1. Digital Portraitmanipulation
By Luke Sams
Introduction
For my personal projectIplan to explore the topicof ‘digitalportraiture’the purpose behindthis
topicbeingto explore the capabilitiesof digital photomanipulationinregardstoportraiture,ranging
fromthe more simple manipulationof removingblemishes(airbrushing)tosome more complex
manipulationsthatwouldchange aphotointosomethingalmostcompletelydifferent.
My mainfocusisto review the postshootdigital manipulation althoughIwill also explore the use of
differentportraiture techniqueslike lightingandcamera anglestocreate some differentstylesof
portraiture,suchas beauty/glamour,traditional portraitureandsurreal portraiture,withamixture
of locationandstudioshoots thatI will thenmanipulate indifferentwaysusingAdobePhotoshop.
History
Photomanipulationissomethingthathasbeenaroundalmostas longas photographyitsself has
beenandhas developedquiterapidlyalongside photography. Some formsof manipulationare
consideredanart formas theyleadto the creationof unique images butotherformslike those used
to deceive the publicforpolitical reasonsare generallyfrownedupon.
Early examplesof manipulatedimages –Pre-digitalage
The earliestformof recordedphotomanipulationdatesbacktothe use of photoengravedprinting
plateswhichcouldbe physicallymanipulatedusinginksorpaintsorby scratching prints/negatives
while they were developed.
The negativescouldalsobe manipulatedeitherwhile still inthe camerabyusingmultipleexposure
techniquesorthroughpiecingtogetherdifferentphotos/negativesinadarkroom. An example of
photomanipulationfromthe early1860s isa photoof Abraham Lincolninwhichhisbodywas
switchedforthatfrom a photoof JohnC. Calhoun.(6)
2. Digital Image Manipulation
Despite extensive researchthere doesnotappeartobe a definitive pointintime thatdigital image
processingandmanipulation/retouchingactuallybegunalthoughitiswidelyagreed thatitis
somethingthatwasonly introduced relativelyrecentlyatsome pointwithinthe 20th
century.
Althoughdigital manipulationinits infancymaynothave beenmuchandcouldonly dowhat people
were alreadydoingusing pre-digital techniques itissomethingthathasrapidlydevelopedalongside
the developmentof the digital technologyitself andhasreachedthe pointwhere itisgenerally
consideredtobe an art formin andof itself.
Digital Manipulationhasevolvedtothe pointinwhichaphototakenby any meansincludingthose
of the pre-digitalage canbe digitisedif neededandtheneithertechnicallyretouchedorcreatively
retouched. The formerbeingthe adjustmentof colours/hue/saturation,sharpnessandthe removal
of visibleflaws onskinormaterialsandthe latterbeingusedasan art formor forcommercial use
oftenusedforfashion,beautyoradvertisementphotosandisnow consideredthe normforimage
compositing(takingseveral imagesandcombiningthemintoasingle composition). Creative
retouchingcancompletelychange animage tothe pointwhere there isnolongeranyresemblance
to the original.
JerryUelsmannisa contemporary photographerwho hasbeenworkingwithimage manipulation
since the late 1950s before the adventof Photoshopandnow inhislate 70s he still doesnotuse any
moderntechnologytocreate hisphotosandinsteadoptsforthe more traditional pre-digital
techniquestomanipulatehisimagessuchasmultipleexposuresand othermanipulationsof the
photonegatives. He achieveshissurreal photosbylayeringandsplicingseveral negativestogether
withextreme care andattentionasthisisa verydelicate process,he alsouses aprocessinvolving
several enlargerstoenlarge multiplenegativesintoasingle print.
Thisparticularphotoof JerryUelsmann’sdenotesapairof cuppedhandssurroundedbydarkness
witha scene of the horizonoversome waterwitha small row boat in the foreground all inblackand
white. Thisgivesthe overlyphotoasurreal,dreamlike qualitytoitas the waterscene isalmost like
a mirage or hallucination. The connotationslinkedtothiscouldbe abouttakingcare of the planet
but itcouldhave a slightlydarkermeaningtoit,symbolisingthe journeyafterdeathwithaboatto
take you across the waterto the afterlife.
3. ArtistResearch
I thinkthat myunitof workis likelytotake inspirationfromsome of the more unusual and
experimental photographersoutthere suchasChristofferRelander(1),
Jamie Ibarra(2),
Laura
Williams(3),
Michael Newcomer(4)
andOliverMorris(5)
simplydue tothe nature of theirwork,
althoughthere are otherphotographerswhodo ‘normal’portraiture thatIwill mostlikelypull
inspirationfromformybase photoswhichI will thenmanipulate.
