Group 92 Bulletin Board
7 threads - 19 total comments
This page is dedicated to discussions about our theme (Street Scenes) that are outside the scope of our monthly images.
Thread Title: Fine Art Photography Article: Compositional Structure
PSA Fine Art Photography Article: Compositional Structure
Hello, everyone! Hope you take the time to read my article in
The March issue of the PSA Journal, which can be found on the
PSA website if you do not currently receive the hard-copy of the
Journal. I very much look forward to your comments.
You can also Follow the Link below. Thank you.
https://psa-photo.org/resource/resmgr/pdf/journal_/2023/2023-03-psa-journal.pdf
Lance A. Lewin
PSA B&W Photography Mentor
PSA South Atlantic Area Membership Director
Contact: lance.visualizingart@gmail.com
Posted: 03/19/2023 21:34:35
Hello, everyone! Hope you take the time to read my article in
The March issue of the PSA Journal, which can be found on the
PSA website if you do not currently receive the hard-copy of the
Journal. I very much look forward to your comments.
You can also Follow the Link below. Thank you.
https://psa-photo.org/resource/resmgr/pdf/journal_/2023/2023-03-psa-journal.pdf
Lance A. Lewin
PSA B&W Photography Mentor
PSA South Atlantic Area Membership Director
Contact: lance.visualizingart@gmail.com
Posted: 03/19/2023 21:34:35
So funny, while I haven't read it yet, I left the magazine open to the article because I wanted to read it when I had time to really focus on it. I hadn't noticed it was your article. I now look forward even more to reading it when I have the time to really absorb what you have to say. Posted: 03/20/2023 14:18:09
Oh, that is funny! Well, I hope you enjoy the read and look forward to hearing your comments. : ) Posted: 03/23/2023 10:21:29
Thread Title: “Is my picture better in color, or black and white�
Introduction: ⬓Is my picture better in color, or black and white�
Nowadays, everything captured is first rendered as a color image ⬓ I suggest this forced, initial color rendering, is unique in its influential status: we are dictated to interpret the color image first - even edit the color image in post-production before converting it to a black and white photograph. This process is much different from shooting a roll of BW film where the photographer is never introduced to color - as such, their interpretation is (unbiased) or not heavily influenced by first viewing a color version: choosing and studying a color before converting to BW is not part of the equation when shooting film, as much (and with such vigor), as photographers using digital cameras.
Aesthetic differences between color and black & white photographs:
But here we are, and the color version is our first view of the captured subject: and frankly, this may actually be a good thing. In this environment, we get to study or examine the color version closely and make exposure adjustments that better replicate what intrigued us at the time of capture. From here we study the image to see how different artifacts within the composition reveal themselves, how the smallest details to the largest are effectively presented: we are looking at different shades of color and how they react within shadows or how they react between subtle shades of one color.
Assuming we decide the color-version is a well composed and engaging composition, the question then becomes, ⬓how do I replicate this particular aesthetic within a BW rendering?⬠How do we keep, or maintain the subtle shades within colors or shadows? Alternatively, we may decide to change the aesthetic narrative of the color version into something different for our BW one: 1. Heavy contrast, or 2. Softer contrast. (We can speak of these variables in later conversations, if you so desire). For example, Ansel Adams (1902-1984) is well known for his heavy hand using Dodge & Burn techniques often making a mid-afternoon scene more dark and dramatic.
⬓Points to Ponderâ¬
The artist-photographer who centers his art in Black and White imagery does so, not by choosing from an assortment of color originals, but instead, (for work captured digitally) the artist is impervious to the color version: her thoughts are not...⬙will this look better...⬙ but instead moves forward and converts the color original to B&W. It is not uncommon, too, to convert the color original to B&W and not like it at all. This is no different from the reaction the artist-photographer exhibits viewing his latest roll of B&W film and decides a particular subject is not as engaging as she would have hoped.
