27 Comments

1. August 8th, 2009 at 3:43 pm

   Miki Johnson

   If you have a lot of strong single images, what’s the best way to present them on your website if you’re looking for editorial and commercial assignments? Should they be called “singles” or something else? Should they have top billing or are stories more important? Or should they be edited around a theme to make them more like a story?

2. August 10th, 2009 at 6:45 am

   John Kaplan

   Many photographers, not matter what their genre of specialty, do have a group of strong images that don’t fit simply into easy characterization. So, yes, having a selection such as “Singles” can work. But other broad category naming ideas can work, too, as long as you don’t sound too esoteric. Of course, esoteric approaches are often OK for fine art photographers, as long as your artistic vision still communicates clearly.

   What’s most important is to edit tightly and only share your very best work. All images should feel like they belong together. Don’t mix styles or too many sub specialties. Be specific in your marketing plan and that means tough choices of which areas to focus on. These days, nobody does it all.

   My book, Photo Portfolio Success, helps to clarify this and help you find your unique vision

3. August 10th, 2009 at 12:58 pm

   Alex B

   Hi John, thanks for giving us the opportunity to ask questions and also thanks to Resolve.

   I have been thinking alot about digital portfolios vs print portfolios. As a student, I have never had to produce a hard copy of my portfolio (except of course in class, but never my entire portfolio).

   In this digital age, is it important to try to present potential clients with print portfolios? Or does digital suffice?

   Is my generation of photographers missing out on important learning opportunities by not keeping, updating, and showing a “book”?

4. August 10th, 2009 at 1:09 pm

   John Kaplan

   Hi Alex,

   I believe it’s essential to have both a digital portfolio and a print one. Although we live in an ever moving faster digital age, and having an online portfolio is an absolute must, nothing built of bits and bytes will ever rival the quality of a finely crafted print.

   So, for in person interviews, you can absolutely set yourself apart by taking the time to show your dedication to quality: that means a tightly edited portfolio of beautfully made prints.

   Think in terms of a horizontal presentation and consider a size large enough for impact, but so large as to be cumbersome. 11 x 17 can fit the bill nicely.

   As I say in the book, print portfolios are back in a big way even though every serious photog needs a well organized and easy to navigate Web site, too.

5. August 10th, 2009 at 1:58 pm

   KNC

   Hi John! Thanks for being available to answer questions!

   I have three. One is similar to Miki’s, hopefully not the same…

   (1) I’m just starting out. I’d like to get into editorial work. Is the best way to get there to create my own “editorial” portfolios for my site to demonstrate my perspective and technical skill?
   (2) I’ve noticed a lot of photography in magazines that doesn’t impress either for quality of images or subject. What’s the trick? I know having a fantastic portfolio doesn’t hurt, but what are the other factors that weigh heavily?
   (3) Which designer is designing your LiveBooks site for you?? ;-))

   Thanks a million!!!
   k

6. August 10th, 2009 at 2:08 pm

   John Kaplan

   Hi KNC,

   You always want your portfolio to reflect not what you have done, but want you want to do. So, even highly successful and well known freelancers self assign to create work that impresses in the areas they wish to work in. So, learn what the mores are within the genre you are interested in, such as editorial, and put together a portfolio that shows your what’s unique about your vision.

   Today, even much editorial assignments are delved out to a photog with a particular “look” so unless you are in a very small market, your portfolio should reflect your perspective. Just don’t try to hard to cater to what you think people are looking for, or copy trends. That likely won’t work.

   I think there is much terrific work in magazines so it’s hard to comment on what’s the trick in getting assigned. Huge competition is out there and there are lots of great shooters, always.

   To set yourself apart, have a great book, but also great ideas relevant to the publication you seek assignments from. Know the magazine, what it uses and what it’s audience is. There are hundreds of great photogs, but few great idea people.

   I don’t have a LiveBooks site but like what I see.