I findthatJamie Ibarra’swork (belowtwoimages)isinspirational tomyworkas he hasthe abilityto
create these moodyandsensual portraitswithoutusinglotsandlotsof expensive equipmentwith
some of hiswork evenbeingproducedusinganiPhone 6plusand natural lighting,Ifeel thatthis
alternative stylethathe hasdevelopedwouldbe greattodeconstructandpull apart withinAdobe
Photoshop andperhapsevenmanipulate into somethingmore thanjusta standardimage.
The image on the leftisquite a dramaticimage showingagirl,the lightingusedisdirectional natural
lightcomingfromthe leftof the photo creatingstrong shadowsonthe right side, withanetcurtain
or somethinginthe foregroundandbackgroundalsocomingfromthe lefthandside. The
connotationsof thiscouldbe that the lightanddark are intendedtorepresentgoodandevil,likean
external signof aninternal struggle withinthe girlsownmind.
The secondphotohere on the rightis alsoquite a dramaticimage itdenotesagirl withfairlyopen
bodylanguage standinginfrontof a brick wall withawindow toone side,there isfairlyhigh
contrast betweenthe subjectandthe backgroundthe girl beingbrighterthanhersurroundings
helpingherto standout and ‘pop’fromthe image. The connotationsof the contrast withinthe
image couldimplythatshe issupposedly‘purer’thanhersurroundingasshe isvisiblybrighterand
clearerthanthe restof the image.
4. ChristofferRelandercreateshisveryown distorted realtiesthroughthe use of multipleexposures,
layeringmultiple exposuresintoasingle frame sothatcomponentsof each individualare visible and
combinedintoasingle image. The multiple exposuresthatuse whatlookslike three layers;one
beingthe modelshandswith abeingthe modelsface anthe lastone beingsome foliage like treesor
bushesare my personal favourite.
The firstmultiple exposureonthe leftdenotesaperson’shandsandforearms surroundedbywhite,
throughthe arms you can see a person’sface withclosedeyesandaneutral expressionandthrough
that there are some leavesandskyvisible,witheverythingbeingmade blackandwhite. The
connotationsof twohandsplacedtogethervariesacrossculturesbutisgenerallyspeakingquite
similarinAsianculture the lefthandissymbolicof Yinenergyandthe righthandis symbolicof Yang
energyandwhenplacedtogethertheycollectivelyrepresentedallegiance,friendshipandbalance.
Althoughinotherculture two handscan representchoice,contrastorjustice (similartousingscale
to representjustice)
The secondmultiple exposureisinfull colouranddenotesasingle hand(arighthand) witha
person’sface,headtilteddown,eyesclosedandaneutral expression,visible throughthisandleaves
visible throughtheirface andhair. The connotationsof thiscouldbe an imbalance insomething
possiblywithinthe womenasherface istitleddownasthisisusuallyassociatedwithnegative things
like beingsad.
5. My ownwork
My workfindsitsplace withinthisareaasthe whole ideaisto testthe capabilitiesof digital
manipulationanditsapplicationsfromsimple technical retouches,fixinglightingandcosmetic
problemstocreative retouchingwhere Iammanipulatingthe photointosomethingthatdoesnot
necessarilyresemble the original photoorphotos.
Thisphotois an example frommyworkandis a goodexample of whatIwouldconsidertobe
creative retouching,compositionallythe imageisalmostidentical tothe original asthe background
didnot containmuchI simplyremoveditandreplaceditwithglowingdots. Onthe otherhand
thoughthe photofeelscompletelydifferentfromthe original;the original wasquite acalm, relaxed
photowithan uplifting happyatmosphere,howeverthiseditedversionof itseemstoflipthateffect
and makesitfeel darkand mysteriousandaddsanangry kindof feel toit like the fire andsparksare
a manifestationof the personsfeelings.
The Future
Giventhe technological developmentsstillbeingmade todayIcan onlysee digital photographyand
digital manipulationincreasinginpopularityandthe capabilitiesof itexpandingtogreatlyexceed
whatcan currentlybe achievedtoday.
I feel thatanyfuture developmentswouldbe particularlyrelevantandprominentforthisparticular
aspectof photographyasit revolvesentirelyarounddigital technologyandasthe technologyis
made fasterand more powerful there will alwaysbe people there topushitto its verylimittosee
whatis possible. Alongwiththe developmentof waystocreate digital mediaIfeel thatthe wayin
whichthiscontentcouldbe exhibitedmaybe revolutionisedaswell. Developmentsin3dprinter
technologycouldleadtothe creationof a physical three dimensional formatinwhichphotography
couldbe viewed.
Conclusion
In conclusionIfeel thatmyprojectfitswell withinthisareaandthat itprovidesalot of creative
freedominwhichtoexperimentandtestoutalmostanyideasthat I may have while workingonthis
unit. I alsofeel thatthe photographerthatI have identifiedwithinthisessayfitwithinthe topicwell
and have and will providegreatinspirationformyworkthroughout.
