KILLER. PORTFOLIOS
COMMERCIAL PHOTOGRAPHY.

Thank you so much for joining me today to edit a killer portfolio and I’m joining by the magnificent Lubo in a very creative and 20 years experience and she has worked with a leading agents of agencies and she’s edited publications for prints and exhibition with people like a estate Balin 40 and a whole host of other so she’s quite literally hundreds of blow your socks off amazing insights and her wisdom today for creative industry leading professionals to give professional career advice support when you need it and my name is Emma Alexander I’m a commercial commercial production company mother Brown we are going to jump in Ashley and I wanna go straight in Luton and when you make your portfolio I think the incredible but also really don’t think so emotionally invested sometimes what can a question should you start asking yourself before you cheat questions to ask yourself as a creative Khy you need to get your headspace in the first one is my sister who’s your audience are you I think it’s not as a nonstatic thing five do you know how you work you show Flo you put it it’s gonna really quickly hope you understand the questions I would ask myself would be to be looking at it the photo editors curators advertising commissioners designers advertising creative examples of some of the people that are looking at your work they’re all gonna have a slightly different need to think really carefully about why am I speaking to this song and with that in mind what should I what do I need to show them to get the outcome what’s the purpose is if I was seeing an editor and they were and I went in with loads of selection but I miss my opportunity and I’m sorry the person me or just really identify us in the audience is going to help set the time at what that particular portfolios which would bring me onto question number two number two for me for Matt present present say it for me your portfolio is a series of things to get you thinking I will be suggesting that the following things make up your portfolio and print phone Yala books are strong Instagram feed and website which has great clarity it’s a lot to think about but I think for me as an agent you wanna be armed with everything that you need a portfolio is your whole presentation of yourself visually are you ready Beyond had a combination of those were the first two big question of edit that’s brilliant Austin so when you’ve got your website and your and your Instagram what purpose do you how old is play more and commercial what do you think those two functions are on the website should be let’s be honest I speak to lots of people out there and actually I would say categorically that if somebody is interested in you these days that’s that’s fairly likely absolutely so I think Instagram for me is about cultivating the right audience and don’t just be and I did it for this chance to be creative with your personality to show your prices all of those things have engage be really strategic about your audience to find the creative follow them in front of them and so create it’s about creating continued consistent presence because we are one of thousands and thousands of people to stay create a look at you for granted that we understand the process of photography and all the rest of it because actually be creative with it and I have a board with it and with the website I think it just needs the same to you if you’re if you’re a Projects project work looking at editorial and editorial section clean and stripped back that’s really mind and I feel like your Instagram is really looking to share your personality and I know that as an outlier in what is the special extend for five days at Wayne brothers they were in the front running for a job years ago in Canada and Clint to pick them because they are so much fun I came in one time or seven there’s gonna be a great project we went together on didn’t happen in the end but creating a connection was actually really important and when you go to Instagram you do you see that you see them playing around with Conor I’d like to be one of the main things is that you know I always say you may be amazing but it’s only 50% that’s half of it if you’re an arsehole then you’re not gonna be getting repeat mission so be nice be nice to work with a flexible you know I think is a really good pushover play exactly right balance I think it’s a good questions to come in I am I was gonna ask for it now because it feels as should we then combine personal life and commissions on Instagram or should you keep it separate separate nobody wants to see you out at the pub on Friday you can put your personality through York shoots I personally think so in my feed I made a big choice three years ago my personal life happened just show my photography who’s your audience know Pieter Van Loon and I often think of it in terms of what is the problem and this is a bit creative language sometimes but what is your clients problem and what is the solution that you’re providing for them and actually if it if it is portraits of food or whatever it is you need to it’s really valuable brand of their products in a way that you can so great reminder for Conor having the confidence in your own work but also thinking about and therefore making sure that that solution is a mixed message you like to call the physical portfolio either in the sense of the prince book or collected what makes an amazing really good standout folio for you so mean all of the above which is when I know that somebody is coming to show me all about me coming to the pictures that you really have you actually even looked at the agency because there’s no way we are audience and I’ll time it is totally different side showing that you really thought about that meeting is really