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If you have hopes of becoming a professional photographer, or even just of trying to get your work published in a public forum, you will need to create a photography portfolio. So what’s so important about a photography portfolio anyway?

There are many reasons why having a portfolio of your work available for others to view. If you are seeking employment as a photographer, then the need for a portfolio is obvious. If you are not seeking a photography job, there are still good reasons to have a portfolio. For one, you love photography and you take a lot a pride in your work. They are important to you. Most likely, some of them are very good. Why not create a portfolio that showcases your best work so you can show it to others (even if it’s just friends or family that comes over for a visit)?

- Building a Photography Portfolio

Before we get into what goes into your portfolio, let’s discuss the portfolio itself. What should it be made of? How big should it be? You may have seen portfolios with covers made of all types of materials such as plastic, leather and even stainless steel. These fancy covers are usually much more expensive and may not be practical for a beginner. If you are competing for high-price jobs and want to stand out from the crowd, these expensive covers may be a nice touch. But for most people, a regular black plastic cover will work just fine. It’s what’s inside the portfolio that is most important, right?

So, you are probably best to stick with a plain black plastic cover and work hard on beefing up what’s inside. Don’t decorate your portfolio with cutesy stickers and such; this will look amateurish and unprofessional. It’s not a scrapbook; it’s supposed to represent your high-quality work.

Now, as for size, this is going to depend on the size of your largest pictures. An 8 X 10 is probably going to be your largest. If your pictures are not this big, you don’t need a portfolio this big. Your biggest will most likely be an 11 X 14 and it could be as small as a 4 X 7.

The most important thing for you to remember is convenience - both for you and for the person who will be looking at your portfolio. You want to keep it professional and easy to hold, carry and look over.

- Using a Photography Portfolio

So now that you know what a portfolio is and what type to get, how do you actually use it? Well, we mentioned you are going to fill it with your best work. This means you want a portfolio that can easily be changed. You may want to pull out old ones and add in new ones. You don’t want to go for a job carrying along every picture you’ve ever taken. You’re going to want to have 15-20 of your best work. You are also going to want to be sure your pictures are relevant to the job. If you are trying out for different types of assignments, you may want to create portfolios that work for each of the types of work you are doing.

Of course, you only want to show your best work but you want to give the impression that you can handle any type of assignment given to you ad not that you are “stuck” in only one type of photography.

You want to showcase your best work; this is best technically as well. You may have a photo that is really important to you because of the image it represents or the memory it brings but if it is not technically perfect, it doesn’t belong in a business portfolio. Save that one for your coffee table.

Looking for information about Photography?
Go to: http://www.asaphotography.com.

‘ASA Photography’ is published by Colin Hartness - An excellent resource for Photography! Check out more Photography articles at: http://www.asaphotography.com/archive.

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As a newspaper photographer I’ve taken quite a few `snatch shots’, which are photographs of someone that were taken without the person in the picture being aware of it.

Actually there are two kinds of snatch shots, long range and close range. Long range shots are usually but not always taken with a zoom lens, usually from several hundred yards away. Close range snatch shots are best taken with a medium wide angle lens and they are taken from just a few yards away.

Let’s assume that you plan to take a long range snatch shot, that your subject (or prey, whichever way you want to look at it) is in a public park and that you are perhaps a couple of hundred yards away from him.
Several things could happen.

You might casually raise your camera and pretend to be taking pictures of the park. Point it in several directions and perhaps play around with the camera controls to make it look as if you’re adjusting it, maybe changing the aperture or shutter speed.

But at some stage you’ll have to point the camera in his direction, and this is where the problems can begin.
He may not be quite sure what you’re taking a picture of; he may think that you’re just taking a picture of the park or he may suspect that you’re taking a picture of him.

It’s bad news, either way, because he has now been alerted. This may be enough to make him turn his back on you and move away but if he doesn’t, if he keeps looking at you, keep cool.

Remember that he will be looking at the camera head on, and from this perspective all he can see is the front of the lens, he can’t see the body part of it. And as he can’t see the body of the lens, the chances are that he doesn’t know if it’s a standard lens or a zoom lens.
If he decides that it’s a standard lens it might be ok, he might decide that you’re harmless.

Or he might tell himself that he doesn’t care what kind of lens it is, you aren’t going to take his picture, period. He might decide to confront you about it, to walk over to you and find out what the hell you’re doing.
Keep calm, but also decide what you’re going to do - and do it quickly.
Basically you have three options.

