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Just about everything we read, see or hear in media has a point of view that has been bought and paid for by someone and their interests. Anthony This topic is a tad long in the tooth anyway. Photos have always been manipulated.
Photos have always lied. The rest is just noise from the crowd. Fidelity to the scene or event is all that is required. If an editor cannot trust a photographer to do that, get one who will. A raytraced image would be at the top of the scale, and a RAW or film scan would be at the bottom.
It should be general. It would be nice too if there were some kind of uniform standard they all could agree to. The problem I have with the article, Rob, is that it seems to address photography beyond just the journalism community.
Broad limitations on the tools every photographer has available to them would be unconstitutional, destroying many of the freedoms journalism stands to protect. For instance, anyone SHOULD be able to discern the difference between a fashion advertisement and the picture on the front of a newspaper, but I think many people cannot.
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You see, I think we should be having a discussion about what imagery is used for rather than how much photoshop is too much.
People I wont cheat essay contest be able to tell when one image is trying to sell them something and another is revealing truth about a situation. It gets trickier with PR imagery which actually disguises itself as journalism.
A good example would be the Official White House photostream on Flickr to which several fine photographers contribute imagery. I like the photography there, as do many others, but I think many would mistake those images for photojournalism. Maybe basic visual literacy should be a requirement in high schools.
Hell on my first NGS assignment, my illustrations editor gave me grief for using a polarizing filter on a mm lens to darken a sky. Editorial you have to adhere to the truth.
If it is illustration or advertising, it is fine to make changes or retouch. I bet you half or more of the people reading this forum could not properly expose a roll of Kodachrome and get it right. Do you know how to use a hand-held meter?
Do you really know how to judge and interpret a scene so that you have a know exactly how it is going to look without chimping?
If all you have ever shot is digital, of course you think everything is up for grabs and it is ok to make a few changes, clone something over this or that, change the smile or liquify a face a bit.
What the hell ever happened to the craft of photography? Even though advertisers are trying to push content, a story is a story, not product placement and not the place to change out skies, add a zebra to landscape or clean-up a streetscape.
People do ask exactly that. They care because they view and react to the two media very differently. And this gets to what I read as one of the main points of this article, which is more or less being ignored in the comments: I hate to be basically paraphrasing the article everyone here just read, but I am really surprised that the comments are all latching on to the distinction between how we label and use photography and missing the deeper problem that effects the entire medium.
The people ready to cast all not-journalistic photography into the same bucket other artistic media should stop and ask why photography has become so ubiquitous.
Why is painting of underwater life not as fascinating as a photo? Why do advertisers use photos to manipulate our desires instead of drawings? Photography is different than art and those differences are the reason it is so powerful.
As the ease of manipulation erodes those differences, we lose so much makes photographs interesting. I think of painting skies blue along the same lines of using a vivid film stock instead of a neutral stock.
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