In the future, do not ask... ⬓Is my picture better in color, or black and white⬠... if you are an artist-photographer who strives to showcase your creativity through a mostly White to Black tonal gamut, then instead, direct the spectator to your B&W fine art photography for what (it) is. In this sense, we are presenting the work ⬓as isâ¬, regardless if the spectator enjoys B&W or color imagery better than another.
I look forward to hearing like experiences and comments regardless if in support or ones that challenge the proposed work process. In the end, it is all about sharing ideas in though-provoking discourse. Thank you.
Kind regards,
Lance A. Lewin
PSA Black & White Photography Mentor
PSA South Atlantic Area Membership Director
Posted: 06/25/2022 11:40:57
Nowadays, everything captured is first rendered as a color image ⬓ I suggest this forced, initial color rendering, is unique in its influential status: we are dictated to interpret the color image first - even edit the color image in post-production before converting it to a black and white photograph. This process is much different from shooting a roll of BW film where the photographer is never introduced to color - as such, their interpretation is (unbiased) or not heavily influenced by first viewing a color version: choosing and studying a color before converting to BW is not part of the equation when shooting film, as much (and with such vigor), as photographers using digital cameras.
Aesthetic differences between color and black & white photographs:
But here we are, and the color version is our first view of the captured subject: and frankly, this may actually be a good thing. In this environment, we get to study or examine the color version closely and make exposure adjustments that better replicate what intrigued us at the time of capture. From here we study the image to see how different artifacts within the composition reveal themselves, how the smallest details to the largest are effectively presented: we are looking at different shades of color and how they react within shadows or how they react between subtle shades of one color.
Assuming we decide the color-version is a well composed and engaging composition, the question then becomes, ⬓how do I replicate this particular aesthetic within a BW rendering?⬠How do we keep, or maintain the subtle shades within colors or shadows? Alternatively, we may decide to change the aesthetic narrative of the color version into something different for our BW one: 1. Heavy contrast, or 2. Softer contrast. (We can speak of these variables in later conversations, if you so desire). For example, Ansel Adams (1902-1984) is well known for his heavy hand using Dodge & Burn techniques often making a mid-afternoon scene more dark and dramatic.
⬓Points to Ponderâ¬
The artist-photographer who centers his art in Black and White imagery does so, not by choosing from an assortment of color originals, but instead, (for work captured digitally) the artist is impervious to the color version: her thoughts are not...⬙will this look better...⬙ but instead moves forward and converts the color original to B&W. It is not uncommon, too, to convert the color original to B&W and not like it at all. This is no different from the reaction the artist-photographer exhibits viewing his latest roll of B&W film and decides a particular subject is not as engaging as she would have hoped.
In the future, do not ask... ⬓Is my picture better in color, or black and white⬠... if you are an artist-photographer who strives to showcase your creativity through a mostly White to Black tonal gamut, then instead, direct the spectator to your B&W fine art photography for what (it) is. In this sense, we are presenting the work ⬓as isâ¬, regardless if the spectator enjoys B&W or color imagery better than another.
I look forward to hearing like experiences and comments regardless if in support or ones that challenge the proposed work process. In the end, it is all about sharing ideas in though-provoking discourse. Thank you.
