Excellent. What many starting out have a hard time with accepting is that the editing must be ruthless. Otherwise you just wind up with a pile of mundane crap.
Advise from experience much appreciated. Also, many of the comments before mine are really good too. Settling in to a scene to get an interesting photo really hits home for me. Thanks for caring.
Great advice. As a corollary to everything you mentioned, I'll pass on something I was told by a top-level pro when I was young and dumb: Be prepared to leave out your best shot if it doesn't work. At the time, I didn't understand why you'd leave out your best shot, but I realized he meant "favorite shot". So, don't get attached to any of your images so much that including one will ruin an otherwise good portfolio. Even if it's the best shot you ever took. This is tough advice for creative people, who tend to view their work like a parent sees his children. Hence your advice for a second and even third pair of eyes is bang on the money.
That was actually superb advice and so much easy to say then to follow :). I struggle with that on every assignment, trying to find a way to make it work sometimes and then just saying, no, it doesn't work for this story :). Thanks for sharing.
That’s so interesting in the context of working for a editor. You’d think they are capable of seeing the quality and knowing that they will craft the selection and story of what will be published when they hire you.
True. One of my favorite shots from a past trip to Cuba was of a child-boxer training. Unfortunately it didn't fit with the storytelling of the rest of photos, so I left it out because it was an outlier to the rest of the album (although it worked as a single image)
Love your intensity! I was wondering if you would ever do a TH-cam video and walk us through your latest work in how you determine your keepers from the rest. Thanks
I agree but a lot depends on the context in which the term "professional" is being used. At its most fundamental, the difference between "professional" and "amateur" (in any profession or trade) is that the "professional" demands payment for provision of their services whilst the amateur does not. Being "professional" should be obvious from the quality of work output - but that anticipated difference in quality isn't always guaranteed. Then there's the difference in attitude. Turning up prepared and on time, putting customers at ease, delivering the output on time and on budget, sticking to the brief, etc. Professionals should also be consummate project managers for what's within their gift to control. Portfolios and websites are critical for professionals, however, even imperfect ones should provide a good idea of the photographer's capabilities.
It's all so obvious yet few people do it. I've had a few customers ask to see my "out of genre" photos (stuff I shoot for fun or experimentation, or photos I rejected for one reason or another). I always ask them afterwards why they asked this and every time the response was that they wanted to get an idea of my approach to capturing images. Every time a customer has asked to see unrelated personal work has hired me for the assignment.
I love hearing that Dan, I wish more people asked me that ha ha. Although, I'm pretty sure my biggest client did look at my personal work to get a real sense of who I am and when I did shop my portfolio around NYC 20 years ago I led with my personal work and it paid off :).
First time viewer and just subscribed. Thanks for the great advice! I have a question: is there a limit to the number of photos you include, or how far back in time they go? Do you tailor a portfolio fir a particular job when showing that client your work?
Wow. I'll never have a portfolio (not my goal), but I LOVE this advice. Because what it taught me is there's a snap early and there's a crafted shot that tells a story. I don't have the kids with camera shot, but most of the the others you named, I have one in my "keepers" folder. Off they go. Love it, Justin. Thank you!
This video was basically: “don’t include pictures like this if it’s a bad picture, but if it’s a good picture it’s okay”😂 In case anyone needs to hear it. Your portfolio is fine. Put up pictures that your proud of and if they don’t work for someone than it’s not meant to be. Don’t take pictures that you don’t want to and don’t be afraid to post or display work just because someone told you not to.
Yeah, I’m not telling people not to put images up if they want to, just helping people that wish to improve a little bit, that’s what my channel is all about.
Thanks Debra, they heat has been intense here as well and the construction going on means I can’t leave the house much either for the next couple weeks.
@@AskMOTTI think this still falls into what you said about not having multiple versions of the same image. Having a color & b&w version of the same image falls into this category
Or at least be purposeful about it. There should be a reason that you chose either color or mono & that should be what directs the image. Having both shows a person doesn’t understand what it is about color or mono that makes or breaks an image. I try to avoid this trap altogether by choosing the type of image ahead of time. You should be able to assess the scene & determine which option serves that scene better. If you’re indecisive about it (even if you picked one over the other) it will show in your work. Knowing that an image is better served by adding color or taking it away, helps to identify you as a good photographer
Hard truths that had to be told. Sometimes, you feel over attached to photos of that wonderful village or tribe that was so difficult to visit. But perhaps the photos are simply not worth for the anonymous viewer who doesn't have the emotional connection to that trip. I often think: "if I hadn't taken this photo and I didn't know personally this person or place, would I care of this picture?", and that helps to cut the amount photos that end up in public albums. Curating your own work is an overlooked skill.
Excellent. What many starting out have a hard time with accepting is that the editing must be ruthless. Otherwise you just wind up with a pile of mundane crap.
Advise from experience much appreciated. Also, many of the comments before mine are really good too. Settling in to a scene to get an interesting photo really hits home for me. Thanks for caring.
Great advice.
As a corollary to everything you mentioned, I'll pass on something I was told by a top-level pro when I was young and dumb: Be prepared to leave out your best shot if it doesn't work.
At the time, I didn't understand why you'd leave out your best shot, but I realized he meant "favorite shot".
