THE FINE ART OF CRITIQUE

"Here is a picture I took. Please let me know what you think, both good and bad."

Such statements adorn the forums of too many Internet pages from presumably professional photography sites to social networking spaces. Among photographers, and artists in general, there is a somewhat egotistical but nonetheless genuine desire to know that one's work is accepted, understood, and appreciated. Novice photographers who are sincere in their desire to improve know that advice from those with more experience may well aid them in their own education.

Unfortunately, too often the replies generated by such attempts at public discourse are either dismissive drivel such as "nice shot" or "I like it," or horrific diatribes of venomous hate and ridicule. Rarely do such conversations contain reasonable, well-thought knowledge and even more rarely is the proffered advice of any actual constructive value. As such, unmoderated and unprofessional forums are largely a severe waste of one's time and energy, satisfying only the over-inflated egos of those whose self-serving comments are a weak attempt to masque their own short comings.

Despite the failings of these plebeian parlors of pontification, genuine and knowledgeable critique is immeasurably valuable to photographers and artists at most any stage of their career. Academic critique provides direction, guidance and encouragement in a manner that is clear, useful, and well-thought, void of knee-jerk reactions, unnecessary homiletics, and accusations of inferiority. Criticism is best a gently applied tool offered with the understanding that photography, like any art, is largely subjective and that, in the end, the only opinion that really matters is that of the person hanging the picture on their wall.

Art criticism follows a standard four-step process of Description, Analysis, Interpretation, and Judgment. Each portion is applied in order so that the criticism is delivered through a careful and intelligent examination of the work. Through this process, both the reviewer and the photographer should come away with a better understanding of the work and its impact. Applying the same process to all manner of photography is perhaps the closest one may come to achieving the most constructive level of comment.

To better understand the process of critiquing images, let us consider the contents of each step.

1. Description. Look, carefully, thoughtfully, expansively at the picture. Consider first not one's immediate opinion of quality, but rather define exactly what is there to be seen. What photographic elements are present in the image? Which technical elements have been applied? Are processing methods obvious enough to be identified and, if so, what are they?
   
   Also important here is information from the photographer such as the title of the work, camera settings, environmental considerations and, if available, the photographer's statement. The purpose of this step is to identify as much information about the work as possible before making any subjective comment.
   
   
2. Analysis. Consider the work as a complete and thorough composition. Here, one's understanding of the technical aspects of photography, art and design come strongly into play. Elements requiring attention are:
   
   
   • Contrast
   • Lighting
   • Framing
   • Grain/Noise
   • Focus
   • Depth of field
     
   • Processing
   • Print quality (where applicable)
   • Line
     
   • Space
   • Form
   • Color
   • Perspective
   • Balance
   • Proportion
   • Movement/Rhythm
   • Emphasis
   • Harmony
   
   Without a thorough consideration of each element, a criticism is incomplete and any further evaluation is ill-conceived.
   
   
3. Interpretation. Here is where one's personal views first come into play by describing what emotions and thoughts the piece invokes. Relate how one feels when looking at a picture. Is the subject familiar? If so, how is this photographer's point of view different or similar to other photographs of the same subject? How does one particular photograph relate in terms of style and content with similar works by the same photographer? Does the photograph seem to have a specific message or meaning, and if so, how well does the image accurately portray that message?
   
   One must take care in the choice of verbiage one uses when constructing this portion of the criticism. Words such as pretty, ugly, beautiful, horrible, have little place or value. Use a vocabulary that is non-threatening and avoids being trite, condescending or self-serving.
   
   Do not shy away from asking questions that the picture may not seem to immediately answer. Questions such as, "what was the photographer's relation to the subject?" are wholly appropriate and the eventual answer to that question may shed considerable light on the interpretation of the piece.
   
   Finally, consider here how the image relates to photography and society in a larger sense. Is there a similarity between this image and that of other photographers? What are the social connotations of this image? Is the average person without knowledge of photographic elements likely to understand and appreciate the image in the same way as the photographer?
   
