Last week, I listened to the latest Candid Frame interview...excellent as usual. William Neill was being interviewed, and the discussion turned to assembling a photographic portfolio. There was an aspect of this conversation that intrigued me and, to a certain extent, confused me. I have been thinking about it since (the mark of a good interview….raising as many questions as it answers!)
When assembling a ‘portfolio’, intensive editing is needed to ensure that only one’s best work is used. The concept which was mentioned, and which I wholeheartedly agree with, is that it is better to have too few images that are outstanding than more images which include average photographs. In the latter case, the average ones will lower the overall quality, bringing the outstanding ones down as well.
But how does the idea of a portfolio interact with a defined project? For example, I have been on several workshops across the country and could assemble a portfolio of what I consider to be my best images from these trips. But, one might say, there would be no common theme pulling it all together. Fair enough. Instead, I could assemble separate portfolios with, say, 10-20 of my favorite images from each trip. That way I could have an “Oregon Portfolio”, a “Michigan Portfolio” etc. But to me, this is somewhat problematic because during a one week workshop there is no way to capture the many faces and moods of an area in enough depth to call it a ‘portfiolio’. What about all the seasons, the different weather, different times of day..…can’t do it in a week. I could choose the best shots from each of several trips, but then I am back to lacking a common thread.
Which brings me to the dilemma that I have been thinking about. As I have mentioned before, I am currently working on a project photographing a local state park. This allows me the opportunity to capture an area during different seasons, in different weather, at different times of day and in different light. It allows for a deep exploration of an area. But, I have to face it, while
So, as I work on my project and choose images to go into that portfolio, I realize that while they do belong grouped together as part of the project, the majority of them would not ‘stand alone’ as beautiful landscape images. It may be the best that this particular park has to offer, but, nonetheless, the majority of the images would not be included as part of a ‘greatest hits’ portfolio.
Questions run through my mind. Are there different ‘reasons’ for different types of portfolios? How does a ‘project’ portfolio differ from a ‘greatest hits’ portfolio? To whom should each be shown? Should they be ‘used’ differently? Throughout photographic history the great photographers have made many moving portfolios in areas that are not ‘stupendous’……. is it just that I am not ‘good enough’ to portray the mundane in a special light?
I am not sure of the answers to all these questions. I do think there is something to be gained by thinking about them. And I do think that by working my way through this project I will have also have begun to at least approach some of these issues. I also feel, rather strongly, that it will help me to grow as a photographer.
8 comments:
The portfolio thing or the show thing, is a dilemma but I have found it to be as much a learning experience as doing the work. I can just keep randomly shooting within a project framework but the rubber hits the road when I have to pull together 15 or 20 images. They have to tell a story or play off of each other, they have to be the best prints I can make. I have to make tough critical judgements. I can't just "like" a photo because I sat there for over an hour waiting for the sun to come from behind the cloud. The image has to say something. And damn, can you believe that some of them don't say anything no matter how hard it was to get the image! Hey, I don't have answers to your questions. They are the same ones I struggle with too.
I take heart (seriously) in the fact that others are struggling with the same issues...I hope that means that I am on the right track.
Howard: to be blunt, are you collating a calendar or a portfolio? If a calendar then fair enough, only dramatic images of exciting scenery need be included. On the other hand, I assume that in fact this is a personal portfolio of images which mean something to you (as Billie refers to) and which you would consider showing to people whose opinions you respect (or expect to give you money), or hopefully both.
Today I happened to be working at the local model train show ( a hobby that photography has largely pushed aside). Anyway, there were lots of nice layouts and some very nice work being done. The absolutely best 'layout' however was circular, 1 foot across (that's 12 inches!) and about 15 inches high). It was a model of old growth forest, with giant rotted stumps, huge trees (only partly represented), ferns fungi, a small stream and wildlife). The modelling was incredible. it didn't have any of the usual dramatic scenery of great layouts, it was simply exquisite, a tiny treasure.
So, getting back to the topic, the issue isn't the height of the mountains. It's the images that count. Awe is one emotion an image can have, but there are lots of others which your state park might well show better, and besides, the emotion is for the image, not what it represents.
George, I believe you hit the proverbial "nail on the head". I think that what I am trying to work past is the idea (or hope) that in an 'excellent' portfolio of the park all the images would hit the viewer like a 'calendar image'. I think that deep inside I know that besides the fact that they couldn't all be like that, the truth is that they also probably shouldn't be like that. That if they were I would probably be missing or not conveying the deeper beauty of the place.
Nonetheless, despite knowing that, I think there was a part of me that was hanging on and hoping they would all have that immediate 'wow' effect instead of a more subtle one.
I think writing about it and seeing the few, though very well thought out responses from people that I 'know' and respect are very helpful in my thinking about this in a clearer fashion!
I have already, without directly saying so, posted a number of the images from the park. I think what I may do is post new ones as they are finished and specifically denote that they are from the project to see what people think, and at some point put the ones that I already posted into a grouping and repost them as well. I sure would like to hear if people think they are effective at conveying the moods of the park.
I think being in the place of not knowing if what you are doing is working, particularly in a long-term project, is par for the course. Despite how it feels, it is sometimes the place you need to be because you constantly question the work. Though it's a begs for a fine combination of critical evaluation and insight, we can often be confused as to whether or not the time and the effort is worthwhile. Sometimes you never know until you've seen it to the end and then, and only then, do you discover things that were not evident when you were in the midst of it. Sometimes we are just to close to something to be able to discern the success or failure of a thing. Sometimes, all you can need to do is start it, work it and finish it. Everything else will come as a consequence of those "actions".
Ibarionex, when you say that
"we can often be confused as to whether or not the time and the effort is worthwhile"
really gets right to the heart of a good portion of the problem. While doing a long term project is satisfying to me as an 'isolated' me, I know that inwardly there is still a concern, as you suggest, that says "what if I finish all this work and no one likes it, or I can't find an audience for it etc". There will still have been personal gain but I think most people (including myself) also want an audience.
I an currently reading Art and Fear and getting quite a bit out of that...and putting it together with the responses and advice here as well.
I truly appreciate your input!
Howard, I have struggled with the same questions that you present. I can't seem to find a really good answer but the great comments and thoughts listed are of some help in my struggle.
I have taken to sitting in my local state park and concentrating on the things that I feel the park offers to me personnaly. Birds, sounds, feelings etc. and working on getting the shots that best portray that emotion to me. I know folks that visit want to see the main attractions and mostly they blow through the area without giving thought to what is going on around them. That is the part that makes up "my personal portfolio". From that point on if someone chooses to like my work, then they are getting a piece of me. It is funny that the shots we sell are the ones that have the deepest personal meaning and the lessor of our sales are the "icon" shots.
If you get a chance, read "Seeing the Light" Wilderness and Salvation: A Photographers Tale. It is interesting read of the struggles of Clyde and Niki Butcher and what his photography means to him. It helped settle my mind on my travels through photography.
By the way,, just had a few days in the Everglades and what a wonderful few days it was.
Thanks,
Dave Pickens
Dave, I have seen some of Clyde Butcher's work on-line before, but hadn't realized he had written a book. I will definitely look that one up on Amazon.
As an aside, I have been to the Everglades twice, but only very briefly and on a family vacation, so there was no real chance for photography. Absolutely beautiful location and I would love to go back some time with a chance to photograph there.
Post a Comment