man & nature # 209 ~ sizzling hot
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The air was thick and damp • click to embiggenThere continues to be a fair amount of chattering and brattling re: manipulated pictures - no doubt fueled by the recent NY Times dustup. Various opinions have been put forth in an attempt to codify the idea of what constitutes a "manipulated" picture.
IMO, it's fruitless endeavour. In large part due to the fact that so many conditions of manipulation put forth have exceptions to the rule.
Consider the clone nothing in, clone nothing out rule. If a picture maker who has taken every step possible, within the medium's capabilities to do so, to make pictures that are true to the real - things like aiming to represent natural color and natural tonal range, using "normal"-ish focal length lenses, and so on ... if such a picture maker clones out a tiny spec of a branch which intrudes upon edges of his selected scene has he produced a manipulated picture?
Is his/her relationship of that of a cohort with the real been severed?
IMO, it has not - unless, of course, he/she has been hired by the NY Times to make pictures that bear testament to the proposition that stray-objects-never-intrude-upon-the-edges-of-pictures.
Consider my decay pictures. They are most assuredly "staged" pictures. With the exception of the background - the countertop, the sink, and the floor - everything in the picture has been selected by and placed there by my hand.
Are the decay pictures "manipulated"?
IMO, they are not. The pictures are about decay - the natural process of decay with which I have not interfered.
Did the decay happen in the place in which I pictured it? No. Did the decay happen on the surface of the plates, bowls, or other surfaces on which it is pictured? Sometimes, yes - sometimes, no.
Does this constitute "manipulation"?
In the context of what the pictures are about - decay - the answer, IMO, is once again, No.
Everything depicted in my decay pictures are represented as true to their real nature as the medium allows.
ALTHOUGH ....... are the plates (etc.) - part of those things denoted - chosen with an eye towards how they might draw the attention of the viewer regarding the meaning(s) - the ideas and notions connoted - to be found in the pictures?
Absolutely.
Those items, working in contrast to the decay, are selected for their illustrative ability to focus attention upon the illuminative properties of the pictures, that is, drawing attention to the notion of vanitas - which, means "emptiness" (from Latin) which loosely corresponds to the meaninglessness of earthly life and the transient nature of vanity.
IMO, neither of the aforementioned examples of changing or making a picture constitute manipulation, at least not in the pejorative sense that is most commonly used - that is the manipulation (no matter the method) of a picture with the intent to deceive.
Let me be clear about the notion of intent to deceive - this does not include making pictures with the intent to draw the viewer's attention to a particular idea or notions that the picture might connote as long as those ideas / notion are treated in such a manner as to be open to drawing one's own conclusions regarding those ideas and notions.
A negative case in point, this month's cover of Yankee Magazine.
click to embiggenThe picture on the cover is used to make the idea of driving through Vermont in the Fall seem an attractive and desirable thing to do - which, if one avoids some wide-spread and significant areas of rural poverty, it most likely is. However, in a time-honored tradition of publishing / advertising, the photo editor and/or editor of the magazine has chosen to sell the sizzle, not the steak. In fact, steaks do sizzle, but the pictorial suggestion
that Fall in Vermont "sizzles" as it appears in the picture is an outright distortion.
Interestingly, and rather ironically, in the same issue of the magazine the editor has also chosen to publish an article entitled, The Leaf Seeker: Jeff "Foliage" Folger Is On A Mission To Memorialize Fall In New England - One Tree At A Time. In an article sidebar which illuminates Folger's picturing MO and philosophy, he quite clearly states:
I see pictures with colors that Mother Nature just didn't create. Just because you can take that slider for saturation all the way to the right, that doesn't mean you should.
Apparently, in making the cover picture selection, the photo editor and/or editor did NOT (the word "not" was omitted in the 1st posting of this entry) follow that advice.
In any event, like hard-core pornography which was considered hard to define by Justice Potter Stewart (as he stated below), what constitutes a "manipulated picture" may lack clearly-defined parameters. Nevertheless, I agree with Justice Stewart:
I shall not today attempt further to define the kinds of material I understand to be embraced within that shorthand description; and perhaps I could never succeed in intelligibly doing so. But I know it when I see it ...