The Value Of Feedback
Jackie Ranken
Most feedback that you receive from friends and family about your images will generally positive - so as not to upset you - but these comments are not always helpful when you are wanting to become a better photographer.
Having your images reviewed by experienced photographers is a way for you to decide if the visual communication of an image that you have made was effective.
In your mind you may have been thinking one thing but others might see a totally different story or idea in your photograph.
Constructive feedback is information from another photographer or educator that you respect.
They should provide you with another perspective or way of seeing your work that you can reflect on, to see if that is an option you agree with. In the images below from students on our South Westland Workshop, NZ, I have copied the initial image and then a made proposed edit of that file. This is your opportunity to see how you feel about the changes that have been made and if you agree with them. When we talk of creativity, there is no actual right - there are just differences.
By Helen Moore- FLIP THE IMAGE f18, 3 sec, 100 ISO, 35 MM Canon EOS R
• Western society generally reads words from left to right and the same goes for an image.
• When the main focal point is close to the left-hand side (as in the log) does your eye tend to become locked there?
• Flipping the image over creates a different path for the eye as it travels across the frame much quicker.
• Alternatively, perhaps the eye comes to the log and then it moves to the right of frame as it travels along the white line of foam, then up to the top right hand corner and down again.
These two versions are just different.
By David Brewer ENHANCING THE COLOURS f14, 1/100th Sec, 1250 ISO NIKON D850
• Making the exposure brighter (at the bottom of the frame) makes the colours more powerful (especially the yellows).
• Opening up the dark tones in the jetty allows the eye to explore this area more.
• The eye moves more easily: to the jetty, then to the illuminated light, down the pole to the distant horizon and the light toned wave, and then to the yellow boat.... or perhaps somewhere else to your eye.
By Ken Goldfinch CLEAN UP DISTRACTIONS f8, 1/1250th sec, 400 ISO, 400mm lerns
• Leaving natural elements in the frame when it's a wildlife photo is sometimes the rule.
• But when it is time to make a print for yourself, perhaps clone stamping any distractions away makes that subject of the image stronger.
by Janice McKenna CHANGE THE CROP AND DE-SATURATE f8, 1/8000th sec, 2000 ISO CANON EOS R
• Cropping this image to a circle focuses the eye on the Kotuku (White Heron).
• Converting it to monochrome takes away the power of colour and enhances the textures.
• This interpretation feels more timeless.
By Delwyn Barnett ADDING SPACE WITH CONTENT AWARE
• The main area of contrast is on the right-hand side but the visual weight of the image (the dark area) is a little heavy on the left.
• When editing the file I have added some space to the right (using the content aware tool) and I have cropped off some of the dark area on the left.
• To my eye this helps to balance the shot. It also moves the tip of the frond away from the edge of frame.
By Dave West ADDING THE HUMAN ELEMENT
• Sometimes just a few tiny changes can make a big difference to the story that an image tells.
• Feel the difference between these two shots. The original image shows the fragility of the moored fishing boat sitting out the storm.
• The edited image has the boat traveling out to the storm with the Skipper at the helm.
• How do you feel about this? Your feelings are what makes your images feel right for you.
By Jackie Ranken CHANGE YOUR POINT OF VIEW f5.6, 1/50th sec, 400 ISO CANOn EOSR
Changing the point of view is an option to consider.
I couldn't stand on the other side of this puddle to make the shot but it is easy to turn the image 180 degrees and read it that way.
I could even consider joining the two images as one.