Ding, dong, its finally done

When my good friend Scott Pryor finally finished his first full, official album, I was most excited for his being able to put away those songs and move forward to expand his music in new directions. The CD was great, and I was proud to be a small part of helping him make it realized, but he had been playing those tunes for years, and upon pressing them into a few thousand round pieces of plastic, I hoped that he could finally break free from their boundaries that he knew, and yet didn't, so well. Having finally finished the new portfolio, probably my most serious and large (hopefully big and beautiful too) undertaking since going freelance in 2003, what I feel most acutely is the same sense of excitement about what lies next.

Though much of what fills the book is actually new, I can't wait to turn my back on all of it and dig deeper into the multiple personal projects I've undertaken. An album or portfolio is, in that sense, more of a permit for the individual artist than a statement. Later the definition is stretched and used in other ways, as a catalog, a warranty, a passport, a collection of ideas, and maybe eventually a subjective memory of the past.

After writing so much about the difficulties about producing a new portfolio, I should at least recount how I was able to finally wrap things up. After my first major draft I sent my portfolio to a group of trusted friends and to my reps, and waited for their feedback. Before I even got any back I already saw several things wrong with the book that I hadn't previously. Allowing a narrow personal vision to be opened up to the air immediately can allow a fresh view on the material. Once I got back feedback I tried to make sense of the giant disparity of opinions and viewpoints. There were a few pictures that some of my friends loved and others hated. But the most important feedback, that about the tone and energy of the book, was only achieved after sending out multiple drafts of the book to the same people.

The completed second draft of the portfolio was eventually eaten by my computer during a round of problems I began having with my hard drives. Losing that record of the changes, and having to rely on the vague impression of them in my memory, along with the looming self-imposed deadline, was one of the key factors in being able to finally create a 3rd draft that suddenly felt fluid and dynamic. Once my G5 was back up and running and I dove back into the process, pieces began to fit together. The last draft of the portfolio was sent out and there were only a couple of small changes needed. Among the feedback there was a critical shift concerning my reps at Redux Pictures, who I needed to really love the book so that they could effectively use it to attract attention and commissions from clients. Marcel, who was not that impressed with the first draft, loved the new version.

Looking back at the revisions, what was really important was paying more attention to the tone and flow of the book. Using the same pictures, but mixing them around so that there were hardly any discernable "sections," the final book feels half as long as the first draft, which means that after flipping through an editor will hopefully feel refreshed, even after almost 60 pages. Additionally, and thanks to Jasmine, the final edit is filled with several more BIG pictures (images printed across a double-truck), which added a much-needed splash to the presentation.

And lastly, and without much surprise, the final critical component was compromising on certain ideas that I wanted to get across with the book which the feedback proved just weren't working. At the onset of each portfolio process I always feel very strongly about including way more bits and pieces from project work than would ever work in an editorial/portrait/documentary book. My project work is always the straw that breaks the camel's back, and by pulling it back a bit, while also adding more portraiture to please Redux, I was able to at last find a better mix of my various styles that still felt cohesive. The final solution for my project fever will only be found when I finally publish a projects-only portfolio; better yet I should just finish a real book!

And that's that. The portfolio is done. My tickets to NYC are purchased (I'll be in the city March 17th - 24th). The final tally is 42 photographs in 54 pages, in 3 11x14 screwpost portfolios. And you can check out a PDF version of the new portfolio here. Enjoy.

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Comments (5)

The roof construction picture was a great surprise in the PDF. I reallt dig the portraiture, but this particular picture is a knock-out.

Congrats on the new portfolio. Looks good. Particularly like the double-trucks. Adds a certain drama to the overall rhythm as one proceeds through the book. Also a good way to open it.

As I'm also in the process of putting together some "materials", I was wondering if you're using a service bureau for these promo pieces (biz cards, postcards, which you mentioned in a previous post)? If so, which one (if you're at liberty to say), or is Redux handling this for you?

What about the portfolio? Are you printing it yourself?

I also noticed you altered your site galleries that were previously grouped by client. Yours was one of the few portfolio sites I've seen arranged that way. I think the change is good, as the current iteration should be more "editor-friendly" with the more traditional, topical categories. Was this your line of thought?

[And what particular libation is that peeking out from the top of this page? It's making me thirsty]

The new portfolio is quite impressive and flows well.

Thanks again for sharing your knowledge about journalism schools. By the way, the Jim Beam plant is directly across the road from where I do my hiking. Try the Booker's sometime.

Thanks all --

I don't print my own portfolios anymore - using Epson just isn't worth the headaches and expense to me anymore (the marginal rise in cost is still considerably less than the huge amount of time it takes to get Epson working well). For other promo pieces I use Modern Postcard (especially for their 6x8 promo cards). For business cards, however, you really can't beat 4x6.com and their special coating for their 4/4 products (it costs more, but its super nice).

The bourbon on top is Maker's Mark. I've had a lot of Booker's and Baker's, but still prefer Woodford Reserve, Basil Hayden's, or Rip Van Winkle reserve to them.

Linking images via client is something that a lot of design houses and ad agencies have always done... I just borrowed it. I like the new change too.

Thanks for the info. I'll check out those printers.
Ditto on the Maker's and Woodford (at least the original stuff). Haven't tried the Rip yet, but a number of people have recommended it.
Salud.

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