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Feedback Reviews of other photographers' work

Screen-capture video comments by Brooks Jensen
(with the photographer's permission, of course)

Sometimes the image out of the camera is just perfect. More often, an image or group of images needs help from us — decisions about processing, editing, sequencing, concept development — in short, our creativity to turn a simple image capture into artwork. Workshop critique sessions can help develop these skills, even if it's just listening to the comments made about another photographer's work. But workshops can be expensive. Our informal Feedback Review videos (typically 20 minutes or so) can bridge the gap.

What follows is one of Brooks' recorded Feedback Reviews, available for you to view thanks to the gracious permission of the photographer.

Look for a new post every Wednesday

Interested in having a review of your work? More info


FBR-041
Experiential wandering

As you wander the world gathering photos, these may not string together as a meaningful group for others who weren't on that walk with you..

FBR-040
Grouping by subject, avoiding repetition

The easiest way to define a project is by common subject matter, but that has the potential to create repetition.

FBR-039
Project Unity

Making sure all the images in a group are working together as a harmonious whole..

FBR-038
Textured overlays

We can do all sorts of artistic things to our photographs — like textured overlays. But should we? And if so, when?.

FBR-037
Photo contests

Are you ready for a photo contest? Should you enter?

FBR-036
Being open to the art

Too often viewers will project their preconceptions onto a work of art. We can't prevent that..

FBR-035
Images and a concept; concept and then images

There are two ways a project can develop, but either way requires full integration to succeed..

FBR-034
The challenge of project-oriented photography: Repetition

Exploring a subject deeply is different than just make a lot of pictures that are pretty much the same shot..

FBR-033
Cohesion between in the introductory text and the images

What do we see in the images? What does the intro statement tell us about the project? The viewer's impression can be improved when these two work toegether.

FBR-032
A structural framework for eclectic images

What do you do with a collection of great images that don't seem to go together?.

FBR-031
Ready to seek gallery representation?

One of the most common questions is about seeking gallery representation. There is more to this question than meets the eye..

FBR-030
Integrating your non-photographic skills with your photography

All of us have some area of our life other than photography that interests us or with which we have some natural talent. Why not integrate this with our photography?.

FBR-029
The Hook that Pulls in the Viewers

Every project needs something the viewers can latch onto that pulls them in.

FBR-028
Duplicates, critical highlights

Sometimes it is just a matter of finesse and details.

FBR-027
The Subject, the Context, the Photographs

The never-ending challenge of getting rid of the disractions in order to intensify the visual experience.

FBR-026
Magazines and Ulrich's

Some thoughts on getting work published and possibly getting paid for it.

FBR-025
Portraits that tell more than what they looked like

A great expression and an interesting pose are wonderful attributes of a portrait, but what the person looks like is only a small part of the potential story.

FBR-024
Experience a place versus telling a concise story

Travel photography offers so many exciting photographic opportunities — and that can be a problem..

FBR-023
Artistic Value vs Artistic Destination

A creative path can definitely be worth pursuing, but still in its infancy in terms of being fully explored..

FBR-022
Matching the Style to the Content

It is all kinds of fun to play around with layout and design ideas. Just make sure the design is chosen because it is the best way to enhance the content of the photographs..

FBR-021
Removed at the request of the photographer. Here are some comments about this by Brooks.

 

FBR-020
Pursuing Commercial Distribution

Questions often come up about how to get into galleries, get books published, in general how to sell photographs. Here are some thoughts about this universal pursuit.

FBR-019
The Big Story and the Small Project

The temptation to try to tell too big of a story is ever-present, but smaller projects are almost always more compelling.

FBR-018
The Challenge of Making a Memorably Unique Set of Images

Many subjects are popular ones with so many photographers that it can be difficult to make your images stand out amidst all the others..

FBR-017
Selecting and Sequencing for a Book

From the pool of images you've photographed, how do you select the ones you will include in the project?

FBR-016
Tones, Mood, and Story

Developing a synergistic harmony between post-processing and content.

FBR-015
Clarifying the Project Content

Is your intention for the project reflected in the images, the title, neither, both?

FBR-014
Finding a Title for Your Project

A couple of creative ideas for coming up with a title for your project..

FBR-013
Artwork Lives in the Emotion

Finding the emotional connection with the scene or the object is the core of artmaking..

FBR-012
To What We are Supposed to Pay Attention

Eliminate distractions so we are directed to see what you want us to see..

FBR-011
Portraits with Stories

What people look like can be interesting, but not nearly as interesting as a portrait that tells us a bit about who they are.

FBR-010
Textures, Sequences

Digitally applied surface textures and be great or a disctaction; thinking about how to sequence a set of images..

FBR-009
Compare and Contrast

It is a common strategy to want to use a photograph to compare it to something else.

FBR-008
Slice of Life

Photographing everyday life and then puttting together some six-image projects.

FBR-007
Projects and Styles

Matching the style and treatment of the images in a project so they go together as a unit..

FBR-006
A Photographic Artist

Edit work to focus on a moment instead of just a place.

FBR-005
Abandoned places

Define the project and then refine, refine, refine.

FBR-004
Finding the project

Turning a collection of images into a unified project by careful editing and stylistic processing.

FBR-003
First person experiential

The strongest images can sometimes be quite a bit different — as a group — than the rest of the project.

FB—002
Drama

A request for feedback about image selection and sequencing for a book project

FBR-001
A book project

A request for feedback about image selection and sequencing for a book project