Kind regards,
Lance A. Lewin
PSA Black & White Photography Mentor
PSA South Atlantic Area Membership Director
Posted: 06/25/2022 11:40:57
Thread Title: Image Evaluation course
Hello everyone, I recently completed the image evaluation course through PSA' education department. Its a six week course composed of 6 unique lessons in where you evaluate 2 images you have taken per lesson. In each lesson you evaluate your own images in various categories and new categories are added in the new lessons as the course progresses. I plan to build on what I learned from the course in my photography as it showed me what to look for while out in the field when taking photo's. I also learned the value of studying art theory as it helps in photography and I plan to study more art theory as well. It's an excellent course available to PSA members and I highly recommend members take the course. I hope everyone is doing well. Posted: 03/01/2021 12:55:46
Congrats, Brandon. A worthwhile course for all of us. What was it like evaluating your own image in writing? Posted: 03/01/2021 14:43:45
Thank you Chuck! It was interesting evaluating my own photos as the courses content provided me with the materials that allowed me to think differently about my photos and what approach I use when taking them. I submitted a combination of architecture and street photos and it was interesting in evaluating each of those categories I photograph in. Each category has their method and it was good to see how I think about my images and what needs to change. It was a challenging yet rewarding experience that gave me the knowledge I need to look more critically when framing a photograph before I take the image. Posted: 03/01/2021 15:37:33
Thread Title: New Thread End 2020
Hello everyone. Our webmaster is making this bulletin board easier and better. The newest change is the addition of a Thread Title bar. Just remember to hit the Black Reply button. Hope we all can use this feature.
Merry Cheristmas 2020.
Posted: 12/14/2020 23:36:39
Merry Cheristmas 2020.
Posted: 12/14/2020 23:36:39
Thread Title: Street Photography
Hello everyone, what your thoughts and preferences for lenses in street photography? I use a 24-70mm 2.8 GM Lens for my Sony A7riii. I have been looking to acquire a new lens to add to my camera. I've been looking at a 70-200mm or even a 70-350mm. Has anyone ever used a telephoto lens in street photography? I use a 70-300mm in my Nikon d3400 as part of trial to see how it would work if I got one for my Sony. Posted: 10/06/2020 12:50:36
For me, if I am going after perspectives that imbue a natural field of view, then my 50mm and 24mm are my go-to glass. Though the 24mm stretches the scene a bit, it is by far not wide enough (for many shots) to impart its own (or lasting) effect. Otherwise, my 16-35mm zoom lens is very handy especially in urban landscapes.
But by far, the 50mm F/1.4 and 1.2 lenses very much "see" what I want to bring to viewers. Posted: 06/25/2022 16:04:33
But by far, the 50mm F/1.4 and 1.2 lenses very much "see" what I want to bring to viewers. Posted: 06/25/2022 16:04:33
Thread Title: Street Photography Question
Brandon Montgomery found a YouTube video of street photography: Must you have people in the photograph to make it a Street Photo?
Chack this out: https://www.youtube.com/watch?v=Fn3xh1F1Tf0
Hope it works. Posted: 08/22/2020 18:57:13
Chack this out: https://www.youtube.com/watch?v=Fn3xh1F1Tf0
Hope it works. Posted: 08/22/2020 18:57:13
I loved the You Tube. When I was thinking about a thread to start that was going to be my question. Do you need people? I think city streets tell their own story in so many ways. Especially now when you see signs and painted art that says so much more than finding one person to be in the photo. Posted: 08/22/2020 22:53:25
Also, spread the word that the link is published in HELPFUL LINKS, above.
Send me the links to publish. Posted: 08/22/2020 23:22:42
Send me the links to publish. Posted: 08/22/2020 23:22:42
I agree as the street and what it has can tell it own unique story. The amazing thing about street photography is the multiple avenues that can be taken with it. Posted: 08/23/2020 03:09:42
Interesting video, but I am unsure why there is the premise that street photography requires people to be in the frame. I thought I'd research the issue and did a quick web search. Wikipedia says "...However, street photography does not need to exclusively feature people within the frame. It can also focus on traces left by humanity..."; Britanica says "Street photography, a genre of photography that records everyday life in a public place. ..." but includes as examples several photos that have no people. https://photographylife.com/what-is-street-photography#do-street-photos-need-people says "... I believe that street photographs do not need people, they do need the suggestion that someone was there." and https://www.streethunters.net/blog/2013/09/19/what-is-street-photography-spyros-personal-definition/ says "The subject can even be absent of any people and can be that of object or environment where an object projects a human character or an environment is decidedly human" and "Since most of photography is Street Photography, isn⬙t Street Photography then just Photography?"
https://www.jamesmaherphotography.com/street_photography/what-is-street-photography/ says "... a person does not have to be in a photo for it to be considered a street photograph...." and that was just the top few on the first page of the search, that addressed the question directly. I think the consensus of these sites is that you do not need a person in the image, though a human influence in the subject seems a consistent theme. Also, it seems that "Street" photography does not necessarily need a street.
