recognizable name or someone with a bigger, better agent, the negative self-talk begins. You can easily undo these feelings by choosing to focus your thoughts and energies elsewhere. Think of all you have accomplished and remember that no one was born with a SAG card or an agent. Make peace with where you are right now and try to enjoy the journey.

-In an audition, the main goal is not to please your representation. They don't expect you to get a callback or book the job every time they send you out. They took you on as an investment, almost like a stock. Sometimes you will rise, sometimes you will fall, and in the long run they hope to make money, as do you. They know you are doing your best, so don't add pressure to yourself by thinking they'll drop you if you don't get a callback. Focus instead on your preparation and being present in the moment.

-Forget about trying to book the job. That is something you cannot control. They may have already hired the director's girlfriend by the time you go in the room. What you can control is going in, having fun, and letting your love of the work shine through. Have you ever booked a job when you were focused on getting the job? When you detach from the outcome, you are much more open to the unlimited possibilities that could come your way. Bring joy to the work and allow the chips to fall where they may; odds are the casting director will remember you and bring you in another time.

-It's very easy to think of the ways in which your life could change should you book this job. Some actors fantasize about the money they could make and how they would spend it, what they would say on Leno, or whom they would call to impress back home. Visualizing and dreaming big are great things to do, but not right before your audition. This adds an extra layer of pressure and stress you don't want to create. If you need the money, overthinking booking the job can easily lead to a sense of desperation that producers and casting directors can smell a mile away.

-Nothing anyone else does is because of you. Actors have a hard time comprehending this and end up frustrated at those who could hire them. When a casting director is in a bad mood, it most likely has nothing to do with you. When producers are eating during your audition, it is probably because they are not getting a lunch break. Although their behavior may not be polite, you can choose to be offended or to have a great audition.

-Be gracious, say thank you, and leave. If anyone wants to see anything else or talk to you more, you'll know. Sometimes actors do a great audition and shoot themselves in the foot by talking too much and wearing out their welcome. Leave the room having everyone feel like you'd be a pleasure to work with for 18 hours a day on the set.
Now Go...Act!!!

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12/18/2019

Make Sure Your Headshot Matches Your Brand

It can be hard to carve out the time needed to take a quality headshot, but it should be on every Actor’s top “to-do” list. A good headshot photographer can work with you to get the perfect shot and guarantee that you will finish the session with high quality results you can use in a wide variety of sizes and formats for you online presence.

Here are five top tips for taking your headshot “UP” a notch:

1 Stay UP-To-Date.
Whether it’s you hair length hair color, a weight gain or loss, and yes if you aged a bit, it is still important to have a recent photo for social media, website and acting profiles. While you might be tempted to use a 5 or 10 year old photo of yourself in social media or on your website, what happens when you meet with an agent or audition with a CD face-to-face and they discover you are 52 and not 32?”

2 Stand UP
To get a first class headshot, you must stand or sit up tall to project confidence and professionalism. This is where having a good headshot photographer is key. “A professional photographer” is like a film director, who guides your posing, head position, and expressions to bring out your best. Trust them — and believe in yourself.

3 Measure UP
Here’s a simple question: Do you want to fit the mold, or break it? “Do you want to ‘measure up’ to the competition, or surpass them? We had a client, John, who we photographed in business casual attire at a local train station. Now, he is getting called in for auditions and booking guest starring roles on major broadcast tv shows all from this one session. He told us that he gets compliments all the time from CD’s because they noticed how confident and friendly he looks in the Headshots. We also do many other character type headshots either outdoors or set against a basic white or dark backdrop. It’s up to you! The pre photo-shoot consultation with your photographer is the time to discuss the image you want to portray, and how you want to achieve it. A professional headshot photographer will help you with tips about the right clothing, expressions, body language, etc. to help you ‘measure up’ to your objectives.”

4 Look UP
This might seem obvious, but it’s not. Literally, look up and make eye contact with the camera lens, or slightly above. It’s as if you are looking at another person standing directly in front of you. This will help ease camera shyness, and promote a genuine expression. “Look up” can have another meaning that is equally important because in relating to others, we usually look up to convey a confident, friendly demeanor. Think about how you define yourself. What image do you want to project? Are you dynamic, approachable, friendly? Take the opportunity to discuss your self-perception with your photographer in the pre-shoot consultation so they can bring out your most important characteristics during the shoot.

