It is easy to become attached to a few photographs while reviewing hundreds after a shoot. I keep that initial response, but do not make it the only criterion. My favourite frame may not be the most necessary one.
First pass: identify unusable material
Technical problems, inaccurate product representation, permission issues and clear brief mismatches need attention. A strong image with a correctable flaw can be assessed separately, but an alteration that changes reality is not routine retouching.
Faithful product appearance and clear details remain basic requirements. Visual impact does not remove them.
Second pass: reduce repetition
Which of several similar frames performs its role most clearly? Minor pose differences do not automatically justify separate uses. I preserve useful coverage of the whole, details and use while narrowing the selection.
The required outputs in the shoot brief provide a check. A necessary rear view can easily be forgotten among more dramatic photographs.
Third pass: read the sequence
Colour, direction, distance and movement create relationships. Equal intensity in every image can flatten the rhythm. Close and wide views can reveal different layers of information.
I also review small cards, covers and mobile crops. An image effective in one placement may not work in every other placement.
Record the selection precisely
File identifiers, intended uses and required edits should be explicit. The lovely one can mean different frames to different people. Approved choices and alternatives need separate states.
A final edit is not merely the sum of the most attractive photographs. It is a set of images whose functions complement each other.