7. August 10th, 2009 at 2:48 pm

   Frank Rogozienski

   Hey John

   There was a trend a while back, may still be out there, to show 2 books. A signature book and a book of tears. Recently I went to a portfolio review and was not sure what to expect in terms of reviewers. So I brought my commercial book and put together a fine art book. The 2 did not look physically alike at all. One traditional multi page bound book and the other loose prints. I ended up showing both to most reviewers and was surprised by the response. Not only were both books well received (that is Not what I was surprised by), but they were well received as a set. Can you speak to:
   A)Showing multiple bodies of work as a presentation
   B)Showing 2 books
   C)Showing personal work

8. August 10th, 2009 at 3:33 pm

   peter Wodarczyk

   With 1000’s of photographers out in the biz. How do you really get established in a filed in which a lot of people treat it as a hobby? They take jobs for free just to be on the sideline or shoot some lovely model.

9. August 10th, 2009 at 3:38 pm

   Alex W

   Hi John,

   When showing a printed portfolio to an editor/potential client, is it safe to assume they have already visited your website?

   As a photojournalist, I’ve shot everything from politics to sports to long term documentary projects. A printed portfolio can’t contain images from all these categories, or it would have to include 50+ prints.

   So, should I only show prints that highlight my creative vision, and hope that the editor is already familiar with my work?

   Thanks for your advice.

10. August 10th, 2009 at 4:34 pm

    Dom Romney

    I have the portfolio and i feel its fairly strong but how do I go about approaching potential clients and use this marking tool to produce a income?

11. August 10th, 2009 at 5:31 pm

    John Kaplan

    Hi Frank,

    To answer your questions:

    A)Showing multiple bodies of work as a presentation
    That can work well depending on specialty. Even well known pros often work in two areas of specialty, say nature and corporate portraiture. Using this example, much better to have two distinct books.

    B)Showing 2 books
    To show two at once works best if the style and focus is complementary rather than divergent. You want your stuff to look like it’s all “from your hand,” so to speak.

    C)Showing personal work
    That depends. Remember that your clients are in business. They want to know not how wonderful you are as a photographer, but how you and your unique style can help them solve a problem or meet a goal.

12. August 10th, 2009 at 5:32 pm

    John Kaplan

    Peter,

    It’s all about your dedication and focus on producing truly special work. There are thousands of other photogs, yes, but you must find a way to rise way above the vast mediocrity of those who just copy what they see, or what they like.

    Be passionate and great pix will follow!

13. August 10th, 2009 at 5:48 pm

    John Kaplan

    Hi Alex,

    When showing a printed portfolio to an editor/potential client, is it safe to assume they have already visited your website?

    No, it’s not. You need to find a way to get them there. Remember that you are dealing with always busy folks who probably wish they had much more time to view portfolios. Most will get a fast skim and it’s not likely someone will visit your site and look at your print portfolio. Use the print version for face to face meetings, or if you are asked to drop. Then, have a “leave behind” which could be a promo card, for example. The promo card should have your web address. It’s possible someone may see the print version, like it, and then forget how to find you. So, a card that’s up on their bulletin board or in their files can get them in touch with you.

    As a photojournalist, I’ve shot everything from politics to sports to long term documentary projects. A printed portfolio can’t contain images from all these categories, or it would have to include 50+ prints. So, should I only show prints that highlight my creative vision, and hope that the editor is already familiar with my work?

    Edit tight, tight, tighter! Remember that the portfolio should not be all of your best work, but an impassioned representation of your best work. LESS IS MORE, ALWAYS!

    If you work in narrative photography, you want to be sure your resolve in telling stories stories comes across clearly. Eye candy is not enough. For advertising, the images are usually meant to dazzle and the literal narrative or captions are not as important, as long as the theme or product is understandable.

14. August 10th, 2009 at 5:51 pm

    John Kaplan

    Dom,

    “I have the portfolio and i feel its fairly strong but how do I go about approaching potential clients and use this marking tool to produce a income?”

    Depends entirely on the sub specialty you are going for, Dom. But, if you can find the client in a more relaxed setting than the office, such as an out of town workshop, you are much more likely to get some one on one face time.

