Name: Faking It: Manipulated Photography before Photoshop
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Faking It: Manipulated Photography before Photoshop

New York Book Show, Merit Award, Special Trade - Photography Category (2013);
Amazon list of Books of the Year / Art and Photography (2012)
Printed in Italy
原文書

全店，宅配｜超商取件，滿$1500免運費，會員95% (指定商品除外)

NT$2,400

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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 Adobes now-ubiquitous Photoshop software was also part of photography's pre-digital 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, overpainting, 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.

Source: Metropolitan Museum of Art： Faking It: Manipulated Photography before Photoshop

Contents

Director's Foreword

Sponsor's Statement

Acknowledgments

Lenders to the Exhibition

Note to the Reader

Introduction

1. Picture Perfect

2. Artifice in the Name of Art

3. Politics and Persuasion

4. Novelties and Amusements