Photography today is based more in editing and manipulation than in the physical capturing of the photo. The pervasiveness of photo editing is only going to increase; however, whether an edited photo remains true to the original photo, let alone the original scene, is left for the photographer to determine. Photographers attempt to create the "perfect" image and are willing to sacrifice the original photo in the process. The finished product becomes in many cases an entirely different photo from the original, to the extent that it is more a product of the editing software than the actual camera. My project takes the form of a photo-editing manual, viewable in both physical and digital format, and an exhibition of the final images. None of the images are so extreme that it is immediately clear that they have been manipulated; however, as they are all images of Scripps College, people who are familiar with the campus will be able to recognize that something is off. I see these images as products of editing software more than products of a camera. I have exaggerated commonly used editing techniques to draw attention to their excessive use in photography today. In the manual, the manipulation and changes suggested become gradually more extreme, so that if the reader does not a first question the instructions, he or she will be sure to by the end.

Nossa trajetória no fotojornalismo, marcada por treze anos de trabalho como repórter-fotográfico e editor de fotografia na Empresa Folha da Manhã S.A. nos permitiu conhecer minuciosamente, na prática, o processo de construção de uma imagem fotojornalística. Apesar da produção internacional relativamente abundante e de trabalhos brasileiros de renomados profissionais da área, a produção teórica sobre os aspectos da fotografia no contemporâneo é ainda incipiente no Brasil, principalmente no que diz respeito às inovações tecnológicas e seu impacto no fotojornalismo. Entre as questões mais instigantes da pesquisa e da teoria da imagem estão as tensões entre realidade e ficção e ética e ideologia. Segundo os parâmetros aceitos nas redações, uma boa fotografia é aquela que consegue aliar a precisão da informação com uma contundente beleza plástica. No fotojornalismo, mais que em qualquer outra modalidade de uso da fotografia, o registro fotográfico tem a necessidade de ser entendido, em sua gênese, como um documento, como um atestado comprobatório não apenas de que o fato aconteceu, mas que o mesmo ocorreu tal qual podemos observar na fotografia publicada no veículo. Como pensar então em informação precisa ou em verdade se sabemos de antemão que quando o fotógrafo documenta um acontecimento no espaço-tempo ele está invariavelmente, no ato fotográfico, descolando aquele recorte do real de seu contexto, interpretando o fato de acordo com sua cultura e sua ideologia? No fotojornalismo, essas tensões se revelam sobretudo na busca do equilíbrio possível entre informação e plasticidade, entre a sua natureza noticiosa que o obriga a se manter fortemente conectado a um referente e sua necessidade de conquistar a atenção do olhar do leitor contemporâneo, numa árdua batalha travada nas páginas de jornais e revistas com as imagens idealizadas e tecnicamente perfeitas da publicidade. Neste sentido, esta dissertação, que surge a partir da experiência de quem conheceu os mecanismos que regem o surgimento e a efetuação de uma pauta fotográfica na grande imprensa, pretende contribuir para ampliar o espaço desta reflexão na produção brasileira. Além disso, visamos analisar, ao cruzar a nossa experiência com a bibliografia contemporânea acerca da representação dos fatos na mídia impressa, as possíveis transformações ocorridas no conceito de documento fotográfico no período que vai da implantação da cor na impressão dos jornais diários brasileiros até o momento atual, passando pelo ingresso das câmeras digitais nas redações dos jornais. E, por fim, objetivamos também mostrar, por meio de imagens de violência recolhidas na mídia impressa, como esse processo pode corroborar para que os fotojornalistas e suas empresas façam, inconscientemente ou não, o uso da fotografia como uma ferramenta de criação, propagação e perpetuação de estigmas e preconceitos na sociedade. Sistematizar teórica e criticamente nossa experiência profissional obtida ao longo do trabalho como jornalista, repórter-fotográfico e editor de fotografia e, dessa forma, contribuir para a discussão acerca da profissão por nós escolhida, é um dos principais motivos que nos levaram a propor como objeto desta pesquisa uma análise do fotojornalismo a partir da sua produção desde diferentes perspectivas. / Our trajectory in photojournalism, marked by thirteen years of work as a reporter and photographic editor of the company Empresa Folha da Manhã S.A. allowed us to know, in practice, the process of creation an photojournalistic image. Despite the international production relatively abundant and the work of renowned Brazilian professionals in the area, the production on the theoretical aspects of photography in contemporary is still incipient in Brazil, especially with regard to technological innovations and their impact on photojournalism. Among the most instigatings issues of research and theory of the image are the tensions between reality and fiction and ethics and ideology. According to the editors accepted parameters, a good photograph is one that can combine the accuracy of the information with a convincingly plastic beauty. In photojournalism, more than any other mode of use of the photograph, the photographic record needs to be understood in its genesis, as a document such as a real certificate not only that the fact happened, but that it happened just the we see in the photograph published in the vehicle. Since then, how can we think on accurate information or true if we know in advance that when the photographer documents an event in space-time it is invariably, in the photographic act, unstick that cut of reality of its context, interpreting the fact based on his culture and his ideology? In photojournalism, these tensions are revealed especially in the search of the possible balance between information and plasticity, and its nature that requires that the news remains strongly connected to a referential and their need to win the attention of the readers contemporary look, in a tough battle fought on the pages of newspapers and magazines with the idealized and technically perfect images of advertising. Therefore, this dissertation, which arises from the experience of those who knew the mechanisms that govern the appearance and the execution of a photographic pauta, seeks to expand the space for discussion in the Brazilian production. Also, aim to analyze, by crossing our experience with the contemporary literature about the representation of the facts in press, the possible changes in the concept of photographic as a document, from the period of deployment of colors in printing the brazilianss newspaper untill today, and the advent of digital cameras in editors of newspapers. Finally, we also intend to show, throughout images of violence gathered in press, how this process can corroborate to the photojournalists and their enterprises to do, unconsciously or not, the use of photography as a tool for the creation, propagation and perpetuation of stigmas and prejudices in society. To systematize theoretical and critically our experience obtained during our career as a journalist, editor-reporter of photography and thus contribute to the discussion about the profession we have chosen, is one of the main reasons that led us to propose as the subject of this research an analysis of photojournalism from its production from different perspectives.

