One word: Tedious.
Granted, everyone has a different process or sequence for how they shift through layers of work to discover the singular gem inside, but for a lot of photographers it tends to go like this...
Round One: Love Affair with the Recycle Bin
Delete. Delete anything that doesn't make the cut and be as stern with this as possible because it's going to save you some time later. You don't want to be neck deep in 50 sequence shots of the same thing (i.e. any important action shot in a shoot) and have to edit every single one before you decide which you like best. Nothing unintentionally blurry pictures, sneezing, blinking, etc. etc. Delete files more often that you save. 1st round is a 2/3's rule: You take 3000 pictures? You should probably start the second round with short of a thousand.
Round Two: ADD Kicks In
This varies from artist to artist, but second round for me is usually when I sort. With big events like weddings, and sometimes with portrait shots where we use a lot of different looks/outfits, I like to organize the shots that survived the onslaught of deletes during round one. When you're working with multiple cameras it's hard to keep track how much you shot of a particular moment or look, so organizing it may put into perspective how much you saved. There's been times where I realized I had only one good shot of an essential moment but about 50 saved from something random that happened that, in the end, wasn't their favorite to be photographed anyways. So sorting and deleting another round usually helps the editing later.
Round Three: Where We Actually Do Edits This Time
By this time of editing the typical photographer is probably down to about 10-15% of the photos they started out with. Pretty amazing if you think about, but don't think too hard. It'll give you a headache to think that the real work hasn't even begun. This round is all about the details. Color vs. B&W/Sepia, sharpening, contrast, airbrushing, cropping. We're not photographers, we're digital miracle working dermatologists. We can change time and space and light. We can create moods with just a click of a button. Our powers have limits, granted, but what we ARE able to do is pretty remarkable and it's only getting better. Depending on the image and exactly how much work is needed, the average time spent per photo is around 20 minutes. Mind you, that's an average. Some take seconds (a few clicks of airbrushing and a crop to fit and voila! A masterpiece! Others I've spent hours individually cloning or deleting hairs or airbrushing out acne that would make you cry if your eyes had any moisture after staring at the screen for so long. It's an intensive process and it takes time and patience on everyone's behalf.
Round Four: Logo Mr. Roboto
So the edits are done! Huzzah!! It only took you *looks at watch* about half a lifetime to sort through the pile but you've got some great ones and now all that's left is to put your digital stamp of approval on it. A logo is one of the most important tools a photographer has in their arsonal. It says, why yes! I did do this. And I'm proud to say it's mine. So go, print this and keep it for your memories but make sure everyone knows I'm responsible for this genius. I usually hide mine so it's not distracting (usually in a corner or embedded into the colors of fabric) but some people write it in the lower or upper sides of a photo. NEVER EVER CROP A LOGO. It's one of the worst sins you can make for us. It's like writing a book and the publishing company going "this is great, but we're taking your name off the cover because it really takes away from the title." It is our LEGAL RIGHT to have that itty bitty logo on those pictures. It's our ownership of the art and advertisement for who we are and what we do. Remove that and hell hath no fury. Some argue it's a victimless crime. But it's not. It's a federal one. Look it up.
Round Five: Photographing for Statler & Waldorf
Everyone has insecurities, and it doesn't end with the subject of photos. Photographers are mirror bearers (literally and figuratively) and we do our best to bring out the best in a subject. Personally, no matter how good I know a photo looks, or how others think it looks, it's the subject's opinion that means the most. You're the one whom I've given reflection, YOU mean the most. Nothing puts a worse taste in my mouth than taking a beautiful photograph, spending time and money and care to make it the best it can be, and have the subject roll their eyes and call themselves fat or old or ugly. It's your insecurity that just ignites mine. Did I not do right by you? Should I have taken this from a different angle or in better light? Should I have put your head on Adriana Lima? WHAT MUST I DO TO MAKE YOU HAPPY!? That folks is how you make a photographer feel like crap. To hate yourself. To actively hate the way you look. Saying "this photograph looks great, but I'm ugly in it" is completely contradictory and passive aggressive. Either you like the photo and everything it is, or you don't. Own up to why you're disappointed in how you look and we can both learn from it. I'll always try to make you feel comfortable and beautiful but if you're concerned how you look (or might look) that's when you need to talk to me about it. Without communication, everyone leaves upset.
For the most part, it's a waiting game. Silence is deadly when showing art. I'd rather have an angry reaction than no reaction at all. Feedback is key, talk to us no matter what you think. You never know what we can do to change or improve what is there.
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