Preparing for a Portfolio Review

In my previous blog, I was discussing the importance of portfolio reviews for budding photographers. So now you have your review booked and you want to make sure that you get the most out of your allocated time. As with most things in life, the planning is in the detail! I have trawled the Internet and here are a few tips to help secure a successful review.

Firstly, know the audience that you are presenting to and remember that we are working in a visual medium; the standards you set in your photography must also extend to the presentation of your work. Rudolf Kicken, co owner of Gallery Kicken, Berlin, states that when he sees an artist he expects to be presented with good quality prints, for them to be mounted or over-matted. “ You need to be able to choose the right image and quality of print in order for a gallery to judge your potential”. The importance of presentation is one that Camilla Brown, curator at The Photographers Gallery in London, agrees with. She finds that photographers often lack the presentation skills of other artist, such as sculptors. Part of their training would include the installation of work and how to connect different pieces, similar to the knowledge of editing, scale and presentation that benefits a photographer. To get an appointment for a portfolio review with curator Dr Inka Graeve Ingelmann, you would have to provide biographical information and ten samples of your work. If you do not have the necessary skills to edit your own work, she would refuse to see it. She believes that Art Schools should be teaching their students how to present their work, how to use their images with an introductory speech, explaining the concept that holds the work together. Even if it is never called upon, I will always ensure that I am capable of delivering a practised and concise description for every body of work that I undertake.

What images to include in your portfolio seems to vary, so you need to ensure that you have researched and provide the most suitable images. For example, Rudolf Kicken would want to see some of your early work, to see where you have come from so that he can gauge your potential, whereas curator Dr Inka Graeve Inglemann  prefers images from an ongoing project. Remember that industry people like on line curator Tim Barber will receive dozens of portfolios every day. What he, and many others, will be looking for is work that has its own voice, that stands out as unique, "it's always satisfying to see photographic work that shows real commitment and investment; that took time to develop. People are way too easily self-satisfied these days".  

I appear to be getting ahead of myself here, talking about showing work to curators and gallery owners! There will undoubtedly be numerous portfolio reviews with fellow photographers before a project is refined enough for such lofty aspirations. Let me return to more practical suggestions.

• Although you can tailor your portfolio to your particular audience, generally it should be a complete body of work with a solid vision. Restrict your images to a maximum of twenty.

• The most common print sizes are from 11x14" up to 20x24".

• Reviewers like to see the actual prints. If you showing an example of a book dummy, have the prints bound into a book. Otherwise, have them matted, sleeved in acetates, or presented naked. Some consider matting to lack the contemporary feel, so think of who your reviewer is. Matting is however, often used for delicate platinum prints. The general consensus is that colour work should not be matted, black and white only if suitable for work.

• Consider that your images need to be suitably stored in something which is easy to carry, present and show your work. Portfolio boxes like the clamshell one below are a popular choice.

                                                   

• Do not run over your allocated time. If you feel that further discussion is required, make an appointment to meet afterwards. If the interest is there, the meeting will happen.

• Bring examples, or some other means of representation, to leave behind with the reviewer, ensuring that contact details are included. Make sure it includes an image, otherwise it might be hard for them to remember you from the dozens of others they saw that day. Don't forget that they are likely to be receiving quite a few over the course of the day. Try to create one that is distinctive yet easily portable. You might want to give some to your fellow photographers as well.

• If you feel that the review went particularly well, you might want to leave them with a package containing a statement, resume and CD, or ask if they would like one posted.  Remember to follow up these contacts after the review. Keep them updated with your new work, perhaps a postcard of you latest project.

• Bring a notebook of any questions you have for the reviewer in case you forget during the moment. There is no point in remembering on the way home!

I hope that the above is useful to some degree. Good luck with those reviews and don't forget to relax and enjoy them!