Why Your Portfolio Isn’t Landing the Clients You Want (And How to Fix It)

Good photographs can only go so far.

Portrait: Cincinnati, Ohio.

Let’s talk about a problem that’s holding a lot of photographers back. And it’s not that your photos are bad.

In fact, they’re probably pretty good.

The problem is that your portfolio may be full of the wrong photos. You’re not showing the kind of work that attracts the clients you want.

And if you’re not showing that work, how can anyone hire you to do it?

I recently reviewed a photographer’s portfolio who wants to do larger, ad agency work, and big brand shoots.

The work in the portfolio was very good. Some of it was stellar.

A blend of personal work and small budget shoots, the work was well lit, well composed, well edited, and looked great — to a certain level.

And that is the level of production value.

Production values are what separate the ‘good enough’ from the top-level.

And no matter what you shoot; cars, food, portraits, architecture, your overall production values must be higher than most to catch the eyes of advertising and brand clients for whom production values are top of mind.

Too many photographers fall into this trap. They haven’t decided what kind of clients they want to work with, and they haven’t done the research to figure out what those clients are looking for.

Instead, they throw together a portfolio of “good” images and hope for the best. But here’s the truth: your portfolio isn’t supposed to be a random collection of your best work — it’s a tool to get you hired.

And if it’s not targeted, it’s not working.

Production Values: What They Are and Why They Matter

At its core, production value refers to the overall quality and polish of your images.

It’s the highest level of professionalism, attention to detail, and effort that goes into creating the photograph.

In commercial photography, where the stakes are high and the competition is fierce, production values separate the amateurs from the pros.

Both are photos of cigars and brandy. The image on the left has no production value, the one on the right is lovely and rich with details, color, and composition.

Look above for a simple understanding of production values. The image on the left (Unsplash) has no value at all. The image on the right by Ken Lamb shows a high level of production value.

Let’s break this bad boy down and figure out how to fix it. Because it can be fixed.

The Problem: Good Photos or the Wrong Photos?

If you are a working photographer, you probably have some good shots in your portfolio. Bad work doesn’t attract anyone. Well, anyone worth shooting for.

But having good photos in your portfolio isn’t really going to be enough to move the needle. They have to transcend good and become uniquely and perfectly wonderful. They also have to tell the viewer what you want to do, and can do.

First of all, if you want to shoot cars, but your portfolio is full of portraits and landscapes, you’re not going to get hired by car companies or their agencies.

Even if you have a few good car shots in there, they won't stand out if they’re not top-level. And if they don’t stand out, you’re not going to able to compete with the photographers who are landing those jobs.

Your portfolio is like a menu at a restaurant. If your client is craving sushi but the menu is full of badly lit photos of California rolls on tin foil, that may not be enough to keep them ordering.

If they are pretty good shots of sushi on wooden platters, they may look, but their enthusiasm for the mundane and ‘reglur’ work is not very high.

But if they are amazing sushi photographs, absolutely top-notch, could make even the most avid sushi hater want to at least try them, then the price point won't matter and you will make the sale.

Clients are the same way. They’re looking for something specific, something that will blow their socks off, and if they don’t see it in your portfolio, they’ll move on to someone else.

Step 1: Decide Who You Want to Work With

Before you can build a relevant portfolio, you need to know who you’re building it for.

This means deciding what kind of clients you want to attract. Do you want to shoot for car companies? Fashion brands? Food magazines? Corporate brands? Be specific.

The more focused you are, the easier it will be to create a portfolio that speaks directly to those clients.

However, there’s a catch (there’s always a catch): you don’t have to specialize in just one subject. In fact, you shouldn’t in this marketplace.

Instead, think about specializing in a style, look, or point of view. Maybe you’re drawn to bold, high-contrast images, or you have a knack for capturing quiet, intimate moments.

That can be your signature. It’s what makes your work unique, and it’s what could attract the right clients — no matter the niche.

Step 2: Research Your Target Clients

Once you know who you want to work with, it’s time to do your homework.

There’s always homework. Anyone who tells you that you can get into this industry without learning the discipline of research is probably in it to sell you a folder full of useless presets.

And this is where a lot of photographers drop the ball. They don’t take the time to figure out what their dream clients are actually looking for. Don’t make that mistake.

