Faking it: Manipulated Photography Before Photoshop (Hardback)

MIA Fineman

Edité par Yale University Press, 2012
ISBN 10: 0300185014 / ISBN 13: 9780300185010
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Language: English . Brand New Book. Photographic manipulation is a familiar phenomenon in the digital era. What will come as a revelation to readers of this captivating, wide-ranging book is that nearly every type of manipulation we associate with Adobe s now-ubiquitous Photoshop software was also part of photography s predigital repertoire, from slimming waistlines and smoothing away wrinkles to adding people to (or removing them from) pictures, not to mention fabricating events that never took place. Indeed, the desire and determination to modify the camera image are as old as photography itself-only the methods have changed. By tracing the history of manipulated photography from the earliest days of the medium to the release of Photoshop 1.0 in 1990, Mia Fineman offers a corrective to the dominant narrative of photography s development, in which champions of photographic purity, such as Paul Strand, Edward Weston, and Henri Cartier-Bresson, get all the glory, while devotees of manipulation, including Henry Peach Robinson, Edward Steichen, and John Heartfield, are treated as conspicuous anomalies. Among the techniques discussed on these pages-abundantly illustrated with works from an international array of public and private collections-are multiple exposure, combination printing, photomontage, composite portraiture, over-painting, hand coloring, and retouching. The resulting images are as diverse in style and motivation as they are in technique. Taking her argument beyond fine art into the realms of politics, journalism, fashion, entertainment, and advertising, Fineman demonstrates that the old adage the camera does not lie is one of photography s great fictions. N° de réf. du libraire

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Synopsis : Photographic manipulation is a familiar phenomenon in the digital era. What will come as a revelation to readers of this captivating, wide-ranging book is that nearly every type of manipulation we associate with Adobe's now-ubiquitous Photoshop software was also part of photography's predigital repertoire, from slimming waistlines and smoothing away wrinkles to adding people to (or removing them from) pictures, not to mention fabricating events that never took place. Indeed, the desire and determination to modify the camera image are as old as photography itself-only the methods have changed. By tracing the history of manipulated photography from the earliest days of the medium to the release of Photoshop 1.0 in 1990, Mia Fineman offers a corrective to the dominant narrative of photography's development, in which champions of photographic "purity," such as Paul Strand, Edward Weston, and Henri Cartier-Bresson, get all the glory, while devotees of manipulation, including Henry Peach Robinson, Edward Steichen, and John Heartfield, are treated as conspicuous anomalies. Among the techniques discussed on these pages-abundantly illustrated with works from an international array of public and private collections-are multiple exposure, combination printing, photomontage, composite portraiture, over-painting, hand coloring, and retouching. The resulting images are as diverse in style and motivation as they are in technique. Taking her argument beyond fine art into the realms of politics, journalism, fashion, entertainment, and advertising, Fineman demonstrates that the old adage "the camera does not lie" is one of photography's great fictions.

Synopsis: It is a long-held truism that 'the camera does not lie'. Yet, as Mia Fineman argues in this illuminating volume, that statement contains its own share of untruth. While modern technological innovations, such as Adobe's Photoshop software, have accustomed viewers to more obvious levels of image manipulation, the practice of "doctoring" photographs has in fact existed since the medium was invented. In "Faking It", Fineman demonstrates that today's digitally manipulated images are part of a continuum that begins with the earliest years of photography, encompassing methods as diverse as overpainting, multiple exposure, negative retouching, combination printing, and photomontage. Among the book's revelations are previously unknown and never before published images that document the acts of manipulation behind two canonical works of modern photography: one blatantly fantastical (Yves Klein's "Leap into the Void" of 1960); the other a purportedly unadulterated record of a real place in time (Paul Strand's "City Hall Park" of 1915). Featuring 160 captivating pictures created between the 1840s and 1990s in the service of art, politics, news, entertainment, and commerce, "Faking It" provides an essential counterhistory of photography as an inspired blend of fabricated truths and artful falsehoods.

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Détails bibliographiques

Titre : Faking it: Manipulated Photography Before ...
Éditeur : Yale University Press
Date d'édition : 2012
Reliure : Hardback
Etat du livre : New

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Description du livre The Metropolitan Museum of Art / Yale University Press, New York, 2012. Hardcover. État : VG. Rust-colored cloth, olive & illus. dust jacket, 280 pp., many color illus. Issued in conjunction with several 2012-2013 exhibitions on the topic. "Nearly every type of manipulation we associate with Adobe's now-ubiquitous Photoshop software was also part of photography's predigital repertoire, from slimming waistlines and smoothing away wrinkles to adding people to (or removing them from) pictures, not to mention fabricating events that never took place. Indeed, the desire and determination to modify the camera image are as old as photography itself -- only the methods have changed." (dj) A browser's delight. N° de réf. du libraire 138485

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Description du livre Metropolitan Museum of Art, 2013. Hardcover. État : Near Fine. Etat de la jaquette : Near Fine. Hard bound with dust jacket. A nice copy, bright and clean. 160 captivating pictures created between the 1840s and 1990s in the service of art, politics, news, entertainment, and commerce, Faking It provides an essential counter history of photography as an inspired blend of fabricated truths and artful falsehoods. [Heavy please contact for overseas shipping quote]. N° de réf. du libraire 32027

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