Individuals view an overwhelming number of mediated messages every day, even if most of these messages are merely glanced at or given minimal amounts of attention. It is not possible or advantageous for individuals to critically evaluate all messages they encounter. In that first glance or initial impression, however, our brains process the visual arguments designed by photo manipulation presented in messages. This happens instinctually, almost instantaneously, and most often underneath our radar of consciousness. Following, individuals decide to attend to the information (or not) though conscious processing. Regardless of decisions for elaborative processing, however, the initial visual processing of photo manipulated arguments influences how individuals think, feel, and behave – whether they are aware of it or not. This dissertation contributes to our understanding of the role of implied visual arguments for persuasive message processing in three ways. First, Experiment 1 identified and provided empirical evidence for effects of photo manipulation as a visual persuasion technique. This experiment was a necessary first step in exploring the cause-and-effect relationship of photo manipulation and attitudes to better understand influences on message perception. Second, Experiment 2 tested currently used dual processing approaches for persuasive messages to overcome the gaps that currently exist. Theoretical frameworks widely used in advertising and communication research – ELM and HSM – largely overlook the influence of visual communication and visual processing. These models do not account for the current understand of the brain mechanisms and processes for message processing. Findings from Experiment 2 provide evidence for the need to refine these models to account for influential visual processing variables that are largely absent from the literature. Third, findings from both experiments contributed to the conceptual refinement of visual literacy with evidenced-based support for the boundaries of when this concept is (or is not) influential for assigning meaning to visual messages. / text

This work aims to explore how normalized gender representations in images are heightened through the use of digital manipulation technologies and how that influences a spectator’s relationship both to the image and to their own body. After constructing a theoretical understanding of the ways in which images influence and create a normative beauty ideology, a critical case study analysis of the ways celebrities are photographed and digitally altered provides for a grounding of theoretical material.

