Dear friend,
In order to become a better photographer, learn how to be a better constructive critiquer of the works of others (also being a better self-critic).
Help empower other photographers through constructive critiques
First of all, what is a ‘critique’?
To me, a critique is a judgement whether a photograph/image/artwork is good or not.
A “constructive critique” is a critique which is constructive– it informs the photographer how to improve.
To me, the only useful type of critique in photography is constructive critique.
Why? You actually give the photographer useful information how to improve, and get better. You tell them what they can possibly do next time to avoid a mistake. To me, a constructive critique is positive, optimistic, and helpful/useful.
How can I improve?
A lot of photographers online only give negative/useless critiques/criticisms. To simply say that a photograph “sucks” without constructive feedback is useless. I would actually not mind so much if someone told me that my photos sucked, as long as they told me why they thought the photo sucked, and how I can improve my photos in the future.
How I give a constructive critique
Generally when I give a constructive critique to a photographer, this is what I do:
- Tell them what you like about the photograph: What you find interesting, or visually appealing.
- Tell them what distracts you in the photograph, or what you don’t like.
- Constructive ideas on how they can improve their photos in the future.
I also like to tell a photographer how my eyes scan a photograph. Imagine describing your own ‘eye tracking’ movements.
Be brutally honest in a loving/compassionate way
There is a certain finesse about giving someone a constructive critique, which doesn’t offend the other person.
I generally think it is all about your tone. The tone in which you give a critique is essential. Give your critique in a positive, non-judgmental, and non-pretentious tone. The more inviting and down-to-earth your tone and presentation of your critique, the more likely the other person is to receive that critique in a positive way, and actually learn.
What you DON’T want to do is to give a critique in a manner which causes the photographer to get defensive. When a photographer becomes defensive, they totally block their ears (and heart) to your feedback.
I also like to preface my critique saying:
“This is just my personal opinion, and I am giving you this feedback because I like you, and I want to see your photography improve.”
Ask for permission
Another tip is asking the person:
“Is it OK if I give you a brutally honest critique?”
Most people actually say “yes.” And when you ask for permission, and the photographer says ‘yes’ — they actually end up taking the critique much more positively.
“Keep or Ditch”
A lot of modern photographers are lazy to give critiques, especially over the internet. I like giving in-depth critiques to other photographers in-person, but dislike writing super-long constructive critiques over the internet on my keyboard.
Thus, Kevin, Cindy, and I created “ARS” — a photography feedback platform that has a simple ‘keep’ or ‘ditch’ function (learn more about ARS here).
I like the simple binary of ‘keep’ or ‘ditch’, because it signifies to the photographer:
Either keep your photograph or ditch it. You will end up shooting a lot more photos, so it isn’t a big deal if you ditch a single photograph.
Also, having this simple binary makes our lives simpler as photographers. We have thousands of photographs — should we categorize, and backup/tag all these photos? No. Let us delete the photographs that we decide to ‘ditch’, so we can feel fresh, empty, and open to creating NEW photos.
Give a constructive critique like you would like having your own work critiqued
When in doubt how to give a constructive critique, simply give another photographer a critique in the manner how you would like to be critiqued. Put yourself in the shoes of someone else.
And remember– you are giving a constructive critique NOT to put down the other photographer, make them feel crappy, or to boost your own self-ego by putting them down. No — your duty as a photographer is to empower your fellow photographer, and see how he/she can achieve their personal maximum as a photographer.
Be brutally honest when giving constructive feedback, yet do it with finesse, love, compassion, and a benevolent heart.
