Culling for Story: Turning a Great Set Into a Body of Work

Most photographers cull to find the best single frames. This piece pushes past that and into the step most tutorials skip: once you have your selects, how do you shape them into something with a point of view? The insight that lands is the distinction between a beautiful set and a coherent body of work. Those are not the same thing, and confusing them is why so many portfolios feel like collections rather than statements. Useful if you shoot editorial, documentary, or multi-image client deliverables where sequence and narrative actually matter.