There are many theories and thoughts on what the correct process should be for a photographer. There is no right process. Each photographer must choose their own. But once they choose, they must respect it, because it is the framework of discipline within which they operate. We see a framework, for painters let's say, that is much more strictly defined by each of them. Some painters work only in a specific space, others work to a schedule as if they were employees. Therefore, the photographer must set some disciplinary limits for themselves. Let's say then that the first limit is that the photo, during the shooting, should not be influenced by the outcome. The photographer must be detached from the result, must be focused only on what is in front of their lens. So then they will neither judge whether they took a good photo, nor will they look at the photos to correct them afterwards, nor will they decide which to delete from their camera, although they now have this capability. They will just take photos. Returning to their space, at an unknown interval (excessive as with Winogrand who for ten years did not want to see his photos, excessive even if they rush home to see their photos) with a degree of relaxation, they will look at the results of their work on their computer. There I believe they must very quickly and with great dynamism decide which to discard. We didn't used to do this. We didn't do it because we had a film with 36 photos and we kept them and made contact prints. Now there is no longer this reason. From the start we see which photos are – in our opinion – unacceptable. The rest will wait for our next judgment. It doesn't have to be definitive on the first day. We will return with a fresh mind to look at the photos again. And finally, we will be left with a number of photos, much smaller than the original captures, which we believe photographically "stand." That photographically have a reason to exist. Some categorize these photos. With stars, with ratings, saying this is the best, this is the second choice, this is the third choice. I don't think this helps the photographer. The important thing is that they will now have a volume of work, which they have accepted in some way, and from this volume of work they will slowly begin to shape what we call portfolios, that is, sets of work that have some affinity among them. A very important element is – and here digital technology tremendously helps us – the ability that the computer gives us to study the work we have done. How we can become observers of our photos and decide what connects the older with the newer, what is the thread that expresses our personal proposal, and based on this proceed to the next steps and shape the portfolios.