ERIC
Photography 101
Dear friend,
If you’re new to photography, start here:
- The Ultimate Beginner’s Guide to Mastering Photography
- Free Photography Bootcamp
- 100 Photography Tips for Beginners
Photography Techniques
- Photo Technique: Look Up
- Street Photography Technique: Overlap
- The Fishing Technique in Street Photography
- The “Bookend” Technique in Street Photography
Everyday Photography
- How to Shoot Better Night Photography
- How to Shoot Better Macro Photography
- Everyday Photography
- 10 Tips How to Take Better Photos of Everyday Life
- 15 Tips How to Shoot Better Selfies
- 10 Tips How to Take Better Photos of Everyday Life
Color Photography 101
- The Ultimate Beginner’s Guide to Color Photography
- Opponent Process Color Theory For Photographers
- Color Theory For Photographers
New Photography Articles
- 15 Tips How to Shoot Better Selfies
- Photography is All a Matter of Perspective
- Photography Warmup Assignments
- 5 Simple Tips How to Take Better Pictures
- 10 Tips How to Shoot Better Architecture Photography
- 7 Reasons Why I Love Digital Medium-Format Photography
- My Experience Shooting Digital Medium Format in Street Photography
- My Experience Shooting my Friend Wedding on Digital Medium Format
Photography Philosophy
Photography Inspiration
- How to Become a Self-Confident Photographer
- The Spirit of Becoming a Photographer
- How to Make Better Pictures
- 10 Tips How to Take Better Photos of People
- How to Avoid Boredom in Photography
- How to Master Photography
- A Photographer’s Guide to Seeing
- PRETENTIOUS PHOTOGRAPHY
- Photography Energy Management
- How to Unlock Your Potential in Photography
- There Are No Good or Bad Photos
- The 5 Minute Photographer
- A-Z: PHOTOGRAPHY DICTIONARY by ERIC KIM
- Why I Want to Be a Photography Newbie Forever
- PHOTOGRAPHY FLUX.
- 10 Creative Photography Assignments to Re-Inspire You
- 50 Photography Tips by ERIC KIM
The Fundamentals of Photography
- Make Simple Pictures
- The Art of Reading a Picture
- How to Choose Your Best Photos
- GET CLOSER.
- Keep or Ditch?
- What Makes a Good Photo?
- Why Photography?
- Everyone is a Photographer
- How to take better pictures
- How to take better selfies
- How to Paint With Light
- Why Bokeh is Overrated
Photography Equipment »
- What is the Perfect Camera For You?
- What to Consider When Buying a Camera
- More Megapixels, More Problems
How to Take Better Photos »
- How to Take Better Photos
- How to Capture Emotion in Your Photos
- How to Create a “Curiosity Gap” in Your Photos
Composition Lessons »
- Composition Lesson #1: Triangles
- Composition Lesson #2: Figure-to-ground
- Composition Lesson #3: Diagonals
Photography Assignments »
- 40 Practical Photography Assignments
- 15 Street Photography Assignments
- 25 Photography New Year’s Resolutions
Contact Sheets »
- Street Photography Contact Sheets
- Street Photography Contact Sheets Volume II
- Debunking the “Myth of the Decisive Moment”
Editing (Image Selection) »
Creativity »
Motivation »
- Each Photo You Take is an “Attempt”
- How to Overcome Photographer’s Block
- Why Do You Need “Inspiration” to Shoot?
Post-Processing
- How to Edit Your Photos
- Grain is Beautiful
- Are Filters “Cheating” in Photography?
- Video: Introduction to Editing, Processing, and Workflow in Lightroom
How to Create a Body of Work
Technical Photography Settings
Learn From the Masters of Photography
“He without a past has no future.”
Start here:
- Why Study the Masters of Photography?
- Great Female Master Photographers
- Cheat Sheet of the Masters of Photography
- 100 Lessons From the Masters of Street Photography
- Beginner’s Guide to the Masters of Street Photography
- Download All Articles >
The Masters of Photography
Classics never die:
- Alfred Stieglitz
- Alec Soth
- Alex Webb
- Alexey Brodovitch
- Anders Petersen
- Andre Kertesz
- Ansel Adams
- Araki
- Blake Andrews
- Bruce Davidson
- Bruce Gilden
- Constantine Manos
- Daido Moriyama
- Dan Winters
- David Alan Harvey
- David Hurn
- Diane Arbus
- Dorothea Lange
- Elliott Erwitt
- Eugene Atget
- Eugene Smith
- Fan Ho
- Garry Winogrand
- Gordon Parks
- Helen Levitt
- Henri Cartier-Bresson
- Irving Penn
- Jacob Aue Sobol
- Jeff Mermelstein
- Joel Meyerowitz
- Joel Sternfeld
- Josef Koudelka / Part 2
- Josh White
- Lee Friedlander
- Lisette Model
- Magnum Contact Sheets
- Magnum Photographers
- Mark Cohen
- Martin Parr
- Martine Franck
- Mary Ellen Mark
- Rene Burri
- Richard Avedon
- Richard Kalvar
- Robert Capa
- Robert Frank
- Saul Leiter
- Sergio Larrain
- Sebastião Salgado
- Shomei Tomatsu
- Stephen Shore
- The History of Street Photography
- Todd Hido
- Tony Ray-Jones
- Trent Parke
- Vivian Maier
- Walker Evans
- Weegee
- William Eggleston
- William Klein
- Zoe Strauss