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Discuss the clich "The camera cannot lie is, thus, part of a deep but misplaced notion of the camera's veracity as an agent of recording."
The camera cannot lie. But it can be an accessory to untruth. The clich that the camera cannot lie… is a misplaced notion of the camera's veracity as an agent of recording. At the beginning, the camera was able to produce photographs known for the ability to record an objective image of events with an assumed veracity that painting and drawing could never claim with equal authority. The camera leaves traces of the past and the mark of historical significance, it clings to images that gives a talismanic quality and presence as evidence of what was. The art of photography provided images of truth and a history otherwise lost and unavailable to us. Help with essay on The camera cannot lie...
Although the camera itself cannot lie, the person behind it can. Many photographers today aims to illustrate emotion, and creativity and thus they are no longer satisfied with what is seen through the lens of the camera. That the camera cannot lie is true only in the sense that the images it captures must have existed in one form or another at some particular time. But it is not always clear if those images have been manipulated in some way to alter or to stage an event that never happened. We are familiar with historical photos that have been retouched to include or exclude political figures. We are less familiar with the potential of new technologies for falsifying images, particularly those that appear in newspapers and magazines.
Photojournalism, photography that accompanies stories intended for newspaper and magazine readers, has a long and cherished tradition of truthfulness. The faking of photographs, either through stage direction by the photographer or through darkroom manipulation, consequently, their impact has been diminished by charges of photographic faking. However, computer technology puts photographic faking on a new level of concern as images can be digitized and manipulated without the slightest indication of such trickery.
Throughout photographys history, an unsuspecting public has been fooled by manipulated images. What are of concern to modern media watchers are the justifications used to alter images through computer technology. Early photographic history is filled with artists turned photographers who set-up situations with models and backdrops and made elaborate compositions from several negatives Today, with the advancement of technology, it is becoming a threat to the integrity of photojournalism images. Computer technology allows individuals to manipulate photographs to such an extent that alterations cannot be detected. Some of these photo manipulations include photographs faked during World War I for propaganda purposes. For example, newspapers showed faked photographs of Kaiser Wilhelm cutting off the hands of babies. Also more serious fakes involved political campaigns. A 18 campaign picture of Herbert Hoover and his running mate was faked because Hoover refused to pose with the vice-presidential candidate, Charles Curtis. However, from the photographer's point of view, these manipulations are merely just for the purposes of making images more dramatic and more impressive. But from the view of the public, such manipulation is ethically, morally and journalistically horrible. manipulating images is like limited nuclear warfare."
In most cases, it is the photograph that is lying, not the camera itself, the lens of the camera cannot fail to project onto the film behind it exactly what it captures before it. The extent to which a photograph can lie is far beyond the capability of any modern camera. Photographs usually only reveal partially of what the camera has actually taken, thus it may be true that an event really happened but you can never be certain whether that is the whole story. Photographs change truth and history. If the manipulation of photographs is accepted for any image, the public will naturally doubt all photographs and text within all publications.
Authenticity has become an important key to the reliability of the photographs, as authenticity, by definition, means something ``as being in accordance with fact, as being true in substance, or ``as being what it professes in origin or authorship, as being genuine. A third definition of the authenticity is to prove that something is ``actually coming from the alleged source or origin. Even though a camera does not lie directly, it can however be seen from different aspects through techniques used in taking the photograph. These include angle positions, the position of the subject, lighting and background effects etc. These techniques are said to improve the quality of the photograph, but it can also change the mood and emotions of the subject and surrounds, thus manipulating the viewer.
Therefore, the camera cannot lie is only true in the sense that the images it captures must have existed in one form or another at some particular time. Despite it was originally used as a form of evidence, it is not always clear whether those images have been manipulated in some way to change or to stage events that never happened.
One of the famous photojournalist, W. Eugene Smith once said, Let truth be the prejudice, truth is the guiding principle - not layout efficiency, not magazine cover eye-catching ability, not political persuasion, but truth. When truth is the prejudice, photographs, and the stories behind them, can be easily defended and are a source for humanistic concern and inspirations.
Photography is both documentary and art, both subject and interpretation, both subject and artist. Just as the camera cannot entirely lie, so too it cannot completely speak the truth.
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