Beauty is in the eye of the beholder, as they say. There’s truth to that. Perception is very often subjective.

Subjectivity is the reason it’s not always easy for photographers to evaluate their own work.

Our photographs aren’t simply images, they represent much more: something personal. Looking at a photo might conjure up any number of things. You might recall how hard you worked to get the shot, or who was with you when you made the picture, or what a great experience it was working at that location.

There’s a backstory attached to every image – a range of feelings and memories. It’s not merely a photograph: you see much more than that. Emotion influences your perception.

That’s why learning to be your own best critic can be so challenging. It’s an important skill to develop, though, because honest self-assessment of your work will help you improve, both technically and stylistically, as a photographer.

Once you become more proficient with objective self-evaluation, you’ll also become a better curator; the quality of your portfolio will improve.

The Technical Evaluation

There are two aspects to an image review: technical and artistic. The technical points are pretty easy to identify – things like sharpness, exposure, distracting elements, white balance, or too much noise. Some of these can be addressed in processing. Other technical issues are deal-breakers and have ruined many a good image.

As much as you might want to like a photograph, if it contains a fatal flaw, it cannot make the cut. You’ve got to be brutally honest with yourself. Even if you made the photo at a destination you’re unlikely to ever visit again, or the image is a killer composition – really unique and one of your better ideas, or you’ve been trying for years to get the shot – it’s got to go if there's a technical problem.

Professional curation requires a standard that transcends emotional attachment.

I’ve had to do it, and I suspect everyone has had to at one time or another. Nobody is immune from making a mistake. It’s a great reminder, though, to be mindful of foundational aspects when you’re in the field. Most errors are avoidable.

The Creative Evaluation

Upon completing this first part of the evaluation you might realize that although you have a technically perfect image, it still misses the mark. Think of photos that lack emotion or are formulaic. That’s where we move into the other, more difficult side of the image self-critique: the creative.

By definition, art is subjective. You say tomato, I say tomahto. One person likes abstracts, the other doesn’t. That's par for the course when it comes to art. But the fact that there's no checklist - that this can be so idiosyncratic - is what makes this aspect of the evaluation challenging.

There is no set formula to determine whether you’ve succeeded creatively, but there are a few things to consider.

The Creative Framework

• Intent and Execution: What was the primary narrative or visual goal? Did the final frame successfully translate that intent?

• Emotional Resonance: Does the image elicit an immediate visceral response or convey a specific mood?

• Uniqueness and Originality: In a world of derivative imagery, does your presentation of the subject—whether iconic or common—offer a unique, dramatic, unusual perspective, or something that's difficult to reproduce? Have you made this image before?

• Artistic Identity: How does this specific photograph reflect your personal vision and your evolution as a fine artist?How are you reflected in this image?

The Final Assessment

If you’re finding it difficult to detach yourself emotionally from your work, try formalizing your review process by incorporating an "incubation period." Instead of jumping into processing immediately following a shoot, allow for forty-eight hours of distance before beginning your evaluation.

Alternatively, let a processed photo "sit" overnight and review it with fresh eyes the following morning. This deliberate pause is often the difference between a sentimental record shot and a curated piece of fine art.

Creative evaluations remain fluid because your artistic vision is constantly evolving. Your opinions about specific images will change as your skills sharpen, your tastes change, and you've experienced more things. A few months or years down the road, you may decide to process an image completely differently than the way you originally interpreted it.

For those images that fail to make the technical or creative cut, remember that they still hold value within your private archives. You can continue to enjoy these photographs and the memories they carry without feeling compelled to include them in your professional showcase.

A true expert knows that a powerful portfolio is defined as much by what is excluded as by what is shown.

In Local News

The snow deficit here in the northern Rockies continues, although – happily – things have shifted and we’re now moving into a more active pattern. Let’s hope it lasts.

Meanwhile, the American Dog Derby, the oldest sled dog race in the lower 48 and a winter fixture in Eastern Idaho, is another casualty of the lack of snow. Scheduled for the 20th and 21st, the organizers in Ashton, Idaho made the difficult decision on Tuesday to cancel the race. Though disappointing, it was the right call; the safety of the teams is paramount.

The last time the race had to be cancelled due to light snowpack was 2015.