Many of us do not know which images are the best and why. Sure, we get clues from what we are evoking. But if you have more bursts than you choose, how do you know which is the best. Should it be just one or more?
After you come back from the photo session, are you thinking about how you can use your photos or just wait for them to make them "beautiful"? Well, it is certain that a good framework tells you by yourself what it is doing, how it integrates into projects and more, but the question is, can you figure out the key cadres when you hold a lot on all your photos?
The first step would be to accept that less and better is much better than more and poor quality. This even if you liked the place, the man, the state, etc. What stops you coming back? If you found a brilliant frame, but the pictures did not come out because you were probably not in your best moment, put them aside if they do not let their hearts wipe them off.
Remember that on how many brilliant cadres you have missed so many you can find in the future, even more.
Good. But still, how do I select the best pictures of the ungrateful cadres?
Selecting images requires exercise and knowledge about your target audience. If you are counting on a audience that appreciates the clean, bright and enchanting frames, opt for simple-looking photos, where the subject is not necessarily or indiscriminately sought, the key being the state that the whole picture is playing. If your audience appreciates dramatically and darker frames, you can take advantage of more complex compositions, hidden topics, more overwhelming, etc.
I've also prepared some guiding criteria to help you in the selection as follows:
1.Look at the photos both on the whole and on each one.
2.Do not go through them, and so be careful of the details, analyze them a little. Search arguments and arguments. Why choose this photo and not the other one? What's the best? What makes you feel? Why does it make you feel what you feel? and so on
In a selection, even if the photos are totally different, there must be a harmony. The way they are seated, which photo is next to it and so on. All of this matters whether we are talking about a photo website, blog, exhibition, book, etc.
Think about setting up a room. You clearly need furniture. You will certainly not find it all in the same place, but it is certain that in the end things have to match each other.
How do you know if the images match each other? Well, you can set them according to several criteria that go regardless of their genres and stories:
-Chromatic (either complementary, or depending on color tones, let's say you start with blue. After the turmeries, green, green lemon, yellow, orange, etc.).
-Expressions. Some portraits seem to answer each other when they join them.
-Action. Do not put all the very dynamic photos in the same place, alternate with some more static, because they become tiring.
-Black and white. Play with leading lines, textures, and negative space. It can be a real puzzle that complements, depending on how you place them. For example, suppose you have a texture, a single-character composition, and nothing else around, and a silhouette photo of the city (more people). In this case you can think from simple to complicated or vice versa (texture-composition-silhouette or vice versa). Thus, everything has a direction, a cursivity. Of course, it depends a lot on the frames.
-Story. Here things have to be done inversely. Make some frames in a harmony that makes the story easy to understand. Communicate it, practically on its own.
