Portfolio

Q:

If there is a pent up demand at the end of this, how can we be ready for what comes next?

A:

This one is easy and has been true for the 24 years I’ve been repping photographers – it’s all about your portfolio. Get your branding and portfolio vision clear and on it’s path. Do your research and educate yourself by looking at photographers who you respect. Use this time with the main purpose of finessing where your portfolio needs nips and tucks. Storyboard your upcoming tests now, be ready for when you can get back out there, and know the exact direction in which you will be headed.

Q:

With the onset of a global recession, do you fear that our industry will halt with less need?

A:

I personally do not fear that our industry will halt with less need because of this disheartening situation we are in. The way our system is set up with everyone now on the internet, content will always be needed. Some businesses have fallen because of this and I could see a trimming of the better qualified photographers rising more to the top. With less budget being available, the stronger portfolios may escalate leaving less room for others. So put your focus on strengthening your portfolio. 

Best use of time now – sharpen your brand.

We have better odds that clients will remember our work if we don’t speak as they flip through your portfolio pages.

I noticed early on in my career that when clients are looking at portfolios, it’s important for me not to speak too much. I found that talking while they were viewing the work could be distracting. The whole point of showing portfolios is to let the images speak for themselves, allowing clients to absorb and focus on them. It’s much harder to remember an image visually when you’re being spoken to and have to respond—it’s a lot of multitasking. So, be conscious of this when showing your portfolio: stay quiet and let the images do the work.

Q:

What are your thoughts on bidding on a big job for a client when your portfolio does not reflect the same exact category of work?

A:

It’s not black or white because I’ve had experiences where a photographer’s style and the client’s confidence in that style landed them the job. In that instance, it was Toby Pederson booking an Apple campaign that included people in the images, even though he had no people in his portfolio. Then there are instances when I can sense the photographer’s bid is in 3rd place because their work isn’t exactly reflective of the job’s requirements. I would advise you to get in the mix. Your work will be on their radar and use it as an opportunity to show what you can do.

Q:

How would you advise a photographer about how to get more work?

A:

Focus specifically on the client/industry with which you most want to be working and shape your portfolio around that market. Start with one area and master it. Then you can expand and grow…

Q:

I’m finalizing my portfolio and wondering if I should have separate books for different categories, or one larger book with more variety? I mainly shoot portraits and fitness. There are many through lines to my work but also some vast differences.

A:

Ah, the million dollar question. The answer can change depending on what is timely, so keep that in mind. I know photographers who present their work on printed 8x10s inside a beautifully made box, as a way to stand out. The client can always see your website or social media feeds to get a fuller picture of your work. Create a package that feels like you and understand that the presentation might change in a year or two to reflect current trends. Keep it fresh and the bottom line is you want the client to see your style but at the same time, have your images speak louder than the actual portfolio.

Q:

Should you create two instagram profiles? One for portraits and the other for products? Or combine both into one profile?

A:

If you have two separate businesses and websites this would make sense. But assuming you don’t, the best way to sell yourself is to have one strong cohesive style that is evident in everything you shoot. Two separate profiles will lower the quality of your work and create the appearance of two separate brands.

Q:

Should I try to get a rep so I can start bidding on bigger jobs, or do I need the bigger jobs before I find a rep?

A:

Typically, you need to be bidding on jobs and have existing relationships in order for a rep to do their job. A rep can use their own relationships to get your work in front of new eyes, but your portfolio is where your career lives and dies. If you’re not bidding on jobs yet, that means your portfolio isn’t ready. Work on your portfolio.

Q:

I’m currently using the Photofolio app when showing my portfolio from an iPad, however, it doesn’t work with gifs. What portfolio app do you recommend?

A:

I bring printed portfolios when I show a photographer’s work. A lot of photographers do use iPads because they also show video. I would suggest reaching out to some photographers directly for their recommendations. You can do that on the AskSternRep Facebook Group. It’s a nice way to get into discussions with other photographers, and I pop in every now and then.

Q:

I would like advice about laying out my portfolio. Do you have a preference on layouts? Would an art director have a different preference than a rep? One photo per page or multiple photos on each page?

A:

Printed portfolios can allow the viewer a much needed break from screens. I prefer one image per page, as it allows the image to sink in without distraction and also projects confidence. Exceptions to this could be if you’re using a designer and they are creating a specific look with multiple images per page. But I usually lean towards less is more.