Sam offers in-person and online photography instruction. Call him at 202-531-2344 to see how he can help
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Hello ,
When asked about my opinion on someone’s work during a group class or private lesson, they usually look for a critique. And if we analyze a picture, it’s in everyone’s interest to give a good commentary, not a useless one.
What Are Critiques?
As photographers, we can think of a critique as an analysis and commentary on a photograph or a body of work.
Types of Critiques
Simply put, there are useful/helpful critiques and useless critiques.
In short, a useless critique provides only an opinion based on how the photographer giving the commentary thinks they could have done the work better. Also, an ineffective review is just an opinion based on the photograph’s content without discussing what the photographer thinks of their work or the composition’s intent.
While a helpful critique is based on the compositional intent of the photographer who made the picture and provides technical guidance and
understanding.
Types of Photographers Looking for Critiques
It seems to me that two kinds of photographers are looking for critiques.
There’re “Opinion Seekers,” and then there’re “Guidance and Understanding Seekers.”
The Opinion Seekers
One kind is those simply seeking affirmation or rejection of their work. Usually, a simple “I like” or “I don’t like it will suffice as an answer. However, this type of critique doesn’t leave the photographer seeking the commentary with anything than another opinion of their
work.
And please remember that unless we’re being paid to give it by a marketing agency or participating in
a survey, most opinions aren’t of much use or value. Because, as we know, opinions vary. Some people like our work, and some people don’t.
So, let’s say that this is the type of critique a photographer looks for. In that case, I’ll do my best to nudge them into seeking more useful analyses by getting them more involved in their work.
Or
I’ll decline to offer a critique if they have no issues with their work and are just collecting affirmations or rejections.
The Guidance and Understanding Seekers
Another kind of photographer
looking for a critique is interested in guidance and understanding. They seek analyses based on where they think their picture is falling short compositionally.
In this case, I do my best to provide a helpful critique when reviewing.
And this means I redirect the question back to the photographer asking for the critique. I’ll usually say something like, “Before I can help you, I’d like to know what you think of your work?”
What’s the Use of Asking the Photographer What They Think of Their Work?
A helpful critique is based on the work with a discussion about what the photographer thinks of their work and the composition’s intent. And helpful critiques get photographers involved in evaluating their work critically and usefully.
I ask that question instead of giving another simple, useless opinion of “I like” or “don’t like” because that question is the key to a good, helpful critique process. In other words, that question provides
the basis of a good, practical critique in two ways.
First, the question nudges the photographer seeking the
critique to first analyze their work, especially in terms of how they feel the picture fell short.
And second, the answer the critique seeker provides is the basis for offering a helpful critique.
In other words, we need to know the photographer’s compositional intent and how they feel their picture fell short of it. And we need to know this because that’s the stuff we use to provide the basis of our critique.
Let’s say we’re told by a photographer that a picture isn’t looking the way they wanted. In that case, we’ve gotta know exactly what it is about the image that isn’t working for them. Is the picture too blurry, unsharp/out of focus, light, dark, noisy, etc.? Once we know that, we can give a helpful critique.
An excellent example of a photographer’s intent is usually found at an art exhibit. Specifically, when viewing art exhibits and the
work of a specific artist, there’s usually an artist statement describing the artist’s intent and approach to their work.
A Photograph Isn’t Good or Bad
I appreciate photography and
enjoy seeing photographs. Also, I believe all pictures and photographers have something interesting to offer. But whether an image is compositionally simply a good or bad image is subjective and up to an opinionated, uninformed viewer to decide.
And remember, whether we're asking for a critique or asked to give a critique, the best critiques begin with the photographer’s self-critique.
And remember, we learn and become better by doing, so practice by making at least one picture today.
That’s all for now; thanks for reading!
Sam
Study and practice photography with me.
And if the timing doesn't work for you in any of my scheduled group classes, we can schedule a one-time lesson or a series of in-person or online
one-on-one private instruction that cover the same things as any of my group classes.
---Get guidance on going from where you are to where you want to be as a photographer. There's no charge for a follow-up consultation. Just leave your phone number on the form, and I'll call you. Photography Instruction Strategy
Questionnaire.
I look forward to helping you be a better photographer.
Best Regards,
Sam
About Sam
Sam D'Amico, a professional photographer and photography
instructor, helps anyone who wants to be a better photographer.
He'll work with his students to increase their understanding of camera operation, composition, light, and lighting.
Sam started working as a professional photographer
in the mid-1980s.
Most notably, from 1992 to 1997, while working as a freelance photographer, he photographed over 500 assignments for the New York Times.
Additionally, Sam received awards for his work while
exhibiting his photographs in shows.
Sam began teaching photography professionally in 1998 through the Highland Park, N.J. recreation department.
In 2002 Sam moved to Washington, D.C., and began teaching at the accredited Washington
School of Photography in Bethesda, Md.
It was in 2003 that Sam developed his curriculum and started teaching classes in Washington, D.C.
In 2018 and 2022, the Sam D'Amico Photography Classes were voted the "Best of DC" art class by the
readers of the Washington City Paper.
Many photography teachers spend a lot of time teaching about DSLRs and rules of composition that create homogenized, rigid photographs.
On the other
hand, Sam teaches about camera operation, thought process, and the individual photographer's visual communication intent.
This approach to teaching allows his students to use ANY camera (yes, even the camera on their phone) and break free of the rules of composition.
Approaching the creative process this way allows for fluid and spontaneous photographs unique to the photographer creating them.
Sam encourages his students to find their ways as photographers.
He
instills the skills in his students that result in creative, engaging, and unique compositions that reflect the photographer's intended one-of-a-kind visual expression.