The keys to a photo critique including trusting your intuition, being spontaneous, and having empathy for others and yourself.
"It's never personal." That's the first thing to keep in mind when offering a photographer a critique of his or her works.The critique, in theory, should be based on the reviewer's experience in making and looking at a range of photographs. However, in the real world not getting personal is nearly impossible. There is always a subjective measure involved in deciding what makes one picture better than another -- a point that is especially true on a lot of social media photo sharing sites such as Flickr, Facebook, Photobucket, and Shutterfly.
The process of a photo critique begins with developing trust between the photographer and the individual conducting the critique -- a relationship built upon one person's experience and another person's interest in improving their craft. If there is mutual respect in a relationship than the process of learning and improving one's work is made that much easier.
Online, there are many photo sharing sites that allow users to critique pictures. Unfortunately, the process of saying what works or what doesn't work is a little soft. Basically, anyone can
Unlike "art" photography where just about anything goes, human interest photography/photojournalism follows a predetermined set of expectations that is linked to one main objective -- telling a story. If there is something that gets in the way of the story such as poor lighting or composition, choice of focal length or camera angle, or lack of understanding between the subject and the photographer, then the images will perhaps not be as compelling emotionally.
W. Euguene Smith once said (paraphrase) that if you feel you are close to a subject than you probably aren't close enough. Photography is all about relationships. Our relationship to the world around us, the camera, the light, and ourselves. Confidence comes with experience. Like a musician, the photographer's ability to use the camera as if it were a Stadivarius violin. The camera becomes an extension of the way in which we relate to the world. If we disassociate ourselves from the mindful discipline of recognizing the relationship between photography as a science and photography as an art, we are well on our way to become great visual storytellers.
Henri Cartier-Bresson observed, "For me, the camera is a sketch book, an instrument of intuition and spontaneity."
This is a good place to start thinking about what makes a compelling photograph. Bresson's idea that the camera is an instrument of intuition and spontaneity is a brilliant. While critiquing an image the first that comes to mind is the connection between what the photographer has fixed and framed in a blink of an eye, and the process that help them get to that place. It's intuition and practice that helps a photographer get in the right position, select the appropriate angle and focal length of the lens, and wait for the decisive moment. Both Smith and Bresson were masters of the intuitive approach and it shows in all of their work. The techniques involved in using a camera can be learned, but intuition is much more difficult.
Beyond technique, the photograph should be evaluated on the photographer's ability to compose an image. Again, using the music analogy, a musician may be phenomenal in executing a tune or song, but what is missing may be expression. The photographer must develop not only technique but also an understanding of how the arrangement of elements in the frame work together. This process, after a while, is also intuitive and spontaneous. Finally, there is the issue of being able to tell a story. People respond to images emotionally,
A good photograph offers the viewer the opportunity to emotionally connect with the subject.
Emotions are those feelings we hold toward someone or something. Feelings, are natural and intuitive -- they can draw us in or push us away. This is why it is important to evaluate an image with empathy -- the ability to understand what the photographer feels. The reviewer, with an empathetic eye, must consider the intention of the picture-maker. Who is the audience? What is the photographer trying to convey? What elements in the image distract from clearly communicating the story?
One of the most important lessons learned earlier on about having work critiqued by a peer or mentor can be summed up in one simple question. Why should I care? These four words, early on in my career, dramatically changed the way I think, act, and make pictures. When reviewing an image, this question needs to be in the back of the mind, but not necessarily expressed openly. The purpose of a critique, ultimately, is to encourage and build-up a photographer not to discourage and destroy the ego.