TPC's Textual Critiques

When we include Textual Critiques for our 3-Book Set and our Self-Study Course, we do exactly that -- we download a few images you have uploaded to your own Website that pertain to the Personal Assignments included at the end of each chapter in TPC's Photographic Techniques Book I, then do our very best, via return Email, to explain what we see, what we think you did (providing us with TPC's Top Ten List from Book I helps tremendously), and make suggestions about ways you might consider in re-shooting the same or similar scene the next time you're out with your camera. To simplify, if you order either our $109.95US Self-Study Course or our $154.95US 3-Book Set, Textual Critiques are included in those order prices.

Students who wish to individually order only TPC's Photographic Techniques Book I, II or our PSD&O, rather than either of the order options listed above, but still want text critiques of her or his work should order this $34.95US option in addition to the price of the book they are ordering. This same order option also applies if you are ordering our complete $49.95US Beginner's Series Set -- text critiques are not offered for individual Beginner's Series Book orders.

While our Text Critiques don't equal the value of our Digitally-edited Textual and Photo Critiques (included only with the Certificate of Completion Course), they are constructive observations you will always find helpful and rewarding. And, even if we miss the mark you were aiming for, just give us a bit more information about what was going through your mind at the time you made the exposure so that we can put our brains on your wavelength and fine-tune our critique even more for you.

Here's an example of a Textual Critique combined with the photos submitted by the student; click on the link above for a Digitally-edited Textual Critique:

We downloaded this image from the student's Website; the only information offered is his title -- Two Red Canoes. However, it would appear that his exposure was that of an average f/11@1/ISO scene:
On first inspection, we notice that the top of his frame is a bit discolored, indicating to us that he may have been using outdated film or film that has been exposed to more heat than it could handle. Getting out of the heat, we moved on...

While the composition has a horizon running straight through the middle of the scene, it seems to be necessary because of the interesting sky AND the interesting foreground. The most interesting thing in this whole critique is the inclusion of the two canoes, hence the title.

Does the photographer know the occupants of the two canoes? That would be a good reason to have included both in the scene. Or, was he trying to capture some contrast between the sky and its reflection beneath the foreground's lily pads? We believe he simply grabbed two canoes and enhanced their red coloring a bit using his own digital editing software, and not a bad job at all.

That's fine with us. And, we also expressed our desire to have a paddle and splash on the camera's side of the canoe -- and a water wake would be nice.

But, back to the TWO canoes. Remember what we wrote in Book I about even and odd numbers? My eyes keep jumping back and forth between the two canoes, which is a bit distracting; I wish there were only one. And we suggest as such to the student. We also suggest using fresher film.

The student takes the hint and asks if he can do a re-shoot for comparison; we respond in kind. He promises to use fresh film.

Within a day, we receive an un-retouched image meeting all our suggestions. It is easier to view the surrounding beauty of this natural scene with only a single anonymously occupied canoe, plus its placement in the scene draws our attention to all the surroundings. Because the student has previously displayed a talent for using Adobe Photoshop™ Image Adjustment Tools, we know not to mention the low contrast and high Kelvin temperature of this high-noon image; he will certainly take care of the scene's color and contrast before printing it. A digital camera would probably have automatically compensated for the 10,000 °K lighting, but with film a good 1B or 2A filter would have eliminated the cyan color-cast.

The convenience of having close and common sites from which you can gather images for your student portfolio certainly makes it easier to reshoot for not only the instructors benefit, but for your benefit, as well. Being able to compare the content, lighting, atmospheric conditions, seasons, and just plain doing a reshoot keeps your learning curve on the increase -- bouncing back and forth between scenes and settings can not only be frustrating to both the instructor and student, but the student does not get the benefit of comparing apples to apples. Our design is for you to learn; we do not become bored with your images, as we would rather see you impress us with progress.