5 Pay UP
While it might be tempting to ask a friend with a cell phone to take your headshot, this is one area where you usually get what you pay for. Don’t damage your professional image with an amateur headshot. Save yourself money and aggravation in the long run by doing it right the first time. Using a professional headshot photographer is a bargain compared to the value you get — not to mention the real harm a bad or even not very good photograph can do to your image.

When you consider that your professional headshot can be repurposed for social media profiles, your web site, and a myriad of printed marketing materials, it really is a bargain — and it takes very little time. Our clients are in and out of the studio within 30 minutes to an hour —shoot done, shots edited, professional headshot chosen. We urge our clients to consider getting updated headshots every 2 to 3 years. We strive to be the go-to photographers for all of our acting clients’ needs, including editorial shots, lifestyle shoots, and slate shots. Building a strong relationship with your photographer can help you rebrand the professional optics of your branding in a dynamic and positive way.
So take a look at your current headshot. Is it doing you and your career as an actor justice? If not, it’s time to get new headshots and get them done right!

12/15/2019

What Non-Members Need to Know About SAG-AFTRA

It’s new! It’s bigger! It’s hyphenated! It’s SAG-AFTRA, and it’s not quite the same as SAG or AFTRA. When the two unions merged in 2012 after decades of discussion, they created a 160,000-member organization that combines bits and pieces of its predecessors. Look closely and you’ll find the old and the new, mixed together, sometimes confusingly.

So what does this behemoth mean for you, the non-member? Most important—how do you get in?

Taft-Hartley
One way a person is eligible, according to the SAG-AFTRA constitution, is if he or she “(h)as worked, is working or is about to work in a position covered by a SAG-AFTRA (or AFTRA or SAG) collective bargaining agreement.” In other words, once you book your first union gig, you’re SAG-AFTRA eligible.

That’s right: You don’t have to be a member of the union to get that first union job. You do have to be a good actor, though, hardworking and lucky—but you knew that already. Getting in this way is sometimes referred to as being Taft-Hartleyed, which refers to part of the federal labor law.

Background Vouchers
The rule is different if you’re working background. To get in that way, you “must have completed three (3) days of work as a background actor under a SAG-AFTRA (or AFTRA or SAG) collective bargaining agreement.” Some background positions on union shows are considered union positions, and others are not. You’ll get a union voucher if you work a union background job, and your goal is to collect three union vouchers.

Upgrade to Principal
If you're working a background job (or as an extra in a commercial), it’s sometimes possible to be upgraded to principal. For instance, if you’re directed to a line of dialogue. This is rare but if it happens, not only do you get paid more, it also makes you SAG-AFTRA eligible.

Reciprocity
Another way to get in is reciprocity. If you’ve been a member of Actors’ Equity or one of three smaller performers unions (AGMA, AGVA, or GIAA) for one year and have performed as a principal in a production under one of those unions’ contracts, you may be eligible to join SAG-AFTRA.

New Media
If you’re really entrepreneurial, you can become a producer, finance a union production, and hire yourself. This is feasible if the production is for new media and if your goal is to be a multitalented entertainment entrepreneur, it might be the right step for you. But if you don't have a head for business or a good partner, don’t even consider it.

Special Cases
Finally, if the National Board determines that you’re “engaged in work that advances the (union’s) active organizing efforts or general goals,” it can decide to admit you. Don’t count on this one; the language is meant primarily to cover situations involving radio and TV broadcasters. (They, and recording artists, are covered by SAG-AFTRA in addition to actors.)

No Open Admissions
Notice what’s gone: AFTRA’s old “open admissions” policy. Unlike SAG, the TV-centric AFTRA was an open union. Anyone could join just by paying a fee, and when the unions merged, everyone in SAG or AFTRA, no matter how he or she had gotten in, automatically became a member of SAG-AFTRA.

But before you despair that you missed an easy backdoor into the new union, consider this: Not everyone who can join should. For some—maybe for you—it might be too early because you’re not just snagging a card, you’re signing on to a set of rules. Among them are Global Rule One (formerly a SAG rule) and the “No Contract/No Work” rule (derived from AFTRA). The two are a bit different, but the bottom line is this: Once you’re a member, you can’t work nonunion gigs anymore.

That means nonunion movies, TV shows, commercials, internet projects, student films, and even industrials are off-limits starting the moment you join. And it’s called Global Rule One for a reason: Even if a show is shooting in Canada or overseas, you generally aren’t allowed to accept the gig if it’s nonunion.

That’s OK, you might think, because if I join SAG-AFTRA today, I’ll land an agent by tomorrow and be booking jobs the day after.

