What is the difference between an “Executive Portrait” and simply a “Portrait”?

The differences are quite real and, depending upon the situation, may range from subtle to dramatic. They arise out of the purpose the portraits serve, the required preparations, and the way in which they are made.

All portraits need to show the sitter at his or her genuine best. Typically this means the portrait should bring out those qualities in the sitter that emphasize his or her most attractive attributes. These may include the sitter’s grace, accessibility, and well-rested and happy state.

We, the viewer, must believe in the portrait’s authenticity. We must have no doubt that the person who sat for the photographer really does look like his or her picture. We must believe that if we were to encounter this person, not only is this the likeness that we would perceive, but also our personal experience with this individual would be similar to the experience suggested by the photograph.

If a portrait is unsound at this fundamental level, then its prospects for productive communication are severely curtailed. A stiff or forced smile will repel viewer empathy. A sitter’s discomfort, either with his or her own body, or with the portrait-making process, signals to viewers that this person has an unwelcoming disposition. A coy photograph, one in which the subject is hidden in shadow, behind props or underneath too much makeup, begs the question of what the sitter is hiding. No amount of digital post production can remedy these shortcomings. An obviously retouched photograph will be dismissed for untruthfulness upon first sight.

Executive Portraits must first satisfy the foregoing concerns; additional considerations then come into play. Executive Portraits are purposeful in that they have a specific message to convey. They are, by definition, portraits of leaders. They must reveal, convey and support the sitter’s leadership status.

Executive Portraits must bring out those qualities in the subject that underscore his or her sense of command, encompassing vision and gravitas. Upon publication, Executive Portraits become visual icons representing the ideas these leaders stand for.

Executive Portraits must be flawless. This does not mean that the subject must be physically flawless – no one is! Rather, the sitter’s positive qualities must be presented so strongly that any superficial blemishes are not a distraction for the viewer.

Executive Portraits must be specific to the individual portrayed and project a consistent message to a diverse audience. Executive Portraits are virtually always re-purposed. They may be shot for one publication, an annual report, and then reused on a future, unplanned occasion, such as when the executive is honored with an award.

No two executives are identical, but two generalities describe those I have met. They really do have busy schedules, and they absolutely demand professionalism.

Occasionally a photographer is given less than seven minutes to photograph a top executive. The photographer’s time slot is sandwiched between two of the executive’s meetings. The executive walks into the photographer’s room, brief introductions are made, the photographer squeezes off a half-dozen frames, and the executive leaves. That’s it. While this is hardly the recommended scenario for creating a great portrait, it is also no excuse for failing to produce a strong one.

I believe that all of the executives I met achieved their success because of their personal expectations. They know first hand what the pursuit of excellence entails. They have no tolerance for mediocrity. The intensity of their gaze when they look into your eyes dispels the possibility for small talk. This is business. Both of you, the photographer and the executive, are here for a purpose. Let’s get on with it, and get it right the first time.

The effort required to produce an Executive Portrait may be counter-intuitive. The less time a photographer has with the executive means that more time is required in preparation. Everything must be set up in advance. Days may be spent scouting alternative locations, both for the background setting and for the quality of light at different times of day.

A smart photographer will study previous portraits of the executive to gage what lighting style may be most complimentary. Frontal lighting is unflattering to large people, and cross lighting is unflattering to those with an uneven complexion. Special precautions may be required to prevent eyeglass reflections from obscuring the sitter’s eyes.

The photographer must know in advance the suggested starting points for the executive’s pose. Will the executive be standing or sitting? Where will his or her hands be, and what will be in them. These starting points are almost always preempted by personal interaction at the time of the shoot, but it is the photographer’s job, not the executive’s, to get the ball rolling.

On the day of the shoot, the photographer should arrive hours early and complete the lighting setup well in advance of the allotted time. Under ideal circumstances, when nothing goes wrong, the photographer calmly waits a good hour until the executive arrives. But the photographer must also have backup plans for when the unforeseen happens. This may include an alternate location and redundancy in the photographer’s equipment.

The very best portraits are usually not made in less than seven minutes, of course. Depending upon the number of alternative portraits and setups required, I typically request up to two hours of the executive’s time. All of the foregoing preparations still apply, but this more generous scheduling provides a richer opportunity to produce a great Executive Portrait.

This is because the photographer and executive can then enter into a dialogue, cultivating their rapport. Their comfort with one another will be reflected in the portraiture. Additionally, the less pressured timeframe is more conducive to creative improvisation during the shoot.

The least surprising conclusion from all of my experience is that, at the end of the day, we are all human beings. We all respond to kindness, professionalism, and other people’s interest. I’ve photographed former Governors, CEO’s, Corporate Presidents, MacArthur Grant recipients, Theater Directors, Philosophers and Philanthropists. In almost every case, after we had the opportunity to connect, the photographs I was making became secondary to our interaction. We became absorbed in the exchange of ideas. And that is the way it should be.