Why show all of it
A portfolio of only the elaborate work sets an expectation that the elaborate work is the norm, and it produces two bad outcomes. People arrive believing a plain set is a lesser choice, and people book art without budgeting the time for it, which turns into a conversation at the chair about what to cut.
Sixty-two per cent of what leaves this room is one colour on a well-built apex. That is the actual product and it is what most people want most of the time.
What a tile tells you
Each set in the studio gallery carries a number, a system, and the time it took. Not because anybody needs the data but because time is the honest unit here: a two-hour set and a three-hour set are visibly different objects, and the number is the only way to say so without a sales pitch.
The longest of the season was three hours and forty minutes, a full ten-nail painted set for a wedding. The shortest was a seventy-five minute two-week fill, which is the appointment we would most like everyone to book.
On photographing your own
Every set gets a photograph before you leave, on the same grey card in the same window light, and you get it. Two reasons: it is the only way to compare a set at week one against the same set at week three, and it is genuinely useful for deciding what to do next time.
If you would rather not be photographed, say so and nothing is taken. Nobody has ever been asked twice.