Here’s how to research effectively:

1. Study the competition. Look at the portfolios of photographers who are already working with the clients you want.
   What kind of images are they showing?
   What’s the production level? (See below for more on production values)
   What’s the creative style? Take notes.
2. Analyze client needs. Visit websites, social media pages, and ad campaigns for your target clients.
   What kind of photography are they using?
   What’s the tone, mood, and style?
   This will give you a clear idea of what they value.
   Write it down.
3. Identify gaps. Look for opportunities to stand out. Maybe most car photographers focus on sleek studio shots, but you have a real knack for dynamic, on-the-road images. That’s your opening to bring something fresh to the table.

Step 3: Build a Relevant Portfolio

Now that you know what your target clients want, it’s time to create a portfolio that delivers. Here’s how to do it:

1. Curate ruthlessly. Your portfolio must only include work that aligns with your target clients. If you want to shoot cars, don’t include wedding photos. If you want to shoot food, don’t include landscapes. Every image should serve a purpose. If you shoot more than one subject matter, put them into categories, or their own portfolios.
2. Aim for 32–40 images. This is the sweet spot. It’s enough to show your depth and variety without overwhelming the viewer. Think of it like a greatest hits album — every image should be a banger. I have seen portfolios with hundreds of photos. Pro tip: no one is taking the time to look at the last 200 images.
3. Create personal projects. If you don’t have enough relevant work, make it. Personal projects are a great way to fill gaps in your portfolio and show clients what you’re capable of. Treat them like real assignments — go all out on production, styling, and editing.
4. Show consistency. Your portfolio should feel cohesive. Even if you’re showing work from different niches, there should be a consistent style, tone, or point of view that ties everything together. We call that a “book of work.”

Step 4: Overcome the Fear of Specializing, or the Mistake of Overspecialization

Let’s address the elephant in the room: the fear of specializing. A lot of photographers worry that if they focus too much on one thing, they’ll miss out on other opportunities.

And they will. They will miss out on the opportunity to do mediocre work because it isn’t something they do well.

I’m good with that.

That said, over-specialization can also be a trap. The key is to specialize in a style rather than a subject. For example, you might shoot cars, fashion, and food, but all your work has a bold, cinematic look.

Or maybe you focus on storytelling, capturing authentic moments across different niches. This kind of specialization makes you stand out without boxing you in.

Think of the three-tab rule: people/places/things… portraits/lifestyle/adventure… food/lifestyle/travel. (I don’t know if this is a rule for everyone, it is a rule for me. Too many tabs look unprofessional, desperate, and amateurish.)

If you like doing something outside of those three, add a tab called “Stories”, “Projects”, or “Journal”.

Step 5: Transitioning Your Portfolio

If your current portfolio is all over the place, don’t panic. You can transition to a more focused portfolio with a little focused effort. Here’s how:

1. Start small. You don’t have to overhaul your entire portfolio overnight. Begin by adding a few targeted images and removing anything that doesn’t fit. Even if your portfolio goes down to 15 images or so, you are good. Pro Tip: You will be judged on your worst image, not your best image. That’s how this works.
2. Create new work. As mentioned earlier, personal projects are your best friend. Use them to build the kind of portfolio you wish you had. Create a plan, a schedule, a roadmap… whatever you like. Then add a time frame, budget, and asset list.
3. Get professional feedback. Show your portfolio to trusted peers, mentors, or even potential clients. Ask if it feels cohesive and relevant to the niche you’re targeting. Tell them you have tough skin and are willing and wanting to hear their absolute truth. Pro tip: You must mean this with all of your being. You are asking to be eviscerated… take it and do not become adversarial.
4. Stay consistent. As you add new work, make absolutely sure it aligns with your overall vision. Don’t let old habits creep back in.

And those old habits will indeed try to worm their way back into your work.

If your images are not top of the line, it is because of bad habits. And bad habits die hard, slow, screaming in your ear as they fade — hopefully — into the abyss of time.

Do the Work

Building a relevant, high-production level portfolio isn’t easy.

It takes time, effort, and a willingness to let go of work that doesn’t serve your goals. It can also require sacrifices and a good bit of money. That money is invested — not spent. Get it?

Not. Easy.
Not. Quick.
Not. Cheap.

But it’s worth it. When your portfolio speaks directly to the clients you want, you’ll start attracting the kind of work you’ve always dreamed of.

So, here’s your challenge: take a hard look at your portfolio. Is it full of the right photos, or just good photos?

If it’s the latter, it’s time to pivot.

Do the research.
Create the work.
Stay focused.

The clients you want are out there — they just need to see the right work to hire you.

Now, go make it happen.

This photo of me is by Carol Rioux: light-painted in Calgary, BC.

Hi, I’m Don Giannatti, a photographer and mentor for up-and-coming photographers. You can find me on my website, Don Giannatti, and at my Substack site, where I also publish for creative people.

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