Feeback From A Pro

Two weeks ago, I attended the Betterphoto.com Summit in Chicago.  Part of the two day event (which I highly recommend) included an opportunity to have 10-15 of my photographs critiqued by a professional.  I decided to get feedback on what I consider to be my weakest photographic skill - people shots. 

I sat down with photographer John Siskin for about 20 minutes as he walked through the images I created from my one and only photo shoot of a live person (see 40 Minutes in an Alley).  His feedback and my reworked images are below.

Original Image:

His feedback on this image: 

• crop in from the left border; too much space on the left is almost always a bad thing; western culture reads left to right, so try to avoid any dead space on the left side of an image; even better, place the subject there; like the gradation of light on the face, has nice form, especially easy to see this in ear area,but nice overall (this was a fortuitous result of reflected light coming up from the alleyway pavement)

Revised Version:

Original Image:

His feedback on this image:

• again too much dead space on left; crop in and then separate him from the background by darkening it and possibly desaturating it

Revised Version:

Original Image:

His feedback on this image:

• Graffiti which was distracting in some of the other shots from this day is OK here because the interest is on the left first; crop off the fence on the right - distracting; lighten up shadow on left wall

Revised Version:

Original Image:

His feedback on this image:

• like what you are doing with creative posing/thought process; this one might be stronger with a creative crop losing part of the face and tighter from the bottom

Revised Version:

Original Image:

His feedback on this image:

• would like to have seen more separation between him and the background - giving us 3 levels (hands/face/wall); also symmetrical shots are stronger when you crop them tighter; dead eyes (no catch-light) work here when they normally wouldn't; a grab might have been a better hand gesture than framing like this; graffiti is distracting in this image even though it echoes the tattoos, it's not helping here

Revised Version:

I'm not sure I did a great job revising the images per his advice, but it is helpful to understand how someone who does this for a living looks at these types of images.  John teaches a few classes over at betterphoto.com that might be worth my while when I get some time.  I also just came across a youtube video of him doing a studio lighting demo for anyone who might be interested in that sort of thing. 

Comments

[jude]

I agree with most of John's ideas, although there are at least two photos that are best both ways - as if they are two different images completely.

I've got to say I missed some of these in the gallery and I'm just amazed at how arresting they are. You should shoot live people more often (sounds kind of criminal but...).

One thing that I just have to say (don't tell John): I think every photographer likes what he/she likes - has that eye and sense of what they want to pull out of an image. John, to me, obviously loves it up close and personal in portrait photography. I know, because I'm the same way. But there is something to be said for a photo that makes the viewer feel as if he's standing back and taking in a scene which centers around a person. The second photo is an example of this to me. Both versions are superb but I especially like the one with more of the garage and grafitti showing.

Anyhow, I'm rambling. Excellent to have someone critique your work. I'm stunned that you can look at your people pics on this page and think they are your weakest photographic skill. I'm impressed with them.

[stu egan]

Hi Chuck.
I'm not sure if you're interested in feedback on a professional's feedback...or if I'm qualified to give it(!), but for what it's worth for me the one photo that is improved considerably happens to bt the one I think is the standout anyway; the second to last example. It seems to make sense, seeing as the face is out of focus, to go with the dramatic crop. Purely from a why-the-hell-not perspective. Interesting that the common thread with the advice and your re-workings is to fill more of the frame with the subject.

[Craig Persel]

I think the re-workings and feedback were fantastic. He really zeroed in on the strengths of the images and made them even stronger in my estimation. However, you/he had to start with great photos which they are. This sort of demonstration really helps me in thinking and processing these types of images. Thanks for sharing.

[david]

I agree with Stu, the one that is most dramatically improved with the most 'ruthless' of crops, is the one with the hand. It really becomes a photograph. The others are more obvious choices and spot on but it's easy to say that when the work's been done!
I actually prefer your grafitti version with more of the environment:the darker strip draws your eye to the 'business' area and so the grafitti is not a problem in my eyes. Great blog Chuck.
Take some more people shots willya!

[Jeff Seltzer]

Interesting. For the most part, I agree with his feedback. Glad to hear the event was worth it. I'll consider attending the next event.