"My starting point is what I'm hoping to get out of the conversation – it works backwards from who I'm showing the work to," explains Hodges. When you're meeting an editor who only commissions reportage, for example, you shouldn't include your commercial events photography – always keep your portfolio relevant to the situation.
"If you're presenting your work for a grant or competition, where editors see many thousands of photos, it's very important that the first photo is very strong to hook them," advises Herrera. "But if you're presenting a portfolio to an editor for a specific publication, you have to adapt it to be relevant. You can have a base with your strongest images, but change it slightly depending on who you are addressing your work to and for what purpose.
"For example, if you're bringing your portfolio to Geo or National Geographic, you need to show the geography, because these magazines run stories about how people are changing places or how places are changing people. However, if you're showing your work to Marie Claire, you need a very different approach and you'd start your portfolio with a portrait, for example, or a situation where women are strongly involved."