Photo & Video > Fine Art > Your Passion Is A Full-time Job > Bonus Video: Portfolio Q&a

Bonus Video: Portfolio Q&A


Your Passion Is a Full-Time Job


Lesson Info

Bonus Video: Portfolio Q&A

Hey, my name's, kyle johnson and I'm going to be talking to you guys about assembling a portfolio and how to approach your first portfolio meetings these days is a lot of different ways you can assemble a portfolio. I'm a big believer of still producing a print book. I think having an eleven by fourteen printed portfolio, whether it's, portrait or landscape, is kind of up to your own aesthetic, but I personally love having a nice, big printed book toe look through my my prince and see them how they should live on a page, and I think photo editors of magazines especially want to see that because they want to see how your work translates on print as opposed to just on ipad, which looks amazing for any image. So I think having an ipad is great, but I think having a print book is the most important thing you can do for your career. There isn't one right or wrong number of pages for your portfolio. I think you need to feel strongly about the entire body of work. I think at least twenty imag...

es is a good place for photographers to start as long as you have twenty that you feel good about and feel consistent and have a nice style to them, I think look at the portfolio as a chance. Each image is a chance to make a statement and to talk to the person that you're reviewing with so having mohr is obviously better than less time to talk. I like personally having sleeves in my portfolio, which means I can swap out images based on the client. My first trip to new york, I didn't have the luxury of having two or three separate books for different types of work, so having a portrait book is is a good thing, but if you have sleeves, you can swap it out for food or portrait, or whatever your futures are. I do think it's important to not show too much toe one client, I think it should be consistent and have a similar view. Photo editor meetings can be intimidating, but I think you need to realize that this is your one chance to make an actual impression and create a relationship. Look at it more like a fur state than a business meeting. You want to be funny, you want to have a good impression, whether it's humor or just being, like, likable, unpleasant. I think that you make an impression and don't be afraid to talk. I think if you let them guide the meeting, you're going to miss out on a chance to actually have them remember you if you got the meeting here, both showing them your personality and you're showing them what you like about your images and your slowly guiding them through your work, as opposed to letting them god through the book, which can turn into a super fast flip through that is obviously a little disheartening and can change the bible the meeting so I think stick to your guns, be pleasant, don't be too nervous and try to make a conversation try toe have something about the meeting, the memorable besides, besides your photos, being a photographer instantly means you're going to have to get used to working in a team setting it's something that I find in my personality has thrived in, but it can be challenging. I think when you're working with our director's design directors, hair and makeup, people there's going to be a lot of a lot of collaborative teamwork going into that shoot and you can't be one hundred percent, you know, the prima donna photographer that you might be on your own personal work, it's a fine balance of working hard and standing up for what you believe is right, but also being willing to collaborate and being willing tio settle on certain things that might not be exactly what you envisioned going into the shoot first, starting out, I wasn't used to the collaborative team vibe, and I was used to shooting bands by myself first time I was shooting a ban on a bigger label, they hired an art director for the shoot, and it was an interesting, you know, humbling experience to at first kind of question who this guy was and why he was there, and then upon working with him, realizing that this is actually meant to help the photographer and, you know, I got to focus on what I was there to do was take the photos, and he could help hone in on like the exact specifics of, like, we need these type of crops or we need this is in the background is bugging me and like the little fine details, the end of that shoot working without art director really showed me that I don't know everything, and I can't be the master of everything, but allowing someone else to do their job helped me shoot the best photo possible. And I think having a collaborative spirit moving forward has been really helpful for my career, knowing that these other people are excellent at what they do and dreams setting, you're all working towards the same goal, getting images that make all of you happy.

Class Description

29-year-old wunderkind Kyle Johnson will share his personal career path — how he went from part-time assistant to full-time, nationally-known photographer in under two years. Kyle will outline how he turned his side passion projects into major campaigns for national clients, including Filson, Rolling Stone, Bon Appetit, and L.L. Bean.

Kyle will teach you how to identify the type of work you enjoy shooting and translate that into a viable marketing strategy for landing commercial and editorial clients. Lastly, Kyle, who lives and works in Seattle, will outline how to successfully get the work you want while working in a smaller market.