Faking it : manipulated photography before Photoshop

著者

書誌事項

Faking it : manipulated photography before Photoshop

Mia Fineman

Metropolitan Museum of Art , Distributed by Yale University Press, c2012

  • : hc : The Metropolitan Museum of Art
  • : hc : Yale University Press

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注記

"This catalogue is published in conjunction with 'Faking It: Manipulated Photography before Photoshop,' on view at The Metropolitan Museum of Art, New York, from October 11, 2012, through January 27, 2013; at The National Gallery of Art, Washington, D.C., from February 17 through May 5, 2013; and at The Museum of Fine Arts, Houston from June 2 through August 25, 2013"--T.p. verso

Includes bibliographical references (p. 268-269) and index

内容説明・目次

内容説明

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. Published by The Metropolitan Museum of Art/Distributed by Yale University Press Exhibition Schedule: The Metropolitan Museum of Art(10/11/12-01/27/13) The National Gallery, Washington, D.C.(02/17/13-05/05/13) Museum of Fine Arts, Houston(06/02/13-08/25/13)

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