How to review a portfolio

Folio: The Magazine for Magazine Management, Sept 1, 1994 by John Johanek

Finding the right artist or photographer involves a lot more than just admiring nifty art or ogling cool photos.

A photographer friend of mine was recently lamenting the slowness of his business, despite an increased number of requests to view his portfolio. He speculated that novices were doing the initial screening and, being novices, probably didn't know the first thing about what to look for.

He has a point. There's no Portfolio 101 in art schools. People faced with reviewing a portfolio for the first time are usually on their own, seldom able to call on a veteran designer who could show them the ropes. In some cases, even experienced art directors are at a loss when it comes to an art or photo portfolio review. And at many magazines, acquiring art or photos is the responsibility of the editor, which can mean that quality work is occasionally by-passed.

For some, the solution is simply to hire a "name." Although this may allow the hirer to eliminate the review process with some degree of security, not all of us have the luxury of hefty budgets. Others try to sidestep portfolio reviews by delegating the initial screening to assistants or associates. But unless you as hirer are an experienced and educated photo editor who understands exactly what to look for, you could come up short.

Finding the right vendor for art or photography requires two steps: The first is to solicit portfolios - lots of portfolios. Get them from a variety of sources. If your intention is to build a file of available, qualified suppliers, you may want to look at two dozen or more portfolios. If your need is more immediate and you have a specific project in mind, six to 10 might be enough. In addition to contacting rep firms that handle the kind of visuals you're looking for, you'll also want to call some creatives directly. If you've seen something in print somewhere that strikes your interest, track down the source. And don't hesitate to contact other art directors for recommendations.

So, there you sit with stacks of portfolios. Now what? Don't look only for examples of work that pertain to your immediate assignment. Instead, check all the examples in several key areas, including the following:

Composition: Does the artist understand basic design? In still lifes, are the objects arranged in a pleasing manner? Do scenics show an understanding of balance and proportion? Is there an effective use of color? Has the artist created satisfactory eye movement for the viewer? Are the images compelling and evocative?

Variety: Is this person versatile, or does the portfolio show the same basic approach to problem solving? For instance, has the photographer lighted each subject differently? Is there variety-things shot in natural light, dramatic light, and with a high-tech approach? Are tabletop objects photographed at the same angle, or does each piece appear to be shot from the most interesting or informational angle? Is the illustrator limited to a narrow scope of subject matter, such as wildlife or airplanes?

Competence: Is there a mastery of techniques, or does it appear that there's only one safe style that's used repeatedly? Look beyond the content of each sample and determine whether there is an underlying ability to deliver a quality product. Are there techniques employed that are transferable to your subject matter?

Unfortunately, this is where most people end their search for a vendor. In reality, you're just halfway through.

Set up appointments

The second step, often ignored, is the most important: Meet with the artist or photographer. When dealing through a rep, don't be surprised if he or she insists on accompanying the artist. In fact, you may even want to suggest it. Procedural questions could arise that the rep is expected to handle. But don't agree to having the rep as a substitute. There are some specific things you'll want to find out from the artist that the portfolio review alone won't uncover.

For example, you need to know exactly what the artist's or photographer's actual contribution was to each piece in the portfolio - especially those that really impressed you. If the piece expressed a unique creative approach, how much of the credit belongs to the artist? Did the artist/photographer participate in the creative development, or was he or she responsible merely for clicking the shutter or executing someone else's idea? Was there an art director or other creative person involved during the photo shoot? How closely did the final piece match the original concept?

Ask about time frames. Did the photographer have two weeks to finesse the set and lighting? Did the shot involve numerous film tests before the final frames were clicked off?. Can you afford the same amount of time and money that some of these pieces may have required, or can the vendor deliver the same level of quality within your particular financial constraints?

Was the piece actually created for print, or is it just a portfolio sample? Frequently, illustrators and photographers are willing to put a great deal of their time and energy into getting a portfolio to "sing" - time and energy you may not be able to afford on your projects. This is often true of portfolios from recent college graduates whose entire books might be made up of student work. Carefully worded questions can elicit details about a piece that will influence your opinion of the vendor's capabilities.