Unidentified Russian artist, Lenin and Stalin in Gorki in 1922, 1949, Gelatin silver print with applied media, Collection of Ryna and David Alexander.
Metropolitan Museum of Art New York
11 de outubro de 2012, 27 de janeiro de 2013
Maurice Tabard, French, 1897-1984, Room with Eye, 1930, Gelatin silver print, The Metropolitan Museum of Art, The Elisha Whittelsey Collection, The Elisha Whittelsey Fund, 1962, 62.576.4
Enquanto a fotografia digital e edição de imagem de software têm trazido uma maior sensibilização do grau em que as imagens da câmera podem ser manipuladas, a prática de fotografias manipuladas existe desde que o meio foi inventado.
While digital photography and image-editing software have brought about an increased awareness of the degree to which camera images can be manipulated, the practice of doctoring photographs has existed since the medium was invented.
Henry Peach Robinson, English, 1830-1901, Fading Away, 1858, Albumen silver print from glass negatives, The Royal Photographic Society Collection at the National Media Museum, Bradford, United Kingdom.
Fotografia Manipulada Antes do Photoshop é a primeira grande exposição dedicada à história da fotografia manipulada antes da era digital. Com cerca de 200 fotografias visualmente cativantes criadas entre 1840 e 1990, a serviço da arte, da política, notícias, entretenimento e comércio, a exposição oferece uma perspectiva nova e instigante sobre a história da fotografia como ela traça relações complexas e mutáveis do meio com a verdade visual .
Faking It: Manipulated Photography Before Photoshop is the first major exhibition devoted to the history of manipulated photography before the digital age. Featuring some 200 visually captivating photographs created between the 1840s and 1990s in the service of art, politics, news, entertainment, and commerce, the exhibition offers a provocative new perspective on the history of photography as it traces the medium’s complex and changing relationship to visual truth.
Barbara Morgan, American, 1900-1992, Hearst over the People, 1939, Collage of gelatin silver prints with applied media, The Nelson-Atkins Museum of Art, Kansas City, Missouri, Gift of Hallmark Cards, Inc.
As fotografias da exposição foram alteradas usando uma variedade de técnicas, incluindo a exposição múltipla (duas ou mais fotos em um único negativo), impressão combinação (produzindo uma única impressão a partir de elementos de dois ou mais negativos), fotomontagem, overpainting, e retoque no negativo ou imprimir.
The photographs in the exhibition were altered using a variety of techniques, including multiple exposure (taking two or more pictures on a single negative), combination printing (producing a single print from elements of two or more negatives), photomontage, overpainting, and retouching on the negative or print.
Maurice Guibert, French, 1856-1913. Henri de Toulouse-Lautrec as Artist and Model, ca. 1900, Gelatin silver print, Philadelphia Museum of Art.
Em todos os casos, o significado e o conteúdo da imagem da câmara foi transformado significativamente no processo de manipulação.
In every case, the meaning and content of the camera image was significantly transformed in the process of manipulation.
Grete Stern, Argentinian, born Germany, 1904-1999, Dream No. 1: Electrical Appliances for the Home, 1948, Gelatin silver print, The Metropolitan Museum of Art, Twentieth-Century Photography Fund, 2012, 2012.10, Courtesy of Galería – Jorge Mara-La Ruche, Buenos Aires.
Fingindo-se dividido em sete seções, cada uma com foco em um conjunto diferente de motivações para manipular a imagem da câmera. Picture Perfect explora os esforços do século 19 fotógrafos para compensar as limitações técnicas do novo meio de - mais especificamente, a sua incapacidade de descrever o mundo do jeito que parece
Faking It is divided into seven sections, each focusing on a different set of motivations for manipulating the camera image. Picture Perfect explores 19th-century photographers’ efforts to compensate for the new medium’s technical limitations — specifically, its inability to depict the world the way it looks to the naked eye.
Unidentified American artist, Two-Headed Man, ca. 1855, Daguerreotype, The Nelson-Atkins Museum of Art, Kansas City, Missouri, Gift of Hallmark Cards, Inc.
Para aumentar paleta monocromática da fotografia, pigmentos foram aplicados a retratos para torná-los mais vivas e realistas. Fotógrafos paisagem enfrentou um obstáculo diferente: a sensibilidade ímpar de emulsões iniciais muitas vezes resultou em manchas, superexposta céus.
To augment photography’s monochrome palette, pigments were applied to portraits to make them more vivid and lifelike. Landscape photographers faced a different obstacle: the uneven sensitivity of early emulsions often resulted in blotchy, overexposed skies.
George Washington Wilson, Scottish, 1823-1893, Aberdeen Portraits No. 1, 1857, Albumen silver print from glass negative, The Metropolitan Museum of Art, The Horace W. Goldsmith Foundation Fund, through Joyce and Robert Menschel, 2011, 2011.424.
Para superar isso, muitos fotógrafos, como Gustave Le Gray e E. Carleton Watkins, criou paisagens espetaculares, imprimindo dois negativos em uma única folha de papel - uma exposição para a terra, o outro para o céu. Esta seção também explora os desafios envolvidos na criação de retratos de grandes grupos, que muitas vezes eram de paralelepípedos junto de dezenas de fotografias de indivíduos.
To overcome this, many photographers, such as Gustave Le Gray and Carleton E. Watkins, created spectacular landscapes by printing two negatives on a single sheet of paper — one exposed for the land, the other for the sky. This section also explores the challenges involved in the creation of large group portraits, which were often cobbled together from dozens of photographs of individuals.
Unidentified German artist, A Powerful Collision, 1914, Gelatin silver print, The Metropolitan Museum of Art, Twentieth-century Photography Fund, 2010, 2010.296,193.
Para os fotógrafos de arte início, a criatividade final não estava no ato de tirar uma fotografia, mas na transformação subsequente da imagem da câmera em uma imagem artesanal.
For early art photographers, the ultimate creativity lay not in the act of taking a photograph but in the subsequent transformation of the camera image into a hand-crafted picture.
Unidentified German artist, A Powerful Collision, 1914, Gelatin silver print, The Metropolitan Museum of Art, Twentieth-century Photography Fund, 2010, 2010.296,193.
Artifice in the Name of Art begins in the 1850s with elaborate combination prints of narrative and allegorical subjects by Oscar Gustave Rejlander and Henry Peach Robinson.
Unidentified American artist, Man on Rooftop with Eleven Men in Formation on His Shoulders, ca. 1930, Gelatin silver print, Collection of George Eastman House, International Museum of Photography and Film, Rochester.
Ele continua com a revitalização do pictorialismo no alvorecer do século XX na obra de artistas-fotógrafos como Edward Steichen, Anne W. Brigman e Dia F. Holanda.
It continues with the revival of Pictorialism at the dawn of the twentieth century in the work of artist-photographers such as Edward Steichen, Anne W. Brigman, and F. Holland Day.
Unidentified artist, Man Juggling His Own Head,ca. 1880, Albumen silver print from glass negative. Collection of Christophe Goeury.
William Henry Jackson, American, 1843-1942, Unidentified artist at Detroit Publishing Company, Colorado Springs, Colorado, ca. 1913, Collage of gelatin silver prints with applied media, Amon Carter Museum of American Art, Fort Worth.
Gustave Le Gray, French, 1820-1884, Cloud Study, Light-Dark, 1856-57, Albumen silver print from glass negatives, Estate of Maurice Sendak.
Unidentified American artist, Dirigible Docked on Empire State Building, New York, 1930, Gelatin silver print, The Metropolitan Museum of Art,, Twentieth-Century Photography Fund, 2011, 2011.189.
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