Creating a portfolio
Discussion
I'm in the process of putting together a portfolio at the moment and its proving quite difficult for the following reasons:
1)How many shots to use? A portfolio is essentially a photgraphers CV, and - like a CV - I guess the idea is to try and keep the document to a fairly brief and concise length so not to bore the reader / viewer. So how many? 20? 30? 50? My instinct is that I should be able to demonstrate a broad example of what I can do using 25-30 images...
2)So which ones do I use? I started off with 58 which 'made the grade' in my eyes, I quickly ditched 15 for being too similar to others, and a further 5 through scrutinising for anything else which may detract. Do I ditch images which are compromised by slight noise (fundamentally a camera problem, although I have since learned better how to mitigate this) but which I otherwise believe to be compositionally strong and interesting? I've actually retained some shots which I dont feel are the strongest from a photographic point of view but nonetheless demonstrate an ability to shoot that style (panning/action for example) - I'm guessing this is more important than simply choosing my 25 favourite shots?
3)Perhaps I should have 3/4 different portofolio's to suit different clients? Magazines for example will be looking for different work than an advertising agency or calendar company?
4)As many of you will be aware, I shoot cars pretty much 95% exclusively - and this is the area of photography I would be looking to work in. Is there any mileage in including other photographic work, again to try and demonstrate breadth of ability?
5)Finally, what format to go for? I'm pretty much set on a 2 pronged approach - one (evolving) electronic portfolio which would likely be PDF format, with a short narrative below each photo as well as a book with similar contents which would either contain prints or be printed as originals.
All thoughts & advice appreciated!
1)How many shots to use? A portfolio is essentially a photgraphers CV, and - like a CV - I guess the idea is to try and keep the document to a fairly brief and concise length so not to bore the reader / viewer. So how many? 20? 30? 50? My instinct is that I should be able to demonstrate a broad example of what I can do using 25-30 images...
2)So which ones do I use? I started off with 58 which 'made the grade' in my eyes, I quickly ditched 15 for being too similar to others, and a further 5 through scrutinising for anything else which may detract. Do I ditch images which are compromised by slight noise (fundamentally a camera problem, although I have since learned better how to mitigate this) but which I otherwise believe to be compositionally strong and interesting? I've actually retained some shots which I dont feel are the strongest from a photographic point of view but nonetheless demonstrate an ability to shoot that style (panning/action for example) - I'm guessing this is more important than simply choosing my 25 favourite shots?
3)Perhaps I should have 3/4 different portofolio's to suit different clients? Magazines for example will be looking for different work than an advertising agency or calendar company?
4)As many of you will be aware, I shoot cars pretty much 95% exclusively - and this is the area of photography I would be looking to work in. Is there any mileage in including other photographic work, again to try and demonstrate breadth of ability?
5)Finally, what format to go for? I'm pretty much set on a 2 pronged approach - one (evolving) electronic portfolio which would likely be PDF format, with a short narrative below each photo as well as a book with similar contents which would either contain prints or be printed as originals.
All thoughts & advice appreciated!
Art directors for magazines will be looking for three things... shots that stand out and are eye catching (so something a bit different), that you have all the bases covered (but preferably with an individual style), and that you are flexible.
So: nice statics, details, interior, panning, tracking, rig shots, and anything else that shows your breadth of skill, eg. candid portraits at motorsport events etc. should form the backbone of a portfolio.
They may also be looking for awareness of composition that can be used for layouts, so leaving room for copy etc.
They may also like to see a whole shoot showing a lead image, details, double page spread etc. and a closing image.
They will almost certainly ask if you have a website or can email over some images as a first point of call. I dont think anyone has asked to or seen my print book yet, although Im sure that will be important over the next year or so. Be aware that any art director is very short of time and has probably already been rung that day by a zillion other photographers. Its pretty tough out there. I think I was the first new photographer evo tried for 6 months and they get through a few portfolios a week, top gear even more, but dont be put off by this. If they think the shots are good they are generally willing to give you a try.
My only concern is that you dont have enough good action stuff which they really like (or if you do you havent posted it, in which case apologies).
So in short you need one of these: www.plasticsandwich.co.uk/text/books1.html and a decent website
As for numbers... i dont think ive got more than 10-15 photos in mine, mainly because i dont think any more than that are up to the necessary standard to be real portfolio shots.
Ive got tonnes of crap on my site though which helps give a good overview, and tearsheets are always good, so if someone fancies doing more digging they can go through that.
Hope this helps.
Matt
So: nice statics, details, interior, panning, tracking, rig shots, and anything else that shows your breadth of skill, eg. candid portraits at motorsport events etc. should form the backbone of a portfolio.
They may also be looking for awareness of composition that can be used for layouts, so leaving room for copy etc.
They may also like to see a whole shoot showing a lead image, details, double page spread etc. and a closing image.
