Criticising Famous Photographers

[Kirk Gittings]

After over 35 years in LF and 20 teaching, I have made or seen pretty much every mistake in the book and learned to look closely for flaws and their sources. Generally I have learned not to critique anyone's work unless they ask me too. It is only then that they will be receptive to constructive criticism. But over the years I have also been in circumstances where I saw some obvious processing or printing flaws in the work of someone famous and debated with myself whether I should say something. In the ignorance of youth I did comment a couple of times and got very defensive angry responces and put downs except for Elliot Erwit in about 1971 who exclaimed with a smile "you caught me". I was recently in someone's home who had some their "famous" work on the wall and one of the prints showed some faint repeated bands in the midtones on one side of the print (silver) that I could only guess was an internal refection off the bellows pleats. To me it was obvious but he couldn't see it at all. I backed out of the awkward situation by saying that without my reading glasses I couldn't be sure, though I wasn't sure of the cause, but was sure there was a problem.

This evening I was surfing the web and went to a site of a close aquaintance who's lead image showed obvious uneven processing flaws in an even grey sky at the upper corners of a scanned print. I know the signs well. I have seen it in my work occsionally and student work commonly. This person in particular is kind of an arrogant putz, thinks they are a technical guru, does not take criticism well and is a bit of a narcisist. So I resisted the temptation to email a comment, but I really wanted to and may yet. However ther would probably be a price to pay down the line a ways.

How have some of you handled this?

[Jorge Gasteazoro]

Well, is he a friend or not? You call him a "close acquaintance" which leads me to believe you somehow "have" to deal with him/her but do not consider this person a friend. If this is so, why the hell do you care? Dont you know the road to hell is paved with good intentions? Mind your own business and do your thing.... :-)

Barring this and you do care for this person, dont criticize.....ask "questions" like..."Why/how did you put those darker tones in the sky? " IOW use the Socratic method instead of just coming out and saying it.....

[robc]

First you should remember that you are looking at WEB images. That means you ain't looking at the " finished product". So you have to ask yourself what you are judging. The web image or something you haven't seen. If you are to say anything then perhaps it might be better to ask who prepared the web images or point out that the web images have not been properly prepared. At least then you aren't criticising the "finished product" and are allowing the "putz" to do something about if they choose too.

[John_4185]

May I drift to a different humiliating experience?

Many years ago when I lived and worked in the city of Chicago, I would stop by a pub called O'Rorke's (North street near Wells). It was a quiet place, good clientel. There was one chap I'd seen there a few times and also in the halls of the Chicago Sun Times & Daily News. We struck up a conversation one evening. He mentioned that he was leaving his job as a reporter. "What are you going to do now?", I asked. He replied, "Movie reviews". I said, "Do you really think there's a future in that, Roger?"

You know his last name.

I'm an idiot.

[Bill_1856]

The story is told about Paul Caponigro showing some prints to Paul Strand. Strand complained that there wasn't any detail in the shadows. Caponigro said "thank you very much," and left with steam nearly coming out of his ears, since he had gone to a lot of pains to get that look in the print. So, as you see, two of the world's greatest printmakers didn't agree on what they saw.

[Kirk Gittings]

JJ,

Where I stay in Chicago is above the Gene Siskel theater, which is where the sound stage is for Siskel and Roper. I run into Roger Ebert a couple of times every summer. He seems like a very nice guy.

Jorge, No not a friend, but I do have ongoing professional relationship that involves making some joint presentations every year, which could go on for many more years. I don't care. If I did I would feel obligated to let them know.

[Jorge Gasteazoro]

I don't care

Well, there is your answer. As long as it does not affect your presentations keep your mouth shut. In fact, I think if you do say something it might create you problems you dont need.....

[robert_4927]

" I have learned not to critique anyones work unless they ask me too".......need I say more? Never jeopardize your integrity. Which in just asking such a question, in the context in which you have , may have already done so.

[Jeff Bishop]

I will critique someones work if they ask. I will be honest.

My work is far from perfect. I appreciate anyone offering any comments good or bad on anything I do.

This photography is a long road. There is something to be learned at every bend. I want to learn as much as I can. If you see an error, point it out. It could very well be that I'm not even aware of it. I would rather not keep making the same mistake until I happen to notice or realize it.

As far as others go... I'd let them ask for a critique first.

[John Kasaian]

I truly enjoy discussing images with the various photographers I've had the pleasure to meet. I think a good image challenges the viewer to make a relevant comment other than, say, "Nice tree." OTOH if I can say why the tree is exceptional I think that is a worthy comment. It is a mental exercise just to come up with accurate words to express what it is I see. It takes time and requires a careful study of the photographs in question. It may take five minutes or longer for me just to understand what it is I'm seeing when looking at a really good photograph---and another five just to recover from the experience. Off the cuff comments after a cursory look are I think, worthless to all concerned and are most likely insulting to the Photographer. I like to think of really 'seeing' kind of like those inspections in the military where you could almost feel the IG's eyeballs going over you...thats what a good photograph deserves IMHO.

I don't recall a single instant when anyone has taken offense or gotten miffed by my comments but then I have been fortunate to have seen some pretty fine exhibitions over the years.

Flaws are a different matter. I see them two ways:

1) I don't expect a perfect print unless its processed into sterile perfection. It is the printer's craft to make hundreds of copies, one identical to the others and perfection has it's place in the calender biz, but I find it makes for boring original 'art' photographs and especially in photography I want to see some human imperfection that I can tell it apart from the work of a souless machine.

2) I dislike sloppy prints that show that the photographer isn't enjoying His or Her time in the darkroom. I mean, if I really connect with an image, I'm going to make the best darn print I possibly can. The negative demands that I give it my best shot and if I were expecting someone to buy the thing I owe my best effort to the buyer. That "connection" or level of concern I think telegraphs quite a bit to the attentive viewer. Looking at a sloppy photograph is like listening to a french horn player who dosen't like the music.

I'd expect that your associate knows what kind of work He's putting out. A student just getting started is another matter, but a Pro should know and if He's not concerned about the quality of His work, why should You? (unless of course He asked for your criticism!) It may even tell viewers more about the Photographer than the subject matter or 'artist's statement' so I guess thats an accurate, if not "good" thing, isn't it? I mean at least its not contrived.

OTOH, dealing with an arrogant putz is something I'd refrain from.

Groucho Marks said He "...refused to have a battle of wits with an unarmed person."

My 2-cents.