“I like it” is encouraging, but it gives a photographer little to repeat. “It doesn't work” is equally limited in the other direction. I find feedback most useful when it describes what the viewer sees, relates that to the aim and suggests a change that can actually be tried.
That applies when I am looking at someone else's work and when I am reviewing my own. The purpose is to improve the next decision, not to establish who has the better taste or the more impressive vocabulary.
Find out what the photograph is trying to do
Ask for the intended use and the photographer's main question. A deliberately unsettled personal image needs a different discussion from a clear product photograph. Criticising the first for being uncomfortable, or praising the second only for atmosphere, may miss the point.
If the photographer wants a first impression, give that before hearing the full explanation. Say where your eye went and what you thought the image was about. That is useful evidence about communication. It is not a verdict on the person's ability.
Describe before prescribing
Start with an observation the other person can inspect. “The bright window is the first thing I notice” is more useful than “the composition is bad”. “I cannot tell what the person is holding” identifies an information gap without assuming how it should be fixed.
Then explain the effect. Perhaps the window competes with a face, or the hidden object makes the action unclear. Only after that should you suggest a possible change. A different position, a calmer background or a wider frame may be worth testing, but they are proposals rather than universal rules.
Separate a fault from a preference
A required logo being unreadable is a practical problem if the brief depends on it. Preferring a warmer edit is a taste judgement unless there is an agreed reason for that treatment. Both can be discussed; confusing them makes feedback harder to use.
I would phrase preferences honestly: “I prefer the quieter colour version because I notice the expression sooner.” That gives the photographer a reason to consider, while leaving room for a different intention. “Everyone prefers natural colour” pretends to speak for people you have not asked.
Keep the next step small
Too many suggestions can turn a review into a list of everything the photographer failed to do. Choose the change most likely to clarify the picture. If subject separation is the main issue, start there before debating a subtle crop at the opposite edge.
A useful review might end like this: the aim is a clear photograph of someone demonstrating a task; the object merges with the background; the next attempt will use a position where the object sits against a simpler area. That is a specific, testable response to an observed problem.
Receive criticism without surrendering the purpose
When receiving feedback, ask which part of the image prompted the comment. You do not have to apply every suggestion, but understanding it is more useful than defending the photograph immediately. Several people independently noticing the same distraction is worth investigating.
Keep the original and try an alternative where possible. Compare them against the intended use, not against the desire to prove the first choice was right. You may decide the original still works better. The experiment has still helped you understand the decision.
For a repeatable exercise, ask a reviewer for one clear observation, one question and one suggested experiment. Write your own response afterwards: what you will test, what you will keep and why. That turns criticism into a useful part of a continuing photography project.