p.giannakis
Pan Giannakis
(I am not sure if this the right place to post this question, if not please move it to the correct forum! )
I am thinking to start printing my pictures and create my own portfolio. What is the advice that you'll give to a newbe?
How did you build your own / what do i need to buy?
Regards,
Pan
I am thinking to start printing my pictures and create my own portfolio. What is the advice that you'll give to a newbe?
How did you build your own / what do i need to buy?
Regards,
Pan
mfogiel
Veteran
I think that far more important than how to print, is what to print.
Do a thorough editing job first. Select the images you think worthwhile, print them small size, pin the prints up on a board, once a month take away the worst 50%.
When you will be down to 20 stop there and think if this makes a coherent body of work.
Move on from there.
Do a thorough editing job first. Select the images you think worthwhile, print them small size, pin the prints up on a board, once a month take away the worst 50%.
When you will be down to 20 stop there and think if this makes a coherent body of work.
Move on from there.
Roger Hicks
Veteran
Dear Pan.
To whom are you going to be showing your portfolio? And what sort of feedback are you looking for?
Years ago I used to see visiting photographers' portfolios at the studio where I worked, and since then I've done portfolio reviews at Arles for Leica and Voies Off (this year for Voies Off) as well as informally. You might care to look at http://www.rogerandfrances.com/subscription/ps critique.html
You might also find something of use in a piece on "Body of Work", http://www.rogerandfrances.com/bodyofwork.html
Cheers,
R.
p.giannakis
Pan Giannakis
Loads of useful information on comments and links you provided!
My work is not that diverse, I only take pictures in the streets so in this respect, it is quite coherent. I do need to think about which ones as you suggested though.
And do you mount your pictures on albums/scrapbooks or do you use archival boxes?
My work is not that diverse, I only take pictures in the streets so in this respect, it is quite coherent. I do need to think about which ones as you suggested though.
And do you mount your pictures on albums/scrapbooks or do you use archival boxes?
photomoof
Fischli & Weiss Sculpture
GeorgeH asks the most important question. What are you using a portfolio for?
Most of my friends who are commercial, graphic design or photo, use PDFs. The days of the multiple circulated leather bound portfolio are long gone.
But galleries and reviewers seem to like boxes and prints. Or books. Friends show me boxes like George describes.
I looked at your photos, you have a lot of vertical images, so IMO a box is going to work better for you. mfogiel is right, not too many, just the "right" ones. But finding the right ones takes time, and will change. Always keep some photos you like, but are unsure of in your portfolio. Remember the reason for a portfolio is not to store your prints, but to learn about what you and others think about them. This does not mean you have to compromise, but still you want to know what others think.
It is possible to have work shown based on your portfolio, but you have to have a very thick skin. A friend recently came to NYC from London, and went to a lot of galleries with no introduction, and managed to get in two group shows, one of which is up now. It was inspirational to see his perseverance. He carried a box, in a bag. And it worked!
Most of my friends who are commercial, graphic design or photo, use PDFs. The days of the multiple circulated leather bound portfolio are long gone.
But galleries and reviewers seem to like boxes and prints. Or books. Friends show me boxes like George describes.
I looked at your photos, you have a lot of vertical images, so IMO a box is going to work better for you. mfogiel is right, not too many, just the "right" ones. But finding the right ones takes time, and will change. Always keep some photos you like, but are unsure of in your portfolio. Remember the reason for a portfolio is not to store your prints, but to learn about what you and others think about them. This does not mean you have to compromise, but still you want to know what others think.
It is possible to have work shown based on your portfolio, but you have to have a very thick skin. A friend recently came to NYC from London, and went to a lot of galleries with no introduction, and managed to get in two group shows, one of which is up now. It was inspirational to see his perseverance. He carried a box, in a bag. And it worked!
willie_901
Veteran
p.giannakis
Pan Giannakis
Yes you are right, I haven't been very clear on that.