15. August 10th, 2009 at 5:54 pm

    Mara Pagano

    I really dont think that in today’s atmosphere it matters how many “Pulitzers, POY National Newspaper Photographer of the Year or the Overseas Press Club Awards” a photographer has won. Today is a totally different beast with many newspapers going out of business and too many photojournalist been left out and with a portfolio that won’t give them a crack at Forbes, ESPN, Fortune or GQ. Twenty years ago, more likely, but not today.
    The best advice is to stay out of photojournalism and try to make it as a fashion, commercial, travel or portrait photographer.
    Even wedding is a great idea since they are the ones making the $$$.. If you can be talented in more than one style the more successful you will be.
    I don’t even think that portfolios are that important any more. Most DoP or Art Buyers are OK with a well done website and that is another story.

    Even past well known photojournalist are having a tough time working today as full time PJs so they need to teach at universities or take another related job. I don’t know if that is also the case for JK.
    The fact is that our world has changed and PJs will be left out unless they change, learn quick and adapt. And that includes learning motion.

16. August 10th, 2009 at 6:09 pm

    John Kaplan

    Mara,

    Can’t say I entirely agree, but you do make some good points about competitive pressures. Photo Portfolio Success helps photogs learn what top editors and buyers are looking for in several photographic specialties including commmercial, weddings, nature, fine art and photojournalism.

    The competitive market is always changing, competition among shooters is always fierce, but there is a market, certainly. Important to love what you do and, at the same time, know the market. No even seasoned pros can sit still and rest on their laurels or reputation.

    Portfolios will always be essential. As I’ve stressed, you do need an online portfolio (unless just to drive stock sales.)

    Where I don’t entirely agree is that a pro shouldn’t just chase markets. You have to be practical, yes, but you have to love what you do, and create work you truly believe in.

17. August 10th, 2009 at 7:33 pm

    Jon

    Hi John, I’ve been told its a good idea to build a portfolio slideshow using soundslides just to create the slideshow (no audio) I was curious as to your thoughts on this. Is it good to create a slideshow for perspective clients or employers to view.

    Many thanks!

18. August 10th, 2009 at 7:59 pm

    John Kaplan

    Hi Jon,

    SoundSlides can be a good and easy to use tool for multimedia shows. Using a bit of instrumental music in the background is a possibility; with SoundSlides the length of the soundtrack becomes the length of the full presentation. Thus, if you have 20 images and a 60 second music clip, each picture would run for three seconds. This type of approach can work well for a “greatest hits” wedding portfolio show, for example.

    Having said that, many editors and buyers can’t stand multimedia portfolios. It’s not multimedia itself that is the problem, it’s that the viewer is potentially losing navigational control. When I researched the book, so many people complained about viewing portfolios where they couldn’t control the pace, that I dubbed it, “The Flash Backlash.”

    So, if you do choose a Flash based presentation, be sure you also have a manual click through method for the viewer to look at your portfolio at their chosen pace.

    Also worth noting, if you are doing editorial work today, multimedia is becoming requisite with elements including stills, sound and video. So, having two or three tightly edited projects created in Flash or Final Cut Pro can keep you in the running with Web editors.

    The moving image is also changing the advertising market in a big way, too.

19. August 10th, 2009 at 8:01 pm

    Luke S.

    Mr. Kaplan,

    I’m struggling with keeping my portfolio relevant. I realize that (unfortunately) I don’t make portfolio quality photos every day. Does presenting a portfolio to an editor of my most spectacular and rare photographic catches really represent me accurately as a photojournalist? If I’m applying for a staff job with a large daily, wouldn’t a package of 4 or 5 solid photos from a local event serve me better than an ultra-eclectic portfolio? I feel like an editor should be more interested in what i can produce on a daily basis. Can you correct my thinking on this issue?

    Thanks for your time!

    -Luke S.
    http://www.LukeSphoto.com

20. August 10th, 2009 at 9:39 pm

    Nick Morris

    Hi Mr. Kaplan,
    I’d like to know how you feel or would potential clients feel about a website with dual portals. One portal would show photojournalism and commercial work while the other showed wedding and fashion. Is it too much to have the two together? Does it help to show such diversity or should you separate your clients and keep the worlds apart. I’m trying to do the dual portal and not sure if it’s hurting or helping.

    Nick Morris
    The Image Group Photography
    http://www.theimagegroupphotography.com

21. August 11th, 2009 at 3:09 am

    Rich Hinton

    Thanks for your time John.

