subject: Manipulation in Visual Arts [print this page] Manipulation in Visual Arts Manipulation in Visual Arts
Photography is favored for the fact that it represents the facts of existence and its different aspects. This a way of reproducing what you distinguish around you as well as all the machinelike interventions have been spurned of. This is what people have tried to prevent so that photography could remain a department of the plastic arts.
Photography has tried to assume form of a stimulating art itself, hence, it has perpetually looked for diversification when it comes to its means of articulation. It has constantly tried to get away from this rational point of view as well as to dictate an amount of recognition alike to the one a scene created by an artist receives. There have been numerous steps that have correlated the characterizing photography with the explanatory one, these steps starting from the content as well as the structure of a portrait.
The number one interventions on photos date from the beginning of the nineteenth century. Portrait studios then hired painters to expand the value of the photos, these being finished in details and coloured, as well as completed with another elements. The copper and paper plates illustrated landscapes, architectural elements and they also replaced the portraits. The technical evolution, which was marked by the short exposure time, the advancement of optics, the increase of precision as well as the increase of the control over the materials were so exploited by a new creative trend. People could accomplish a piece of work any way they wanted, they may take blurry pictures, they could use filters, rain screens, they can combine and include more layers of negatives and many more. The main purpose was to remove technical essence left by simply copying reality as well as the achievement of a pictorial and artistic result. These new horizons of photography may be identified in "The Two Ways of Life", a piece of work belonging to Oscar Gustav Rejlander. This piece of work consisted of thirty-two negatives being put one on top of the other, these horizons being defined both technically and thematically.
The potentiality of the new visionary trend driven countless artists to run towards photography and they then integrated photography in the international modern trends. They started exploiting the details of the aesthetic communication and the synthesis of a proper language. The superficial results obtained by the representatives of this innovative trend and the results which were too full of trivialities were considered old-fashioned and they were also considered to lack any originative artistic foundation. The image starts being conceived in such a way which it offers experiences that resemble the ones encountered in the other visionary domains. The representatives of this age begin utilizing carbon, platinum as well as a lot of other artistic techniques. The conclusion is an aesthetic image, that lacks any real details, that is placed in a concept and in a more cultural creative area. If people used to appreciate pure art as well as pure photography, with which details, lights, the composition and the precision of the development were greatly important, they found a new enthusiastic technique of improving what they knew as photography.
