Photoworkshop.com members have frequently debated the topic of critiquing images. As it is a viable part of our site and the learning process, it’s often a subject of confusion on our forums. I hope to clarify what critiquing is and how we can be more proficient at it whether one is an amateur, pro, or anything in between. I also want to emphasize self-critiquing or self-editing. By attaining a greater understanding of the critiquing process, it can become another invaluable tool that could alter the way we shoot and view our own images.
Photography is an art. Critiquing photography is not. Anyone who can see can critique. Using specific guidelines enables all of us to be a seasoned critique junkie. Some people are more natural at critiquing, while others might feel more comfortable following constructive guidelines.
The purpose of giving critiques is to offer one’s impression of a photo. Since we are all coming from varied backgrounds, this tends to create varied critiques. And this is a good thing. But also remember that a critique is NOT a criticism. There is no place in critiques for nastiness in thought or words, egotism, direct put-downs, photo bashing, etc (I think you get the picture). But even with that said, we have all been guilty or accused at one time or another of non-intentional negative sounding critiques. It’s worth the extra few minutes to be aware when typing, to say to ourselves, how would I feel if what I wrote came from a fellow photographer critiquing my image?
In critiquing, I suggest that we find something we like about the image first. If there’s absolutely nothing to like and we still want to offer a constructive critique, then find anything, even the smallest aspect that does work within the image and mention it first. Bashing a photo is counter-productive. And so is, Wow! Great photo! without an explanation. It has a similar affect. Remember, an image is supposed to evoke some emotion, and unfortunately, since images are personal to the photographer, the critiques can also feel personal, no matter how much we wish it were not so. Once we learn how sensitive this issue can be, we have a better understanding in the phrasing of our responses.
Below are some general constructive guidelines that can be helpful in offering critiques. I have separated them into three values: EMOTIONAL, ARTISTIC and TECHNICAL.
1. First is the EMOTIONAL value. This is when we view an image for the first time and express our reaction.
NOTE YOUR IMPRESSION AND EXPLAIN WHY
For example: If I like it, why, if not, why not? Does it arouse an emotion, a mood, tell a story, remind me of my past, my dreams, my present? Does it evoke my imagination? Does it capture me in any way? Or does it say or feel nothing? Is it thoroughly uninteresting?
Here are some examples of what we might start off saying if we felt something from an image (yes, I suppose it does sound like a therapy session!):
This image makes me feel…
This image reminded me of…
You seemed to have captured…
My first impression is...
It’s a beautifully captured image because...
AND if the image did NOT give a good first impression, we might say:
I am trying to grasp the mood, the subject, the focal point, etc…
I want to feel more…
I would like to better understand what was behind capturing this image. What was it that you saw which made you click the shutter?
Darkening the image might create...
For a stronger impact, I would…
The mood might be more impacted with…
2. Second is the ARTISTIC value.
For example: is the subject of interest obvious? Is the concept unique, creative? Is the composition and subject placement pleasing to the eye? Is there anything within the image that does not add to its impact? Are there distractions that can be easily removed in Photoshop (branches, trees, people, dust, parts non-discernible, etc)? Does the perspective work? Are lines aligned/not-aligned creatively (horizons, for example), or are they mere distractions? Are parts within the image cut off non-intentionally?
We might critique:
The composition might be more compelling if…
My eye wants to…
If the subject were moved a little to the…. it might create…
If the subject were moved closer...or further away…
The angle of the subject might be better…
The foreground feels distracting to…
The background seems to…
For stronger impact, I would crop…
Is the blur intentional? Does it work…or…it doesn’t seem to add enough strength to the image for an impact.
3. Third is the TECHNICAL value.
Does the overall exposure work? Is there a range of dark and light, shadows and highlights? Is the image muddy with no contrasting values? Is the photo in focus or meant to be blurry (improper depth of field is a red flag to critiquors). Is Photoshop overly used (colors, sharpness, contrast, brightness)?
We might critique:
The image is too dark, too light, too muddy, which…or I would change/add…
The highlights/shadows are…
The background is blurry which…
The background needs to be blurry which…
The exposure feels…what did you use for exposure? In camera metering or… next time I would suggest…
A worthy critique remains friendly, thoughtful, positive, considerate and always honest. There is no word length to a critique, just have the content offer some depth into the why, along with added suggestions/recommendations. Valuable critiquing utilizes proper etiquette for the purpose of enhancing and expanding a photographer’s skill from an objective point of view.
Below are some of my critiques, with the hope that these examples empower more people to critique. Also included are some follow-up responses from the photographers.
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| bus |
BUS SHOT
The bus shot has some unique style aspects to it—I loved the way you framed the image at an angle with that viewpoint and how it was cropped. The red lights amongst the monotone were also a great choice that add focal points overall, plus there could be a story that might go along with this image.
I am left to wonder what is in the lower right corner of the photo that my eye seems to go to, as well as the red on the upper right, which are both hard to distinguish. We want the whole image and all its parts overall to be easily understood by the viewer. I would also recommend just adding the red color to the lights only, and being consistent. As consistency feels better to our eye. If we can say, "oh I get it!" Or that the image says such and such to me, or provokes any emotion, then it works.
I see what you mean by the lower right-hand corner. It is a street trash can. I also see what you mean about the lights only. With the lights only there is more of a story in the image, one of transportation, moving people. I've reworked the image, darkening out the trash can and removed the red except for the bus, car light and stop light. It looks much better.
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| fashion |
FASHION SHOOT
The fashion shoot is technically very good but just has aspects in composition that can use tweaking. Fashion photos need to be very detail oriented, with styling assistance. And to make it more fashion forward for today, I have some suggestions:
- It would be more interesting to have her look directly into the mirror (or whatever that is) and have the camera's main focus on her INSIDE that round area, if possible.