important strong all of this shit you know to some degree you know this is subjective if you thought about it in a way you know you can’t really go wrong edit don’t overwhelm with a clear identity and it’s a bit carefully edited and flow with a rhythm and the best thing is you know for you to come away is the feeling that you know overseeing it is it wants to work with you do you want me to go a feeling I want to collaborate in love with your work and they should also have an understanding of how you work a great for somebody you know agent would be your core practice of your work you would probably wanna show control environment is it all just naturally live are you gonna get a commission control environment have you been with the language of the commission really understand you know does your work demonstrate that you can deliver yeah I think that that is absolutely on point and also N Havanese Avanish I think that lifestyle it’s very important to have something that makes somebody look at it actually not many people they could they do it if you can find it when it takes time you’ll feel your way through it all in that space and that space and and and be confident with your personal work about the Flo let’s talk about how a popular should Flo can you shed some light on there because it’s got a subject of term mean I mean is really subjective thing to remember in all of this and one of the reasons I am you’ve considered considered you know what you’re showing your right Flo I think for me it’s about it’s about I don’t wanna feel overwhelmed between imagery and my background is final photography editing app with rhythm from different lamps to full blade DPS pages is that goes into a series of five or six spreads like that an image on a page do you wanna break up for Matt and also thinking about you know are you pairing images search for me Flo is about a People to take in the imagery not feeling you have to put everything in that’s the worst mistake people make Philip Philip blind you can’t see anything I can get a 30 images put together really well bounce in an hour those elements I talked about with maybe showing studio to show Flo in a bit of studio but it just it speaks to that language and just keep changing it as well you know it should never be static back yeah yeah yeah I think N should you include personal work so my personal feeling is that it should be the dominant aspect I would never ever done now director of creative times has the work impossible because everything happens from the core of your pets personal project work great editorial works great portraiture and if you feel some of your commissions work it is really relevant and then lead through and at the end I would have a thumb now commissioned work but sometimes it just helps at understanding so I would lead a lot of people think if if it’s sort of like most people wanna see and there’s a really advocate person where can I kind of dress up in the sense of when I want to see what your eyes what would you do if you had no brief and personal work is no can I be some really prescriptive if you have a problem thousand times 248 she has to there’s no room for error that is so costly sometimes is a bit make this simple I want to see in that case why wouldn’t I I want to see your I want to see what you’re going to bring to the table it’s gonna take this part for me really does that will go and find a way to use yes good evening commercial but you were looking at you know galleries that anyway so I think you know it shows that you said you are the absolute fundamental thing for me is also when I used to do they were never to be much more passionate about their own password and it’s really connect to the level yeah always gets get really fired up and start talking about it it allows you to connect to Builder‘s connection to be which is it again it shouldn’t be but actually it’s validation and 77 seconds are you to the black and white people so you can demonstrate that you know it’s a bit more of the Drew is definitely not selling it making it as easy as possible for a to sell you into the client I think they do a normal amount of money in currency for the commercial side so anything you can do to create a body of work in your printed book creator is it gonna really help get you over the line over somebody else and printed football how many pages are you looking at how many images do you think is right this is come from yeah thank you I don’t wanna see a photo over about 50 pages in print PDF is about 2015 to 30 depending on it if you can’t do it in a concise edit you need to look at your work if you can’t deliver the message really clearly you need to rethink your purpose little bit you should be able to do that it would it is a challenge but that exercising itself pushes you to think about your purpose in your process what are you and your tips for editing others of apps that you can use is it the old school how do you approach it when you’re watching the film different strokes for different things I love bridge open a folder of images at once very quickly drive around and see what images look like next to each other to create a PDF PDF or show me things around and then I can sequence it and then I can create a PDF out of it so I can create my flow there so I’m doing digital sequencing I’ll probably see how it looks the contact she is my brand-new best friend and all my artists and most creative that I’m working with used keynotes to create PDFs now so often if you’re selling something digitally how many different ways can and I’m Shane it is at work on my website so I use Keynote once I’ve done it in bridge in Keynote and then I love print I think the craft the photography everybody’s forgetting about it mean if you’re going to produce something edit