[Brownie]

The author doesn’t say that images should be perfect out of the camera,  but spending hours “putting lipstick on a pig” is not conducive to your work and wastes your time. The more accurate the image is in camera, the easier any post editing will be.  While I can agree that only numbers 3 and four are exclusively about image quality, all the other points can set the stage for “Why your pictures suck”.  Editing your work in a cohesive body is difficult and photographers struggle with this idea of limiting their selection or work.  I think it’s because they are attached to two or more similar images with slight differences (or with some, just making one monochrome and posting them both).

[Brownie]

I agree, I think people are attracted to the aesthetic that these images bring, a nostalgia that makes them look more than just a picture of their house or whatever. It makes it feel like it has more significance, perhaps.  the materials involved in making a photograph are just as important to consider as the subject matter. Photographers like Sally Mann utilize the large format camera and monochrome film to set another layer in the photographs by embracing the aesthetics of the large format cameras.

[Brownie]

Sam,

One of the first things I noticed with your portfolio section is that it is concise. Many people who post for critiques have just about every image they have ever taken in it. By editing your work down it makes it much easier to offer up a more accurate critique of the work.

Everything has been said about the “DJ” one, so I don’t need to say anymore. I feel like the next three serve their purpose as headshots. Like others have said, skin is red, dust on suit etc. minor details that kill the meaning you want the portrait to convey. I don’t feel like the picture of the girl in the 2nd row works very well because the frame hasn’t been used as carefully as it could be. if it’s about her then why is 70% of the frame essentially empty space? The next one seems pretty decent but the contrast blows out the eye but works pretty nicely on the hand. the final one has a lot of contrast and most of the extremes are blown out. It looks like some skin blurring/softening has gone on with this one, I could be wrong but the sharpness between the forehead and eyes is extreme.

Looking at your events, I would like to see you utilize changes in perspective a bit more. Doesn’t have to be an extreme shift but I think the handstand guy’s picture could have benefited greatly from a change in that. I have to say though, the pictures of the three girls happens to be one of my favorites because it utilizes an effective use of complementary color with lighting that doesn’t mix too much and get muddied up as they say. The only drawback is the white blur in the foreground.

Overall, looks pretty decent and at 16 you have plenty of time to shoot, learn and progress. As Henri Cartier-Bresson said: “Your first 10,000 photographs are your worst” and if you aren’t familiar with his work, get familiar with it. Now. 😛

[Brownie]

This needs to be read by more people. The author speaks a lot of truth in this.

[Brownie]

Nice work, sir.

[Brownie]

The cover photo for your portfolio of photographs is pretty nice, but when I clicked the link, I browsed through and only found one picture that had that same kind of feel to it.

I think I like image 15 the most, it has life to it as opposed to most others. (And you’ve realized that by putting it on your Contact page.

But it hardly resembles any of the other work, because the other work seems like a documentation of what happened, as a press photographer would.

The self portrait on the CV page is pretty nice but it doesn’t resemble the other work. Everything is clumped together. My favorite image was 14 images in!

 

I think organizing your portfolio into sections would be ideal.

[Brownie]

And basically, most high school gyms are hell to shoot in. You just kinda have to wing it. Consider investing in a prime wide angle lens for your camera, it will make a difference if it is full frame or not.

[Brownie]

I was talking about the whites of their eyes looked edited, should’ve clarified. Oh really? Is it over the girl’s shoulder left side? I think I see some repeats in the grass, but still, looks good. Just watch the edits. The only pictures that should be enhanced like that are studio shots for magazines. Hah.

Oh, I’m not saying about professionals in your area, national professionals, people that shoot for magazines, newspapers, sports teams etc. (I’m facebook ‘friends’ with Donn Jones, the sports photographer for the Tennessee Titans) People love to be complemented and praised. Most will want to help you!

Ah, that is upsetting. I always trotted around anywhere with it! Hahaha. I used an XSi in my time and you can really get some nice photographs with it if you know it well. It can’t handle any low light very well but you gotta deal with it. I use to drool over a 400mm you don’t even know. Hah.

No trouble at all, happy to help in any way.

[Brownie]

Hi Andrew,

I don’t post here much anymore but I saw your post and gave it a chance.

Let me start off my saying Alec Street’s work is horrendous for the kind of game he talks. Using dutch angles for no apparent reason is pointless and sickening. Even his logo is disorienting and ugly. I don’t want to talk anymore about this guy’s work.

I will say that a few of Bri’s photographs hold a bit of interest for me because the compositions are pretty smart and well-done. Some is very abrasive and feels ‘clunky’  but some of her pictures I expect to see in basic (film)  photography at my university.
To get back on track, I was the only staff photographer at the yearbook I was apart of and it was pretty ridiculous so I know what you deal with.  I specialized in photographing sporting events, mainly football, so I was drawn to your soccer photographs and they are pretty well-done. My only criticism is that you have a ton of negative space that isn’t used effectively. Sports photography is all about filling the frame with action, basically, and the picture feels passive although we have these great expressions and whatnot but due to the distance, we feel apart from it.  Changing where you are set up or cropping will help that. I’d suggest the first one. The track photographs have more of that feel that work a lot better as an illustration of the event.