Posted: 08/22/2020 23:26:05
https://www.jamesmaherphotography.com/street_photography/what-is-street-photography/ says "... a person does not have to be in a photo for it to be considered a street photograph...." and that was just the top few on the first page of the search, that addressed the question directly. I think the consensus of these sites is that you do not need a person in the image, though a human influence in the subject seems a consistent theme. Also, it seems that "Street" photography does not necessarily need a street.
Posted: 08/22/2020 23:26:05
I agree as well and I have always seen street photography as more than people. Most of my street photos don't involve people as I like to get street captures that show the city as opposed to people in the image. There is so much to the streets that could be captured as opposed to just people. Posted: 08/23/2020 03:02:54
Indeed, being able to bring to light (to capture through the lenses of a camera) the characteristics, vibe or political atmosphere set within urban and suburbia landscapes, without the use of people, to help define the narrative, is both challenging and rewarding. I feel I never really look for people in a street scene...I am more interested in capturing an overall emotion; if people are included in the scene that is fine, if not, that is OK, too.
Alternatively, there are some Street Scenes that need people, those which help define the artistic or journalistic vision/needs of the artist-photographer; in this case, people play an important roll in helping to define the narrative. Posted: 06/25/2022 16:13:03
Alternatively, there are some Street Scenes that need people, those which help define the artistic or journalistic vision/needs of the artist-photographer; in this case, people play an important roll in helping to define the narrative. Posted: 06/25/2022 16:13:03
In summary: people often are the anchor in traditional street scenes, where scenes that are void of people are more within a journalistic or record of local vernacular, and not necessarily aiming to create a story or political statement.
However, if your goal is to learn to produce engaging narrative, regardless if abstract or alternatively very focused and clear, people must be part of the surroundings in Street Photography when viewed from a traditional posture.
Thoughts? Posted: 06/30/2022 12:46:58
However, if your goal is to learn to produce engaging narrative, regardless if abstract or alternatively very focused and clear, people must be part of the surroundings in Street Photography when viewed from a traditional posture.
Thoughts? Posted: 06/30/2022 12:46:58
Thread Title: Bulletin Board Available
A reminder for all is we do have a bulletin board set up in our Digital Dialog Group. So far, no one has started a thread on the board. Our webmasteer has forwarded a link to Group 83 as a model to see how useful this feature is. Take a look.
http://psadigital.org/group83/bb.php
Anyone want to give this a start? Lets go for it. Here is a current message from our webmaster, Tom Pickering.
In addition, the threads are now in reverse order, with the newest threads at the top so it's now even easier to see what's new.
Because of the thread order change, it is extremely important that everyone use the black [Reply] button at the end of an individual comment when replying. If replies are not entered this way, it could get quite confusing as they will not nest within an existing thread, but create new threads instead and not make a lot of sense. PLEASE remind your members of this, which also applies to the discussions of each other's images. Posted: 07/25/2020 21:19:45
http://psadigital.org/group83/bb.php
Anyone want to give this a start? Lets go for it. Here is a current message from our webmaster, Tom Pickering.
In addition, the threads are now in reverse order, with the newest threads at the top so it's now even easier to see what's new.
Because of the thread order change, it is extremely important that everyone use the black [Reply] button at the end of an individual comment when replying. If replies are not entered this way, it could get quite confusing as they will not nest within an existing thread, but create new threads instead and not make a lot of sense. PLEASE remind your members of this, which also applies to the discussions of each other's images. Posted: 07/25/2020 21:19:45