Brief notes on this chapter:
- Using the functionality of the camera to present an alternative view;
- Originally, photography was seen as producing facsimiles of real life as opposed to expressive interpretation of it;
- Now photography accepted as more of an art form;
- Planes of focus to blur parts of images in order to focus eye on the salient subject;
- Analog and difgital filters - polarization lenses. Digital filters make landscape photography more of a 'level playing field' by being more accessible on smartphones and software even they might be viewed as 'incompatible with "serious" landscape photography.
- Managing Dynamic Range: Bracketing, Blending and HDR. HDR can make the image look unrealistic, which is arguably part of the attraction.
- At what point does aesthetic fine-tuning become a manipulation of the image? Interesting question in light of my comments on Assignment 2. Is Alexander implying the former is OK, and the latter not, or that a manipulated image is an alternative inage, something different altogether Yet again, we return to my argument that a high degree of manipulation is an alternative reality; I would add that that is something to celebrate - that we can effectively extend the camera's ability to produce an image that is totally different to the 'original' and we should start to view manipulation not as 'non serious' photography but as an art form in its own right;
- in 19th century, manipulation was viewed as 'pictorialism' and rejected by Stieglitz and others who thought photography should be celebrated for its intrinsic qualities. 'straight' photography.
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