Sadly, it doesn’t work that way. It’s tough to get an agent and even harder to get booked on union jobs. If you don’t have the chops and some good credits, the agent and the union jobs will be hard to come by even with that coveted card. And no, the union won’t help you find representation or get work. It’s just not one of the things it does.

To build up those credits, you may need to keep working nonunion jobs, which you can’t do once you’ve joined. Even SAG-AFTRA advises: “The time to join is when it makes sense for you. (Everyone’s) situation is different.”

Translation: Ask your acting teachers, friends, mentors, and coaches for advice. Then consider your options carefully.

In some situations, though, you may have to join the union. If you work a union job and become SAG-AFTRA eligible, 30 days later you automatically become SAG-AFTRA Must-Pay. That means that before you work a second union job, you’ll have to join. Producers are required to verify your status by checking with the union, a process that SAG rather quaintly called Station 12. Must-Pay applies in California, New York, and many other states but not in “right to work states” such as North Carolina, Florida, Louisiana, Texas, and other, mostly Republican states.

Once you’re in, you'll be part of a new union that is more than 80 years old and fights for wages, working conditions, residuals, and pension-and-health benefits for its members. Be proud of that SAG-AFTRA card—you worked for it!

For more information, visit SAGAFTRA.org and the legacy aftra.com and sag.org websites.

Questions or comments, please let us know below.

12/15/2019

ACTORS SUCCESS TIP:

8 Things to Know When Auditioning for a Commercial

Many A-list actors, such as Leonardo DiCaprio, Mila Kunis, and Steve Carell, got their start in commercials. Whether national or local, the medium continues to be a great place to build a lasting and fruitful acting career. Looking to break in?
Below we’ve got eight invaluable and awesome tips for your next audition.

1. Put the product first.
When you’re auditioning for a commercial, you become a part of the product, so you’re not just selling yourself. The product is No. 1. Whereas, if you’re doing a dramatic piece, it’s more about the inner workings of the actor and being believable in that way. Of course, you have to believe you like the product.

2. Get comfortable breaking the fourth wall.
In commercials, a lot of it is just expression and personality if there is no dialogue. You break the fourth wall. A lot of times, you’re talking right to the camera. You have to be able to create that space and be in the moment. A lot of times, people just aren’t prepared to be in the moment in commercials, and then they don’t know how to use the camera.

3. Have a change of clothes.
Whatever roles you generally are called in for, always keep a change of clothes in your bag. You never know when you might get called in. Maybe you’re at the beach, but you’re called in for a banker role. You’ve got to quick-change!

4. Connect with CDs on social media.
Use social media to network. Social media is the No. 1 way to go. Finding casting directors on Twitter, their page for actors, or Instagram. More and more now, it’s connecting with them socially and communicating with them socially.

5. Practice on products you love.
To be believable in a commercial, you should take a product you use every day that you know and love and do a commercial for their product. That’s when you’re being real, because you use it! Then transpose that into the product that you’re doing. Casting Directors can see whether you’re telling the truth or you’re lying. They don’t want to see that. They want to believe you love the Product.

6. Turn to others to help determine your type.
Ask people what roles they see you in. Ask other actors, ask people on the street. Go out with a buddy and ask people in a mall. Create a list of all the possibilities, and go out and get a cross-section of what people out there say.

7. Dress appropriately.
You should never wear black or white in front of the camera. It’s not great for your face. No geometric prints either. They’re very distracting. Come dressed according to what you’re going out for. If you’re coming out to be an upscale dinner guest at an upscale restaurant, don’t come in wearing jeans. Remember: Casting Directors are showing Directors and Producers a whole lot of people, and they’re looking first at all the stills, and then they click on the video. If you don’t look right, they won’t even click to see your video.

8. When you get the job, know your place on set.
You don’t want to go and get behind the directors and writers and producers that are there and get in their way and try to chum up to them. You become an annoyance. They’ve got work to do. If they’re in their own little area with their monitor watching what’s going on and you’re over there trying to schmooze them, it’s a hindrance. The ideal way is to always stay in camera view of the director, just off to the side, because then they can call you in last minute. And always make sure that you check with a second A.D. before you leave set, because he’s responsible for you as an actor. First and foremost, your second A.D. needs to be your contact throughout the whole job.

Have any additional tips, please post them here? You can do so in the Comments below. Any Questions, please let us know and Share it! Oh and if you Follow Us, hit the down arrow under Following and Click “See First”. Thanks!

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