The Nature of Photography - Essay Example

The Nature of Photography Since its invention, photography has been hailed by the masses as one of thebest means of bringing the rest of the world to the public, affording them views of far-away places and peoples they would never have known about otherwise. The public appearance of the photographic process in 1839 (Leggat, 2000) revolutionized the way people saw the world around them and introduced a concept of capturing images that was so true to life that only the best painters could duplicate the effects. “As an aid in the search for reality, the photograph offered an immediate, faithful and permanent record, a source of artistic exploration” (Brown, 1971: 31). In its earliest forms, due perhaps in large part to the fact that exposure times were lengthy as the technology was in its infancy, photography was used as a narrative form, but even this early in its history, technological developments were allowing for more creative expression than simply recording the ‘truthful’ image. “At the turn of the century [1900], a small group of serious photographers tried to rescue the art form from its low estate by turning their backs on the more blatant forms of narrative photography and its continued reliance on and subservience to painting. They sought a more independent poetic vision based on the camera lens and motivated by a concern with contemporary forms” (Brown, 1971: 31). Thus, while it might be said that “The new malleability of the image may eventually lead to a profound undermining of photography’s status as an inherently truthful pictorial form” (Ritchin, 1990: 28), the new technological developments offered to photography are merely the latest in a long line of photographic tools that can be used to explore new creative possibilities and/or provide truthful representation, based upon the decisions made by the photographer. At no point in its history can photography be said to have been limited to merely ‘true’ forms of capturing images. To understand this, it is first necessary to understand how the development of the digital camera is similar to the early development of the traditional camera and then to take a look at how each works to produce images which can be manipulated in various ways to arrive at an idea of ‘truth’. There is no doubt that the boom of available digital cameras and their immediate integration with desktop computers and other devices has been revolutionizing the photography industry. There are many physical advantages to going digital over more traditional methods. Although the quality of digital camera pictures wasn’t up to the same level as film cameras when they were first developed, digital cameras have been developed more recently that provide an acceptable image quality at a comparable cost. These are issues that faced the earliest photographers as well, as new technologies were constantly entering the market in an attempt to perfect the image, shorten the exposure time and introduce new techniques that would allow the photographer to manipulate the exposure to light and the quality of the colors and images that became the final result (Leggat, 2000). Whether the point of the photograph is to capture a ‘true’ image or to illustrate a creative idea, the hardware of the camera industry has provided a means for its manipulation. Because digital cameras provide the convenience of needing no film and being able to store many more pictures than the traditional 24 or 36 film rolls, photographers have been able to expand their vision, being able to take many more photographs at a setting without the interruption or inconvenience of having to carry film canisters or changing rolls. The ability to preview the captured photo on site further enables the photographer to select and keep only those photos that adequately describe the scene in front of the camera. Thus, if ‘true’ representation is what is being sought, it can be argued that the digital camera provides a greater ability to retain this image as the photographer has opportunity to compare the captured image with the scene before the camera. The added ability to instantly download pictures into a desktop computer and send them out via email around the world makes digital photography very attractive to the average camera user as well as the professional photographer. This increased availability and accessibility translates into a greater capacity for more people to capture true images and broadcast them out before they can be stopped, allowing the world to see, for example, images of the war in Iraq, that have not been censored by the government or by news media moguls following strict rules of coverage. However, there are many commercial photographers as well as several amateurs that remain unhappy with the image quality of the digital camera as opposed to film in cameras of comparable price. In addition, there are concerns about the rapidly changing computer market and finding compatible hardware and software programs to keep digital images from being lost in the technical divide. Issues existing between hardware platforms, such as in the relationship between the camera, the computer, the monitor and the printer, present never-ending problems in attempting to achieve a consistent look throughout all (Guy, 2006). Ever-changing camera formats also make it difficult for the average lay-person to determine which digital cameras will provide adequate images for the given cost even when they are willing to pay more for the camera up front for the trade-off of less expenditures later in the form of film and film development. While several of these are also issues that were faced by the early camera user as various methods of capturing and producing images were explored (Leggat, 2000), the traditional film camera, because of its longer developmental history, offers more stable selections and therefore greater consumer confidence. Other issues introduced through the hardware of digital photography that have already been overcome by more traditional photography include the difficulty in projecting the images at high resolutions and the sensitivity of the cameras themselves. Digital cameras, because of their computerized parts, tend to be more delicate, having less tolerance to extreme heat, cold and moisture than traditional film cameras. These limitations prevent digital cameras from working effectively in harsh conditions where more traditional cameras have already made strides in overcoming these issues. Finally, despite the advancements, digital images have proven more difficult than traditional photography to authenticate thanks to the many software programs available that encourage photo manipulation, making it easy for the average lay-person to develop some fairly complex results without the benefit of years spent in the darkroom. Because of the point and shoot nature of traditional film