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Photo manipulation dates back to some of the earliest photographs captured on glass and tin plates during the 19th century. The practice began not long after the creation of the first photograph (1825) by Joseph Nicéphore Niépce who developed heliography and made the first photographic print from a photoengraved printing plate.
This category contains categories and articles relating to the theory and methodology of composing and/or taking photographs, or to their manipulation during or after processing. It should not be confused with Category:Photographic processes , which comprises articles relating to the production of images using light-sensitive materials .
Standard digital processes include the pigment print, and digital laser exposures on traditional color photographic paper. [citation needed] Alternative processes often overlap with historical, or non-silver processes. Most of these processes were invented over 100 years ago and were used by early photographers. [2] [3]
The ability to create and fabricate realistic imagery digitally—as opposed to untouched photos—changes the audience's perception of "truth" in digital photography. [41] Digital manipulation enables pictures to adjust the perception of reality, both past and present, and thereby shape people's identities, beliefs, and opinions.
Photomontage of kiwifruit and lemons, digitally manipulated using GIMP. Photomontage is the process and the result of making a composite photograph by cutting, gluing, rearranging and overlapping two or more photographs into a new image. [1]
Courtesy Stiftung Deutsche Kimenathek / ArchivesPhotography and fascism in interwar Europe developed into a highly toxic and combustible formula. Particularly in concert with aggressive display ...
Image warping example. Image warping is the process of digitally manipulating an image such that any shapes portrayed in the image have been significantly distorted. Warping may be used for correcting image distortion as well as for creative purposes (e.g., morphing [1]).
Many of his famous prints were manipulated in the darkroom with these two techniques. Adams wrote a comprehensive book on producing prints called The Print, which features dodging and burning prominently, in the context of his Zone System. [4] They can also be used in less subtle ways, as in the stenciled lettering shown at the top of this article.