David Pogue posts today in The New York Times regarding two winners in Popular Photography's annual Reader's Photo Contest which were "photoshop jobs." He questions whether these winners should count as photographs because what the image represents never "actually existed." That objection, of course, leaves aside the question of whether the image itself is really worth looking at. Perhaps the best thing about "reality" in this case is that it constrains people from making up scenes we could do without.
In the March issue of Popular Photography magazine, the editor's note, by Miriam Leuchter, is called "What Is a Photograph?"
You'd think that, after 73 years, a magazine called Popular Photography would have figured that out. (Ba-da-bump!)
Actually, though, the editorial is about the magazine's annual Reader's Photos Contest. This year, in two of the categories, the winners were what the magazine calls composites, and what I call Photoshop jobs.
One photo shows a motorcyclist being chased by a tornado; another shows a flock of seagulls wheeling around a lighthouse in amazingly photogenic formation. Neither scene ever actually existed as photographed.
Now, in my experience, photographers can be a vocal lot. And a lot of them weren't crazy about the idea of Photoshop jobs winning the contest.read more at Photoshop and Photography: When Is It Real?
I have to admit that when I saw the winners revealed in a previous issue, I was a bit taken aback, too. I mean, composition and timing are two key elements of a photographer's skill, right? If you don't have to worry about composition and timing, because you can always combine several photos or move things around later in Photoshop, then, well -- what is a photograph?
The two "photoshop job" winning images:
Todd Mcvey
*Travel/Places Category Winner*“This shot was half planned and half happy accident. I was on vacation in Cape May, NJ, last July, and found this lighthouse while exploring the beach. I knew I had to shoot it— just didn’t know what I wanted it to look like. Then the idea of a composite came to me. I captured just the lighthouse one day, shooting close-ups and from a distance to cover enough angles to choose from. Then I went back the next day at roughly the same time to photograph the seagulls. The sun wasn’t as much of a difficulty as you would expect—framing it behind the lighthouse, I bracketed all my shots so I knew I would get the look I wanted. The main problem was the mosquitoes. They were pretty terrible, so I had to work fast. I think I lost about a pint of blood on this shoot.”*Tech Specs: *Canon EOS 5D Mark II, with Canon 35mm f/2.8 (lighthouse) and 70–200mm f/4 (seagulls) lenses. Exposures, 1/125 sec at f/11, ISO 100. Composited in Adobe Photoshop CS4.
Timothy Bailey
*Action/Sports Category Winner *“I shot this for a project I’m doing with natural disasters and extreme sports. It’s a composite of four different pieces: the background, the sky, the biker, and the tornadoes. The first two were photographed in Northern California in late afternoon. The biker I shot in my studio. It’s my friend Ashley on her bike, which was on a stand; she was pretending to ride it, but it wasn’t actually moving. I created the tornadoes by manipulating cloud images. I like to use a lot of special effects in my photography, and I like having a challenge.” See more at www.timothybaileyphotography.com. *Tech Specs:* Mamiya 645AFD with 17MP Leaf Aptus digital back and 55–110mm lens. Composite made in Adobe Photoshop CS3.
