Group 32 Bulletin Board
3 threads - 27 total comments
This page is dedicated to discussions about our theme (Monochrome) that are outside the scope of our monthly images.
You can use it to ask for additional help, especially if that might be a long answer or a pointer to a site which could help.
Thread Title: Somdat's Publicity
Two magazines arrived from PSA in which Somdat is mentioned very frequently. In the Who's Who of Photography, his name and photo are on pages 18, 21, and 42; and in the Journal on Page 46. Maybe additional entries that I missed. Congratulations, Somdat, you bring a lot of photography excellence to our DD32. Posted: 09/29/2024 23:57:32
Off course we are not Facebook or Instagram - seeking likes, as you say these groups are there for members to help each other enhance their photographic skills and style. Posted: 09/23/2024 01:09:05
Thread Title: Photographic Society of America (PSA) Critique Groups are Educational-Focused Spaces
Photographic Society of America (PSA) Critique Groups are Educational-Focused Spaces
There is a big difference between a photographic image that is structurally balanced (what I often refer to as an images "Compositional Structure"), imbuing attributes that necessitate a viewers long term attention; the revealing of a subject in the best light and developing contemplative narratives, even for visual work deemed abstract, and alternative photographic work that negates these attributes, which are often refereed to as the so called "snapshot". Learning to consistently create engaging photography is not an easy task, indeed, and much practice, along with constructive guidance are positive steps in achieving our creative goals. As such, one of the wonderful features or design of the PSA Digital Dialogue Critique groups (regardless of the format each operates under) is the ability for the participants in these groups to both critique others work while having their own work reviewed under acute scrutiny.
As such, what I speak about today is a reminder the atmosphere in critique rooms should foremost, be focused towards educating participants. Of course, many rooms also enjoy the added comradely between fellow photographers sharing vacation tips and personal stories imbued with emotion and joy. Having both of course seems ideal, and we would argue, indeed, it is. However, comments that otherwise only console or pacify a photographers work can stymie their creative progress.
As such, PSA Critique group that avoid a clear and transparent message in helping others' develop their photographing skills can be interpreted as missed opportunities the PSA critique formats suppose to offer, as well, in my opinion, the local camera club, where similarly, club participants are, sometimes, seemingly pacified and pampered rather than informed and educated in how they should think about their approach and practice of the art of photography. Thankfully, this type of instruction is usually an exception rather than the norm.
The PSA Critique Group is an Educational-Focused Space designed to, hopefully, funnel photographic ideas and concepts (both old and new) to each participant fueling their individual photographic journeys. The best PSA experience (and, again, allow me to include the local camera club in this discussion) includes a balance between aspects appreciated in education and the comradely cherished in our wide and diverse photographic community. Missing one or the other aspect can possibly make a critique room experience less joyful, while omitting the education aspect altogether, when commenting on someone's work, can result in a counterproductive experience.
In summary, the best atmosphere for critiquing ones work includes a space sharing both an educational vibe while also sharing and hearing personal stories central to the art of photography which can include the appreciation for a certain camera system and / or our favorite vacation destinations that promise amazing photographic opportunities, but must also avoid language that has the potential to stymie creative goals through the use of pampering, consoling and pacifying the developing artist photographer, that is not accompanied with a clear and concise critique.
As always, I look forward to your feedback and including sharing experiences that will inspire others in their photographic journeys. Thank you.
Lance A. Lewin, Fine Art Photographer/Lecturer
PSA Global B&W Photography Director
PSA South Atlantic Area Membership Director
lance.visualizingart@gmail.com
Posted: 09/22/2024 21:06:32
There is a big difference between a photographic image that is structurally balanced (what I often refer to as an images "Compositional Structure"), imbuing attributes that necessitate a viewers long term attention; the revealing of a subject in the best light and developing contemplative narratives, even for visual work deemed abstract, and alternative photographic work that negates these attributes, which are often refereed to as the so called "snapshot". Learning to consistently create engaging photography is not an easy task, indeed, and much practice, along with constructive guidance are positive steps in achieving our creative goals. As such, one of the wonderful features or design of the PSA Digital Dialogue Critique groups (regardless of the format each operates under) is the ability for the participants in these groups to both critique others work while having their own work reviewed under acute scrutiny.
