Two  viewers stand gazing at the same fine art photograph. One is totally mesmerized…moving forward, then back, then forward again… carefully studying the image as if they were savoring a book of ancient wisdom. The other stands rigid, staring critically, until finally blurting out as if a crime had been committed,  ”Is this photograph manipulated [...]]]> It’s a curious thing.

Two  viewers stand gazing at the same fine art photograph. One is totally mesmerized…moving forward, then back, then forward again… carefully studying the image as if they were savoring a book of ancient wisdom. The other stands rigid, staring critically, until finally blurting out as if a crime had been committed,  ”Is this photograph manipulated or photoshopped?”

Most photographers have heard those words at one time or another. Some take it personally…others graciously accept the challenge and attempt to explain. Either way, the question is a simple one…it’s the answer that can be complicated.

Just before the rapid advent of digital… and creation of Photoshop… image manipulation was rarely discussed or hardly a point of discussion outside the world of photographers. The general public assumed that since all THEY  had to do was set the camera, point, shoot, and wait for the developed prints to return from the drugstore, that ALL photography was that simple. Most knew nothing about the accepted practices of image manipulation such as dodging, burning, masking, and other darkroom techniques developed over the years and fully embraced by photo pioneers such as Ansel Adams, Minor White, or the Westons, just to name a few.  When artist/photographer Jerry Uelsmann  burst onto the scene with his incredible form of photomontage (all done with negatives in the darkroom), it set the photo-establishment on its heels…. so much to the point that many refused to call it photography at all. Yet, over time it became accepted and eventually celebrated in the fine art photography world.

Bromoil, photogravure, platinum-palladium, salt, carbon…all are photographic processes that engage in one form of manipulation or another. By carefully selecting photo papers, developers, and  film types… one can easily manipulate the final appearance of an image in the darkroom. The same holds true for lens choices, lighting effects,  even physical effects such as fans or rolling sets. There are countless “techniques” used everyday  that “manipulate” a subject in order to achieve a certain result… and many if not all are accepted practices in the world of professional photography.

Today, as the digital revolution charges ahead at lightning speed, “manipulation” has taken on a whole new meaning. The darkroom of analog days has given way (except for the much appreciated dedicated few) to the digital “lightroom” of today. Images can  literally be created from bits and pieces of photographs. Lighting, contrast, even toning and focus effects are easily achieved on a reasonably equipped computer . What used to take hours now takes seconds with the push of a button. Most of the “manipulating” techniques of the past can be easily replicated with  the software of today….and the final prints printed out with archival inks on high quality paper in a matter of minutes, replacing the time consuming  enlargers, burners, and developing baths of the darkroom.  Thanks to technology, the realm of photography has evolved into…a Brave New World. But there is one important aspect of the process that technology, whether analog or digital, cannot replace- the photographer.

Ansel Adams used to say “there is nothing worse than a sharp image of a fuzzy concept”.
In the photographic universe, especially the fine art world, all the technology in the world is irrelevant if what it produces is lifeless or has no depth, soul, or meaning. Whether it be pixels of light  or grains of silver, what truly matters, at least to this simple photographer, is not so much how it is done…but what is created. In other words, the final result. On an artistic or spiritual level, it is the print that lays before us that matters most. Not to say the process doesn’t matter… it is the process that brings forth the invisible and makes it visible… but in the end it is the print that tells its own story… in its own way.

As a fine furniture craftsman, I learned the process…and difference…between fine craft and art. Often times my woodwork would be called “a work of art”…yet in reality…the “art” actually manifested in the design …the method to produce the piece was craftsmanship. Years later, as I began my journey into art photography fulltime,  my furniture making experience began to dovetail with my photography in meaningful ways. I began to understand that technique was vital…but its main purpose was to allow my vision to manifest… in a physical form. Again, the craftsmanship was the vehicle…the print the final goal.

Of course, there are exceptions. Photojournalists, reporters, etc, are entrusted to present images that accurately reflect the moment of capture. Other than minor adjustments (contrast, color etc.), manipulation of any kind is taboo…and for good reason. The key word here is ethics. This doesn’t mean their images will have no depth. On the contrary. Any photographer that heeds the call understands and accepts the conditions…and hopefully will utilize the conditions and all their skills to achieve a meaningful result.

But as creatives, we are obligated to embrace any technique that will allow our vision to become real… and visible. Sometimes the process is akin to dancing  with a porcupine…it has to be done very carefully. If one becomes entangled  in the technology…one can easily lose sight of the final goal. But if we maintain focus,  learn to utilize technology and not become imprisoned, intimidated,  or limited by it, we can rise above any limitations, and be free to create… from the heart and soul. As my old mentor used to say, “your art is where the Spirit dwells….honor it, protect it…and keep it sacred”. Whether platinum, silver, or photoshop….the result is the same. No technology in the world can replace composition, observation… or the “Photographer’s Eye”. The photographer is the conduit…sometimes the mirror…that manifests, channels, or reflects the vision. And in the end, it is allowing  that vision to become visible by any means necessary… that truly matters  most.

So when I’m asked “is this photograph photoshopped?, my reply is simple. “Yes it is…with all my heart and soul”.