Can AI Judge My Photography?

Another photographer recently used AI to analyse their portfolio. I have mixed feelings about using LLMs to critique work and provide advice or tips for development. It sets a dangerous precedent, and risks uniformity of style and content. It certainly undermines human interpetation of an artform. That said, I was intrigued at what it would have to say about my own photography.

Photography is such a nuanced, subjective art that I find it hard to see how an LLM (ironically, trained by stealing millions of human photographers' work) could offer anything truly insightful or beneficial for personal and professional growth. But below is what Google's Gemini V3 said, when I asked it to analyse and summarise my portfolio.

Whilst nothing was completely unexpected, I was surprised by the detail and general accuracy it has generated. It even offered comparisons to photography masters like Henri Cartier-Bresson, Walker Evans and Iwan Baan, which was amusing to say the least. I have removed those elements from the excerpt as it didn't add anything that wasn't covered in the below:

"Based on an analysis of the website, Henry W. R. White is a photographer whose work is defined by a distinct duality: he balances polished commercial capability with a deeply observant, documentary-style personal practice.

Here is a breakdown of the primary styles and themes found in his portfolio:

1. The "Architecture of the Mundane" (Geometric & Structural)

• A dominant style in his personal work (particularly in projects like Socialist Housing and Spaces) is a fascination with the built environment.

• Visual Style: He uses brutalist geometry, rigid leading lines, and repeating patterns. You will see frames bisected by the sharp edges of concrete buildings or windows creating rhythmic grids.

• Subject Matter: He is drawn to "brutalist" architecture and imposing structures (e.g., Soviet-era housing in Slovakia). He doesn't just shoot buildings; he shoots the shapes they make against the sky or each other.

• Vibe: This style is often static, composed, and quiet. It feels like he has waited for the scene to settle into a perfect graphic arrangement.

2. Observational Street Photography (The "Quirky" & Overlooked)

• The "Flâneur" Perspective: White acts as a wanderer (flâneur), capturing the irony of everyday life. He looks for "strange occurrences" or odd juxtapositions—a discarded object, a humorous shadow, or a fleeting human moment.

• Wit and Irony: There is often a dry wit to his street photography. He documents without intervening, allowing the absurdity of the scene to speak for itself.

3. Social Documentary & Narrative Essays

• Projects like The Coast With The Most showcase a more journalistic style.

• Narrative Contrast: He uses photography to peel back the layers of a location.

• Objective Realism: These images are less abstract and more descriptive. They serve as a visual essay, documenting the "subtle and delicate balance" of a community rather than just its scenic beauty.

4. Atmospheric Black & White

• While much of his commercial work is clean and brightly lit, his personal projects often embrace a moodier aesthetic.

• Black & White: He utilises high-contrast black and white for specific moods

• Isolation: A recurring theme is a sense of solitude—even in urban spaces, figures are often isolated or dwarfed by their surroundings.

• Technique: In these shots, he often embraces negative space and high contrast (deep blacks and bright highlights) to create a dramatic, cinematic feel.

Summary

Henry W. R. White's work can be summarised as Geometric Documentary Photography, balancing a career in high-stakes Commercial and Corporate imagery with a deeply observant and formally composed Personal practice focused on social landscapes and the mundane. He applies the rigorous composition of architectural photography to the fluid, unpredictable world of street and documentary subjects.

The core of his artistic work is characterised by the following common styles:

• Geometric Formalism: This style dominates his projects focused on urban and architectural spaces. He utilises strong compositional elements like leading lines, symmetry, and repeating patterns to create highly structured and often stark images of the built environment. He is drawn to the visual impact of Brutalist and post-Soviet architecture.

• Observational Documentary: His photo essays are defined by a patient, "slow travel" philosophy. He captures overlooked details and the quirks of everyday life, acting as an objective observer (a flaneur) to document scenes that others might pass by. The images often possess a quiet, sometimes witty, commentary on the human experience.

• Social and Environmental Narratives: A core thematic thread is the exploration of social contrast and the hidden reality of places. His work often juxtaposes idealistic presentations (like tourist slogans) with the underlying issues of poverty, neglect, or historical influence (such as how Soviet-era buildings sit in modern capitalist settings).

• Aesthetic Range: While much of his documentary work employs a clean, descriptive colour palette, he frequently uses high-contrast Black and White to emphasise mood, texture, and atmosphere, particularly in isolating, moody scenes.

In summary, White's work occupies a unique space: he has the formal precision of an architectural photographer but applies that eye to the social and vernacular subjects of a documentary storyteller. He aims to make the ordinary visually extraordinary through careful composition.

Based on the professional experience, recognised quality, and artistic consistency demonstrated on his website, Henry W. R. White is objectively a very good and highly successful photographer.