A photographer reached out to me recently, frustrated about a conference she attended. While she picked up useful information and learned some new tips, rather than walking away from the event inspired and full of enthusiasm, instead she felt discouraged and questioned whether it made sense for her to continue to pursue photography.

Ouch. Not exactly what the organizers intended, I'm sure. 

When I asked what prompted her reaction, she indicated it was a single session, from which her takeaway was that the presenters were essentially calling into question the types of images she creates. Unless and until she reached the same level of enlightenment as the panelists, there was a good chance her photographs would be considered reductive. 

Though she recognized that perhaps it was a case of clumsy and/or ineffective communication, still she heard "there's something wrong with what you're doing." She left that session - and ultimately the conference - unsure of herself. 

Aside from the cautionary reminder that trainers should be mindful of how their messages might be construed, it illustrates how self-doubt is, all too often, lurking just beneath the surface. 

Doubt is a dirty word. Even those who think they've learned to conquer it are surprised when it unexpectedly comes knocking. 

We're all at different stages on our respective creative journeys. Especially for those who are new to photography, mentoring, training, tips and ideas from others can be intrinsically valuable. Learn the fundamentals. By all means, ask for opinions and guidance. Practice. 

Ultimately, though, we must learn to trust - and be true to - ourselves. This is not necessarily easy to do, particularly in this era of conformity. Followers are a dime a dozen.

A few thoughts:

1) Rather than comparing yourself to others, use your own body of work as your yardstick. Focus on the improvements, both technically and artistically. 

2) Don't let likes dictate what you shoot, and by all means avoid the comparison rabbit hole. Don't be afraid to step away from social media entirely if it feels like it's doing more harm than good.

From my own experience, I can assure you it's easy to predict which types of photographs will generate the most positive feedback online. For example, people tend to gravitate toward images they perceive to be "cheerful." Abstracts don't fare as well as representational images. And so on. 

If my objective is to generate likes, I know exactly what to post. Positive feedback on social media, though, is not what motivates me. Two of my favorite images from Grand Teton National Park feature tumultuous skies. There's something about energy in the sky which I find compelling. (The irony is not lost on me: having grown up in an area that was, unfortunately, quite tornado-prone, I spent many years terrified of heavy weather.)

These photos do not depict Jackson Hole with a sunny disposition. Angry, expressive skies resonate with me, though. 

Express yourself. Shoot what is meaningful to you. You don't need someone else to validate your choices.

LEADING EDGEA monsoonal storm advances into Jackson Hole

Grand Teton National Park, Wyoming

TURMOIL ALOFTA strong storm creates stunning, turbulent skies and brings with it powerful winds. As it passes, the mountains are rendered as shadows by heavy rain.

T.A. Moulton Barn
Grand Teton National Park, Wyoming 3) Art is subjective. Assuming there are no glaring technical issues with your photograph, whether or not someone likes it is typically a matter of personal preference.

4) There is no right and no wrong. (See above: art is subjective.) There are plenty of compositional rules, but if you haven't learned this already, you will soon enough: none of the rules are hard and fast. Stay true to your vision. 

5) Everyone makes mistakes. EVERYONE. The fact that you screwed something up doesn't reflect on your abilities as a photographer.

6) Don't take group image critiques too seriously. If you belong to a camera club, you've likely participated in these. Some people find value in them, others despise them. I'm not passing judgment either way, but do bear in mind that group environments often foster predictable results. What does that mean? In my previous professional life, I was an executive recruiter for a number of years. One of my clients loved panel interviews, in which a group of mid-level executives would jointly interview a candidate. The candidate might be highly qualified, yet the interviewers would see this as a golden opportunity to demonstrate just how sharp they were by making it their mission to find something - anything - not to like.

If club critiques generate comments that are constructive and supportive, excellent. If it's more like the panel interview environment I described, take it for what it's worth: a grain of salt.

Again, art is subjective. These are just people's opinions. And don't forget, some might approach this exercise not so much as a constructive image review but in the spirit of competition.

7) Not all of your images are equally good. There is nothing wrong with this! Accept it, and value it. Not every image can - or should - stand alone. One photograph gets top billing, while others are perhaps better suited in supporting roles. Maybe the story you're trying to convey is done so more effectively with a handful of photographs.  

8) Progress, not perfection.