I am trying to put together a portfolio to show my work to different galleries with the hope to be offered a place to organize an exhibition.
I know, it doesn't sound like a terribly well thought plan, but i thought that putting a portfolio together was the first step towards that.
photomoof
Fischli & Weiss Sculpture
Well then any showings are likely to be slow and civilized, so you want to carry a boxed portfolio of individual loose prints. This format allows you to easily order prints, or if there is interest, to put them all out on a table. The last line in my last post kind of says it all.
It is possible to have work shown based on your portfolio, but you have to have a very thick skin. A friend recently came to NYC from London, and went to a lot of galleries with no introduction, and managed to get in two group shows, one of which is up now. It was inspirational to see his perseverance. He carried a box, in a bag. And it worked!
You don't really need a plan right now, just printing and selecting work can be very cathartic, you will be surprised what you learn. You have to just start.Good luck!
Roger Hicks
Veteran
Dear George,
YES!
(Or possibly dry-mounted or even matted instead of loose.)
Cheers,
R.
x-ray
Veteran
There's some very good advice here. I'm a long time commercial photographer that crossed over into the art world in two areas. I think I'm in either 7 or 8 fine galleries at the moment and have been for about 12 or 13 years.
The first thing you need to do is put up a very nice website. Some galleries now want to see your work before you either send a portfolio or make a personal appearance. No glitz just clean and simple will do.
I have several portfolios depending on where and how I want to show my work. I have my documentary work in several of the galleries. One thing I did was put together two different portfolios. One is smaller prints about 6x8 in a really high end leather soft book. the pages are black and the B&W silver gelatin prints really stand out. I mount the prints one to a page using an archival mounting adhesive that's pressure sensitive and comes in sheets. It works quite well and is impressive not only in look but the tactile experience is there too. Every aspect of your presentation is important from the quality of the print to the presentation of the print.
The second portfolio is slightly larger silver gelatin prints dry mounted and matted on 4 ply acid free museum rag board. I do this exactly like I would for a museum or for a sale. Each print is very nicely presented and each signed just like I was making a sale. These are placed in an 11x14 leather bound hard presentation case.
I never leave these portfolios with my prospective galleries. I've lost several portfolios due to galleries losing them. It's too expensive and time consuming.
I also have my x-ray art in each of the galleries. I do a similar presentation to the rigid case with my documentary work. I do digital prints on acid free rag just like what I sell but smaller. They are dry mounted on acid free museum board and matted. I put those in either an aluminum presentation case or a linen presentation box. I'm not sure if the linen boxes are available now, they were sold by light impressions. Sadly I've lost one aluminum portfolio and one linen to galleries that lost them.
I also produce about 9x12 inches and print digitally a series of these images that I feel are the best, one per page. I produce one or two prints either on silver gelatin or digitally on the same paper I print on for my galleries and bind them into the book. I bought the equipment and do a very clean spiral binding. I had too many problems taking it to suppliers like Kinkos to do the job. They ruined several presentations for me. I don't mind leaving this and hopefully it will be returned but it's much cheaper than a presentation case with archival prepared and finished prints.
A couple of pointers in getting showings, If you're not known your chances are slim to none that you'll get any attention. You need to get a presence in the set world. enter competitions and submit work to credible magazines. Get published! Build a resume and then present your work. It might take a few years but it's worth it. Start with laser known and smaller galleries too. MOMA isn't going to giver you a show until you're a big name. It takes time, talent, persistence and unique work. If your work is like everyone else's you'll never be noticed. Oh yes, be careful, there are plenty of galleries out there ready to rip the unsuspecting off. They're more than happy to take advantage of the inexperienced. I know several friends that lost major amounts of work and money.
Best of luck.
The first thing you need to do is put up a very nice website. Some galleries now want to see your work before you either send a portfolio or make a personal appearance. No glitz just clean and simple will do.
