PSA has issued an invitation to join dialogs devoted to Adobe AI (see below). I believe that the description of Adobe AI in the invitation is narrow. AI is much more that making creative composites. We have long used our post processing software to tweak our images. It sounds like the new dialogs will focus on the creative composting aspect of AI where the software designs elements not present in the original image. Is this work photography or graphic design? I realize that compositing with Photoshop layers has also been controversial - BUT in this case all elements of the final composite originate in the photographer's photos.

Barbara's invitation:
Adobe’s Artificial Intelligence (AI) is now being used by many photographers and I believe we need to recognise it and introduce it as part of Digital Dialogue developing Study Groups that members having that common interest can share and practice this type of image creation. It would differ in that one would not be asking fellow members for additions/improvements in order to submit to a competition or exhibition but rather to show the technique used to accomplish the finished image. This means that one must keep a record of their steps and provide the original and perhaps a couple more of progress along the way. The same routine would be used as at present, 7 members in a group with images due no later than the 9th

One member of DD describes the use of AI:

There are two ways that AI is currently used in photography. The way that many people think of is image creation from a text description. There are many tools to do this: midjourney, DALL-E, and several others. Typically the user describes an image and the software creates it. Of course, the user can then ask for multiple variations, etc. It's quite sophisticated.

The second way that AI is being used is shown in an upcoming version of Photoshop. (This version is currently in beta testing, but is available to anyone with a Photoshop subscription.) A typical use of this new capability is to start with the user's own image, select an area of the image, and then "tell" Photoshop what to place in that location by typing a description. So, this AI process is a type of image manipulation; whereas the first process is image creation.

Please pass this to your members and If any are interested in joining an AI group please contact me (bembrit@bellsouth.net and also if willing to administer a group.


Kind regards, Barbara

Barbara E Miller
HonPSA MPSA EFIAP
Director Digital Dialogue
http://psadigital.org/groups/

Expand your photographic horizons each month by looking at the "Member Showcase" at http://psadigital.org/

  Posted: 06/25/2023 23:20:43

A lot of us have been to places where tripods and/or monopods are not allowed, or we don't have the tripod with us.
To solve the problem: I use a fishing line. One end has a fixed loop that goes around the tip of my shoe, and the other end is firmly tied to anything that can be screwed into the tripod hole in my camera. When I am ready to shoot, I increase the tension to help keep the camera steady. If I need the line shorter, I simply wrap the excess around my camera.   Posted: 03/25/2023 21:31:00

One of my friends, (real, not FB,) recently shared this rather lighthearted comment on Fine Art, for the group to enjoy.   Posted: 12/19/2022 00:02:50

I am only recently becoming an "active" photographer and I cannot speak with authority on the evolution of photographic genre. My layman's understanding of the term "Fine Art" is "art concerned primarily with the creation of beautiful objects" or simply "aesthetic" - and I embrace that definition because it so well describes my personal goal for my photography.
For me, Fine Art in photography is about the outcome not the process. The image may be a faithful reproduction of reality, or it may be highly manipulated; it could be a simple rose or it could be an allegory of monumental moment; but for me it is Fine Art if it is perceived at least by some to be of arresting beauty.
We need a term for that - I think the term is Fine Art - if this is not correct, then I would ask what term I should use instead.   Posted: 05/28/2022 03:55:46

Inspired from DD-77 Bulletin Board post by Witta Prieste June, 2020...� Who is the Viewer and Who is the Audience�? Peter Newman’s Bulletin Board post feeds on the same vein. On Oct.18th I am giving a talk to the Gilmer Fine Artist in Ellijay, Georgia, on a very similar subject.

From the late 19th Century through 21st century art culture has experienced many different “movements� and patrons of the arts either liked what they saw or showed less interest, or none at all. Similar emotions and debate, again, manifest within 21st century photographic art.

I suggest we have changed our view of what constitutes Fine Art photography in 21st century photography.

Here we see a paradigm shift in how students of photography (and I am mostly speaking to club and online generation of photographers) initially approach and contemplate the artistic values/merits of their work: it has become all about how a particular work will be accepted in competitions rather than studying photographic work for the sake of its “artistic� nature or appeal: we ask questions that begin with...’so, is my work OK to enter a competition?’ or...’is it contest worthy?’ We talk more about the “rule of thirds�, for example, sometimes in a tone or manner that seem absolute, where in my workshops I do not discuss the rule-of-thirds but for a brief moment, and instead discuss in great detail the process of “visualization� as a means of inspiring creativity and compositional structure that is engaging, provocative and may well be viewed “non-competitive� to local club pictorial agendas.

Photographic Society of America (PSA) inspired photography is heavily biased on the aesthetics and narrative created through digital alterations as seen in illustrative or altered-reality like photographic based art, where instead, the work is “Creativeâ€� (as defined by PSA Creative DD group). The work mostly viewed in this Fine Art DD-79 (and also DD77) are of this nature…that is, redefining what dominates “Fine Artâ€� photography. The work here is almost identical (for all practical purposes) to “Creativeâ€� DD group photographic art. “Fine Artâ€� photography, seen from a traditional posture, has seemingly morphed into something else: so, where does this lead….

We are in an era, what I term, “hybrid-genresâ€� (which is on the heels of philosopher Jerrold Levison views on “Hybrid Artformsâ€� 1984, and Claire Anscomb 2019 paper…Photography, Digital Technology, and Hybrid Artforms, 2019, where Anscomb refers to...â€� evolving artsâ€�). Here, I suggest we are seeing a metamorphosis within the photography genre: within the realm of digital photography �“ an array of digital-art manifestations (hybrid-genres) has been born, which has brought a certain degree of disparity: here a paradigm shift has been realized, where everyone questions what they are looking at: viewers’ first impression of photography is often one of skepticism. To mitigate this skepticism, for our 3rd Annual Photography Exhibition (at Gilmer Arts, in Ellijay, Ga) I again was clear on presenting two category-genres for the artist to enter, and again, proved successful from the standpoint of artists, and patrons of the art.

Fine Art Photography form a Traditional Posture:

Ansel Adams, Henri Cartier-Bresson, are two very good examples Peter offers as comparison to the ever-needing “competitive� composition that occupies the majority of work circulating throughout clubs, guilds and online institutions all around the world. Ansel Adams Moonrise, Hernandez, New Mexico 1941, seen both with and without heavy Dodge and Burning, represents a clear and authentic landscape composition, the pure essence of what a skilled user can achieve from behind the viewfinder. It is Fine Art Photography at its best, as also enjoyed by examples of Henri Cartier-Bresson work...as well as all of my serious photographic art is designed for...the sake of art.

Thank you, guys!

Lance A. Lewin
PSA Black & White Photography Mentor
PSA South Atlantic Area Membership Director
DD-83 Mono and DD87 General Administrator

http://visualizingart.com   Posted: 10/12/2021 13:20:59

I figured that since we have a BB, this topic might be an interesting starter. I am convinced that camera club judges would rarely give a high score to good fine art. e.g. Henri Cartier-Bresson: Part of a bicycle wheel might be out of the image; the whole image might not be in focus; etc. How well would the impressions of Charles Needle, Tony Sweet, Lisa Langell, John Dexter, etc., score in a CC competition.

More importantly, how can we explain the difference between a postcard/catalog shot and a good photograph, to a beginning photo artist.   Posted: 05/10/2021 04:48:35