Professional studio headshot of a London-based actress represented by Zoe Nathenson Agency. Captured by headshot photographer Kirill Kozlov against a warm textured background.

Professional studio headshots of a male actor, captured by London-based photographer Kirill Kozlov. High-end casting portraits showcasing commercial warmth and dramatic intensity.

Gene Gurie in the studio. You might know him from Joan, Brassic, or five years on CBBC's Secret Life of Boys — a face that reads honest on camera and needs almost nothing from me but good light. Photographed in North London.

High-end Spotlight and casting headshots for actress Ella Partanen. Professional studio photography in London by Kirill Kozlov, featuring multiple versatile looks, expressions, and setups.

Samuel Anderson is an English actor best known for playing Danny Pink in Doctor Who, Crowther in The History Boys, and Fingers in Gavin & Stacey.

From quiet intensity to an easy, open smile — one sitter, one session, the whole casting brief covered. Two unhurried hours in good North London light.

Olive on olive — I matched Dallas Jay Hunter's wardrobe to the backdrop so nothing in the frame competes with her face. You might have seen her in Once Upon a Time... in Hollywood. Soft, even light, a clean reference for casting. Photographed in North London.

One sitter, two worlds. We started dark — earth tones, shadowed light — then opened everything up for a soft daylight look in a plain blue tee. Same face, two ends of the casting spectrum, so there's an option for whichever brief lands next. Photographed in North London.

Solomon Foster in the studio. We went darker for this one — a textured backdrop and harder light for the dramatic end of his casting range. The kind of frame that works for Spotlight and the grittier briefs. Photographed in North London.

One session, a full casting range — I shifted the wardrobe tones and rebuilt the light between setups, so each frame answers a different brief: contained drama at one end, open warmth at the other. Photographed in North London.

A steady, level gaze — I kept the light soft and the backdrop quiet so nothing competes with Harmony Mepham's eyeline. Spotlight Casting-clean, straight to camera. Photographed in North London.

A warm, easy smile in soft natural light — I let Rebecca Gausnell settle into it and kept everything relaxed, the green knit and textured wall holding a quiet, earthy palette. Photographed in North London.

Daniel Swain's fourth session in front of my camera — I kept the light soft and directional to hold the texture in the beard and the calm, settled look that's entirely his own. Photographed in North London.

I took Will Middleton off the tight frame and let him settle — seated, forearms on the knees, hands easy — so the picture reads calm and grounded. Clean light, quiet backdrop. Photographed in North London.

One session, three registers — I moved Michael Akinsulire from a cinematic profile, through a grounded and direct frame, to an open warm smile, shifting the light and the ground each time. A full casting range in a single sitting. Photographed in North London.

Early in a career, the camera can feel like an examiner. My job is to make it a bystander — we sat her over the back of an old bentwood chair and talked until the smile stopped asking permission. That unforced ease is what casting believes. Photographed in North London.

Four characters, one afternoon — and she moved between them without a gear ever showing. The one who asks the questions, the one from another century, the best friend with the good playlist, and a neutral frame that keeps every door open. Wardrobe and light did the rest. Photographed in North London.

Four sessions in, Jamie Nichols still does what magicians do — decides where you look. He trained in magic to play Houdini on tour, and the magic outlasted the run. In front of the lens that command of attention needs no trick: the gaze alone carries the frame. Photographed in North London.

Half this grid is studio, half is London daylight — we moved outside the moment the sky allowed. And the freckles stay, every one of them: casting has to recognise the woman who walks into the room, and in all four frames they will. Photographed in North London.

Olive skin punishes lazy light — flatten it and it goes grey, overpower it and it goes brass. So everything here plays one warm chord: bronze background, mahogany hair, skin with its own light left in. The stillness is all hers. Photographed in North London.

Warmth, vulnerability, steel — the brief was to hold all three in one face, and she did. A knowing half-smile in the dark frames, something softer in the white shirt, a stare that gives nothing away, and a laugh that gives everything. Agents call this a working range. Photographed in North London.

Four decades in front of cameras — Morgan La Fay once, still working now — and it shows in the best way: she knew every light in the room before I'd switched them on. My job was to keep up and keep it honest. Photographed in North London.

Two jobs in one afternoon. The agency frames are clean and still — black crew neck, level gaze, nothing to argue with. Then the editorial set: pink canvas, orange trousers, a knitted blazer and the confidence to play. Agents need the first; casting remembers the second. Photographed in North London.

A dancer before anything, and the body remembers — that line from the jaw through the bare shoulder is trained, not posed, and it is beautiful. Red against storm grey, hair caught mid-turn, chin a degree past the lens. Movement, held still. Photographed in North London.

