Comments on: Portfolios - Part II http://www.avisualsociety.com/2007/11/30/portfolios-part-ii/ "A fashion picture is a portrait, just as a portrait is a fashion picture." - Irving Penn Fri, 29 Aug 2008 05:41:36 +0000 http://wordpress.org/?v=2.5 by: bobby http://www.avisualsociety.com/2007/11/30/portfolios-part-ii/#comment-944 Wed, 19 Dec 2007 19:22:07 +0000 http://www.avisualsociety.com/2007/11/30/portfolios-part-ii/#comment-944 I used to do the hard Ilford boards, Epson printed, in a Century box. It was impossible to keep pages from going missing. I then went to Lost Luggage books which was a total waste of money; expensive, dated, ill engineered, heavy and sharp. I have now gone to custom 11x17 landscape books; I have a mix of personal and work related images in both but they are "separate" topics. They don't go out of my sight. I travel with them and don't make appointments that I don't get to see the AD/CD. If when I arrive they aren't available I'll leave a classy Epson printed sumo card. I'm going to be putting the Lost Luggage books back into circulation because they fit in a Fedex box and I'm not that attached to them. Those books will be reprinted with double sided pages with no sleeves. I have found it makes a world of difference being with the books when first opened, period. On the other topic of what to put in the books; I had my books seen by half a dozen reps here in LA and all of them "loved" the images but had no idea how to sell me. "Where do you feel you fit in the market?" was the question I was constantly asked. I've been walking those same books around the UK and haven't left a single office without hearing, "you'd be perfect for xxxxx campaign" and they stripe me of every promo piece I have with me. I used to do the hard Ilford boards, Epson printed, in a Century box. It was impossible to keep pages from going missing. I then went to Lost Luggage books which was a total waste of money; expensive, dated, ill engineered, heavy and sharp. I have now gone to custom 11×17 landscape books; I have a mix of personal and work related images in both but they are “separate” topics. They don’t go out of my sight. I travel with them and don’t make appointments that I don’t get to see the AD/CD. If when I arrive they aren’t available I’ll leave a classy Epson printed sumo card. I’m going to be putting the Lost Luggage books back into circulation because they fit in a Fedex box and I’m not that attached to them. Those books will be reprinted with double sided pages with no sleeves. I have found it makes a world of difference being with the books when first opened, period.
On the other topic of what to put in the books; I had my books seen by half a dozen reps here in LA and all of them “loved” the images but had no idea how to sell me. “Where do you feel you fit in the market?” was the question I was constantly asked. I’ve been walking those same books around the UK and haven’t left a single office without hearing, “you’d be perfect for xxxxx campaign” and they stripe me of every promo piece I have with me.

]]> by: Paul Treacy http://www.avisualsociety.com/2007/11/30/portfolios-part-ii/#comment-794 Mon, 03 Dec 2007 00:41:48 +0000 http://www.avisualsociety.com/2007/11/30/portfolios-part-ii/#comment-794 I'm just putting the finishing touches to my 'folio and I've decided to ignore all my news material, portraits and everything else and just show my personal work, or rather, my personal favorites as several are from assignments. I use the domain, Photohumorist.com and so I've decided to use that as my brand and show work accordingly. I've been at this since 1992 and for the last while have been out of the game looking after my young sons and so I was in a dilemma trying to figure out what to show in a folio of 40 odd images. It became quite clear as I progressed through my work that I should go with the wit and to hell with everything else. I thought, editors are saturated with fine news images and mine are not going to make an impression. However, my quirky shots might. They are entirely my own and so that is all I've got to make an impression. Figure out what you do that sets you apart and forget the images that will simply mirror what editors have already seen time and again. My folio will be an inexpensive saddle stitched 7.5" square book with a soft cover of double truck images. Soft cover so that it's flickable. I've found that people tend to linger over my shots but upon reaching the end want to quickly flick through again. It's all about the tactile experience, is it not? I'm new to this blog and will be back. I’m just putting the finishing touches to my ‘folio and I’ve decided to ignore all my news material, portraits and everything else and just show my personal work, or rather, my personal favorites as several are from assignments.

I use the domain, Photohumorist.com and so I’ve decided to use that as my brand and show work accordingly.

I’ve been at this since 1992 and for the last while have been out of the game looking after my young sons and so I was in a dilemma trying to figure out what to show in a folio of 40 odd images. It became quite clear as I progressed through my work that I should go with the wit and to hell with everything else. I thought, editors are saturated with fine news images and mine are not going to make an impression. However, my quirky shots might. They are entirely my own and so that is all I’ve got to make an impression.

Figure out what you do that sets you apart and forget the images that will simply mirror what editors have already seen time and again.

My folio will be an inexpensive saddle stitched 7.5″ square book with a soft cover of double truck images. Soft cover so that it’s flickable. I’ve found that people tend to linger over my shots but upon reaching the end want to quickly flick through again. It’s all about the tactile experience, is it not?

I’m new to this blog and will be back.

