Manipulation in Photography

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Photography is favored for the fact that it represents the reality and its dissimilar aspects. This a way of reproducing what you see around you and all the programmed interventions have been repulsed of. This is what people have tried to avert so that photography may remain a wing of the plastic arts.

Photography has tried to become a visionary art itself, therefore, it has constantly looked for assortment when it comes to its means of articulation. It has continually tried to get away from this rational feature and to dictate an amount of recognition equal to the one a scene created by an artist receives. There have been several steps that have related the anecdotic photography with the corroborative one, these steps starting from the content as well as the shape of a photo.

The initial interventions on photos date from the beginning of the nineteenth century. Picture studios then hired painters to develop the value of the photos, these being finished in details as well as coloured, as well as completed with another elements. The copper and paper plates illustrated landscapes, architectural elements and they also replaced the portraits. The technical evolution, that was marked by the short exposure time, the advancement of optics, the increase of precision and the increase of the control over the materials were so exploited by a new creative trend.

People may complete a piece of work any way they wanted, they may take blurry pictures, they may use filters, rain screens, they can synthesize as well as make room for more layers of negatives and many more. The main purpose was to remove technical impression left by simply copying reality as well as the achievement of a pictorial as well as artistic result. These new horizons of photography can be identified in "The Two Ways of Life", a piece of work belonging to Oscar Gustav Rejlander. This piece of work consisted of thirty-two negatives being put one on top of the other, these horizons being defined both technically as well as thematically.

The capability of the new artistic trend resolved many artists to run towards photography and they then combined photography in the international up-to-date trends. They started exploiting the details of the aesthetic communication and the synthesis of a proper language. The superficial results obtained by the representatives of this creative trend and the results which were too full of trivialities were considered old-fashioned and they were also considered to lack any inventive artistic foundation. The image starts being conceived in such a way that it offers experiences that resemble the ones encountered in the other visionary domains. The representatives of this epoch start utilizing carbon, platinum and a lot of other visionary techniques. The result is an aesthetic image, that lacks any rational details, which is placed in a concept and in a more cultural creative area. If people used to appreciate pure art as well as pure photography, with which details, lights, the composition and the precision of the development were very important, they found a new enthusiastic method of reconstructing what they knew as photography.

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