Re:How iOS 13 redraws your eyes so you're looking at the camera
by jrochkind1 on Wednesday July 03, 2019 @10:15AM
(#20344452)
"But it captures the light coming in. So far we called any post-processing which changes that reality either a filter/effect or a bug."
No, even analog photography, choices in developing certainly effect how the "light coming in" turns into a picture. As well as the particular camera used, and it's settings (aperture, ISO, shutter speed), and the film chosen.
The choices the digital photography system makes are no less choices with effects on the "captured light" than the ones made after you get bits out of the camera. They're just choices made by the engineers who designed the digital camera. There is no single 'true' way to "capture light".
> When a photographer chooses a particular brand or type of film, he’s already deciding what kind of reality he wants to show. Different types of film show reality and colors differently. Photographers pick film based on what they want the result to look like. Film photography never ever showed reality, not even close.
> But despite the presumption of veracity that gives all photographs authority, interest, seductiveness, the work that photographers do is no generic exception to the usually shady commerce between art and truth. Even when photographers are most concerned with mirroring reality, they are still haunted by tacit imperatives of taste and conscience… Although there is a sense in which the camera does indeed capture reality, not just interpret it, photographs are as much an interpretation of the world as paintings and drawings are. Those occasions when the taking of photographs is relatively undiscriminating, promiscuous, or self-effacing do not lessen the didacticism of the whole enterprise. This very passivity -- and ubiquity -- of the photographic record is photography's "message," its aggression.
But I don't actually disagree that there is something new going on lately with new kinds of digital processing. I don't think it's "all the same" exactly, we definitely have new techniques of altering and manipulating photos that give us SO MUCH more power than we had before, that I think it's reasonable to say it's a new thing.
But the original photographs never "captured reality" without intervention or manipulation. A photo is necessarily an intervention and a manipulation, in a variety of different ways. A photo never truly "captured reality" in an objective sense, it always depended on the photographer's choices, and the details of the technology used, in ways that mattered for what was perceived in the photo. But yeah, we have whole new orders of magnitude of it available, I'd agree.
No, even analog photography, choices in developing certainly effect how the "light coming in" turns into a picture. As well as the particular camera used, and it's settings (aperture, ISO, shutter speed), and the film chosen.
The choices the digital photography system makes are no less choices with effects on the "captured light" than the ones made after you get bits out of the camera. They're just choices made by the engineers who designed the digital camera. There is no single 'true' way to "capture light".
> When a photographer chooses a particular brand or type of film, he’s already deciding what kind of reality he wants to show. Different types of film show reality and colors differently. Photographers pick film based on what they want the result to look like. Film photography never ever showed reality, not even close.
https://www.theworldaheadofus.com/blog/photography-does-not-...
> But despite the presumption of veracity that gives all photographs authority, interest, seductiveness, the work that photographers do is no generic exception to the usually shady commerce between art and truth. Even when photographers are most concerned with mirroring reality, they are still haunted by tacit imperatives of taste and conscience… Although there is a sense in which the camera does indeed capture reality, not just interpret it, photographs are as much an interpretation of the world as paintings and drawings are. Those occasions when the taking of photographs is relatively undiscriminating, promiscuous, or self-effacing do not lessen the didacticism of the whole enterprise. This very passivity -- and ubiquity -- of the photographic record is photography's "message," its aggression.
http://www.susansontag.com/SusanSontag/books/onPhotographyEx...
But I don't actually disagree that there is something new going on lately with new kinds of digital processing. I don't think it's "all the same" exactly, we definitely have new techniques of altering and manipulating photos that give us SO MUCH more power than we had before, that I think it's reasonable to say it's a new thing.
But the original photographs never "captured reality" without intervention or manipulation. A photo is necessarily an intervention and a manipulation, in a variety of different ways. A photo never truly "captured reality" in an objective sense, it always depended on the photographer's choices, and the details of the technology used, in ways that mattered for what was perceived in the photo. But yeah, we have whole new orders of magnitude of it available, I'd agree.