How to evaluate photographic works

First, provide more abundant photographic information.

The so-called richer photographic information refers to providing the author with peripheral information related to the work, including geographical information, route information, location information and so on.

For example, the author is shooting the natural scenery of scenic spot A, and you have just been to scenic spot A. You can share your shooting experience with the author, such as where it is easier to shoot, which route is easier to capture the magnificent scenery and so on.

For example:

This is an architectural photo taken in Hong Kong. Because of the small land and large population, Hong Kong is also called "cement forest" because of its high building density and population density.

Photographer Peter Stewart has taken a group of photographs: stacked Hong Kong, which also shows the uniqueness of Hong Kong with ultra-high density buildings. There are many classic lens positions, such as Lide Village, Tongzi Building and so on. If a photographer stays in Hong Kong for a long time, he should be able to provide a more interesting location and provide some reference for the author. If he wants to shoot a similar theme in the future, it will play a corresponding role.

Another similar work is Daniel Reed's indoor photography of Hong Kong, which shows this city with super high population density from another side. The same theme, different shells, is also an inspiration and thinking for the author.

Second, the sharing of similar photographic works.

The so-called sharing of similar photographic works means sharing the same type of photographic works with the author, generally sharing the works of mature photographers, which can give the author some inspiration and inspiration.

I don't know if you feel this way. When our photography level reaches a certain level, it will enter a bottleneck period. During this period, you have been able to shoot "good-looking" works in the conventional sense, but the works always feel no explosive force and no breakthrough. At this time, you need to learn from the works of some masters and give yourself new direction and motivation.

For example:

This photo was taken by a beautiful kingfisher. Anyone who likes to shoot birds knows that sweeping birds with telephoto can really give people a pleasure of hunting. Find a position, wait for a long time, attack at the right time and press the shutter. The most difficult thing about Sweeping Birds is the arrangement of the picture structure, because many times the branches are messy, so the whole picture looks ugly (all kinds of branches are born).

So how do others avoid this problem? At this point, we can refer to the work of photographer Alan McFadyen:

His kingfisher works support the tension of the picture through the symmetrical construction and the modeling and action of kingfisher, which makes the picture look clean, refreshing and full of vitality.

When we look at the works of these photographers, we don't have to reach their level or completely imitate their works. After all, many of us just regard photography as a hobby. We only look at their works to think about the possibility of creation and increase some emergency photography reserves.

Third, the early and late suggestions.

This is put behind because everyone's aesthetic orientation is different and their photography level is different. Therefore, only equal opponents can make better progress in communication. If the grade gap is too big, even the correct suggestions may not be adopted.

In the process of making suggestions, the content of suggestions is on the one hand, and more importantly, the way you make suggestions. It is very important to use equal communication tone, respect each other's opinions and not impose personal will. It is really impolite to "criticize" each other with a condescending attitude without considering their thoughts and opinions. The need to ask the other party to accept their own opinions does not bring about real communication between the two sides.