Reality and illusion

click photo to enlarge
In the days before the dark arts of digital manipulation through programmes such as Photoshop many people held the view that "the camera never lies". It was taken as self-evident that a photograph was a factual representation of a scene. Yes, if it was in black and white then clearly the colour had been drained from it, but if it retained colour then what you saw was, people believed, the truth. In fact, "the camera never lies" was never a particularly useful statement because the meaning carried by every photograph is, in some way, altered by both the photographer and the medium. And of course, even in the days of film, deliberate deception was possible in photography. Multiple images could be blended into one, tricks with people and objects near and far could be constructed, people could be erased from photographs, and much else could be done to deceive the viewer.

Today almost anything is possible and "Photoshopping" of one sort or another is widespread. Sometimes the viewer is aware of the alterations, at other times they are not. Yet many photographers - I count myself one of them - prefer to limit their manipulation to essentially those things that were possible with film: tricks such as dodging, burning, adjusting contrast, removing dust on the film/sensor etc. Such people also often prefer to find real scenes that have the ambiguity necessary to deceive the viewer, to make them scratch their head and wonder quite what is going on, rather than spend time altering a photograph using the computer to achieve that effect.

The other day I walked past some wooden fencing in Wisbech, Cambridgeshire. It screened a site that is earmarked for development. The fencing has been there for a while, and the economic downturn seems to be extending the period that it is needed. There are painted patterns on the plywood boards and photographs of local scenes, devices that aim to make the utilitarian structure a little more palatable and a little less grim. When I stood and looked at different sections of the fencing the possibility of a few "deceptive" or ambiguous shots came to mind. The first photograph that I took is shown above. It doesn't take long to work out what is going on, but at first glance it is a little puzzling - rather like the bull in the lorry of a few days ago.

photograph and text © Tony Boughen

Camera: Canon
Mode: Aperture Priority
Focal Length: 40mm
F No: f7.1 Shutter Speed: 1/800
ISO: 100
Exposure Compensation:  -0.33 EV
Image Stabilisation: On

The poor man's Photoshop No.2

click photo to enlarge
Four years ago* I posted a piece entitled "The poor man's Photoshop". That particular post has always been one that receives a lot of hits, with the visitor invariably arriving through a search engine query. However, most of the people who alight on my page that describes a shot of a book cover taken through "Flemish" frosted glass quickly move on. They've clearly been looking for a cheap or no-cost alternative to Photoshop, the heavyweight photo-processing software of choice of enthusiast and professional photographers. Some stay and look at the image and read the text on my page, but mostly they don't. I suppose I ought to add to the page a link to GIMPshop, a version of GIMP (Gnu Image Manipulation Program) that has been modified by the addition of a Photoshop-like interface. Or perhaps anyone searching for a cheap digital image editing program would benefit from knowing about Gizmo's Freeware, and particularly his page describing and linking to a selection of such programmes - Best Free Digital Image Editor. However, it's not my practice to amend an entry after I've posted it, so today I'm doing the next best thing by giving this post the same title (except designating it number 2), and featuring those useful sources. I hope this proves helpful to someone.

In fact, the subject of today's photograph warrants the title I've given it anyway. It shows me with the LX3 reflected in the textured glass of a door. Outside it is raining, and the door is giving a distorted reflection of not only me, but also the door and room behind. I liked the indistinct nature of this image and the way the colours of my clothes made the feather-like designs in the glass appear as though they formed part of my shape. It certainly has something of the feel of the sort of Photoshoppery that I don't indulge in but that many like, though in this instance there has been no computer manipulation at all.

* The opening sentence of this piece brought me up with a start. Have I really been posting images and rambling on for so long? It's maybe time for a change.

photograph & text (c) T. Boughen

Camera: Lumix LX3
Mode: Aperture Priority
Focal Length: 5.1mm (24mm/35mm equiv.)
F No: f2
Shutter Speed: 1/30
ISO: 400
Exposure Compensation: -0.66EV
Image Stabilisation: On