There is a distinct different between what we see in real life and what we portray in a photography. This may be an overworked topic to some. Opinions about some of the issues are polarizing. I am going to try to shed some light on the science and spirit behind photography. My goal is to give insight to those who have not already taken sides. Let’s start with my thesis: It is reasonable to allow one’s photography to differ from reality because anything else would be impossible to achieve. Normally, when I write such an essay, I would provide to side-by-side images to demonstrate my point. I haven’t done that here. How can I? Think about this for a second…
- Reality is always pinned to a specific point in time, never to be frozen or revisited.
- The mind’s eye works with the brain to render its own interpretation of the present. No two people are the same.
- Because we have two eyeballs, we see in 3D. Photographs (except the inferior 3D simulations of late) are presented in 2D.
- Print makers were either not present at the scene or separated by time and distance. Human memory changes over time.
- Artists will suggest a message or feel to their work. Any photography that takes this route is adding the value intended by the artist.
- Photographic manipulation is a staple that has accompanied the field from day one. It runs the gamut from documentary (little manipulation) to illustrative (major manipulation). From the very onset, a latent image needs to be processed regardless of method.
- In-camera decisions such as aperture, shutter speed, and tonal representation are neither right or wrong. There is no standard – one can never be attained. Eye-mind response to light is dynamic, individual, circumstantial, and unpredictable.
So while I can show you photographs with different levels and approaches to processing, I have no way of showing you the original scene. Further, the very moment I “take the picture”, the scene evolves – I can’t remember the specifics. The best I can do is:
- Recall my original inspiration and intentions.
- After time passes, affirm or alter the path to end product processing.
- Devise derivative/alternative versions.
- Process post-camera (film or digital) according to my final plan.
For me, this process involves what I call artistic liberties. I do not do documentary work. For all the reasons I just covered, I feel it is quite a task to attempt to represent reality for a documentary photograph. I consider those that can do this as falling in the category of producing the “best possible” recollection. That takes a keen mind. They do not have the liberty of making artistic adjustments. Their goal is honesty.
In today’s world, we have remnants of a silly argument about the authenticity of a photograph that has been digitally processed. We even coined the irritating term “Photoshopped” as a derogatory moniker. And yet, we all know that the film heroes that we worship consistently controlled:
- Film emulsion selection (even batch selection)
- Camera factors
- Focal length
- Perspective
- Vantage point
- Aperture
- Shutter speed
- Tonal response recorded
- Film development factors
- Developer choice
- Temperature, time, and agitation
- Print paper selection (even batch selection)
- Enlargement factors
- Light intensity
- Time of exposure
- Contrast adjustment (polycontrast)
- Sharpness adjustment (unsharp mask)
- Burning and dodging
- Blurring
- Print development factors
- Developer choice
- Temperature, time, and agitation
- Toning
- Ferrotyping and drying methods
So you tell me, isn’t this indicating that we photographers have always manipulated images? Isn’t this indicating that we always have excercised human control over our representation of reality, now or 100 years ago?
Until next time, be well,
Bob
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