by Erik Johansson http://alltelleringet.com/ |
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2. The photos by Shaltout and Johansson are clearly manipulated, but relates well to the quote above in that it can reveal the inner thinking or vision of the individual. Such great expressions. I think it is ethical to alter
art photographs as much as it is ethical to mix primary colors to make secondary
colors. Art has never been one to ‘color
within the lines’ and since it is about individual perspective and reaction to
and or imagined creative expression then I think it would be quite natural for
photo artists to use art studio tools to expand their creativity.
It is not ethical and acceptable to alter press
photographs in my opinion for the most part because of the role that press
photography plays through the media in providing a lens to bring the challenges
and possibilities of the human experience to the individual citizen.
This power
which press photographers have is one that should have ethical boundaries as it
is a role that requires competence, maturity and accountability.
In an essay written by by Gordana Icevska about Cartier-Bresson, Icevska points out that Cartier-Bresson "believes in taking pictures while being invisible, not interrupting the scene. “In whatever picture-story we try to do, we are bound to arrive as intruders. It’s essential, therefore, to approach the subject on tiptoe-even if the subject is still-life. A velvet hand, a hawk’s eye – these we should all have…Unless a photographer observes such conditions as these, he may become an intolerably aggressive character”(Cartier-Bresson,
1952). In both art and press photography there are many similarities and differences, and both have the potential to open up a view of life to the rest of us that we have known or never knew, but maybe need to see more closely.
Thememoryhole.org, via Associated Press DOVER, DEL. An undated Defense Department photo released in 2004. |
In an essay written by by Gordana Icevska about Cartier-Bresson, Icevska points out that Cartier-Bresson "believes in taking pictures while being invisible, not interrupting the scene. “In whatever picture-story we try to do, we are bound to arrive as intruders. It’s essential, therefore, to approach the subject on tiptoe-even if the subject is still-life. A velvet hand, a hawk’s eye – these we should all have…Unless a photographer observes such conditions as these, he may become an intolerably aggressive character”(Cartier-Bresson,
1952). In both art and press photography there are many similarities and differences, and both have the potential to open up a view of life to the rest of us that we have known or never knew, but maybe need to see more closely.
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