Bord Gáis cast her as a Gangster Granny; one look at the hiking boots under the pleated skirt says the casting was easy. Golden and warm in profile, steel with the arms crossed, then the laugh that runs the room. A lifetime of style, none of it borrowed. Photographed in North London.

A few sessions in with Jeremy Zinunu and the pattern holds: the laugh gets to the studio before he does. He writes and directs his own shorts, so he reads the room like crew and plays it like cast — my favourite kind of sitter. Photographed in North London.

Two sessions in, and the second felt like resuming a conversation. Catalin-Vasile Rusti is that rare mix — completely relaxed in the room, completely serious about the work. Romanian-born, London-made, and going somewhere; you can feel it through the lens. Photographed in North London.

There's a stillness to her a hands rarely allow — her are always half a beat ahead of the trick. The eyes did the work instead. Photographed in North London.

Three looks and he shifted register each time without me asking twice. Against the brick he held something back — the eyes did the talking, the mouth stayed shut. On black he dropped the guard slightly, let the jaw soften. In the window light he arrived, properly, the closest thing to a smile that isn't quite one. That range in twenty minutes is what casting is actually buying — not a face, three readable states of the same face. Photographed in North London.

Nothing to hide behind here — plain grey, a black vest, hair down, and a look straight down the lens that holds its own weight. The stillness is the performance; casting reads it in a second. Photographed in North London.

Four characters in one afternoon, and she didn't repeat herself once. The one who doesn't blink first. The one you'd fall for before the scene asks you to. The one who looks like she stepped out of a gentler century. The one who hands casting a blank page. Wardrobe changed; the stillness underneath it didn't. Photographed in North London.

She held the same look through every frame — chin level, nothing performed for the camera. I kept the palette warm and let her hair move rather than taming it into something safer. What's left reads as ready, not styled — and casting agreed: she's playing Frenchy on Royal Caribbean now. Photographed in North London.

One frame in the studio, two out in the daylight — and you can feel the difference before you clock the backdrop. Outside, his guard drops a little; the grain of real light does work no softbox quite manages. Agencies keep asking for both in one session, so both are here. Photographed in North London.

Four looks, one afternoon, and I never got the same man twice. Arms folded, he won't blink first. Borrow a lecture-hall jacket and those eyes turn patient. Outdoors, the smile turns unguarded, earned. One scarf at the throat and he's debating Kerouac over espresso. That's the range casting needs to see. Photographed in North London.

She held completely still without being told to — didn't perform for the lens once. I kept the styling spare: hair back, one plain colour, nothing to compete with her face. What's left is exactly what casting needs from a first look — nothing to read past, nothing hiding. Photographed in North London.

Four looks, and none of them cancelled the others out. Pin her hair back and something unguarded steps forward; let it down and she won't blink for you. Put her by that wall outside and she's the neighbour you'd stop for; take the wall away and she goes perfectly, usefully blank. Four women, one actress. Photographed in North London.

There was something in him I felt before I'd even raised the camera — a kind of light behind the stillness, not performed, just there. I kept the frame plain and left it alone rather than dress it up. If I felt it sit that close to him, casting will too. Photographed in North London.

Casting scrolls a Spotlight page in seconds, not minutes, so I gave them four different women to stop on: unreachable in black curls, softened into lace, warmed by that heart print, then pulled into something almost period against red. Same actress, four reasons to call her in. Photographed in North London.

Bilee brought this high-frilled collar to the session, aiming straight for a period drama casting bracket. I kept the light wrapped against a cool, painterly backdrop to elevate that classical structure without tipping the frame into pastiche. Casting gets an immediate read on her for historical spheres, grounded by an entirely modern composure. Photographed in North London.

She arrived with a quiet adaptability that required stretching across distinct brackets. By shifting the light and wardrobe, we walked her from the open vulnerability of a romantic lead, through the guarded edge of a contemporary youth, straight into the structured stillness of a period piece. True range requires a solid centre. Photographed in North London.

She brought a quiet, formidable intensity into the space that required absolutely no forcing. I kept the lighting wrap soft but highly directional to sculpt the jawline and honour that natural authority, allowing her to hold the frame without distraction. Casting needs to see unmanufactured grounding. Photographed in North London.

Lily McMenamy arrived with a model's reflexes: finish the picture and hold it. Casting wants the opposite — someone caught beginning a thought. So we unlearnt: tempo down, verbs instead of shapes. Four women surfaced: one deciding against you, one mid-confession, one who writes letters by hand, one who'd survive the third act. Photographed in North London.