These ideas are for photographers who attend portfolio reviews, however they can apply to other professional settings. The focus of this text is on the story you tell about your work and the work you show.

Your Story

Portfolio reviews are a way for you to get perspective on your work and marketing message. They help you understand how your work is perceived by prospective clients.

Portfolio reviews are also an opportunity for you to verbally give context about your work. Being able to talk about your work is a valuable part of an in-person or online review. The first few minutes are your moment to verbally define who it is for, what it does, and how it is similar and different from other photographers. A clear story that guides your presentation will help make your work memorable and purposeful.

Begin the story about your work with a short phrase about who your business is for and what it does for them. This “who and what” does not need to be greatly different from others in your market. Common ground is important for your unique perspective. For example, “I make authentic portraits for editorials and lifestyle catalogs.”

Your story then differentiates you by briefly explaining where your business came from, how it became good at what it does, and where it stands today. These key moments can be parts of your life that relate to your work. This story illustrates the unique curiosity and experiences you have that shape your perspective. Your perspective on a topic or market category is a key part of your unique selling point and value proposition that people will remember and hire you for.

For example, “Growing up on a farm I liked to photograph people in their natural environment going about their day. Over time I learned camera and lighting techniques that empowered my ability to make engaging earthy portraits. Now magazines and outdoor lifestyle brands hire me for my authentic perspective on portrait photography.” After this you can elaborate on the first, second, or third sentence.

Sometimes your perspective is thought of as “your style,” however it is deeper than this and more like “your calling” that manifests in the style of your work. This intrinsic characteristic of your work can also come across as a reflection of your authentic self, values, world view, or the connected dots of your past as you progress.

This combination of who your ideal client is, what your work does for them, and your unique perspective makes a compelling story for a reviewer to remember, hire, or refer you. The goal is to convey clarity and confidence in your work, not confusion and uncertainty.

You can also use this story framework for text on your website and SEO.

See an example of a photographer's story at the end of this page.

Your Images

Portfolio images represent the type of images you like to make, the type of images you are skilled at making, and the type of images a market needs. Show work you want to do and what your market needs, not everything you are skilled at.

Be intentional with your camera work style, lighting, post production, and themes. Show you have a consistent perspective on everything you do and who you do it for.

To be a memorable photographer brand consistency is important. Showing unrelated styles and specialties causes prospective clients to become confused and uncertain about who you are and what they will get. The client’s risk to hire you will increase. Consistent styles, themes, and narratives in your work create a memorable confident brand and lowers a client’s risk to hire you. Edit your image selection for competency and avoid redundancy. Even a photographer with a range of technical skills can package them in a theme.

Since website portfolios are sometimes used for online portfolio reviews there is overlap with what you have on them and your review presentation. Think of your website portfolio galleries as your revenue streams. Incongruent revenue streams can create brand confusion. Identify themes that unify your revenue streams. Make sure this is obvious and fills a need. Use gallery names that are intuitive to your ideal client and good for SEO.

Portfolio galleries can be arranged by client, topic, project, theme, case study, and self assigned work that relates to your hired work. It may be important to have different websites for different client types. For example, are your clients experienced or inexperienced buyers of photography in different markets? This photographer demonstrates a consistent perspective across her work and shows understanding for what her different client types need to see to buy her work. https://allegraanderson.com and https://weddings.allegraanderson.com

Generally 20-40 images and 3-6 galleries on a website are enough to demonstrate that you are capable, consistent, and have a memorable perspective on a theme. Make it easy to see overview thumbnail images and full size images without clicking to advance each full size image. A few explanatory sentences above an image gallery add purpose and SEO.

PDF and Print portfolio reviews have a more fixed linear presentation experience. Generally 20-40 images in this format is enough. The flow from start to end, theme, layout, design, size, and sequence are all important variables.

For physical portfolios print-quality and materials make important statements about your brand. Always check which presentation mediums are expected at your review and time yourself going through it beforehand. Plan time for your introduction and questions.

It may help you to get a critique before your review from someone who can give you relevant insights and edits.

A Few Final Thoughts About Your Story and Images

Since your business is in motion it is normal for its marketing message to feel like a work in progress. As it evolves, make your images and language consistent with your perspective, story, and themes. This instills confidence and a memorable impression in your audience.

About Your Reviewers

Know your audience. Research your reviewers’ business background before meeting them. This will help you know what perspectives they can offer you to make the most of your time. Manage exceptions by thinking of your meetings like informational interviews and not job interviews. A goal of meeting with reviewers is to get feedback you can use to refine your portfolio marketing. Another goal is to be remembered or referred to by them in the future when they need you.

This is some information about me. I have worked with professional photographers for 20 years and understand the effort, investment, and challenges of a photography career. I learned how to give and receive constructive critiques at Brooks Institute of Photography and then from working with Richard Avedon, Hiro, Ellen Graham, Adobe Stock, Sandbox Studio, Wonderful Machine, and consulting creatives from 25 to 95 years. I have also given a few dozen portfolio reviews in person and by video.

If we meet for a review I will give you an honest assessment of your images, edits, and marketing message. We will also discuss how your business can clearly answer these questions. Who is your work for? What does it do? What is your unique curiosity, experience, and perspective that informs your work?

An Example

The following text at an exhibition entrance illustrates the above idea.

The Ballard Institute and Museum of Puppetry

University of Connecticut, Storrs, CT

The Kinetic Life of the Puppet: Photography of Richard Termine, 2024-2025

Richard Termine, Performance Photographer

“My training and work experience in puppet theater preceded my career as a photographer. It has shaped and guided my work with the camera.

My challenge as a photographer of puppet theater is to capture the animation of the puppet in a still image. To do that, I focus on the gestural life of the puppet, seeking to capture the “decisive moment” when the figure is most animated and a peak dramatic event is visualized.

Through the camera lens I am connected to the puppet and the puppeteer. I compose through the lens, and I feel a rich, creative exchange of energy as I shoot an artform I know and love.

Any photographer of theatrical performance is only as good as the artists they work with. It has been a blessing to collaborate with some of the most talented puppet artists in America and to capture their unique artistry.” ~ Richard Termine

Richard Termine attended the University of Connecticut and completed his M.F.A. in Puppet Arts in 1978. In 1980 he began his association with The Jim Henson Company as a puppet designer and builder for a variety of Muppet productions and was honored with an Emmy Award in 1987 for his design work on Sesame Street. His puppet theater production of Diary of a Madman received a UNIMA-USA Citation for Excellence in 2002.

While working on the set of Sesame Street in New York City in the mid-1980s, Termine began photographing behind the scenes. This work led to a new career as a performing arts photographer. He has photographed many of the world's leading performers and puppet artists. Currently, Richard is a photographer for the culture desk of The New York Times. His other clients include Carnegie Hall, Lincoln Center, and The Metropolitan Opera. He has been the in-house photographer for Sesame Street since 1988 and has been on the board of The Jim Henson Foundation since 1987, currently serving as the Foundation's Vice President.

Connect

If you have questions or comments about this topic send me a message.