We are delighted to bring you this guest essay by Edward Boches on the value of critique in conjunction with the exhibition “Do You See What I See: Images from a Crit Group” curated by Emily Belz featuring Andrew Epstein, Coco McCabe, Lee Cott, Edward Boches, Margaret Lampert and Elliot Schildkrout which is now on view in The Workspace Gallery at Bob Korn Imaging in Eastham, MA through September 30th, 2026. Artist talks and reception are planned tonight, August 25th from 5 to 7pm. ~ES & SR
Guest Essay by Edward Boches
Many great photographers will tell you that they are the worst judge of their own photographs. Why? Because they are too emotionally attached to the work to stay objective. Combine that with the likelihood that you are fortunate to get one great image out of every 100 times you press the shutter — Alex Webb once told me “that is a good day!” So it goes without saying that it’s even harder for us mere mortals to assess our own work.
(Feature Image) From the series From the Ground Up by Edward Boches, courtesy of the artist.
From the series From the Ground Up by Edward Boches, courtesy of the artist.
In the days of film photography, many photographers, Garry Winogrand among them, would not even look at their negatives until months after having exposed the film, hoping that the passage of time might help them be more objective. In the age of digital immediacy, however, it’s impossible for all but the most disciplined to go months before reviewing images. That is where a crit group comes in. A small circle of photographers whose work and opinion you respect, who gather once a month to offer honest, useful feedback about each other’s images. It does not matter if the work is new or part of an ongoing project, and I am fortunate to be a member of two such groups.
From the series While Walking by Andrew Epstein courtesy of the artist.
From the series While Walking by Andrew Epstein courtesy of the artist.
From the series Riverview by Lee Cott, courtesy of the artist.
I often show up at a critique convinced my work is good and that I know which photographs are strongest or tell a story, only to discover that everyone else is drawn to different images. At first it’s unsettling. But if the criticism is specific, pointing out an unseen relationship between two figures, or the mystery of something beyond the edge of the frame, it creates new opportunities. That kind of feedback might inform what I should look for in making the next set of images.
From the series Riverview by Lee Cott courtesy of the artist.
From the series There is no Mending the Beechwood by Coco McCabe, courtesy of the artist.
From the series There is no Mending the Beechwood by Coco McCabe, courtesy of the artist.
Over time, something else happens. By looking closely at the work of others, you discover ways of seeing that you can apply to your own pictures. I tend to photograph people. Others in my group prefer landscapes, architecture, abstraction, or the quiet poetry of everyday moments. Our interests do not overlap, but that is part of the value. I may notice the importance of focusing on small details rather than scenes. Or think more about how shapes, lines and geometry can strengthen a frame. Or simply muster up the courage to try something out of my comfort zone.
From the series Dancing with Art by Elliott Schildkrout, courtesy of the artist.
From the series Dancing with Art by Elliott Schildkrout, courtesy of the artist.
Writers have editors. Playwrights listen to actors read aloud. Filmmakers screen rough cuts. We often think of the photographer as a solitary artist. But sooner or later the work in any of its possible stages – images, ideas, works-in-progress, finished projects – can benefit from a fresh set of eyes. By joining a thoughtful critique group that meets at least once a month and strives for participants to offer and receive honest, constructive feedback, you will see your work and theirs improve with time.
From the series Light Falls by Margaret Lampert, courtesy of the artist.
From the series Light Falls by Margaret Lampert, courtesy of the artist.
Edward Boches is a Boston and Cape Cod based documentary photographer. His work has been exhibited frequently throughout New England and New York and has been published in the Boston Globe, the New York Times, the Sun, Zeke Magazine and the Provincetown Independent where he is a regular contributor of documentary photo essays and reported features. This month he was named a Critical Mass 200 finalist by Photolucida.
For more information: https://bobkornimaging.com/gallery/
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