We look to have our work critiqued for different reasons.
 

Some photographers look for validation, and some look to improve their work.
 

A critique based on improving our work is the best kind of critique.
 

But be careful because some comments are useless to us. 

What Is a Photography Critique? 
 

At its base, a photography critique is a deconstruction of a photograph.
 

We can break this down into two different types of critique.
 

The first type of critique is a factual critique. The second type of critique is an opinionated critique. 

Factual Photography Critiques 
 

A factual photography critique is nothing more than a description of the elements of composition.

A factual critique is simply an objective deconstruction of the photograph, describing the compositional elements that constitute it.
 

For example, the apparent visual effects of our choices for aperture, shutter speed, ISO, and other camera options. 

An Opinionated Critique 

An opinionated photography critique builds upon the factual photography critique by adding an opinion.
 

We could do this in the form of a self-critique or ask someone to critique our work.
 

And by the way, a self-critique should occur immediately after creating a photograph. 

There Are Helpful Critiques, and There Are Unhelpful Critiques

I think self-critiques are ALWAYS helpful critiques because self-critiques allow us to evaluate our work and provide guidance on how we could improve our photography. 

Additionally, I believe that opinionated critiques are helpful ONLY IF the one giving the analysis involves the one asking for the critique.
 

Specifically, the one giving the analysis/critique should ask the one requesting the critique what their intent of communication was when creating the photograph, and what precisely does not communicate that intent. 

A Word About Self-Critiques

I can't say enough about the importance of self-critique.
 

Learning this skill is transformative for our process and outcomes.
 

The connection is that when we deconstruct our picture into its compositional elements, we see where we visually fell short in terms of our communication intent.

This process helps us see our strengths AND weaknesses in terms of our understanding of the relationship between our camera operation, composition, and the light we photograph
 

And knowing what we don't know is as important as knowing what we do know.

The Photography Basics/Introduction To Photography class is scheduled and’ll help you learn what you don’t know and so will a series of private lessons.

However you choose to study and practice with me, I’ll help you become the best photographer you can be.

And if you’re not sure which class fits your needs, just ask—I’m always happy to help.

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.