Although you will constantly hear photographers scold and nag about the photomanipulation process, it is actually one that has been used for many years, and one which is able to offer a variety of benefits. It has also existed throughout the art of photography in many different forms, including everything from different angles, how to use different lights and settings, hiding imperfections, and so on.
Especially in the world we live in today, where everything and everyone is expected to be perfect, namely in the magazines that stare back at us from off the shelves, photo manipulation has played an incredibly large role.
What is it?
Photomanipulation is basically the art of taking a normal photograph and then manipulating it the way that you want it, namely through use of a computer and various tools and applications on the computer. Photomanipulation modifies photographs either by analog or digital means, and is also commonly referred or related to what is known as 'Photoshopping', which is the slang term for the digital editing of photos, and although it is not directly aimed at the Adobe Photoshop application, it was named after it. Adobe Photoshop is only one of the many different digital editing applications that are available however, and for instance there is Paint Shop Pro, Corel, and even Paint, although this is one of the less advanced programs and is rarely used in the photomanipulation processes of today.
Ethics
There has been a lot of controversy surrounding the issue of photomanipulation, and although there are definitely many people who have good, positive things to say about it, there are also those who feel that there are concerning issues surrounding it. For instance on the covers of magazines, when celebrities heads are pasted onto different bodies, this in the past has stirred up a lot of commotion. One instance in particular was when the O.J. Simpson trial was taking place and the Newsweek magazine posted his mug shot as their magazine cover picture, while Time Magazine posted the exact same picture only used photomanipulation to alter it, and ended up making Simpson appear much darker than he was in the actual picture, and as well they removed the serial number and darkened the area around him. The Lebanon reuters incidents is just another prime example.
The ironic part was that the magazines ended up side by side on a newsstand, and it was incredibly clear what a significant amount of photomanipulation had taken place in Time's version of the photograph.
Journalism is only one area that uses a great deal of photomanipulation, and fashion magazines are definitely topping the list as well. One of the biggest problems with these photomanipulated photographs is that they alter the opinions and views of the public who, for the majority of the time, have no clue that the particular photo was even altered at all. Therefore there really needs to be certain standards set in the field of photography when it comes to something such as photomanipulation.
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Domen Lombergar is a strange surrealist publishing his work on http://www.lombergar.com and on http://www.surrealartportal.com which he hopes to turn into the new surrealism manifesto.
elements of design
Art Theory 101:
Balance & Rhythm
Balance is the perception of visual equilibrium, and relates to our physical sense of balance. It is an appeasement of opposing forces in a composition that results in visual stability. Most successful compositions attain balance in one of two ways: symmetrically or asymmetrically. Balance in a three dimensional object is simple to understand. If balance isn't achieved, the object tips over. To understand balance in a two dimensional structure, we must use our imaginations to carry this three dimensional analogy forward to the flat surface.
Symmetrical balance means having equal "weight" on equal sides of a centrally placed fulcrum. It may also be referred to as formal balance. When the elements are arranged equally on either side of a central axis, the result is Bilateral symmetry. This axis may be horizontal or vertical. It is also potential to build formal balance by arranging elements equally around a central point, resulting in radial symmetry.
There is an alternate of symmetrical balance called approximate symmetry in which equivalent but not identical forms are arranged around the fulcrum line.
Asymmetrical balance is more complex and difficult to foresee. It involves placement of objects in a way that will allow objects of varying visual weight to balance one another around a fulcrum point. This can be best imagined by foreseeing a literal balance scale that can represent the visual "weights" that can be imagined in a two dimensional composition. For example, it is possible to balance a heavy weight with a cluster of lighter weights on equal sides of a fulcrum. It is also possible to visualize objects of equal weight but different mass on equal sides of a fulcrum. Unequal weights can even be balanced by shifting the fulcrum point on our imaginary scale.
Rhythm can be described as timed movement through space; an easy, connected path along which the eye follows a regular arrangement of motifs. The presence of rhythm creates certainty and order in a composition. Visual rhythm may be best understood by relating it to rhythm in sound.
Rhythm depends largely upon the elements of pattern and movement to achieve its effects. The parallels between rhythm in sound/ music are very exact to the idea of rhythm in a visual composition. The difference is that the timed "beat" is sensed by the eyes rather than the ears.
Rhythm can be created in a number of ways. The characteristic flow of the individual line is referred as linear rhythm. Accomplished artists have a common manner of putting down the lines of their drawings that is a direct result of the characteristic gesture used to make those lines, which, if observed, can be seen to have a rhythm of its own. Linear rhythm is not as dependent on pattern, but is more dependent on timed movement of the viewer's eye.
Repetition comprises the use of patterning to achieve timed movement and a visual "beat". This repetition may be a clear repetition of elements in a composition, or it may be a more subtle kind of repetition that can be observed in the underlying structure of the image.
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Domen Lombergar is a surrealist which publishes his work at http://www.lombergar.com - to learn more about the digital art community he runs check out http://www.artcone.com
Balance & Rhythm
Balance is the perception of visual equilibrium, and relates to our physical sense of balance. It is an appeasement of opposing forces in a composition that results in visual stability. Most successful compositions attain balance in one of two ways: symmetrically or asymmetrically. Balance in a three dimensional object is simple to understand. If balance isn't achieved, the object tips over. To understand balance in a two dimensional structure, we must use our imaginations to carry this three dimensional analogy forward to the flat surface.
Symmetrical balance means having equal "weight" on equal sides of a centrally placed fulcrum. It may also be referred to as formal balance. When the elements are arranged equally on either side of a central axis, the result is Bilateral symmetry. This axis may be horizontal or vertical. It is also potential to build formal balance by arranging elements equally around a central point, resulting in radial symmetry.
There is an alternate of symmetrical balance called approximate symmetry in which equivalent but not identical forms are arranged around the fulcrum line.
Asymmetrical balance is more complex and difficult to foresee. It involves placement of objects in a way that will allow objects of varying visual weight to balance one another around a fulcrum point. This can be best imagined by foreseeing a literal balance scale that can represent the visual "weights" that can be imagined in a two dimensional composition. For example, it is possible to balance a heavy weight with a cluster of lighter weights on equal sides of a fulcrum. It is also possible to visualize objects of equal weight but different mass on equal sides of a fulcrum. Unequal weights can even be balanced by shifting the fulcrum point on our imaginary scale.
Rhythm can be described as timed movement through space; an easy, connected path along which the eye follows a regular arrangement of motifs. The presence of rhythm creates certainty and order in a composition. Visual rhythm may be best understood by relating it to rhythm in sound.
Rhythm depends largely upon the elements of pattern and movement to achieve its effects. The parallels between rhythm in sound/ music are very exact to the idea of rhythm in a visual composition. The difference is that the timed "beat" is sensed by the eyes rather than the ears.
Rhythm can be created in a number of ways. The characteristic flow of the individual line is referred as linear rhythm. Accomplished artists have a common manner of putting down the lines of their drawings that is a direct result of the characteristic gesture used to make those lines, which, if observed, can be seen to have a rhythm of its own. Linear rhythm is not as dependent on pattern, but is more dependent on timed movement of the viewer's eye.
Repetition comprises the use of patterning to achieve timed movement and a visual "beat". This repetition may be a clear repetition of elements in a composition, or it may be a more subtle kind of repetition that can be observed in the underlying structure of the image.
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Domen Lombergar is a surrealist which publishes his work at http://www.lombergar.com - to learn more about the digital art community he runs check out http://www.artcone.com
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