photography, in which the picture is shot, sent for processing and returned, it remains a widespread belief that “traditional photographs dont lie because unlike in digital photography, it can never be changed or manipulated. In digital photography, images can be altered according to the photographer’s context in different ways easily and more artistically” (Diaz, 2006). To understand the ways in which photographs can be manipulated by traditional cameras, it is necessary to understand the mechanical operation of the machine. Traditional cameras work to capture the same colors we see by controlling the amount of light allowed to strike a light-sensitive film hidden inside. It is a light-proof housing for this film that has various means of controlling the wavelengths that enter it, exposing only a small segment of film at a time. A small shutter controls the length of time that the film is exposed while a tiny hole determines the amount of light allowed to enter at once (Hedgecoe, 1991). Once the shutter allows the light to enter, the light strikes the film causing a chemical change to occur on the surface of the film. “The chemical record is very stable, and can be subsequently developed, amplified and modified to produce a representation (a print) of that moment that … can be reproduced millions of times in various media” (Woodworth, 2006). This chemical record is then put through another chemical process to extract the image recorded and then print it in appropriate colors on paper or other media. As in human vision, the entire process begins with reflected light as it bounces off of objects within the camera’s field of view and enters the lens. Although a lens is little more than a piece of glass designed to be used to focus light on a specific point, this initial contact with the camera provides a great deal of possible effects to the photographer. The focal length of the lens is defined as “the distance from the lens to the point of focus when the lens is focused on infinity” (Wills, 2006). A normal lens will provide a normal-looking picture in that all the objects seen within it will be presented approximately as it was seen with the eye, however, even this can be deceiving depending upon the way in which the photographer chooses to ‘look’ at a scene, altering stance or perspective in such a way as to make a model blend in with full-size buildings if desired. Depth of field increases with a wide angle lens while sacrificing some focus and distorting the perspective somewhat. “Objects close to the camera will look much larger and closer than they really are and objects far from the camera will look much smaller and farther away than normal” (Wills, 2006). A telephoto lens further limits the field of vision but further throws off perspective through compression, giving it the least depth of field of all the options. An important part of the lens is a solid disk-like object embedded within it that contains a small hole in the middle called an aperture. The size of this hole is adjustable in manual use cameras, allowing the user to determine how much light should be allowed to enter the camera. The larger the hole, the more light allowed to hit the film. Aperture is referred to in measurements of F-stop where the smaller F-stop number equals the larger lens opening and the greater amount of light allowed to enter the camera. A larger aperture allows one to take pictures in low light situations while a larger aperture allows one to use a faster shutter speed in order to freeze action. Aperture can also have an effect on the depth of field. A greater depth of field, where objects both close to and far from the camera’s location appear in sharp focus, can be obtained by selecting a smaller aperture (f8 or greater). To isolate the subject from the background and allow the background to remain out of focus, shooting a shallow depth of field, the aperture can be set to a large setting such as f2.8 (“What is Aperture?”, 2006). Before the image is available for viewing, though, it must still go through the development process. The processing of film generally takes on the same characteristics although there are some exceptions involving specially coated dyes or film types. The film is exposed to several different chemicals designed to bring the image to paper in a step-by-step process conducted within a darkroom. Once the film has progressed through its various chemical baths, it is dried and cut into smaller sets of frames that can be used to create the prints (“Photographic Processing”, 2006). At any point in this process, the photographer reserves the right and ability to change what the image portrays, as has been discovered by even the youngest amateur photography buffs. This is illustrated in the description of one photographer regarding his early experience with photography as a junior high school student working in his parent’s bathroom, converted temporarily into a weekend darkroom. “One day I started experimenting with double exposures, perspectives, etc., both in-camera and in the darkroom. I put the dog’s head on the cat’s body, made my older brother look 300 lbs., and double exposed a shot of a fire in the fireplace on top of a shot of my parent’s house (which my superstitious dad quickly tore up and threw away), among others. I learned lots of techniques to manipulate photographs from books, and some I invented myself. This was fun and some of the results were pretty amazing, even for an early teen working in a makeshift darkroom” (Hobizal, 2004). Although the outside of a digital camera may look quite similar to the outside of a film camera, the inner workings of the camera are vastly different. To begin with, rather than using film, the digital camera uses a specialized silicon chip, often referred to as the sensor, to detect the light entering through the lens aperture and shutter. Unlike film, which is completely treated with light-sensitivity and therefore able to pick up even the smallest details and relate them to paper, the sensors in a digital camera contain tiny light-sensitive spots called photosites, which do not necessarily cover the entire surface of the sensor and can therefore lose some information in the fine details (Hogan, 2004). These photosites are extremely important to the proper function of the camera as “a photosite essentially converts the energy from a light wave into photoelectrons. The longer a photosite is exposed to light, the more photoelectrons it accumulates” (Hogan, 2004). Also unlike film, the digital camera sees everything with relatively the same degree of on or off, or black and white. To produce color images, the camera uses an array of specialized color filters over the photoreceptors to limit the amount of light it sees. These color arrays are based on either the subtractive or the additive models depending upon the maker of the camera. The analog data thus created moves