I have several portfolios depending on where and how I want to show my work. I have my documentary work in several of the galleries. One thing I did was put together two different portfolios. One is smaller prints about 6x8 in a really high end leather soft book. the pages are black and the B&W silver gelatin prints really stand out. I mount the prints one to a page using an archival mounting adhesive that's pressure sensitive and comes in sheets. It works quite well and is impressive not only in look but the tactile experience is there too. Every aspect of your presentation is important from the quality of the print to the presentation of the print.
The second portfolio is slightly larger silver gelatin prints dry mounted and matted on 4 ply acid free museum rag board. I do this exactly like I would for a museum or for a sale. Each print is very nicely presented and each signed just like I was making a sale. These are placed in an 11x14 leather bound hard presentation case.
I never leave these portfolios with my prospective galleries. I've lost several portfolios due to galleries losing them. It's too expensive and time consuming.
I also have my x-ray art in each of the galleries. I do a similar presentation to the rigid case with my documentary work. I do digital prints on acid free rag just like what I sell but smaller. They are dry mounted on acid free museum board and matted. I put those in either an aluminum presentation case or a linen presentation box. I'm not sure if the linen boxes are available now, they were sold by light impressions. Sadly I've lost one aluminum portfolio and one linen to galleries that lost them.
I also produce about 9x12 inches and print digitally a series of these images that I feel are the best, one per page. I produce one or two prints either on silver gelatin or digitally on the same paper I print on for my galleries and bind them into the book. I bought the equipment and do a very clean spiral binding. I had too many problems taking it to suppliers like Kinkos to do the job. They ruined several presentations for me. I don't mind leaving this and hopefully it will be returned but it's much cheaper than a presentation case with archival prepared and finished prints.
A couple of pointers in getting showings, If you're not known your chances are slim to none that you'll get any attention. You need to get a presence in the set world. enter competitions and submit work to credible magazines. Get published! Build a resume and then present your work. It might take a few years but it's worth it. Start with laser known and smaller galleries too. MOMA isn't going to giver you a show until you're a big name. It takes time, talent, persistence and unique work. If your work is like everyone else's you'll never be noticed. Oh yes, be careful, there are plenty of galleries out there ready to rip the unsuspecting off. They're more than happy to take advantage of the inexperienced. I know several friends that lost major amounts of work and money.
Best of luck.
photomoof
Fischli & Weiss Sculpture
I got hurt by a bankruptcy. Work was sold but not paid for, some work was in the hands of an Italian curator. It was not a lot but it ticked me off, especially when the curator was talking about it at a performance.
And this was a major 57th Street Gallery, NYC, I won't name names, but I was very young and very small potatoes there.
But lately I have considered, after a long vacation from galleries, returning. You have inspired me with some of your posts. You are right however without anyone knowing you, it is almost an impossible road, I don't think I could show if I had not been asked recently "what are you doing now?"
x-ray
Veteran
My wife lost a couple of major paintings when a gallery in Florida that carried her work closed due to the owner having health problems. I don't think the people running it were trying to be dishonest I just think they got lost in the confusion.
I have a gallery that was one of my major palavers about to sellout and close. The woman that owns it got into a nasty divorce and things went bad in her life. The gallery has slowed to a snails pace and I don't know what they've sold and have not. I know I have to call and get on their case about money. I'll get a check and then silence until I call again. It's obvious they're using the artists money to keep things running and finance the owners lifestyle.
I've let my work dwindle down and have very little major work there now. I'm simply not going to replenish inventory until there's a change. They're been such a great player I hate pull the work out. It's a long trip and the cost will exceed the inventory I have there now so I'm holding.
This is just the stuff you deal with when you get into galleries. I think the thing most aspiring artists forget is it's still business. It's cool to be an artist and showing and selling work but you have to treat it as a business.
photomoof
Fischli & Weiss Sculpture
I came to NYC in the '70s when it was almost free to live here, never thought about money at all, a bad habit I guess.