Too much Photoshop? I judged myself.

2009 April 26

It is a case of ‘photoshopping‘ which i want to talk about today. Actually it is much more a story about how normal digital editing routines can be misunderstood as photoshopping.

Klavs Bo Christensen, a Danish photographer was nominated the Picture of the Year Denmark price was actually dismissed because of the use of photoshop (The original article about this case with example pictures). First of all, he did not photoshop in the classical sense since no parts of the pictures were altered or manipulated. Instead, he used the functions of the raw converter excessively. Which difference does this make? A big one, in my opinion.

Raw converters are software which turn the unprocessed information of the camera sensor in actual pictures. To explain things a bit, a raw image is no image in the literal sense at all since it does not ‘look’. Instead it is the 1:1 information delivered from the sensor of the camera and converted into digital information by the A/D converter and image processor of the camera. Only the raw converter (either the in-camera converter if the camera outputs jpgs or a standalone software) turns the physical information of optical/electrical charge for each sensor pixel into a picture.

Why do i write all of this? Well, it is very important to understand what a digital pictures is and why it looks how it looks. But back to the case of Klavs. He shot raw pictures and developed them himself. He boosted contrast and saturation. He did not altered the content but changed the way the content looks. That’s the point: Changing the content is manipulation. Changing the way the content looks is not manipulation.

At least that is what was the rule for the first century of documentary photography. The usage of black and white film is a good example: There are few changes to the look of a picture that a more drastic than removing all color information. Or think of the usage of film with extended sensitivity in the IR spectrum. Or cross-processing, just to name few radical methods of 35mm photography.

Particularly, Klavs was criticized for using Photoshop (to just process his raws). However, changing few in-camera-settings give very similar results just out of the camera:


These pictures where shot as jpgs with my Canon 5D with different picture style, contrast and saturation settings. Nothing else. There’s no Photoshop necessary to be most likely dismissed for the Danish PoY.

Imho, the widespread Photoshop-paranoia is dangerous. Digital photography is great because it gives power to the photographer which was held by film producers, labs, and printers before. There’s only one small disclaimer: wire agency such as Getty or Reuters are not interested in photographers with a great individualistic editing style. They want pictures with the style of the agency in the foreground, not of the photographer. Hence the very rigid limitations these companies give.

5 Responses leave one →
  1. 2009 April 26
    Heidi Levine permalink

    HI,

    I am sorry but I do disagree and have discussed this issue with many of my collegues and some of the teachers in our course who do agree with my line of thinking .
    I do understand some of your points but I also feel strongly that when you want certain results in a image the photographer should make the effort to get up at the crack of dawn or shoot in late late afternoon light.
    Here good light in a day is very very limited…in fact I got up yesterday at 4 am to shoot in early morning light and the sun rise was not visible because of the clouds .
    For me this means …trying again .

    Plus I do know many wire photographers such as John Moore, Jerome Delay, David Guttenfelder, Ami Vitali (who was working for Getty but now a contract photograher for National Geographic) who really do not fall into the way you described the wire photographers. Maybe when I started in AP in the 80″s I could agree that there were many differences in style and so forth but that has very much changed. And following several conversations I have had with magazine editors including Stern Magazine , they too agree with my line of thinking on this topic. Of course others may not . In the arts , we may all have a different interpretation on how we view a photograph, or a painting, a song or a play.

    I do feel there are some lines that should be drawn that differentiate between commercial photography and photojournalism and documentary photography.

    I personally felt those images from the Danish photographer alterted the saturation levels to the point he alterted the weather conditions.

  2. 2009 April 27

    I shoot digitally and convert my RAW files to black and white (often using a filter) – is this a big “no no”?! If it is i fail to see why. I could easily get the same shot with an old Pentax or something with a filter on it but I own neither of those and at least with the RAW shot I have an option as to how aesthetically I wish to use it. Also I use to shoot a lot of slide film which I used to cross process to get strong dramatic colours, which would intensify weather conditions for example (actually Heidi sorry but I don’t quite get the weather conditions comment you made). Again what is the difference between that and creating the same effect in photoshop?! I am confused as to why digital manipulation is frowned upon and traditional methods are not. I guess it clearly depends on who and what you’re shooting for and their opinions on it. I agree Klav overdone it though – he should have converted them to black and white and whacked on a green filter! lol

  3. 2009 April 26
    Heidi Levine permalink

    And yes I know the camera setting can be altered to give dramatic results . 81b filters were commonly used as well during the film days to warm up the colors.

    This is a topic for debate !!
    Maybe we need to ask Paul what in photoshop he feels is acceptable and not acceptable regarding what we do with the images we produce for the course .

    Regarding wires: Here is a link of some of Emillo Morenatii’s work. He works for Ap and was based were I am before his new posting in Pakistan.
    http://www.poy.org/66/NPOY/npoystories02_01.php
    Uriel Sinai, an Israeli photographer works for Getty
    http://www.poy.org/66/MPOY/index.php
    David Guttenfelder http://www.poy.org/66/npoy2/singles_01.php

    I know for a fact that each of these photographers would be fired from their jobs for doing what the Danish Photographer did for that contest and RTRS did fire someone here for changing the saturation levels to alter the light conditions and darken the background.
    Maybe I am old fashioned but I am going to stick to certain rules . Of course we are not always in control of the weather and light conditions especially when shooting hard news or assign that involve a writer who may schedule appointments or trips when the light is a nighmare for a photographer.

  4. 2009 April 26

    I think I understand what you mean. First of all, let me clarify one thing: the important difference between assignments and agency work is that with an assignment – let’s say for a magazine – the photographer’ pictures is one body of work, together with captions, article, layout, etc. So his/her style has room to enfold and is put into context by the other channels of communications a print medium offers. Agency work however is much more fragile since not the photographer nor the agency can possibly know the context the photograph will be shown in and the possible missuses have to minimized. Because of that, agencies HAVE to be more careful.
    I think to take the most out of this discussion, it would be great if you could explain your point a bit more. What do you think is generally allowed and what not?

    ps: Btw, besides the ethical point, Klav’s pictures are neither good nor well edited. The saturation/contrast is way above the aesthetic limit…

  5. 2009 April 26
    Heidi Levine permalink

    I think in general we should have a whole discussion about this with Paul during one of our lectures. I know by hearing his last lecture on archives he wants us to be more involved in our own learning .
    I too agree with you regarding the content on those images.

    I was asked by ICP in New York 2 yrs ago to participate in a debate on covering conflict with some others such as Shaul Shwartz, Alexander Boulet and some others.
    Yes for sure we do not have full control once our images leave our agencies. Sometimes as I see , they can be used out of context etc… I have caught my images being flipped for the purpose of layout. I do not agree and legally a magazine could be sued or forced to pay double or more .

    For sure…this would be great to discuss further and over a coffee!!!

    There are some things that I know are important to me and feel I can not cross certain lines. Sometimes that makes my life harder or my bank account less but ..
    this is me .
    Funny enough some of the most famous in this biz swore some years ago they would never never switch to digital and here they are today shooting digital and slaves to their computers. For sure our world is changing and without some adaptation …one would be left standing alone and still.
    big hugs !
    Heidi

Leave a Reply

Note: You can use basic XHTML in your comments. Your email address will never be published.

Subscribe to this comment feed via RSS