Creating a fine art portfolio

<p>Hello all,<br>

I've reached the point with my photography, where I'd like to begin submitting to galleries. I've taken part in several group shows, so while I've gotten my feet wet, I'm certainly not a professional artist.<br>

Here are the beginnings of my problem... I have zero experience in the business side of photography (or art, for that matter). I'm looking to start constructing my portfolio, but I wasn't sure how to put it together. For fine art, is it better to show images along a singular theme, or to showcase versatility? Are print portfolios still used as the primary contact, or should I rebuild my website as my primary portfolio?<br>

Thank you so much for any advice you can give me. I truly appreciate it.</p>

<p>Cheers,<br>

Dylan</p>

<p>Hello Dylan,</p>

<p>I'm hovering around the same issue. So far I've learnt that a) a portfolio in print is much nicer than a website, and b) limit yourself. Have only a few, but excellent images, at best a small series, or maximum three small series with only a few photos. Less is more here, but the quality should be nickel. If you want to contact galleries, be prepared to have a wonderful album at hand, and please be picky about the prints in it.</p>

<p>Who is the target group for your portfolio? </p>

<p>I have multiple portfolios. Some are both print and on the web, and some are just one the web. I find that many art venues, from coffee shop to high end gallery, want to see photos on the web before they will take the time to see someone, probably because of the volume of people who want to get in. One thing I have found effective is to go in and chat without a portfolio - find out how they evaluate, what they want, when they have show turnover. As long as it's geographically accessible, it's an excellent way to not waste time, and sometimes the relationship will give an edge in showing work.</p>

<p>I recommend getting the book "Taking the Leap - Building a Career as a Visual Artist" by Cay Lang. It contains lots of info on how galleries and the art world work.</p>

<p><Chas></p>

<p>I agree with Charles's recommendation, I should have mentioned that. I have a copy too.</p>

<p>Thank you all so much for your help. I can't tell you how much I appreciate it. I've ordered the Cay Lang book from the library. I can't wait to dig in.</p>

<p>I am very curious, Jeff, when you go into the galleries to ask about how they evaluate, are you looking for the curator? assistant curator? or does it not matter at that point of the process?</p>

<p>Monicka, I'm not entirely sure what you meant by the target for my portfolio (but that's mostly because I'm extremely green here). I'm assuming I would be approaching the curator or assistant curator, wouldn't I?</p>

<p>Again, thank you so very much, all of you.</p>

<p><blockquote>I am very curious, Jeff, when you go into the galleries to ask about how they evaluate, are you looking for the curator? assistant curator? or does it not matter at that point of the process?</blockquote></P>

<br /><p>

I ask whoever is there. If they say they don't know, I ask who does. I don't ask for people by title, I would prefer to hear from someone other than the decision maker because I can ask more questions.</p>

<p>You do understand some galleries take up to 60% of any sale, right? Others require that their own people do the matting and framing - a sure way for them to make money and you to spend yours.<br>

Ask one question of yourself before approaching any galleries: Why would someone buy my photographs in this gallery compared to the artists they already show? If you can't come up with a good answer you need to work til you have one.<br>

Many are opting to sell their own work and only use galleries for specific shows and reasons. Main one for many is simple. Printing, matting, mounting, framing and transport is expensive. If this is really to be a business decision you have to treat it as such. Not a commodity, it is art - but as an artistic pursuit that has to pay. Only you know how long you can go on losing money at it before the return has to break even and then make a profit. At that most photographers don't even know how to tell if they are making a profit.<br>

Basic business information filtered through your plans makes sense. Most businesses fail. Planning and preparation give you a better chance but the odds are still against you.<br>

If I ask to see 50 finished images right now - to judge whether we want to host a showing of your work - could you supply them? Would they be a cohesive theme or project or just a hodge-podge of 'greatest hits'? Would they all be carefully considered, well printed, well presented(at least mounted and matted - not necessarily framed) and show your finest work? Would there be weak images in the bunch?<br>

The Kingsmen sang Louie-Louie, have you ever heard anything else they recorded?<br>

