Making your own contribution visible in a portfolio
A recruiter looking at a portfolio or showreel first wonders what you actually did. Framing, lighting, sound recording, directing a model, editing, colour grading: each task needs a different skill. Add a short caption to every project stating your role, how long it took and the size of the team.
If you worked with others, say clearly which part was yours. A report shot by two people, a film cut by someone else or a set of images retouched by an agency should not be presented in the same way. Transparency reassures a foreign employer who cannot check your background from a distance.
Choosing projects that match what the employer needs
An effective portfolio is not a complete retrospective. Select a small number of projects close to the job you want: fashion, food, corporate, documentary, events or travel. For each one, explain the main constraint, such as difficult light, a tight deadline or an unexpected location, and how you solved it.
Change the order to suit the employer. A communications agency will want to see short, varied formats, whereas a television channel will look for storytelling and pacing. A single well-organised page, open without registration, holds attention better than a long archive in which the visitor has to hunt for what interests them.
- Three to six well-documented projects
- Role and duration stated for each one
- Formats suited to the target employer
- Access without sign-up or password
Gear you command: be precise without overselling
Name the camera bodies, video cameras, lenses, lights, stabilisers and drones you really use, as well as the editing and retouching software. State your level of ease: regular use, occasional use or basic familiarity. An employer prefers a candidate who knows a small set of tools well to one who claims to master everything.
Drones and some specialist equipment are subject to local rules on piloting, insurance and authorisation. Do not assume that your practice at home applies unchanged. Ask the employer what is required, and check with the country’s aviation authority before promising a shoot of this kind.
Image rights and permissions: what you may legally show
The images you present must be images you are allowed to show. For recognisable people, private places, protected works or brands, check that permissions exist. A photograph taken for a client often belongs, wholly or partly, to that client, and using it in a portfolio may require their agreement.
Abroad, the rules on personal image rights, ownership of files and commercial use vary from country to country. Ask how the employer deals with them in its contracts. If you are unsure about a clause, have it read by an intellectual property lawyer before you commit to projects that tie you down for several years.
Staff job, freelance commission or stock agency: three frameworks to compare
A salaried job generally brings regular income, set hours, supplied equipment and social protection linked to the contract. A freelance commission offers more freedom, but you carry the risk, the equipment and the paperwork. Contributing to a stock image agency rests on licences and a share of the revenue.
Do not mix these frameworks in your reasoning. A day rate cannot be compared directly with a monthly salary, because it includes no paid leave, no overheads and no allowance for periods without work. Ask what exact relationship is being offered and have it set out in the contract document.
Locations, travel, deadlines and deliverables to pin down
Before a shoot or a session, ask where the filming will take place, how many days of travel are planned and who arranges transport. Specify delivery deadlines, the number of versions to supply and the file format. A vague deliverable leads to endless revisions and disputes about payment.
Find out who is responsible for filming permits, especially in public spaces, tourist sites or private venues. In some countries, filming without permission exposes you to penalties. A serious employer knows who obtains what, and when, and does not leave you alone with a risk you cannot control.
Equipment, insurance and keeping your files safe
Ask who supplies the equipment and who insures it against breakage, theft or loss while travelling. If you bring your own kit, check that your insurance covers professional use abroad. Flying with batteries, lenses and hard drives also calls for a few precautions at the airport.
Ask the employer about file storage: backups, archive period and access to raw footage after the project ends. A data loss can ruin an entire delivery. Keep at least two independent copies of every shoot and clarify who owns the raw files when the contract finishes.
Where to look and how to apply
Employers in visual media are varied: photo agencies, broadcasting groups, corporate communications teams, hotels, news outlets and content platforms. The careers pages of major media organisations and image agencies give an idea of the profiles they want. Creative job boards add to your search for smaller positions.
In your application message, avoid generic text. Mention a project by the employer that you have looked at, describe what you would bring and attach a link to your selection. Expect a practical test: a short commission, an edit or a retouching job completed within a fixed time is common.
Frequently asked questions
How many projects should I show in a portfolio?
A small, well-chosen number is enough: three to six projects tailored to the job you want. For each one, state your role, the duration and the main constraint. A short, consistent selection is more convincing than a large archive, especially for a foreign recruiter who spends little time on each application.
Can I use images made for a former client?
Not automatically. Depending on the contract, the images may belong to the client, and the people photographed may have given only limited permission. Check your agreements, ask the client’s consent if necessary and avoid publishing confidential material or faces without clear authorisation.
What is the difference between a staff job and a freelance commission?
A staff job brings regular income, set hours and protection linked to the contract. A freelance commission gives more freedom, but you bear the costs, the equipment, the paperwork and the possible gaps between assignments. Compare the two separately, taking overheads and periods without work into account.
Can I film freely in a foreign country?
No, the rules vary with the country, the place and how the footage will be used. Public spaces, protected sites, private venues and drone shots may all require permission. Ask the employer who handles these steps and check with the local authorities before you shoot.