Many photographers are afraid of marketing a single vision. They don't want it to appear as if they only do one type of photography, and thereby lose work. They try to be everything to everyone, which makes them nothing to everyone. They are missing the point. Marketing a single vision takes advantage of a photographer's strengths.
Ten years ago it was common for photographers to have a portfolio that included different categories of photography, such as corporate location, food, still life, and portrait. That was when buyers were relationship-oriented. They worked with one photographer on everything. Now with an abundance of assignment photographers and stock photographers, buyers are more sophisticated. They buy portfolios, not personalities.
Instead of shooting a lot of different categories, your portfolio should reflect a vision that can be applied to many categories. Different prospects will see your vision-based portfolio differently. They will decide what category your work fits into, so rather than being restrictive, this kind of approach leads to many opportunities.
The alternative is to present a portfolio with a variety of techniques, subjects, and styles, some that are strong and some that are weak. Unless you have been a photographer for years, diligently developing your style in many different areas, and your talent is equally competitive in each, this is a big mistake.
Photographers feel that it limits creativity to show only one vision. They don't want to do the same thing all the time. This is when I remind them that assignments should never be the only opportunity for creativity. You need to get into the habit of doing test shoots, which push the envelope but don't always go into your portfolio. These tests might well reveal a new market for you to pursue.
"Consistency is key when creating a vision-based portfolio," says Kat Dalenger, head of creative art buying for the Target Corporation. Kat, who buys photography globally, adds, "Resist the urge to chase the latest trend or throw in images that stray from your vision. Buyers don't want to try to hit a moving target; they want to know that they will hit the mark with you. An inconsistent vision will not prove to the buyer that you are well-rounded, it will simply confuse them."
The reality of assignment photography is that clients buy up. In order to get good assignments you must show great work. The first step to great work is defining your vision.
Excerpted from: Oppenheim, Selina. Portfolios That Sell: Professional Techniques for Presenting and Marketing your photographs. (2003), 25. Visit Selina's website for more information about her book.
