ated to bring a revolution in ways of capturing details, critiques argue that photography is not just a mere window on the world but it has become a space for nightmares, obsessions, unconsciousness and an opening of fantasies thorough computer manipulations that stage convincing fictional images (Kostikova,2013,pp.24-28). The manipulation leads into doubts over the originality of photographs. Rather than the manipulation of photographs, other notions of postmodernism such deteriorating discipline, war photography, propaganda and political agendas can be identified to be among the causes of negativity on the truth of the photographic image.
To fully understand photography, it is important to understand the origin of photography and its impact on the people of the postmodern age. The presence of photographic practice shows the ability to capture reality at a given time without any intervention by man, indicating a clear distinction from a painting that was an artistic contemplation. There had been some excitements due to the technological innovation that new gadget was capable of achieving. However, two questions were arising concerning the beautiful images produced by the camera. The first question was on the origin of the photograph image. That leads to being curious on the truth about the content of the image (Applin, 2014, pp.387-389). The second question was on the purpose of the photo image; together with the uses it can be subjected. Looking at both questions, the credibility of the photography is undermined due to the various works of art that are not original, and it becomes challenging to verifying their originality and the purpose of having reality on them.
Hughes argues that, “Despite its apparent precision, perspective is a generalization about experience. It schematizes, but it does not really represent the way we see.” The argument can be borrowed into photography meaning that its ability to capture original experience of the world is limited