Nossa trajetória no fotojornalismo, marcada por treze anos de trabalho como repórter-fotográfico e editor de fotografia na Empresa Folha da Manhã S.A. nos permitiu conhecer minuciosamente, na prática, o processo de construção de uma imagem fotojornalística. Apesar da produção internacional relativamente abundante e de trabalhos brasileiros de renomados profissionais da área, a produção teórica sobre os aspectos da fotografia no contemporâneo é ainda incipiente no Brasil, principalmente no que diz respeito às inovações tecnológicas e seu impacto no fotojornalismo. Entre as questões mais instigantes da pesquisa e da teoria da imagem estão as tensões entre realidade e ficção e ética e ideologia. Segundo os parâmetros aceitos nas redações, uma boa fotografia é aquela que consegue aliar a precisão da informação com uma contundente beleza plástica. No fotojornalismo, mais que em qualquer outra modalidade de uso da fotografia, o registro fotográfico tem a necessidade de ser entendido, em sua gênese, como um documento, como um atestado comprobatório não apenas de que o fato aconteceu, mas que o mesmo ocorreu tal qual podemos observar na fotografia publicada no veículo. Como pensar então em informação precisa ou em verdade se sabemos de antemão que quando o fotógrafo documenta um acontecimento no espaço-tempo ele está invariavelmente, no ato fotográfico, descolando aquele recorte do real de seu contexto, interpretando o fato de acordo com sua cultura e sua ideologia? No fotojornalismo, essas tensões se revelam sobretudo na busca do equilíbrio possível entre informação e plasticidade, entre a sua natureza noticiosa que o obriga a se manter fortemente conectado a um referente e sua necessidade de conquistar a atenção do olhar do leitor contemporâneo, numa árdua batalha travada nas páginas de jornais e revistas com as imagens idealizadas e tecnicamente perfeitas da publicidade. Neste sentido, esta dissertação, que surge a partir da experiência de quem conheceu os mecanismos que regem o surgimento e a efetuação de uma pauta fotográfica na grande imprensa, pretende contribuir para ampliar o espaço desta reflexão na produção brasileira. Além disso, visamos analisar, ao cruzar a nossa experiência com a bibliografia contemporânea acerca da representação dos fatos na mídia impressa, as possíveis transformações ocorridas no conceito de documento fotográfico no período que vai da implantação da cor na impressão dos jornais diários brasileiros até o momento atual, passando pelo ingresso das câmeras digitais nas redações dos jornais. E, por fim, objetivamos também mostrar, por meio de imagens de violência recolhidas na mídia impressa, como esse processo pode corroborar para que os fotojornalistas e suas empresas façam, inconscientemente ou não, o uso da fotografia como uma ferramenta de criação, propagação e perpetuação de estigmas e preconceitos na sociedade. Sistematizar teórica e criticamente nossa experiência profissional obtida ao longo do trabalho como jornalista, repórter-fotográfico e editor de fotografia e, dessa forma, contribuir para a discussão acerca da profissão por nós escolhida, é um dos principais motivos que nos levaram a propor como objeto desta pesquisa uma análise do fotojornalismo a partir da sua produção desde diferentes perspectivas. / Our trajectory in photojournalism, marked by thirteen years of work as a reporter and photographic editor of the company Empresa Folha da Manhã S.A. allowed us to know, in practice, the process of creation an photojournalistic image. Despite the international production relatively abundant and the work of renowned Brazilian professionals in the area, the production on the theoretical aspects of photography in contemporary is still incipient in Brazil, especially with regard to technological innovations and their impact on photojournalism. Among the most instigatings issues of research and theory of the image are the tensions between reality and fiction and ethics and ideology. According to the editors accepted parameters, a good photograph is one that can combine the accuracy of the information with a convincingly plastic beauty. In photojournalism, more than any other mode of use of the photograph, the photographic record needs to be understood in its genesis, as a document such as a real certificate not only that the fact happened, but that it happened just the we see in the photograph published in the vehicle. Since then, how can we think on accurate information or true if we know in advance that when the photographer documents an event in space-time it is invariably, in the photographic act, unstick that cut of reality of its context, interpreting the fact based on his culture and his ideology? In photojournalism, these tensions are revealed especially in the search of the possible balance between information and plasticity, and its nature that requires that the news remains strongly connected to a referential and their need to win the attention of the readers contemporary look, in a tough battle fought on the pages of newspapers and magazines with the idealized and technically perfect images of advertising. Therefore, this dissertation, which arises from the experience of those who knew the mechanisms that govern the appearance and the execution of a photographic pauta, seeks to expand the space for discussion in the Brazilian production. Also, aim to analyze, by crossing our experience with the contemporary literature about the representation of the facts in press, the possible changes in the concept of photographic as a document, from the period of deployment of colors in printing the brazilianss newspaper untill today, and the advent of digital cameras in editors of newspapers. Finally, we also intend to show, throughout images of violence gathered in press, how this process can corroborate to the photojournalists and their enterprises to do, unconsciously or not, the use of photography as a tool for the creation, propagation and perpetuation of stigmas and prejudices in society. To systematize theoretical and critically our experience obtained during our career as a journalist, editor-reporter of photography and thus contribute to the discussion about the profession we have chosen, is one of the main reasons that led us to propose as the subject of this research an analysis of photojournalism from its production from different perspectives.

