Some may be aware of the considerable interest in the debate over the use of Photoshop to enhance images by Danish photographer, Klavs Bo Christensen in Denmark’s Picture of The Year contest. In short, Klavs images were rejected after the RAW files were compared to the submitted files and it was decided too much photoshop (in particular colour adjustments) had occurred.
rejected Danish Picture of the Year entry
A good friend and mentor to a lot of Australian documentary photographers, Andrew Chapman sent out some thoughts on this issue which I thought I’d share…
“His use of photoshop is being hotly debated around the world and again is highlighting one of the big questions that we all muse over, What is the correct amount of RAW image post production and Photoshop adjustments we should apply to our images?
Photographic competitions are littered with examples of overblown images that jump out at the viewer and in some cases give the exhibitors an edge over their competition. Slickly produced images, finely Layered, with Gaussian Blur subtly applied and other enhancements can be seen on most wedding portrait photographers websites and in annual reports from here to Timbuktu. And, of course, advertising photography takes everything to another level again. This is all fine with me, but where does that leave those of us who love to record?
As Photojournalists and Documentary photographers we all know the boundaries when it comes to digitally adding or subtracting items to our images. But enhancement, particularly contrast, saturation and colour, are more murky areas. The 1990’s Photoshop revolution gave all photographers greater power of control over their shots, particularly when it came to colour.
I am reminded of Obama’s words to the effect of, “You can put lipstick on a pig……………. but, it’s still a pig”, during the Obama Presidency run of the 2008 US Presidential Campaign.
There have always been fashions that have drifted in and out of photojournalism and documentary photography. Who can forget cross processing in the 90’s or today’s tendency for shift focus lenses with an attempt to say “look at me, look at me” (apologies to Kath Day Knight).
With B&W, photojournalists have always used contrast / brightness control to give their photo’s more impact. Photographic history is littered with examples of dark crevices and snappy highlights, devices used by photography’s superstars to get their images across.
Try looking up W Eugene Smith, Salgado, Leibovitz and a host of others as references. Who amongst us have not used the same techniques?
What is at question here is not the use of……….. rather than the degree of use of colour / contrast / saturation in ones images. There is no definitive answer that cannot be argued against.
Every photographer needs to apply a fair and reasonable interpretation of light to their photographs. And, if the images are emotive enough, they will survive on their own. If they are pushing the boundaries, their colleagues will know. At the end of the day, each one of us needs to be at peace with ourselves and what we have produced.
I certainly don’t intend to set myself up as the arbiter of right and wrong and I’m sure there are others who would like to pick holes in my shooting and production style. But at the risk of building a glass house amongst a field of stones, I feel I need to fuel this debate a bit.
A truly great image will survive all of this debate because of what it is………………… a truly great image. It needs no more than fair and reasonable processing. True, there is a significant place for post production, but as an aid to a good photo, not as a crutch for a poor one. Great images by gifted artisans are what we should all be striving for.
In social documentary and photojournalism, substance should always triumph over style. There are many other legitimate genres of photography for those who want to push the creative boundaries.”
More of the debate
http://www.pressefotografforbundet.dk/index.php?id=11708
http://www.PDNPulse.com/2009/04/photo-contest-wades-into-murky-waters
I photographed the Melbourne Anzac Day Dawn Service on Saturday for The Sunday Age. I really enjoy jobs like this, where something significant is actually happening, not being faked, setup or otherwise made media friendly. And ever since photographing and attending my first Dawn Service around 5 years ago, I’ve had a strong desire to return. It really is a moving service and one that pays untold respect to those who have fought for their country.
www.josephfeil.com/proofs/anzac09