As such, what I speak about today is a reminder the atmosphere in critique rooms should foremost, be focused towards educating participants. Of course, many rooms also enjoy the added comradely between fellow photographers sharing vacation tips and personal stories imbued with emotion and joy. Having both of course seems ideal, and we would argue, indeed, it is. However, comments that otherwise only console or pacify a photographers work can stymie their creative progress.
As such, PSA Critique group that avoid a clear and transparent message in helping others' develop their photographing skills can be interpreted as missed opportunities the PSA critique formats suppose to offer, as well, in my opinion, the local camera club, where similarly, club participants are, sometimes, seemingly pacified and pampered rather than informed and educated in how they should think about their approach and practice of the art of photography. Thankfully, this type of instruction is usually an exception rather than the norm.
The PSA Critique Group is an Educational-Focused Space designed to, hopefully, funnel photographic ideas and concepts (both old and new) to each participant fueling their individual photographic journeys. The best PSA experience (and, again, allow me to include the local camera club in this discussion) includes a balance between aspects appreciated in education and the comradely cherished in our wide and diverse photographic community. Missing one or the other aspect can possibly make a critique room experience less joyful, while omitting the education aspect altogether, when commenting on someone's work, can result in a counterproductive experience.
In summary, the best atmosphere for critiquing ones work includes a space sharing both an educational vibe while also sharing and hearing personal stories central to the art of photography which can include the appreciation for a certain camera system and / or our favorite vacation destinations that promise amazing photographic opportunities, but must also avoid language that has the potential to stymie creative goals through the use of pampering, consoling and pacifying the developing artist photographer, that is not accompanied with a clear and concise critique.
As always, I look forward to your feedback and including sharing experiences that will inspire others in their photographic journeys. Thank you.
Lance A. Lewin, Fine Art Photographer/Lecturer
PSA Global B&W Photography Director
PSA South Atlantic Area Membership Director
lance.visualizingart@gmail.com
Posted: 09/22/2024 21:06:32
Hello Lance, thank you for your discussion. You have stimulated me to think over a number of points.
First, I like your concise ending, which I may paraphrase as "give clear and concise critiques" but "do not only pamper, console, and pacify." I totally agree.
, you also mentioned camaraderie, but very briefly. Of the multiple reasons to share photographs, I count, not in any order, a) sharing criticism, b) telling the story of the picture/place/travel, c) explaining the shooting process, and d) telling one's feelings about a), b), and c).
As my 15 years in Group 32 have passed by, I find I have become more interested in telling the story of the place and my feelings about being there. I am reminded of some quotes by Edward Steichen:
I first became interested in photography, I thought it was the whole cheese. My idea was to have it recognized as one of the fine arts. Today I don't give a hoot in hell about that. The mission of photography is to explain man to man and each man to himself.
Once you really commence to see things, then you really commence to feel things.
By extension therefore, I find the connection with other photographers' feelings as important as the actual criticism.
One example in the Digital Dialogues (although there are many) might be Larry Treadwell's stories of his shooting expeditions, lacing together both technical explanations and passionate telling of his adventures.
Steve Posted: 09/23/2024 03:03:55
First, I like your concise ending, which I may paraphrase as "give clear and concise critiques" but "do not only pamper, console, and pacify." I totally agree.
, you also mentioned camaraderie, but very briefly. Of the multiple reasons to share photographs, I count, not in any order, a) sharing criticism, b) telling the story of the picture/place/travel, c) explaining the shooting process, and d) telling one's feelings about a), b), and c).
As my 15 years in Group 32 have passed by, I find I have become more interested in telling the story of the place and my feelings about being there. I am reminded of some quotes by Edward Steichen:
I first became interested in photography, I thought it was the whole cheese. My idea was to have it recognized as one of the fine arts. Today I don't give a hoot in hell about that. The mission of photography is to explain man to man and each man to himself.
Once you really commence to see things, then you really commence to feel things.
By extension therefore, I find the connection with other photographers' feelings as important as the actual criticism.
One example in the Digital Dialogues (although there are many) might be Larry Treadwell's stories of his shooting expeditions, lacing together both technical explanations and passionate telling of his adventures.
Steve Posted: 09/23/2024 03:03:55
Well said, Stephen. wes Posted: 09/23/2024 15:39:14
Thank you, Steve! Posted: 09/24/2024 18:11:38