    I’m looking to break into Fashion and Commercial photography and was wondering if it is best to try to sell yourself as a photographer or to market yourself differently with 2 sites, one for fashion and another for commercial work. I currently have only one site which contains both: http://www.richhinton.com

    I’ve noticed that some well known photographers, such as Chase Jarvis market themselves as much as they do their body of work. Is it important to also market yourself and not just the images that you produce?

    Many thanks for giving us this opportunity to ask such open questions.

22. August 11th, 2009 at 5:00 am

    John Kaplan

    Hi Luke,

    You asked, “If I’m applying for a staff job with a large daily, wouldn’t a package of 4 or 5 solid photos from a local event serve me better than an ultra-eclectic portfolio? I feel like an editor should be more interested in what i can produce on a daily basis. Can you correct my thinking on this issue?”

    Competition has always been tight in every photographic specialty; in the past two years there has been a virtual implosion in the world of newspaper photojournalism. Thus, if an editor does have an opening, it’s likely to be at entry level salary. You can bet that TERRIFIC portfolios will grace his or her desk.

    Thus, it’s no time to beat around the bush. Present your most dynamic and impressive portfolio. It needs to exude confidence, smooth as silk, so an editor would feel you’d naturally cruise with routine assignments, too.

    Some will ask in job applications to see a week’s worth of clips, for example, but most will not.

    For your idea, I’d suggest writing a sentence at the end of your cover letter that you would be happy to provide examples of you coverage from recent events.

23. August 11th, 2009 at 5:05 am

    John Kaplan

    Hi Nick,

    You asked, “I’d like to know how you feel or would potential clients feel about a website with dual portals. One portal would show photojournalism and commercial work while the other showed wedding and fashion. Is it too much to have the two together??

    You see it both ways these days yet I’m a proponent of two separate sites. The reason? Buyers and editors each have their unique challenges to solve. You want them to believe and know you are truly dedicated to what they do.

    Now, as you know, pros very often have two specialties these days. Nothing wrong with linking between the two sites.

    I would never show weddings with photojournalism. The bride is the client, and nervous about the big day. News images can shock the senses, not serve to relax.

    Weddings and fashion do go very well together, though!

24. August 11th, 2009 at 5:14 am

    John Kaplan

    Hi Rich,

    You asked about having two sites. I’ve answered that in the post above.

    You also asked, “I’ve noticed that some well known photographers, such as Chase Jarvis market themselves as much as they do their body of work. Is it important to also market yourself and not just the images that you produce?”

    I’m not a huge fan of the photog marketing themselves as celebrity. But market yourself, you must, assuming you are a freelancer of course.

    But market your work rather than your own face, so to speak.It does depend on your niche and in fashion, it’s true that the photogs can become public figures, too, but it’s rare.

    Remember that in the freelance world, much work comes from word of mouth and referrals from your professional peers. So, go lightly on what some might misinterpret as too much ego or creating a false impression that you may be hard to work with.

    Having an “ABOUT” section is good on a site, and you do need to brand yourself, certainly. The book does have a marketing chapter and it is very important to constantly sell yourself with promotional materials.

25. August 15th, 2009 at 10:53 am

    David

    Hi John. What are you feelings about portfolios in book form say from Blurb or Asuka? It does seems to be gaining some popularity. Thanks very much.

26. August 15th, 2009 at 1:29 pm

    John Kaplan

    Book style portfolios have been a growing trend for several years and can work really well, particularly for weddings and advertising shooters. One challenge you face is that you create a new dynamic when doing spreads; the interplay between images has to really work, rather than diminish the power of each individual image. Also, if printing the pages yourself, you control the print quality. If you send out files, that’s convenient, but you do risk output that doesn’t match your own monitor calibration well. Keep as much control as possible because, it goes without saying, in a print portfolio, print quality is everything.

    In general, I’m a fan.

27. May 17th, 2011 at 7:38 am

    Jessica F.

    Hello, John
    I’m as new as they come to PJ. I still have a year before I am done with college and there is a newspaper in Budapest, Hungary that is thinking about letting me be an intern. I would like to know what do you think editors are looking for in a photo story? I have been told it is best to have a group of 10-12 photos then the photo story and 10 other photos. What do you think?

    PS. I know this was posted a long time ago but I’m hoping you will help me.
    Thank You