Sally Brownbill

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Archive for Portfolio


Sally chats with Momento Pro

– posted by Sally

In 2017, do agencies respond more to printed or digital portfolios? OR What are the benefits of a printed folio in 2017?

Every day we are looking at iPhones, computers or iPad screens all the time, it gets too much.

To walk into a meeting and show a beautifully printed folio on great stock is second to none.

So many people forget that our industry is about communication. It’s about meeting people. It’s not just all about social media and online folios. A printed portfolio is a fantastic reason to get out and meet people, connect and wow them.

Your top tip for selecting images to included in your portfolio? personal projects? what if you're multi-genre?

I’ve been working with photographers and editing images for their folios for over 15 years now. Each photographer is unique and I treat each one individually.

What you must remember is that the only point of difference you have in most circumstances is you!. Your personality must shine through in your folio.

Potential clients want to see what makes you tick, what you can offer them and what you are able to bring to the table, so personal work is a must.

Campaigns and commercial jobs are based on other peoples ideas and they play an important role in convincing a client you can successfully do a job, but that’s where websites come in to it, show that work on there.

Take people on a journey with your printed folio and tell stories. COMMUNICATE and make it special.


Sally Brownbill


Working on folios

– posted by Sally

Many years ago after working as an assistant and commercial photographer and realising that my passion for photography did not extend to creatives telling me what or how to shoot, I really needed to find something where I could still be surrounded with photography, photographers and all that goes with it.  But not shoot it !

Becoming an agent / producer in the 90s and teaching photography was the first step towards making up my own niche area in industry.

My passion and knowledge of how images work together, coupled with my utmost belief that each photographer needs to be totally unique in what they offer, led me into working with individual photographers on editing, building and designing their portfolios. And this went on to including editing for websites and exhibitions too.

I just love the thrill of working with each photographer I meet and helping them to understand their strengths and weaknesses. Pointing out to them and advising them on what is best for their career path and even helping them to understand what that is.

Many come in with fantastic work from a variety of disciplines and I get a great thrill of making sense of that so it all looks like the same shooter and tells a personal story.

Some come in with very little work, but I enjoy being able to work through what is good and what to avoid. With these shooters I also help advise on what is lacking and set them tasks to shoot so that their body of work becomes larger and stronger.

Very accomplished photographers come in with lots and lots of images, and whilst these are BIG days, I love the sense of achievement at the end of the day, when I have narrowed it down from 300 or 400 images to around 40 or so. Producing a cohesive, knock out individual body of work.

I always say, I have the best job in the world, working across all photography disciplines and meeting photographers from all over the country and abroad (via Skype) and helping them to make the best they can be.

Selected folio spreads from 2013 in order.
Glenn Campbell (fighter plane), Martina Gemmola, Darren Howe,
Christian Mushenko, Marcus Thomson, Damien Pleming.


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