to the edge of the sensor and is processed by a converter and then another processor that works to average out the RGB values of each individual pixel captured. However, all of this work is done internally with little to no interference from the user. When it’s complete, the image is ready to be transferred to the computer or onboard display for review. In exporting the image, there are also a number of hurdles to overcome in ensuring the image captured remains the image printed. These include calibrating the computer, monitor and printer to coincide with the same color patterns utilized and defined by the camera, some of which may not be available on all devices. To help overcome some of these shortcomings, there are several software packages available that are specifically designed to increase the editing capability of the individual artist and to encourage the various parts to play nice with each other. These image editing software packages work to provide the necessary bridge between the camera and the printer, adding several benefits to the photographer in the form of image adjustment as well as in the ability to manipulate images in various and sometimes drastic ways. These programs are not only necessary in obtaining a ‘true’ image out of a digital camera, but make photo editing easy, fun and highly visible additions to the marketplace, reducing the perceived belief in the ‘true’ nature of the final product. These software programs typically include the ability to adjust an image’s brightness, contrast and color balance. This offers a significant benefit over the traditional camera in that the artist has complete control over the picture even after its left the camera as opposed to the limited control provided over film as its being developed in an offsite photo processing center. With these programs, the image can be adjusted many times over, offering different results every time if desired and providing plenty of room for experimentation with differing effects and settings. While the programs can occasionally be somewhat complicated, providing options that allow the user to adjust levels by manipulating the curves for the various primaries used within the selected image, the control is enormous once these features are learned. While the photo processor may not be aware that you intended to crop that train out of the image, the software programs available in the computer will do this with almost no effort on the part of the user – merely a few clicks here and there and the train disappears. In addition, these programs allow the user to add unique features that weren’t originally a part of the picture taken with the camera, a feature not typically offered with film development. These features include alternate color treatments, the inclusion of words or an easier compilation of multiple pictures into one cohesive image or a collage of images. Other common tools include the ability to paint over sections of an image or to add additional shapes and features to the image. Several tools exist in these programs to help the artist achieve the exact effects desired. Although it cannot be concisely proven that digital photography has unequivocally improved the art of photography, it has presented some very unique opportunities that have never been available before. Ever-improving technology is working to address some of the concerns of the professional photographer in the actual capturing of images. This can be seen in the way that they are adding additional photosites to the sensors within the camera that replaces film and in limiting the effect of stray electrons due to extreme heat or prolonged shutter speeds. Otherwise, many of the same principles attached to traditional film photography, such as shutter speed and aperture setting, remain identical to the methods used by digital cameras. Another of the larger concerns regarding quality in digital photography has to do with the quality of the end product. Once the problem of lesser detail in the digital camera is solved, the problem of unpredictable and often unmatched branding of computer systems remains, offsetting the color models being used and having interesting effects on how colors perceived on the monitor end up being presented coming out of the printer. Recognizing this, companies heavily involved in the digital photography industry have been working diligently to develop color models that can be used across platforms and devices to provide the utmost in color matching from camera to final product, whether that final product is some sort of print object or an image to be used in the digital environment. Some of the more sophisticated image editing software programs are even being designed embedded with their own color modeling systems as well as ICC standardized color systems in preparation for the day when all of the devices, brands and platforms can converse. These programs sometimes also offer special wizard tools to carefully help end users walk through the often confusing and frightening process of color management among the various devices being used. Although photo manipulation is more evidently available now than it has been in the past, as well as more accessible to the amateur photographer, the technology of digital photography has not significantly changed the way in which images are captured, nor has it changed the ‘true’ nature of the photograph when presented in ‘true’ form. References Brown, Milton W. (Autumn 1971). “The History of Photography as Art History.” Art Journal. Vol. 31, N. 1, pp. 31-32 + 36. Diaz, Carmelo. (2006). “Digital vs. Traditional Photography.” About Desktop Publishing. Available at November 29, 2006. Guy, N.K. (2006). “CMYK.” Photonotes. Availabe at < http://photonotes.org/cgi-bin/entry.pl?id=CMYK> November 29, 2006. Hedgecoe, John. (1991). John Hedgecoe’s Complete Guide to Photography. New York: Sterling Publishing. Hobizal, Mike. (2004). “Digital Image Editing and Manipulation vs. Traditional Photography and Processing.” Digital Image Café. Available at < http://www.digitalimagecafe.com/article1.asp> November 29, 2006. Hogan, Thom. (6 February, 2004). How Digital Cameras Work. Available at < http://www.bythom.com/ccds.htm> November 29, 2006. Leggat, Robert. (2000). The Beginnings of Photography. Available at November 29, 2006. “Photographic Processing.” (23 May, 2006). Wikipedia, The Free Encyclopedia. Available at November 29, 2006. Ritchin, Fred. (1990). The Critical Image: Essays on Contemporary Photography. C. Squiers (Ed.). (London: Lawrence & Wishart) p. 28. Wills, Keith. (22 May, 2002). “Lens.” Photography Lab. Available at < http://www.scphoto.com/index.html> November 29, 2006. “What is Aperture?” (2006). Photocels. Available at November 29, 2006. Woodworth, Charles. (2006). “How Photographic Film Works.” How Stuff Works. Available at < http://science.howstuffworks.com/film1.htm> November 29, 2006. Read More