Chapter 33: Is This Photo Good or Bad?
There is no definitive answer to what constitutes a good or bad photo, but here are some ideas to bring to the class discussion:
- A successful (good) photograph is one in which all its visual elements are unified in in a way that supports the idea that is being described in the photo. Light, color, composition, the subject and everything that is happening with the subject all work together to express a concept, feeling, opinion, belief, or theory. As a result, the viewer is able to connect, on some level, with the photo. For example, African photographer Pieter Hugo “is interested in capturing images of the continent’s marginalized peoples, including the blind, albinos, and AIDS victims in their coffins.” His powerful images engage the viewer because of his skillful use of all the visual and conceptual tools at his disposal.
- An unsuccessful (bad) photo confuses the viewer because its elements and/or composition conflict with each other. Also, it may be too common in its approach. It could be an image that has been overdone too many times and lacks originality. In other words, it’s subject matter or style may be cliché, having been over-produced by far too many photographers.
- A successful photograph expresses the photographer’s understanding and awareness of light. Where as the light in an unsuccessful photo works against, or conflicts with the photo’s ability to visually, emotionally, and conceptually communicate.
In the most basic terms it isn’t helpful to the value judgments of “good” and “bad” on photos. Rather, during critique photos are viewed in terms of finding evidence for what is working and what isn’t working in relationship to an idea or goal (see Chapter 23. Critique and the Seven C’s). A photograph that’s working could be said to be an image that successfully uses all of its components to express something in a way that engages the viewer’s attention. The content and presentation of the photo hooks the viewer’s attention and keeps them looking, feeling, thinking, and exploring.
A photo that isn’t working, in contrast, is one where the viewer becomes confused by the subject matter or the composition. The viewer quickly looses interest and moves on because their response to the photo is, “I don’t care”. And, when I say “viewer” I’m not talking about your family or friends. I’m talking about someone that speaks and understands the visual language of photography. This hypothetical viewer spends time looking at photos and can recognize incongruities, confusions, conflicts, and lack of technical ability.
When beginning students ask the second question, “How do I make a good photo?” they may mean two different things. The first might be, “How do I make a photo that you (the instructor) think is good?” The best way to make a photo that will please your instructor is to follow the instructions for the assignment, cover the learning objectives that are provided on the rubric. In addition, bring yourself, your life, and your interests to the subject matter you use and to your execution of the images. Instructors want to see evidence that you learned what you were expected to learn and they want to know that you considered the assignment with a creative, inventive, thoughtful approach.
The second interpretation for the question, “How do I make a good photo?” is, “How can I possibly find something interesting enough to photograph that hasn’t already been photographed multiple times?” Finding something that is interesting enough to photograph is a challenge. Jim Richardson once said that, “If you want to be a better photographer, stand in front of more interesting stuff.” In this regard students have a lot of limitations when it comes to finding interesting things to photograph. If you are lucky enough to live in Chicago, New York City, or Los Angeles, then you can probably walk out your door and find fascinating photographic subjects. Otherwise, you will need to look at your surroundings with fresh eye. Observe closely so you can see your world in a new way.
- A successful (good) photograph is one in which all its visual elements are unified in in a way that supports the idea that is being described in the photo. Light, color, composition, the subject and everything that is happening with the subject all work together to express a concept, feeling, opinion, belief, or theory. As a result, the viewer is able to connect, on some level, with the photo. For example, African photographer Pieter Hugo “is interested in capturing images of the continent’s marginalized peoples, including the blind, albinos, and AIDS victims in their coffins.” His powerful images engage the viewer because of his skillful use of all the visual and conceptual tools at his disposal.
- An unsuccessful (bad) photo confuses the viewer because its elements and/or composition conflict with each other. Also, it may be too common in its approach. It could be an image that has been overdone too many times and lacks originality. In other words, it’s subject matter or style may be cliché, having been over-produced by far too many photographers.
- A successful photograph expresses the photographer’s understanding and awareness of light. Where as the light in an unsuccessful photo works against, or conflicts with the photo’s ability to visually, emotionally, and conceptually communicate.
In the most basic terms it isn’t helpful to the value judgments of “good” and “bad” on photos. Rather, during critique photos are viewed in terms of finding evidence for what is working and what isn’t working in relationship to an idea or goal (see Chapter 23. Critique and the Seven C’s). A photograph that’s working could be said to be an image that successfully uses all of its components to express something in a way that engages the viewer’s attention. The content and presentation of the photo hooks the viewer’s attention and keeps them looking, feeling, thinking, and exploring.
A photo that isn’t working, in contrast, is one where the viewer becomes confused by the subject matter or the composition. The viewer quickly looses interest and moves on because their response to the photo is, “I don’t care”. And, when I say “viewer” I’m not talking about your family or friends. I’m talking about someone that speaks and understands the visual language of photography. This hypothetical viewer spends time looking at photos and can recognize incongruities, confusions, conflicts, and lack of technical ability.
When beginning students ask the second question, “How do I make a good photo?” they may mean two different things. The first might be, “How do I make a photo that you (the instructor) think is good?” The best way to make a photo that will please your instructor is to follow the instructions for the assignment, cover the learning objectives that are provided on the rubric. In addition, bring yourself, your life, and your interests to the subject matter you use and to your execution of the images. Instructors want to see evidence that you learned what you were expected to learn and they want to know that you considered the assignment with a creative, inventive, thoughtful approach.
The second interpretation for the question, “How do I make a good photo?” is, “How can I possibly find something interesting enough to photograph that hasn’t already been photographed multiple times?” Finding something that is interesting enough to photograph is a challenge. Jim Richardson once said that, “If you want to be a better photographer, stand in front of more interesting stuff.” In this regard students have a lot of limitations when it comes to finding interesting things to photograph. If you are lucky enough to live in Chicago, New York City, or Los Angeles, then you can probably walk out your door and find fascinating photographic subjects. Otherwise, you will need to look at your surroundings with fresh eye. Observe closely so you can see your world in a new way.