Every actor in Los Angeles is told to have a commercial headshot and a theatrical headshot. Far fewer are told what the difference is, and a lot of people end up with two photographs that differ only by shirt.
They are not two versions of the same picture. They are answers to two different questions.
The commercial look
The question it answers: would I buy something from this person, or believe they are happy?
Commercial casting is selling insurance, cereal, a phone plan, a hotel. It wants warmth, openness and a face that a viewer trusts within a second. In practice that means a lighter background, brighter and flatter light, a genuine smile that reaches the eyes, and colour in the wardrobe. Chin slightly down, eyes slightly up, energy forward.
The common failure is a smile that is doing a job rather than happening. A commercial frame lives or dies on whether the eyes agree with the mouth — and that is a directing problem, not a lighting one.
The theatrical look
The question it answers: can this person carry a scene where nothing is funny?
Theatrical casting is film and television drama. It wants stillness, interiority and something happening behind the eyes. Darker background, a harder key with real shadow, little or no smile, neutral and more structured wardrobe. The whole frame gets quieter so the face gets louder.
The common failure here is blank instead of still. A theatrical headshot with nothing behind the eyes reads as a passport photo. The work in the session is finding a thought that actually occupies you and then not performing it.
What actually changes between the two
| Background | Commercial: lighter, warmer, often slightly out of focus — Theatrical: darker, flatter, tighter |
| Light | Commercial: broad and soft, low contrast — Theatrical: directional, visible shadow, more contrast |
| Wardrobe | Commercial: colour, texture, casual layers — Theatrical: muted, structured, simple |
| Expression | Commercial: open, smiling, energy out — Theatrical: still, thought held, energy in |
| Crop | Commercial: often a touch wider — Theatrical: usually tighter on the face |
Do you need both?
If you are submitting for both kinds of work, yes — and it is not a nice-to-have. Sending a warm smiling commercial frame to a limited-series breakdown is the fastest way to be passed over by someone who never consciously decided to pass you over.
If you only work in one lane, one look shot properly beats two looks shot half-heartedly. And if you are early and can only afford one session, shoot the one that matches where the work actually is for you right now, not where you hope it will be.
The third look nobody mentions
There is usually a more specific frame worth having beyond the two: the professional or procedural look. Structured wardrobe, cooler light, competence you can read across a room — doctor, lawyer, detective, executive. Los Angeles runs on procedurals and there are always fewer good frames of this kind than there are roles.
Character looks are the other one. Leaning all the way into what you actually are rather than a softened version of it is the most under-shot thing in this city, and it is often the frame that finally gets someone seen.
Getting both in one session
Two looks fit comfortably in a sixty-minute sitting; four fit in two hours, which is enough to cover commercial, theatrical, professional and one character frame. What matters more than the count is whether you and the photographer agreed which types you were shooting before the day, because the wardrobe, the background and the direction all follow from that decision.
Sessions and pricing are on the headshots page, and there is a wardrobe call beforehand where the looks get planned. Or call (818) 749-7039.
Meet the Author: Connery Davoodian Hello, I'm Connery Davoodian, the visionary behind ConneryFilm, and I'm thrilled to share insights from my 17-year journey through the world of wedding photography and videography. My passion extends beyond simply capturing images; it's about artfully weaving your unique love story into a timeless, cinematic masterpiece. My artistic path began long before I ever picked up a camera, deeply rooted in music as a singer, songwriter, and multi-instrumentalist. This diverse background in directing, producing, and editing has cultivated a unique perspective, allowing me to approach each wedding not just as an event, but as a dynamic narrative waiting to be beautifully told. This blend of technical mastery and creative storytelling is the heartbeat of ConneryFilm, ensuring that every frame, every shot, and every film is infused with depth, emotion, and unparalleled artistic integrity. At ConneryFilm, we believe your wedding memories deserve nothing less than bespoke luxury. My philosophy centers on capturing the authentic, unscripted moments – the genuine smiles, the tender glances, the joyful laughter – that truly define your day. While we obsess over exquisite details and sophisticated aesthetics, our true joy comes from making you feel completely at ease, like a "friendor" who genuinely celebrates alongside you. This calm, organized presence allows your true personalities to shine, resulting in images and films that are as real and vibrant as your love itself. Based in the heart of Los Angeles, California, my team and I are privileged to serve couples across the globe, bringing our signature high-end wedding photography and videography to destination weddings worldwide. Through these blog posts, I aim to share invaluable insights, luxurious inspiration, and practical, fun advice to guide you through your wedding planning journey, helping you make informed decisions about preserving your most cherished moments. Thank you for trusting ConneryFilm to be a part of your extraordinary adventure. I'm excited to share my knowledge and passion with you, helping you create memories that will last forever.