Art & Art History ETDs
Publication Date
7-13-1973
Abstract
"Manipulation" in photography is the major area of consideration for this paper. Manipulation first appeared in photographic literature with reference to the handling of all photographic materials and processes, and later as a term for variation from the more traditional "straight" process. In this paper the term straight will refer to a more purest approach to the making of a photograph that emphasizes the faithful pictorial recording of that which is seen with the eyes. Manipulation in this context is photography that allows any and all possible variations from this standard. Manipulation also possesses two principal elements: the camera image and/or light sensitive materials. Historically manipulation represents a series of events that deviates from the mainstream of straight photography. These events include experimentation with such techniques as blurred focus, image distortions, composition printing, superimposition, motion studies and multiple exposure, mirror images, cameraless images, photomontage, solarization, and reticulation. Currently manipulation is enjoying a tremendous expansion of experimentation as contemporary attitudes tend to find acceptable any means by which one may create a photographic object. Techniques are complex, varied and constantly changing. Although most of those methods listed are contemporary, many have historical origins. Only a few of the many innovations of contemporary manipulation are discussed herein. The attitudes that make possible such experimentation are to be found in replies to questions sent to some twenty four individuals who are working in the manipulative mode. These responses give substance to the idea that contemporary manipulators reject any sort of restriction on creative work. The meaning of contemporary manipulation is not easily discernable. One must look at this work not as to its physical appearance but in terms of those meanings suggested by the imagery. This involves assessing it in view of twentieth century culture which is in the midst of a revolution of values and life styles due to the acceleration of change in our society. This acceleration results in a general state of "transience" wherein the number of life experiences multiplies along with an increasing ambiguity as to their meaning. Contemporary manipulative work reflects this in terms of the multiplication of ambiguous images. Yet much of this work also seems to deal with meanings about the reality of our present existence.
Language
English
Document Type
Thesis
Degree Name
Arts
Level of Degree
Masters
Department Name
UNM Department of Art and Art History
First Committee Member (Chair)
Beaumont Newhall
Second Committee Member
Thomas R. Barrow
Third Committee Member
James Norman Kraft, Jr.
Fourth Committee Member
Leonard Lehrer
Recommended Citation
Bowman, Stanley J.. "Manipulation in Photography." (1973). https://digitalrepository.unm.edu/arth_etds/227
