Selecting Portfolio Images

[Dan Henderson]

I consider myself to be reasonably well trained and experienced in the craft of photography, and usually able to find the answers to problems as they arise. But one issue continues to elude me, that being how to select images to be included in a portfolio.

I understand the general idea that all images need to be related in some way: format, size, subject, etc. that is apparent to the viewer with little or no explanation. But when i come to the point of deciding whether a particular image fits with the rest or not, I begin to have doubts. I think part of the problem may be that I have an emotional attachment to some images that cloud my judgement: an image appeals to me at a visceral level, the circumstances from which the image was born are special to me, etc. and I can't bear to leave it out.

I have read as many books, articles, and internet postings as I can find on this subject and am still unclear. Any thoughts or opinions on this subject would be greatly appreciated.

Thanks,

 

[Ed Sukach]

I consider myself to be reasonably well trained and experienced in the craft of photography, and usually able to find the answers to problems as they arise.

Interesting statement in itself. I've done a lot myself ... but NOTHING compared to what I KNOW - from experience - lies ahead.

But one issue continues to elude me, that being how to select images to be included in a portfolio.
I understand the general idea that all images need to be related in some way: format, size, subject, etc.

Usually a good idea. Not invariably.

But when i come to the point of deciding whether a particular image fits with the rest or not, I begin to have doubts. I think part of the problem may be that I have an emotional attachment to some images that cloud my judgement: an image appeals to me at a visceral level, the circumstances from which the image was born are special to me, etc. and I can't bear to leave it out.

I choose the images in mine with the criteria of "Appealing to me at a visceral level; my emotional attachment to them; and - actually part of that second one, the circumstances from which the image was born."
To express all that - without a great deal of external explanation - is the raison d'etre for everything I do in Fine Art.

All that said ... there a MANY reasons for being in creating a portfolio other than "A representation of one's Fine Art work." Are you creating a portfolio for a Commercial purpose; Submission to a "themed" gallery to display you work; ... or (pardon me while I wince) gain membership to a snotty Camera Club ... or ?

If the portfolio is for a specific application, as above, the only way that I can see that makes any sense would be to try to empathize with those who will view the portfolio... Your photograph of El Capitan, or your essay of Yellowstone Images may be wonderfully brilliant ... but it probably will not "fly" when presented to the Nantucket Gallery of Sailing and Whaling Vessels.

 

[Ole]

One way to select images is to first pick out those you think will be "presentable" - those you are willing to sign and have your name associated with.

Then ask your spouse, or a friend, or someone else who respects you enough to say "no" to your face if needed (that's the difficult part) to select the really good ones.

Repeat as needed, until you're down to no more than 16.

 

[Michael A. Smith]

While this was not covered specifically, there was a thread recently that dealt with editing your own photographs. Do read it. What I wrote there applies here.

When selecting photographs for a portfolio forget about your experience while making them and what they mean to you personally. You MUST be able to look at your pictures, as if someone else made them. If you cannot do that, you should not do a portfolio.

That being said, as mentioned above by someone, there are a number of reasons to do a portfolio, so the decisions on which prints to include can involve a number of factors, none of which can be anticipated until you have your portfolio conceptualized and pretty much put together.

 

[MurrayMinchin]

Then again...

If you have a large enough body of work with a consistancy in your way of seeing, it can contain many portfolios. It's just a matter of seeing the bigger themes within your work, then recognising the more intimate themes within the bigger ones. An example would be if you photograph nature, doing a winter portfolio, or the seasons, or the transition zones where different environments meet, or nature taking back derelict manmade structures, or...

Once you pick a theme, the story becomes more important than any one image. You may find that your most-popular-sure-fire-slam-dunk-seller of an image just doesn't fit the flow of the story line, and that an image neglected for decades in your reject file is the only one that provides a vital pivot point between "movements". If you check your ego at the door and work hard on the sequencing of the portfolios images, your personal preferences become secondary to the needs of the portfolio...am I making sense?

The hardest part is to finally commit and just print the damn thing after staring at your own images for so long! But then every artist suffers that moment...when one more brush stroke, or blow of the hammer on chisel destroys the piece. Anyways, just some thoughts from the hinterlands...

Murray

 

[Joe Lipka]

When selecting photographs for a portfolio forget about your experience while making them and what they mean to you personally. You MUST be able to look at your pictures, as if someone else made them. If you cannot do that, you should not do a portfolio.

That is just about the best, most succinctly put advice on portfolio selection I have seen. Well said and well done.

 

[Christopher Colley]

I found it difficult years ago to edit my own work. As suggested above, one needs to separate themselves from their work to make a strong portfolio. While it may not seem like it separates you from your work I found the old 'can you live with it?', sticking a photo on a wall for a few weeks really helped me to be separated from the photo. I began to see errors and flaws as if it was some other persons photo, the more I did this on a few photos on my walls the more I was able to apply the same feelings to work that I rarely looked at. So in a way I guess it could be said I became 'tone deaf' over my own work from seeing it around so often that I was able to separate myself from it. I suggest attempting something like this, and if you've already had your work on the wall and didn't have the same reaction, I apologize for making you read this! Of course, your mileage may very.