Photomanipulation
September 14th, 2008 — 2:43am
It Doesn't Exist
What I may say may seem controversial to some, particularly to the traditionalists.
But, it's my firm belief (for lack of a better word), that there is no such thing as Photomanipulation in the context of how the term is used now.
There is just photography.
The main reason why I believe this, above all else, is that photography, by its very nature, is a manipulation of the reality it is capturing.
Fundementally, creating a photograph is a manipulation, since, to take a photograph, you have to transpose a three dimensional scene on to a two dimensional plane.
Choosing the aperture (which effects what is in focus), focal length (which effects how much of the scene you capture, and the depth cues of the scene), shutter speed, ISO and framing are all decisions that are made before the shutter is pressed.
Contrary to seemingly popular opinion, photography is not realistic.
If you ever want evidence of this, take a look at the 3D art galleries, you're sure to find a number of pieces in there that you can swear look like photographs.
Our eyes don't behave like a camera and lens, and every body see's the same scene a slightly different way, depending on their social context and their visual system (someone with myopia will see a scene differently than someone with perfect vision, for example, and, likewise, someone raised in China would have a different social context on which to base a scene they see than someone from England).
What is a photomanipulation?
Well, the original term was coined (as far as I am aware) by those who make ' photographs' by using elements from other peoples photographs.
"But, if you open up photoshop and remove entire elements or add new elements into an image, doesn't that make it a photomanipulation?"
No.
Let's look at this from another point of view.
I'm out and about, and I see something interesting that I want to photograph, let's say it's a nice wide panorama of a sun set. And in that panorama happens to be a nice honkin telephone pole right smack in the middle.
Now, I've two options, I could frame the scene to the left or right of the telephone pole so as not to include it, or, if possible, I could walk to the other side of the pole. Or, I could take two photo's of the same scene, one where I saw the scene, and one two or three metres to the left or right, pointed at the same scene.
With the latter option, it's a simple case of painting over the telephone pole with the data of the sky 'behind' the telephone pole from the second image.
Some may say that's photomanipulation, I would say that's the photographer showing what he's seeing, not necessarily what is actually there.
Too many people have the misconception that art photography == documentary photography. That it's not photography at all if you do any more than what is misconceived to be doable in the darkroom (like simple saturation/exposure adjustments and some sharpening).
Most people don't realise that some of the most well known and popular photographs would be called ' photomanipulations' by the millions of armchair enthusiasts.
The greats, like Ansel Adams, were certainly not afraid of spending hours in the dark room massaging one print until it was ' perfect'.
Now? If you so much as consider removing stray strands of hair, or removing a spot, or getting rid of an ugly empty can from an image, it should be shoved off to the photomanipulation category.
I will freely admit that my photo's are heavily massaged, of which, I hope is not noticeable, but manipulated all the same.
Sometimes it's just a case of tweaking the contrast and bumping up (or down) the saturation, other cases it could be giving myself a digital make over so that I look remotely presentable in my photo's (if you only knew how much work my face needs :B).
I would freely admit that I probably enjoy the desk work of photography more than the leg work of photography. Creating the exposure is the relatively easy part, actually making that exposure shine is difficult (getting the ' perfect' image from the exposure itself tends to be rare, more often than not, it's the post work that turns a good image into a great image (or, in my case, a mediocre image into an okay image :B)).
Don't call images photomanipulations because they've had a little work done on them, by that definition, all photographs are photomanipulations by the very nature of the art of transposing 3D reality into a 2D recording.
Just because a photograph doesn't necessarily exist in real life, doesn't mean it's a photomanipulation.
Art photography is not supposed to be documentary, it's supposed to reflect what the photographer see's, or, more accurately, what the photographer wants you to see.