They will almost certainly ask if you have a website or can email over some images as a first point of call. I dont think anyone has asked to or seen my print book yet, although Im sure that will be important over the next year or so. Be aware that any art director is very short of time and has probably already been rung that day by a zillion other photographers. Its pretty tough out there. I think I was the first new photographer evo tried for 6 months and they get through a few portfolios a week, top gear even more, but dont be put off by this. If they think the shots are good they are generally willing to give you a try.
My only concern is that you dont have enough good action stuff which they really like (or if you do you havent posted it, in which case apologies).
So in short you need one of these: www.plasticsandwich.co.uk/text/books1.html and a decent website
As for numbers... i dont think ive got more than 10-15 photos in mine, mainly because i dont think any more than that are up to the necessary standard to be real portfolio shots.
Ive got tonnes of crap on my site though which helps give a good overview, and tearsheets are always good, so if someone fancies doing more digging they can go through that.
Hope this helps.
Matt
I think that twelve is sufficient for a portfolio. You need to be really brutal with your editing. Don't choose a shot because you like it. Choose it becaue it is striking and well crafted. There should be no technical faults present in a shot, and no dodgy Photoshopping either.
You need to tailor your portfolio to the client that you are going to see. As Matt has said above, you need to show that you have an awareness of how a designer has to build a feature and indeed a page around your shots, so leaving plenty of 'free' space is important too, as are detail shots and portraits*. Flexibility is always an attractive characteristic in any employee.
*I am, of course, assuming that you are looking for magazine work relating to cars.
Hope it all goes well for you.
You need to tailor your portfolio to the client that you are going to see. As Matt has said above, you need to show that you have an awareness of how a designer has to build a feature and indeed a page around your shots, so leaving plenty of 'free' space is important too, as are detail shots and portraits*. Flexibility is always an attractive characteristic in any employee.
*I am, of course, assuming that you are looking for magazine work relating to cars.
Hope it all goes well for you.
In addition to the above sensible suggestions, my thoughts:
1) I think it's more important to have fewer pages than shots. An AD will groan if he thinks he's got to wade through 50 pages. 10 pages is short and sweet but there's no reason why you can't put more than one pic on a page, maybe a series of 6 from a project or shoot that he can scan quickly.
2) Any weak shots will pull the folio down. If the noise is for effect, fine; but if it looks like a technically bad pic, it won't do you any favours.
3) Having a flexible portfolio is a good idea. Target the prospective client with sample of the type of work they need. Tear sheets are fine as a back up and to show you are published. Don't present them in their own right though. ADs will be distracted by the design/typography and will ignore your pic.
4) Again, if you want to do cars I wouldn't put food or architectural interiors in. Cars, like food or fashion, is a speciality. For editorial, people pics are a good Idea, or people with cars, but keep it car-centric.
5) A book nicely presented either bound or loose leaf, like Plastic Sandwich, or Brewer Cantelmo...
... reflects your attention to detail and professionalism. Not sure about pdf, how do you intend to use it? Send on CD, email it to people? Either a bad idea as they take effort to open by the viewer. Better to have a website. Keep it clean and simple, nothing worse than a flash (in both sense of the word), website which outshines and distracts from your pictures.
Another idea would be quality Z cards (like models use), targeted at the AD, or picture editor. They see pictures straight away... before they chuck it in the bin
. Follow it up with a phone call. Sending (different), cards regularly keeps your name in their mind... which might be good for when their regular guy lets them down/cocks up.
HTH
1) I think it's more important to have fewer pages than shots. An AD will groan if he thinks he's got to wade through 50 pages. 10 pages is short and sweet but there's no reason why you can't put more than one pic on a page, maybe a series of 6 from a project or shoot that he can scan quickly.
2) Any weak shots will pull the folio down. If the noise is for effect, fine; but if it looks like a technically bad pic, it won't do you any favours.
3) Having a flexible portfolio is a good idea. Target the prospective client with sample of the type of work they need. Tear sheets are fine as a back up and to show you are published. Don't present them in their own right though. ADs will be distracted by the design/typography and will ignore your pic.
4) Again, if you want to do cars I wouldn't put food or architectural interiors in. Cars, like food or fashion, is a speciality. For editorial, people pics are a good Idea, or people with cars, but keep it car-centric.
5) A book nicely presented either bound or loose leaf, like Plastic Sandwich, or Brewer Cantelmo...
... reflects your attention to detail and professionalism. Not sure about pdf, how do you intend to use it? Send on CD, email it to people? Either a bad idea as they take effort to open by the viewer. Better to have a website. Keep it clean and simple, nothing worse than a flash (in both sense of the word), website which outshines and distracts from your pictures.
Another idea would be quality Z cards (like models use), targeted at the AD, or picture editor. They see pictures straight away... before they chuck it in the bin
. Follow it up with a phone call. Sending (different), cards regularly keeps your name in their mind... which might be good for when their regular guy lets them down/cocks up. HTH
Bacardi is right when he says that you have to call people regularly to keep you fresh in their mind and be there when their regular lets them down or takes the p!ss. Also a good idea to make a flier to send to them as people like pics and are more inclined to remember you and your work or pin it to their notice board. Pdfs and CDs tend to get filed, lost, binned or forgotten.
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