The Zen of the Eddie Adams Portfolio
By Jim McNay, Brooks Institute of Photography
"God I hope I get it! How many people does he need? How many boys? How many girls?" - From a song in the Broadway show, "A Chorus Line"
Putting together a portfolio for the Eddie Adams Workshop can seem to require the facility to solve the classic description of Russia-"A puzzle wrapped in a mystery inside an enigma."
So the first thing to do is take a deep breath and r-e-l-a-x: As a photographer who has been at this a while, You Can Do This.
As with all portfolios, it is about showing your best work. Now you're going to assemble your best work for a new audience.
There are a couple of things to consider.
One of the portfolio reviewers is Jimmy Colton, a photography editor for Sports Illustrated. His insights from the selection process offer insights for photographers.
First, he suggests photographers remember, "Less is more. Don't feel like you have to send 20 because that's the limit. says Colton. " Send as many good, strong, solid, speak-for-themselves pictures that you have....UP TO 20."
In addition, he reminds photographers of one of the key mantras of portfolio preparation: Your portfolio is only as strong as your weakest picture. "Get rid of the clunkers," Colton suggests. "If something looks like it doesn't belong, it probably doesn't."
Many workshop faculty members come from the world of magazines. These publications are some of the most sophisticated magazines of journalism and storytelling in the world.
This does not preclude newspaper photographers or those with a more basic newspaper portfolio from being accepted. However workshop reviewers have a high standard for what makes a sound, storytelling picture. Look at the list of faculty on the Website. Then go look at the work of these publications. That will not only help train your eye but will show you work by the best of the best.
(While you are at it, make darn sure you read who Eddie was too! Don't confuse him with the singer who promoted cigars.)
That said, portfolios consisting of a collection of single, stand-alone pictures can gain a photographer's admission to the workshop. At the same time, editors at this level l-o-v-e projects. If you have a project (picture story, photo essay, set of strong portraits that have a connecting thread) then consider including this work with your submission.
"Stories work," says Colton. "For me, 10 singles and a story give me a much better idea of how the photographer approaches their work than any 20 singles could."
Some portfolios come in made up of one long project. This is a bit risky, but it can work. It is OK to be bold. (More on this below.)
It does not matter if you show your work as color or black and white. It is all about good photography.
However, Colton recommends reviewing the portfolio from an additional perspective. He says, "Remember the three C's: Content, Composition, and Color.....the last C being use of light, or flavor of the situation."
Ultimately, you have to decide what goes in the portfolio. The presentation is your representation of yourself.
At the same time, it is highly recommended that photographers get feedback before submitting their work. Get all the feedback you can from visually trained people (Sorry, Mom!)
"Photographers get too close to their work," Colton says. "They need outside, objective opinions."
Colton knows photographers want to say, "Well, when I took this picture, I was under great hardship, running from a mob of angry people and I was very lucky to escape with my life!" But he says when we look at the picture, "Unless we were running along side of you, we wouldn't know that would we?" he says.
Once you have heard from many voices, do the following:
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1. Go to your room.
2. Close the door.
3. Look at your work.
4. Think about all the coaching you have received.
5. Then YOU make the decision about what represents who you are as a photographer.
How do you know you are ready for the Eddie Adams Workshop experience? You will know when you are accepted. This is all part of the Zen of the workshop. It's just the way it is.
If you don't get in this year and you are convinced you are ready-make sure you apply next year! Keep your commitment in place and come back at the Workshop again.
Why? Because being in this workshop is worth whatever it takes to get there-so long as one behaves ethically and legally.
There are Sacred Places in photojournalism. That means by being in those places, the experience you have allows you to advance your skills at an ACCELERATED pace compared to what your growth has been up to now. You want to be in such places. The Workshop is one of those.
But you'll understand this way better at the end of the workshop than you will having just read this here.
If you have any questions about the application process, please email us at info@eddieadamsworkshop.com.