I also shot a lot of plays whilst in high school and they are a pretty good account of the event itself, it’s all about drama.I will say that one of my favorite moments of this is: http://www.flickr.com/photos/63706846@N08/8844339605/in/photostream/lightbox/ but having dorothy’s features cut off is disappointing and detrimental to the effectiveness of the photograph for me. In general, the plays look good, obviously the color will be off because of their stage lighting but to rectify this. you could consider changing your white balance to match the degrees of the bulbs.

And to your graduation photographs: they are expected, but look okay.  I’m not crazy about the typical posed picture but there’s a place for that kind of thought process. What you can think about is to distinguish how you make this photographs your own so that the viewer can identify the photographer in the work, if that makes sense. Like  previous comment said, a fill flash would’ve worked wonders for you. I hated flash in high school because of how it was used but there are smart ways to use a flash, I’ve come around, as they say. When I would shoot, I always prefered being stealthy and making candid photographs than having all the ducks in a row and snapping them. I would consider using a flash with a diffuser over it and see how you feel about that. Obviously, you would have to change the white balance to match but I think you would be very happy with the results…

Also, editing: I’m 95% sure that you edited these people’s eyes significantly, but I’m not completely sure,

http://www.flickr.com/photos/63706846@N08/8844785054/

if you did, I wouldn’t continue editing a single item in the picture and leaving the rest as is.

nesgran’s comment about narrowing your shooting scope is valid,  but at your stage in the game, it’s all about learning different techniques in different situations to make photographs for your publication. I wouldn’t encourage you to only work on one thing, but compile these different events into portfolios and work from there. Organization is key. If the photographers I admire only shot the same thing, it would get quickly stale.

I’m glad I looked at your work because I see someone that is actually interested in learning, in growing as a photographer. My hope is that in 10 years or so, you’ll see these pictures and think that they are a wreck, because you have improved so much and your understanding has increased exponentially.  The pictures aren’t there yet.

I thought I knew it all coming out of high school, I really did. It was only until college I realized how little I knew; that is humbling and key to developing. I study fine art and I make photographs. and I find 99% of things I made when I was younger to be horrific and cringe-worthy.

But I have talked way too long. Bottom Line: you learn from a combination of pure shooting practice, other artists/photojournalists and ambition to learn and I hope you never lose that. Look at work by photographers who make a ton of cash doing what you love. Email them and start a dialogue, it helps!

 

I hope a fraction of this was useful!

[Brownie]

Everyone in the history of fine art photography has copied someone in some way and especially in fashion photography. To say that you’re work is completely original would be ignorant, this person did take a lot of ideas from you, I agree, but there’s nothing that can be done aside from be flattered and move on.

In fact, when looking at your portfolios, I discovered your Week 35 Album and was immediately reminded of something: Sinead O’ Connor’s album cover. Did you have that in mind when you made the pictures? Maybe, maybe not. Does that mean that you stole the idea?

Album Cover: http://img.noiset.com/images/album/sinead-o-connor-fire-on-babylon-album-cover-19989.jpeg

Your Image from Week 35: https://www.facebook.com/photo.php?fbid=375178155934562&set=a.375178122601232.1073741833.263848790400833&type=3&theater

 

[Brownie]

No, rules are guidelines, just like in any other medium. Learn them, and then you can turn around and exploit them, but this takes a long time to use effectively. you’re only six months into photography and I have to admit, I can recall pictures I made when I started at like 15 that are hideous now, and photoshops that were hideous, it’s a learning  experience. And Serge’s work is mostly dependant on High Dynamic Range, not saturation. So maybe that’s something to think about. So, check into local photographers, or university photographers that live around you and Ask them if you can carry their gear to shoots, you’ll learn through observation and word, which will be very good. And then find out who inspires them, and look into their work, and talk to them if you can, and continue on and on… That’ll help you a ton.

 

Learning basic design principles will also help in going about composition. And having a small portfolio (8-12 images) for online, or people in person to critique, it’ll give you different inputs, Although I would highly suggest that you take the positive reviews with a grain of salt and people that have the courtesy to give you criticisms are the ones that want you to improve.

 

Good Luck

[Brownie]

I’m sorry to hear that you took my critique so harshly.

 

 

[Brownie]

You are trying to argue with a guy on the internet who was only trying to help you be a better photographer, but seems like you’re more content where you are now, so whatever works.

[Brownie]

How did ANYTHING I said in critiquing your work HONESTLY make me into an arrogant dickhead?

 

 

[Brownie]

Woah, broski.

I don’t even know where to begin…

[Author]

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