HOME | DD

Description

I got a lensculture submission review from the 10 photos i submitted,

this was the order:

imgur.com/h4uxf1V

They cycle through the genres for the competitions, it was for 'Art Photography', so not street, that's in May, should have waited until then really. These are their picks:

www.lensculture.com/photo-comp…

Far away from my stuff.

I'm probably not likely to go back to London again, maybe Easter, but i'm not likely to get a new 10 to replace those, if i submit again in May they might be already bored, dunno. Their review was far more receptive than i expected, very well written, and enjoyable to read.

They emailed a few times for me to write something for the person doing the review so they can narrow down on things i care about. I started writing something but the character limit didn't allow much so i left it. I just said i wanted their unsteered opinion.

This is what they wrote (you have to pay for this btw, but i was just curious):

'This series draws me into a mood as much as it draws me into the literal space in which the photographs. To begin with, the photographs are all made to feel as if I am wading my way into a dark and murky space. The dim lighting that often slips into blackness feels like it occasionally grants the viewer a glimpse at the faces that emerge from its depths. And that darkness beckons me to get closer only to often find that I am somewhat uncomfortable with what I am finding once I am there.
And that's another aspect of the photographs that I find enticing: the narratives that are unfolding. I suppose this in part ties into the thrust of the title and how each character is engaged in some sort of questioning about the meaning of their existence. And in many cases, that questioning seems to lead the protagonist to places well beyond the literal location of the London Underground. The woman in image 1 is so lost in thought that it appears she could ride the train well beyond her stop. And the woman in 4 feels so determined and driven that she could plow through any rush hour crowd. Each one, commanded by a spell and lost in a haze of their own deep questions.
When I see a submission that doesn't have a statement, it feels like a deliberate statement to not include the writing. And perhaps that is your intention. But my sense is that it is very difficult for a jury to award a submission without more contextual information. And while the title offers a certain amount, including some more writing will definitely help.
Given the deeply poetic, dark, and brooding nature of the images, you might consider writing something that has a more poetic versus literal/narrative voice. You might write about the sounds of the Underground and the feeling of being in such proximity to fellow Londoners. You might talk about how a commute can bring out the types of reactions we are witnessing in this work: how the noise, the monotony, and the movement can lull one into deep introspection--enough to elicit existential questions. And you might write about an edginess and tension that exists in these spaces: that sense of tension and confrontation literally exists in the photos… so, alluding to it through your writing will be an asset to deepening the entirety of the experience for your audience.
The photographs are all strong. My only thought is that you might play with the sequence a little. While it isn't necessary, you might start with a slightly more active image. Image 1 is excellent, but it's somewhat passive. Images 2 or 3 might be a better opener. And I would recommend placing image 7 a little earlier in the sequence: that touch feels like an invaluable narrative element that relates to the title of the project.
It's a solid project, Adam. And it naturally feels suited to a book project. Depending on how many images you have, it may be worth pursuing this path.
Thank you for sharing your work'.

No.1 i thought was maybe not passive but lacking in constrast to be the first photo but i just thought the combination of beauty and melancholy is so stirking, it fits into the continued objective of breaking down into shapes like the character design where every shape is in its right place and strengthens the whole, and with photography when there's no messiness it can put you into some other space.

Out of all the thousands, there's maybe not many where the subject, lighting, tone are right so it becomes so much more than just someone stood or sat there, i don't think i'll ever get something quite like it and so it had to go first. The horizontal lines, the eyes, the expression, it's enigmatic and otherwordly to me and my favourite photo of the year.

I don't think no.7 is too late, i wanted the man there to break up young woman then child, then another child because the whole amount was then being entirely women and girls, which is weird with the title.

They say it's better to write something for the judges but they seemed to have summed up my photo style if there's any with 'the photographs are all made to feel as if I am wading my way into a dark and murky space. The dim lighting that often slips into blackness feels like it occasionally grants the viewer a glimpse at the faces that emerge from its depths. And that darkness beckons me to get closer only to often find that I am somewhat uncomfortable with what I am finding once I am there' and i don't think those 10 are the best examples of faces emerging from the darkness.

They took them for what they are. It's easy to think people won't respond to the qualities and just pick at what they're not.

When i'd put photos on forums i'd never present them as from me, 'here's what i got recently'. By giving photos titles and writing explanations you give the impression you've already thought of the end result and then trying to achieve it, if candid is about being as pure as possible it has to be just trying and accepting whatever you get, the feelings will always be communicated through it, overall sensibilities reveal themselves, the triggers for shots. Don't know what i'd write, 'Existentialism' was just enough to anchor it, i'd rather put nothing.

I also submitted a single photo to the comp, the guy leaning against the wall with the door. Thought afterwards i should have picked the southend on sea bald guy.

I think people might think 5 and 9 are unnecessary, that silhuette of someone walking by the subway wall is always more popular on threads or instagram than something moody.

I can probably do London forever, i felt that there despite the number of days adding up, going to battersea power station, getting a lot from an inside shopping mall, a first. Going down into the subways not knowing what you'll find. But gonna take a break the next few months, draw, recharge, watch Slow Horses.

