Friends,

First the bad news, I have been diagnosed with a gastric malignancy and am starting my first chemotherapy + immunotherapy cycle tomorrow. It is localised, and the docs say that after 8-9 months of treatment, I should be disease-free. Fingers crossed.

So, I will be having "downtime" over the next few months, since I won't be traveling to wildlife destination, I intend to spend some of the time to go through my imagesand do some things which I have wanted to do for sometime, one of them is to develop some portfolios. In the thread this month, I have asked all of you to help me with critiques and suggestions for one such work in progress.Please do.

I will also start work on a book, which I have wanted to put together for some time. I have tentattively titled it "Frozen wild" - this will mainly images of my two trips to Svalbard (I had another one booked for this August) but have had to cancel that and one trip to Hokkaido. I am not doing it purely as a nature book, but want to use some editing techniques which are not allowed in nature sections, to give me more striking images. Once I have a first draft, I will post a link here, so you can have a look and give me some constructive criticism, before I do the final polish, and commit it to print.

So if I am irregular in posting in the Group 32 forum for the rest of this year, you will know why it is and forgive me.

In keeping with a monochrome forum I am posting the overview image of a portfolio on Rhinos in solios which I submitted to the Australian Photographic Society, for the first intake of thier newly instituted portfolio awards. I should recieve formal notification on or after 21 April, but they did ask for some minor revisions, which is usually a sign that it has generated interest amongst the jurors.   Posted: 04/06/2026 22:53:51

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 18:57:32

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: 09/22/2024 20:09:05

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 16:06:32