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After all, your client is hiring you as a person as well as a photographer and we all know that the wrong personality can cause the shoot from hell. So ultimately a personal folio showing is their big chance to find out if you’re an ar@ehole or not in person… ;)

J

True story regarding portfolio style vs. content… Few years ago, I was at McCann to show work. Another art buyer was going into a meeting with the client to choose a photographer for a major campaign. In one hand was an enormous folio with 30×40 inch die transfers from a well known NY photog. I think she was actually dragging the case – it was that huge. In the other hand was a single postcard she’d picked up in Paris from a European photographer. Talk about extreme contrast! I always wondered who got that job.

He added, “Just a quick look and a thought would be such an amazing compliment.”

Okay, I bit. I spent about 15 minutes looking at his interesting presentation. I replied to his email with extensive questions and comments.

Immediately after sending I get an auto response from his agent on how to book him for work. Ain’t that a killer?

I’m sure he’ll become a superstar and I’ll be the nice gal who finishes last.

Yep, all my images were in laminate sleeves. They weren’t a couple of days later.

I found this old man, who lived out in the country — a cabinetmaker — and I got him to find me some golden oak, and made a box for me. It held dry-mounted, 11×14, Portriga prints, and there were about twenty images in there, mounted on double weight board. The old man found a piece of oak that was at least twelve inches across, because the top lid of the box was made out of a single piece of wood; not jointed or combined. Then, he mounted this brass lock and key and handle, and the key swung from a gold chain.

Obviously, I was only doing local work then, so it was me, hand-carrying it, into these offices, and I can still remember the THUD that it made when it hit their desk top. It probably weighed fifteen or twenty pounds, at least. You want to hurt somebody — hit them with a piece of oak — it will leave an impression, literally.

A few days ago, when I was moving the box, I opened it, just to peek at the prints. Here we are, almost 26 years later, and the fiber prints still glowed with as much luminance as they did the day I made them. Just try that with some lame-ass Epson printer.

Still, I’m glad (and my rep is glad) that the oak box was retired.

We should have a Photo Rank here, for the weirdest, ugliest Portfolio Cases. Mine would win something, I’m sure.

I have heard, putting testimonials from clients and your own quotes on your website leave an impression on potential clients……….. Probably not a good one, though.

http://flickr.com/photos/retorta/sets/

Of course, I can only imagine Elle Decor sees many fewer portfolios than some publications, but leaving a note is such a great thing to do and it only takes about five seconds.

“@10: Prepress works for the Advertising department these days so the best bet is always a color corrected file and proof. If there’s time we can always whip the prints into shape… there’s never time anymore.”

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Oh, I get it now. Pretty slick. You just need the digital TIFF files for reproduction in the magazine, but you need the large, juicy, 16×20 prints for your apartment personal collection, huh? You don’t really use the prints for anything other than inspiration for the layout, but still, I guess if Anton Corbijn was gonna Fedex me a boxful of 16×20’s, I wouldn’t say no either!

As for those thrown away promos, we’re gonna sick that Marni woman ArtBuyer from Weiden Kennedy on you. She was brutal about “saving paper”. She looked like a tough cookie, if you ever crossed her.

The few places around me that I shopped it to seemed to indicate that no one left in the free world was interested in film or images produced on film.

So what does a decent print say about the photographer in the age of digital stuff? And how many copies of said book should I keep on hand?

@12: captions aren’t necessary. A separate clients and tears section is.

@14: Yeah, the note is a nice touch.

Hahahah!!!

This is why I don’t leave my computer anymore. Too expensive and time consuming to print and deliver a book and not even get a comment or a handshake.

I like to see some of shots of all our folios! I never (ever) get to see other photographer’s books! Maybe our lovely ‘photo editor’ could arrange for us to submit photos of our books somewhere, for the inspiration, and knowledge?

Any Takers? It will be fun! (or humiliating!)

Si

p.s. P.E. could also leave some cutting criticism / advice for our efforts!

it seems nobody ever gets their name embossed on the binding. seeing as your book will spend the majority of its days sitting sideways on a shelf, wouldn’t this be ideal for it to make use of that time by reminding people you’re alive? also, not flamboyant.

“and nice prints don’t always transfer well on the 4 color press but yeah the quality of the prints is important. I love a good print. Lots of ftp’ing going on these days.”

I’ve always been curious about this. There’s nothing more luscious than a nice print in your hands, but it’s always seemed sketchy to send a print for CMYK magazine reproduction. What would happen — would some guy in the art department just slap it down on an Epson flatbed scanner, and set the Epson to “automatic”, and hope for the best, (dust and all, on the glass)?

As nice as a print is, it still seems so much better, at least in theory, to burn a CD with the digital file on the disc, and send along a guide print for matching color and density.

Yet, as you say, it seems more and more, clients dont even have time for that — they just want it FTP’d by this afternoon, put on their server. So when this happens, there’s no physical reference for the way the photographer intended the color/contrast/density.

How do you find it works best, in your magazine, in your situation? Are there still skilled prepress guys, who can save the subtleties of a nice print?