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 ...
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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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Add this copy of Faking It: Manipulated Photography Before Photoshop to cart. $41.16, very good condition, Sold by HPB-Ruby rated 4.0 out of 5 stars, ships from Dallas, TX, UNITED STATES, published 2012 by Metropolitan Museum of Art.
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Fair. HARDCOVER Acceptable-This is a significantly damaged book. It should be considered a reading copy only. Please order this book only if you are interested in the content and not the condition. May be ex-library. Oversized.
Add this copy of Faking It: Manipulated Photography Before Photoshop to cart. $47.25, very good condition, Sold by Mullen Books, Inc. ABAA / ILAB rated 4.0 out of 5 stars, ships from Marietta, PA, UNITED STATES, published 2012 by The Metropolitan Museum of Art / Yale University Press.
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VG/VG. Rust-colored cloth, olive & illustrated dust jacket, xvi, 280 pp., profusely illustrated in bw and color. 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.
Add this copy of Faking It: Manipulated Photography Before Photoshop to cart. $185.00, like new condition, Sold by Broad Street Books rated 5.0 out of 5 stars, ships from Branchville, NJ, UNITED STATES, published 2012 by Metropolitan Museum of Art.