So, don't get attached to any of your images so much that including one will ruin an otherwise good portfolio. Even if it's the best shot you ever took.
This is tough advice for creative people, who tend to view their work like a parent sees his children.
Hence your advice for a second and even third pair of eyes is bang on the money.
That was actually superb advice and so much easy to say then to follow :). I struggle with that on every assignment, trying to find a way to make it work sometimes and then just saying, no, it doesn't work for this story :). Thanks for sharing.
That’s so interesting in the context of working for a editor. You’d think they are capable of seeing the quality and knowing that they will craft the selection and story of what will be published when they hire you.
True. One of my favorite shots from a past trip to Cuba was of a child-boxer training. Unfortunately it didn't fit with the storytelling of the rest of photos, so I left it out because it was an outlier to the rest of the album (although it worked as a single image)
Love your intensity! I was wondering if you would ever do a TH-cam video and walk us through your latest work in how you determine your keepers from the rest. Thanks
I've got an upcoming assignment I can do that for after it's published :).
I agree but a lot depends on the context in which the term "professional" is being used. At its most fundamental, the difference between "professional" and "amateur" (in any profession or trade) is that the "professional" demands payment for provision of their services whilst the amateur does not. Being "professional" should be obvious from the quality of work output - but that anticipated difference in quality isn't always guaranteed. Then there's the difference in attitude. Turning up prepared and on time, putting customers at ease, delivering the output on time and on budget, sticking to the brief, etc. Professionals should also be consummate project managers for what's within their gift to control. Portfolios and websites are critical for professionals, however, even imperfect ones should provide a good idea of the photographer's capabilities.
It's all so obvious yet few people do it. I've had a few customers ask to see my "out of genre" photos (stuff I shoot for fun or experimentation, or photos I rejected for one reason or another). I always ask them afterwards why they asked this and every time the response was that they wanted to get an idea of my approach to capturing images. Every time a customer has asked to see unrelated personal work has hired me for the assignment.
I love hearing that Dan, I wish more people asked me that ha ha. Although, I'm pretty sure my biggest client did look at my personal work to get a real sense of who I am and when I did shop my portfolio around NYC 20 years ago I led with my personal work and it paid off :).
First time viewer and just subscribed. Thanks for the great advice! I have a question: is there a limit to the number of photos you include, or how far back in time they go? Do you tailor a portfolio fir a particular job when showing that client your work?
Great advice thanks.
My absolute pleasure.
that beanie makes you look like a professionally amateur photographer. Great advice tho!
It’s not a beanie, it’s a docker hat . So the joke is on you got looking like an amateur hat enthusiast :).
@@AskMOTT haha yes I am
Fantastic video!!! Thanks for the kick in the pants. 😂
It was reminder to kick myself in the butt too Brando :).
Educational advice. Thanks. BTW Now I can't stop saying "pew pew" when I see animal print clothes (which is often here in Nîmes).
You need to develop a point system and play w friends :). Like animal print shirt is 1 point but full outfit plus an accessory = 5.
@@AskMOTT Ha! Good idea. We would be racking up the points in no time
Wow. I'll never have a portfolio (not my goal), but I LOVE this advice. Because what it taught me is there's a snap early and there's a crafted shot that tells a story. I don't have the kids with camera shot, but most of the the others you named, I have one in my "keepers" folder. Off they go. Love it, Justin. Thank you!
Thanks Chris, hope it didn't come off to brash, I just want people to improve who want to improve but photography should be fun,.
How many of these shots are in your portfolio?
This video was basically: “don’t include pictures like this if it’s a bad picture, but if it’s a good picture it’s okay”😂
In case anyone needs to hear it. Your portfolio is fine. Put up pictures that your proud of and if they don’t work for someone than it’s not meant to be. Don’t take pictures that you don’t want to and don’t be afraid to post or display work just because someone told you not to.
Yeah, I’m not telling people not to put images up if they want to, just helping people that wish to improve a little bit, that’s what my channel is all about.
Thanks for the words of wisdom Justin. Hope you are surviving the summer and doing well. I haven't been out much due to the extreme heat here.
Thanks Debra, they heat has been intense here as well and the construction going on means I can’t leave the house much either for the next couple weeks.
Also, same shot in black & white and in color. Come on stick to something
Damn, that’s a good one , I should’ve mentioned that :).
@@AskMOTTI think this still falls into what you said about not having multiple versions of the same image. Having a color & b&w version of the same image falls into this category
Or at least be purposeful about it. There should be a reason that you chose either color or mono & that should be what directs the image. Having both shows a person doesn’t understand what it is about color or mono that makes or breaks an image.
I try to avoid this trap altogether by choosing the type of image ahead of time. You should be able to assess the scene & determine which option serves that scene better. If you’re indecisive about it (even if you picked one over the other) it will show in your work. Knowing that an image is better served by adding color or taking it away, helps to identify you as a good photographer
Hard truths that had to be told. Sometimes, you feel over attached to photos of that wonderful village or tribe that was so difficult to visit. But perhaps the photos are simply not worth for the anonymous viewer who doesn't have the emotional connection to that trip. I often think: "if I hadn't taken this photo and I didn't know personally this person or place, would I care of this picture?", and that helps to cut the amount photos that end up in public albums. Curating your own work is an overlooked skill.