- Her left arm is awkwardly placed.
- The clothes from behind can use a styling update (for example: if you were to cover her skin showing in the back, replaced with all black, it has more impact and appeal).
-A background line cuts through her neck, which seems to cut the image in half.
- Her make-up has a lot of black eye shadow and liner. Today's models have a more natural look. If you want to do more fashion photography, I recommend picking up Vogue or Elle magazines and studying the images, the models and the overall scene, etc.
The images of Julee (second time I’ve shot her) are the first time I've attempted "fashion shooting." The real professionals make it look so easy— well it isn't!! Julee would like to be a model, but she is tough to work with, she is a sweet gal, but has only one expression, the one you see and I can't get her to move to feel free. So my thought was to add something into the image to change things up some. I didn't think of having her look into the window and shooting her reflection, that would have been a great idea.
As far as the dress and make-up, it was her choice. I thought she was a bit heavy on the make-up. I also wanted to darken the dress as you suggested, but she didn't like that idea. I see what you mean about the left arm; I must be more aware of everything. The background line I couldn't decide whether to leave or remove, but I know now!!! Your suggestion of picking up Vogue or Elle magazines and studying the images is a great one. I have been doing research on the web, but your suggestion is better. I'll also mention it to Julee, I believe it will help her as well.
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| pier |
PIER
The image of the people walking on the pier at sunset seemed a great idea, but misses in its capture. My eye doesn't know where to look and there is little in the scene of interest or that wow factor, plus a hard to find focal point. The lines of infinity here on either side interfere with that idea, as they seem to conflict with each other. Also, most photos of the horizon feel better to our eye if the horizon is straight across horizontally. Of course there are exceptions, but in order for our images to have more impact, there needs to be an interesting focal point, clarity of subject, and of course, pleasing to the eye to be successful.
I guess I've kind of over done the "not straight" concept and was thinking that "a cool, non-straight image with a big sun in it" would be a winner. Now after reading what you've said, I have to agree there is no one main focal point to the image, no story, not even a hint of one with the family in the middle, because there are so many other people in the image. As it's been pointed out many times, it's okay to break the rules, if there is good reason and it works.
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| cherokee |
CHEROKEE
Great subject. Nice light and interesting background to work with.
In this situation, my first approach is to talk to him. Ask questions about his life, getting him to tell you his story. Then when he starts talking, I would be snapping dozens of images of him close-up and further away. I would be the one that was moving, working around him. I would spend the time with him, shooting while continuing that dialogue about him. I would show his full-length body against the interesting background (possibly with him on one side) because I have the desire/craving here to see more of him. I would also do a lot of close-ups with eye contact, as the eyes express a life led, and I am sure he has had an interesting life with much to say. For in this case, seeing his eyes might just be the spark that makes this image really stand out. His looking down with a smile isn’t giving the viewer enough information into his life. When shooting interesting subjects, we want to reveal something of his life. I am craving to know him via his eyes or his body language. If you have someone with you, they can be talking to him while you are shooting.
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| airport |
AIRPORT
I happen to love this airport image. There is mystery here. We want to know who she is, where is she going, where is she coming from, etc. In this situation, we have only one time to get it right, but this moment is all we are given. I think you did a great job in capturing the story, and the movement shows the transition of the subject, which is why we ask the questions and want to know more. Since you had no time to really test the camera for lighting, what I do in this situation when I know someone will eventually walk by, is to do some practice shots in that exact area and get it right technically. Most likely someone will eventually appear right where you want them to, and you will be ready. When I see a great background, I merely wait for a subject to fill it, just where I want them.
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| trashman |
TRASH MAN
What is of most interest in this image is the background of a neutral color, then this guy in red who stands out. That is what works about this image, and probably why you captured it in the first place. Again, in this situation, I would have shot like crazy. Almost shooting every move he makes because one thing he does just might be the winning pose, and most appealing to the eye (could be his dumping the garbage in the pail, with his back to us). I would have experimented with positioning him off-center as well, as sometimes photos just need that little shift. If you stayed with him, and all still seemed uninteresting, then this is one of those images that would be in my just O.K., ho-hum file. Sometimes we find something that we think is a great shot, but the end result is just not as interesting.
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| stable girl |
STABLE GIRL
This girl has either won all those awards or the horse did with another rider. Again, I would have loved to find out. She is closing the door, so I assume the horse is there after a ride. We want to know what is of interest in this image. It does tell a story about her return from practicing and is putting the horse away, and there are tons of awards from her endeavors. But I still wonder more. Again, I want to see some contact with her and not just watching her close the door. I think the main interest here would be with HER. Who is she? I crave to see her tired, or excited or sad that she perhaps lost or even won, just some emotion from her doing something that she loves. When you shoot people who are doing something they're passionate about, the most important thing to capture is their emotion relative to the act they love, and it can be before, during or after.
Judith critiques images professionally and offers her service to members of Photoworkshop.com (at a discount) as well as to non-members.
Please email for further information: judith@photoworkshop.com
http://judith.photoworkshop.com
Your evaluation was of great help to me. It has given me many things to think about.
Thank you so much for the valuable feedback. It gives me a definite direction of where I need to focus. Insecurity is probably the biggest obstacle in working with this aspect of my photography. It all makes sense though, and I appreciate you for helping me bring that into perspective.
I have a project idea that I have been putting off. I think that now is the perfect time to begin this personal challenge. I hope that it will produce many images that I can run by you!
Let us know if you found this article useful, and tell us what kinds of articles you'd like to see in upcoming issues. Send your comments and ideas to Lynne Eodice.
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Last Updated: Jan 5th, 2009 - 04:43:23
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