   
4. Judgment. The primary purpose of this step is to establish and explain the value of the photograph. Historically, it is at this point many art critics question whether photography contains artistic merit at all, primarily based upon the perception that the pedestrian qualities of the field belie the need for either talent or skill, thereby eliminating value. Therefore, a primary consideration at this juncture must be the sometimes painful question: does this picture demonstrate qualities representing a quantity of talent and skill sufficient to establish a measure of value? Simply saying that a picture is good or ugly is woefully inadequate. What makes this picture valuable on both a personal and professional level?
   
   Also essential to establishing value is the question of originality. What makes this particular image different from other photographs? Does that difference generate positive or negative response on the part of the viewer? If the photograph is similar in concept and composition to others, are there still sufficient elements to cause this image to stand out from the others, or is it merely another square in a mediocre mosaic?
   
   Does the photograph fulfill its purpose? Not every picture taken is intended to be a work of fine art. If an image is to be used in advertising, does it adequately sell the product or brand? If a photo is used as illustration, does it adequately reflect the point being presented? Would the intended use be better, worse or the same were the image not present?
   
   Finally, address the long-term value of the photograph. Will the message and emotional impact viewers feel today still be present fifty years from now? Here, the bar is set necessarily high and those whose images clear it are preciously few. Pictures such as the raising of the American flag at Iwo Jima, Ansel Adams' carefully timed and constructed landscapes, and Helmut Newton's nudes are among the select group who pass this critical test. Selectivity is essential and often short-sighted. One must be careful to neither underestimate nor over value the impact an image might have on a generation not yet born. Yet, the matter is worthy of evaluation.

Obviously, any well-considered critique that follows thoroughly all four steps is going to of greater length than a couple of quick sentence fragments. Providing genuine and helpful criticism takes considerable time imposing upon the schedule and expertise of the critic. Anyone seriously desiring such a level of serious consideration is not likely to find such in an online forum. One is better served approaching a respected authority privately and with an offer of some renumeration for the effort.

One is obligated to seriously consider the responsibility of accepting a request to provide criticism of another's work. Should one's schedule not contain sufficient time for due consideration, or if the request is made outside one's area and level of expertise, one may do greater good in declining the request. When the need to critique is valuable and appropriate, one does well to apply the following considerations.

• Do not give criticism where it is not requested
  
• Be professional in both tone and manner
• Avoid cliche
  
• Think twice before committing to words: is the comment appropriate and helpful
• Sarcasm is neither appreciated nor appropriate
• Do not confuse the artist with the art; just because one has personality conflicts with another photographer does not mean they are incapable of producing good work.
• Use language known and common to the field of photography
• Be gentle; caustic diatribes severely lashing a work are seldom well received and generally a waste of time
• Do not hesitate to ask questions
• Take responsibility for your opinions
• Do not assume that of which you are not 100 percent certain
• Remember there are no absolutes; using words such as "never" and "always" are rarely appropriate
• Avoid long, anecdotal response; stick to the facts and stay on topic
• Become familiar with the photographer's greater body of work before considering any one picture
• Know that criticism should always build, never destroy

Equally important to knowing how to provide criticism is knowing how to receive it. There are important elements to consider before offering one's work for criticism:

• Do not ask for criticism when one is only of the mind to accept praise
• Criticism from those who are not familiar with one's work is inevitably lacking in perspective
• Do not expect a critic to deliver praise on an inferior image
• Be gracious rather than defensive when shortcomings are revealed
• Provide sufficient information about the image so that the reviewer has a sense of what you were wanting to achieve
• Even when the review is generally positive, look for elements where one might improve

Ralph Waldo Emerson wrote: "Good criticism is very rare and always precious." In a society where too many people find morbid satisfaction in the verbal destruction of others' work, those words ring more true than ever. One cannot improve if one is not aware of a deficiency. However, criticism should always be a tool and never a weapon.

May all our words regarding the photography of others be applied as delicately as a diaper to a newborn child.