One hit wonders are a dime a dozen. Don't be one. A solid plan for presentation and contact will pay dividends. Even Thomas Kinkade made money and his stuff was certainly not "art", but kitsch. Marketing was the difference. You can make it off one fabulous image but if that is all you have you won't have many one man shows.<br>

Steady production and steady, directed marketing will do it but only if you put in the time and effort. If you want to be successful you have to work at it. Good luck.</p>

 

<p>Hi Dylan. I just wanted to chime in as I'm also an emerging fine art photographer with work that is currently represented by galleries in five countries. I'd definitely recommend that you do your research. Try to find galleries that have an aesthetic and curatorial eye that matches your work. Also follow their rules on submissions. Many gallery sites will include on their websites who to contact with portfolio submissions and whether or not they are accepting them.<br />.<br /> Be sure to REALLY edit your images down to the very best. If it is hard for you to be objective about your own work, ask qualified people you trust to tell you the truth. And take care to present prints to the galleries in a professional manner (highest quality prints, high quality box or binder, etc.). Some of my galleries decided to represent my work by looking at large (24x36") handling prints. It might help if you make some decisions in advance about your sizes, editions and substrates (eg. Lambda prints, pigment ink prints, prints mounted on archival gatorboard, acrylic/dibond mounting, etc.). Galleries often want different things and the process can be iterative. They can also tell you what works best for their individual market. If you're new to the process, just tell them. A good gallery will work with you to help you to put your best foot forward. You should also have some idea on pricing. Galleries will help you to fine tune that too but you really need to start with a figure in mind and looking at comparable work already represented by the gallery in question will help. It may good idea to do some work on first finding a lab or production house that you can trust to provide reliable quality and service. That way you'll have a better idea of what your production costs will be. Edition sizes will be another conversation you'll need to have with the gallery once they agree to represent your work. That's also that is something easy to determine by looking at how other artists are editioning their pieces.<br /> .<br /> I've had really great luck with finding galleries that are extremely professional in their business practices and enthusiastic about my work. But I know other photographers who have some major horror stories. It is always best to be very meticulous about your records. Be sure that any prints sent to a gallery are accompanied by an inventory form so that the gallery knows that you know what work of yours they have in their hands. It is also good on that form to have them sign off on the condition of the prints they are accepting so that if you get anything back with a half moon or other damage the gallery will be responsible. I also keep a meticulous database of each image so that I can track the print editions. When a client places a new order a gallery will often contact me to ask me to print it and they want to know which number it is in the edition. Tracking a carefully maintained database makes it much easier to be able to tell them and to know what to write on the print verso when I am signing and numbering it.<br /> .<br /> All of my galleries take 50% commission. Most often they pay for the framing of any prints and simply pass that cost on to the client directly so I never have to worry about it. Some of my work is sold with an acrylic-dibond mount. And since I underwrite the cost of that upfront, the gallery gives me an additional percentage of the sales of the mounted images to offset those costs. In most cases galleries (who have been around a while) can make recommendations on local labs, production houses and framers that they have done business with. I find that is helpful too.<br>

.<br /> Lastly, don't be discouraged by rejection. The artist Chuck Close has said that photography is the medium in which it is easiest to become technically proficient and the hardest in which to distinguish your own personal style. That has never been more true in our digital age. Some photographers work for decades before they have gallery representation. And such a small percentage succeed relative to the number of people out there who are trying to make a living at it. Just take your time and really focus your work on something meaningful and you're sure to find success. Best to you!</p>

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<p>Thank you very much, Paulie and Christopher, for the incredibly detailed responses. I really appreciate the feedback. I'm pretty sure I'm not quite ready to submit yet, but after the help all of you have given me, I at least know what I need to get there... and of course I'm excited to go out and do the work!</p>

<p>I would also recommend "The Photographer's Market Guide To Building Your Photography Business" by Vik Orenstein.<br>

Be VERY VERY aware of "vanity galleries" that charge you to hang your pieces. No real, reputable gallery will charge you to show your work. Any gallery that does (and you can generally tell by the hodgepodge of substandard work on their walls) does not make money by selling art. They make money by charging "artists" to hang their art.<br>

I have had gallery representation for three years now. The first year I made nothing. The second year I barely made enough to cover the cost of ink, and this year the money is starting to trickle in, so it definitely takes a while.</p>