Athens Tourists - A Photo Critique with Phil Penman and Alex Kilbee 

Thanks so much for having me on your show, Jeff, and thank you Phil and Alex for the critique. It's never easy, having one's name and face and work being critiqued publicly in such a forum, but I am very glad I did. Your channel is amazing, Jeff!

Another great episode with tons of constructive feedback.

WOW! I just found your channel this morning and I have already watched several videos. Learning so much.

Around 8 cool shots there Vittorio, keep building the unusual shots, don't worry about overall story, that comes, as does the openeing and closing sequence. For now shoot for inspiration until you have 70 cool photos, then start feeling for the emerging story. Loving the close, quality work. Remember, you want to feel the photo not see it.

Very constructive feedback, as always. Love the reference of Titarenko ( I was able to enjoy an expo last October here in Barcelona), great photographer.

Vittorio I love the close up shots of the people. I find them fascinating and they make me want to know the person even more. Keep up the good work.

Nice constructive content and agree with Phil about the project idea. Part of me wants go back to the time before social media and just take photos like I used too, its easy to feel pressure from social media that you need to be doing this or that .😊

Early on Penman said that one can’t recognize the work from the artist’s statement. This is incredibly common across so much of the arts and photography. It might have been interesting to pull out the sub group of images presented here that have a certain formal and narrative unity and compare that group to the artist’s statement. Probing the difference between what the photographer is actually achieving and what he describes himself as doing. Why is that gap there and what are its characteristics? How do the more successful photos related to the statement? Is the photographer really guided by his stated intentions, or is something else at work? Of course doing that brings us in contact with a different set of potential problems, but at least it gives a structure to the critique and can directly address the work the photographer is presenting to the audience.

At the end of the day, photography is about problem solving; lighting, subject(s), composition, etc. and the most important benefit gained from shooting lots of different genres when starting out is the honing of your photographic problem-solving skills. Before moving virtually entirely to street /urban photography, I did weddings, food, product, macro, URBEX, and even landscapes. Now I am entirely focused on street/urban work; pretty much have zero interest in pointing my camera in any other direction.