]]> by: M R Williams http://www.avisualsociety.com/2007/11/30/portfolios-part-ii/#comment-791 Sun, 02 Dec 2007 20:41:10 +0000 http://www.avisualsociety.com/2007/11/30/portfolios-part-ii/#comment-791 I have more than one book and show what I think they may be interested in. My personal work is mainly images shot while I travel during work, so its different from my portrait work. But I have been thinking about making another mixed book with portraits, music, and personal work. Its hard to tell sometimes what someone is interested in seeing, I've left my portrait book sometimes and then had feedback that that person likes seeing personal work too. I was told last week by an editor that they don't mind what the personal work is, they just like to know that the photographer does it and its not all about 'work'. There really is no right or wrong I think...... Michael I have more than one book and show what I think they may be interested in. My personal work is mainly images shot while I travel during work, so its different from my portrait work. But I have been thinking about making another mixed book with portraits, music, and personal work.
Its hard to tell sometimes what someone is interested in seeing, I’ve left my portrait book sometimes and then had feedback that that person likes seeing personal work too. I was told last week by an editor that they don’t mind what the personal work is, they just like to know that the photographer does it and its not all about ‘work’.

There really is no right or wrong I think……
Michael

]]> by: Donald Giannatti http://www.avisualsociety.com/2007/11/30/portfolios-part-ii/#comment-784 Sat, 01 Dec 2007 03:30:46 +0000 http://www.avisualsociety.com/2007/11/30/portfolios-part-ii/#comment-784 Market can make a huge difference as well. I know that the level of personal I would show in LA for instance is certainly not the images I would show in Phoenix or Salt Lake. (sure, there are anomalies of great people in those towns... but they are, uh, anomalies.) That is why several books are definitely necessary if you are in a smaller market trying to work into a larger market. BTW... I love this blog... Market can make a huge difference as well. I know that the level of personal I would show in LA for instance is certainly not the images I would show in Phoenix or Salt Lake. (sure, there are anomalies of great people in those towns… but they are, uh, anomalies.)

That is why several books are definitely necessary if you are in a smaller market trying to work into a larger market.

BTW… I love this blog…

]]> by: Ryan Brett Puckett http://www.avisualsociety.com/2007/11/30/portfolios-part-ii/#comment-781 Sat, 01 Dec 2007 01:34:05 +0000 http://www.avisualsociety.com/2007/11/30/portfolios-part-ii/#comment-781 "...and if you use double-sided prints, fantastic, but keep in mind they will rub together..." I hear contradictory ideas on the double page layout so I want to throw the question out there.. Back to back filled pages? Or single page images only on the right side (accept for double trucked images)? What is preferred? And does anybody see more of a preference for one or the other based on genre (say fashion clients vs. commercial ad clients)? “…and if you use double-sided prints, fantastic, but keep in mind they will rub together…”

I hear contradictory ideas on the double page layout so I want to throw the question out there..

Back to back filled pages? Or single page images only on the right side (accept for double trucked images)?

What is preferred? And does anybody see more of a preference for one or the other based on genre (say fashion clients vs. commercial ad clients)?

]]> by: Bruce DeBoer http://www.avisualsociety.com/2007/11/30/portfolios-part-ii/#comment-780 Fri, 30 Nov 2007 17:38:50 +0000 http://www.avisualsociety.com/2007/11/30/portfolios-part-ii/#comment-780 This is my take: personal work is great unless it gets soooo personal that the prospective client can't relate to it. "what the hell am I suppose to do with this?" is not the response you want. That may make for a more "boring" portfolio but I always try to hit the target between the eyes. Also - I do my best to leave a strong impression in the prospect's mind of what it is that I do. Stake out some mind space in your prospect's head. Once you mix landscapes with portraits for example, you will start to hear, "what do like shooting the most?". Then starts the dance. Uhhhh, I like the variety, I think I do both well, and my clients often ask for both .... blah, blah, blah. Stay true to your brand. This is my take: personal work is great unless it gets soooo personal that the prospective client can’t relate to it. “what the hell am I suppose to do with this?” is not the response you want. That may make for a more “boring” portfolio but I always try to hit the target between the eyes.

Also - I do my best to leave a strong impression in the prospect’s mind of what it is that I do. Stake out some mind space in your prospect’s head. Once you mix landscapes with portraits for example, you will start to hear, “what do like shooting the most?”. Then starts the dance. Uhhhh, I like the variety, I think I do both well, and my clients often ask for both …. blah, blah, blah. Stay true to your brand.

]]> by: Stupid Photographer http://www.avisualsociety.com/2007/11/30/portfolios-part-ii/#comment-778 Fri, 30 Nov 2007 14:45:37 +0000 http://www.avisualsociety.com/2007/11/30/portfolios-part-ii/#comment-778 Debate rages among smart people who want to know <a href="http://www.lightstalkers.org/my-folio-is-105-pages-too-long-" rel="nofollow">how many pages are too many</a>. Please smartly settle it. Debate rages among smart people who want to know how many pages are too many. Please smartly settle it.

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