Faking It - Fineman, Mia - Yale University Press
Oct 30, 2012
288 p., 9 1/2 x 10 1/2
276 color + b/w illus.
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- Art and Architecture
Published by The Metropolitan Museum of Art/Distributed by Yale University Press
Manipulated Photography before Photoshop
Named a best book of 2012—Modern Art Notes
Long listed for the 2013 Kraszna-Krausz Book Awards in the Best Photography Book category.
“[O]ne of the most interesting, liveliest art history books I’ve read this year.”—Tyler Green, Modern Art Notes podcast
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.
Mia Fineman is Assistant Curator in the Department of Photographs at The Metropolitan Museum of Art, New York. She has been a regular contributor to the New York Times, Slate, the Village Voice, and numerous other publications.
The Metropolitan Museum of Art
The National Gallery, Washington, D.C.(02/17/13–05/05/13)
Museum of Fine Arts, Houston(06/02/13-08/25/13)TITLES IN RELATED CATEGORIES