Description

I got a lensculture submission review from the 10 photos i submitted,

this was the order:

imgur.com/h4uxf1V

They cycle through the genres for the competitions, it was for 'Art Photography', so not street, that's in May, should have waited until then really. These are their picks:

www.lensculture.com/photo-comp…

Far away from my stuff.

I'm probably not likely to go back to London again, maybe Easter, but i'm not likely to get a new 10 to replace those, if i submit again in May they might be already bored, dunno. Their review was far more receptive than i expected, very well written, and enjoyable to read.

They emailed a few times for me to write something for the person doing the review so they can narrow down on things i care about. I started writing something but the character limit didn't allow much so i left it. I just said i wanted their unsteered opinion.

This is what they wrote (you have to pay for this btw, but i was just curious):

'This series draws me into a mood as much as it draws me into the literal space in which the photographs. To begin with, the photographs are all made to feel as if I am wading my way into a dark and murky space. The dim lighting that often slips into blackness feels like it occasionally grants the viewer a glimpse at the faces that emerge from its depths. And that darkness beckons me to get closer only to often find that I am somewhat uncomfortable with what I am finding once I am there.
And that's another aspect of the photographs that I find enticing: the narratives that are unfolding. I suppose this in part ties into the thrust of the title and how each character is engaged in some sort of questioning about the meaning of their existence. And in many cases, that questioning seems to lead the protagonist to places well beyond the literal location of the London Underground. The woman in image 1 is so lost in thought that it appears she could ride the train well beyond her stop. And the woman in 4 feels so determined and driven that she could plow through any rush hour crowd. Each one, commanded by a spell and lost in a haze of their own deep questions.
When I see a submission that doesn't have a statement, it feels like a deliberate statement to not include the writing. And perhaps that is your intention. But my sense is that it is very difficult for a jury to award a submission without more contextual information. And while the title offers a certain amount, including some more writing will definitely help.
Given the deeply poetic, dark, and brooding nature of the images, you might consider writing something that has a more poetic versus literal/narrative voice. You might write about the sounds of the Underground and the feeling of being in such proximity to fellow Londoners. You might talk about how a commute can bring out the types of reactions we are witnessing in this work: how the noise, the monotony, and the movement can lull one into deep introspection--enough to elicit existential questions. And you might write about an edginess and tension that exists in these spaces: that sense of tension and confrontation literally exists in the photos… so, alluding to it through your writing will be an asset to deepening the entirety of the experience for your audience.
The photographs are all strong. My only thought is that you might play with the sequence a little. While it isn't necessary, you might start with a slightly more active image. Image 1 is excellent, but it's somewhat passive. Images 2 or 3 might be a better opener. And I would recommend placing image 7 a little earlier in the sequence: that touch feels like an invaluable narrative element that relates to the title of the project.
It's a solid project, Adam. And it naturally feels suited to a book project. Depending on how many images you have, it may be worth pursuing this path.
Thank you for sharing your work'.

No.1 i thought was maybe not passive but lacking in constrast to be the first photo but i just thought the combination of beauty and melancholy is so stirking, it fits into the continued objective of breaking down into shapes like the character design where every shape is in its right place and strengthens the whole, and with photography when there's no messiness it can put you into some other space.

Out of all the thousands, there's maybe not many where the subject, lighting, tone are right so it becomes so much more than just someone stood or sat there, i don't think i'll ever get something quite like it and so it had to go first. The horizontal lines, the eyes, the expression, it's enigmatic and otherwordly to me and my favourite photo of the year.

I don't think no.7 is too late, i wanted the man there to break up young woman then child, then another child because the whole amount was then being entirely women and girls, which is weird with the title.

They say it's better to write something for the judges but they seemed to have summed up my photo style if there's any with 'the photographs are all made to feel as if I am wading my way into a dark and murky space. The dim lighting that often slips into blackness feels like it occasionally grants the viewer a glimpse at the faces that emerge from its depths. And that darkness beckons me to get closer only to often find that I am somewhat uncomfortable with what I am finding once I am there' and i don't think those 10 are the best examples of faces emerging from the darkness.

They took them for what they are. It's easy to think people won't respond to the qualities and just pick at what they're not.

When i'd put photos on forums i'd never present them as from me, 'here's what i got recently'. By giving photos titles and writing explanations you give the impression you've already thought of the end result and then trying to achieve it, if candid is about being as pure as possible it has to be just trying and accepting whatever you get, the feelings will always be communicated through it, overall sensibilities reveal themselves, the triggers for shots. Don't know what i'd write, 'Existentialism' was just enough to anchor it, i'd rather put nothing.

I also submitted a single photo to the comp, the guy leaning against the wall with the door. Thought afterwards i should have picked the southend on sea bald guy.

I think people might think 5 and 9 are unnecessary, that silhuette of someone walking by the subway wall is always more popular on threads or instagram than something moody.

I can probably do London forever, i felt that there despite the number of days adding up, going to battersea power station, getting a lot from an inside shopping mall, a first. Going down into the subways not knowing what you'll find. But gonna take a break the next few months, draw, recharge, watch Slow Horses.