One option is let him walk right up to you, let him demand to know what you’re doing, admit that you were taking his picture and offer to delete the pictures. This may not be good enough for him, of course - he may decide to trash your camera and perhaps trash you too.
Another option is to stand up to him; tell him you were taking his picture and ask him what he plans to do about it.

A third option is to take his picture as he is walking towards you, to forget how scared you are and keep pressing that shutter. Then, when you’re sure you have some good pictures of him…
Run like hell!

* There are also important ethical issues involved in this kind of photography and I plan to discuss these in a future article.

Paul Gooch is a Press and wedding photographer located in Skegness UK. He sells his photographs to local, regional and national newspapers, has taught media studies at a local college and has published several thought provoking and perhaps controversial articles about photography on his web site http://www.paulgoochimages.com

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1. Myth: Digital photos are pixilated or fuzzy.
Reality: most people that say that have never seen a photo produced by a professional grade digital camera. The quality of modern digital cameras is equal of greater than film cameras.

2. Myth: Digital photos don’t last they will fade in a couple of years.
Reality: Only the photo capture part is digital. The printing is done using traditional photo paper on the same paper and chemistry used to print film photos. So, both will last the same.

3. Myth: Digital colors are muddy.
Reality: Only if they are produced with cheap, low quality cameras and/or the photographer doesn’t know how to adjust them and process them for printing

4. Myth: Digital photos are dangerous; the photographer can lose your photos.

Reality: Nowadays most photos are stored using Flash Cards that is one of the most reliable forms of digital storage. After the wedding the photos are downloaded to the computer and additional backups are created on CD or DVD allowing several copies of the same event to reside on different locations. In the case that photos are accidentally deleted they can be recovered using software. With film there is only one copy. It is not uncommon for the photo labs to lose the film, damage it in the printing machine, process it in the wrong chemistry, scratch it, etc. Film also can be damaged in camera, be fogged, damaged by X-rays at the airport, suffer color changes due to heat or age etc.

5. Myth: Digital photos lack detail.
Reality: Only if they are produced with cheap, low quality cameras. It is not unusual for us to produce 30×40 inch prints from our professional grade cameras with stunning detail.

6. Myth: Digital is cheaper because there is no film.
Reality: Professional grade digital cameras and lens are very expensive. In addition the professional photographer has to invest on computer equipment and software to process the photos.

7. Myth: I got a digital camera that takes great photos now I can start a career as a wedding photographer.
Reality: Wedding photography requires that you have artistic talent and that you learn photography including composition, lighting, etc. A wedding is an uncontrolled event that requires technical and artistic skill. It is not the place to learn photography.

8. Myth: I don’t have to take care when I take photos anymore I can fix it later in Photoshop or other photo-editing program.
Reality: Garbage in and garbage out. There is no fix for badly composed photos, out of focus, bad lighting, etc.

9. Myth: Digital photography is easy now I don’t need a professional wedding photographer.
Reality: If you trust your wedding memories to somebody who doesn’t have the professional skills you are likely to be sorry or disappointed.

10. Myth: I am afraid that the photographer will do weird effects.
Reality: the purpose of the editing software is to enhance the quality of the photos. It is not a license to create weird stuff. Talk to your photographer about your expectations.

11. Myth: Digital will never be better than or equal to film.
Reality: Digital cameras are equal or better than film in terms of resolution color fidelity etc. and far superior in low light situations. The “film look” can be easily emulated using digital imaging processing techniques.

12. Myth: I got a bigger fancier camera with more megapixels than your so my photos will be better than yours.
Reality: Unless you have the technical and artistic skill the camera that you use will have minimal impact on the quality of the photos that you produce. A great camera in the right hands will produce great results. Some of the greatest photos in history were produced using mechanical cameras.

Juan Carlos Torres is a very respected and awarded wedding photographer in Oregon.
He has a Masters Degree in Remote Sensing with a strong background in digital image processing and photography.
He is a member of the several professional photographer organizations including the Professional Photographers of America,
the Professional Photographers of Oregon, the Wedding Photojournalist Association, and the Oregon Wedding Photo Guild.
His wedding photographs are unique and very artistic and have been featured in national and international magazines.
For a sample of his works please visit portland oregon
wedding photographer and eugene oregon wedding photographer
For a discussion on wedding photography see our Blog at oregon wedding photographer

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