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Diploma thesis deals with the manipulation of the photography, especially journalism. To bring the reader into context work starts with the first creation and the history of photography, early examples of manipulation of analog photography and its techniques. The main part focuses on the specifics and characteristics of the digital era in relation to the photographs, handling technology in digital photography and the possibilities of detection. Thesis reflects manipulation of photographs on social networks and the prestigious photographic competitions and the question of objectivity. Considering how it is in the background handling adjustments with confidence in the photo and that picture can be adjusted to detect and effectively to defend against them. Due to the nature of the digital society and a number of factors that the creation and publishing of photographs accompanying the photo we have to think critically and understand its truth value as intersubjective.

This thesis deals with the manipulation of a photograph. The first part is the theoretical framework, which is used in subsequent chapters by analyzing selected examples primarily reflecting concepts such as authenticity, objectivity, truth value or manipulation. Outside the theoretical framework is mentioned in the introductory parts of the historical evolution of analogue photography which flows into the history of digital photography. In the analytical part of the study we work with selected manipulative techniques (arrangements, retouching, photomontage, digital cloning, exchange heads, manipulation accompanying text or photos without referents) which are applied to individual examples using the theoretical framework from the first part. The study answers to our research questions, namely is it still possible to understand photography as an objective and trustworthy visual medium and is it possible to defend against the visual manipulation? The analysis shows that in the context of industrial practices in the photo and their availability has truth value of photographs as its objective quality not by its nature possible, while research and methods in detecting manipulation are crucial, but the amount of video material is still essential defense against manipulation of critical thinking. Key...

For most people social media has become a natural part of everyday life and there are probably few who have missed the rising popularity of selfies, but perhaps the rising popularity of photo manipulation is less obvious. Although studies have shown that selfies can have positive effects, there are still a general agreement that the development is concerning, and since the selfie seems to be here to stay, it is important to gain more knowledge about the phenomenon. The study used a mixed method to describe who photo manipulates selfies, what in the selfie that gets corrected, how the correction is performed and why someone chooses to photo manipulate selfies on social media. Using a web-based questionnaire and semi-structured interviews, quantitative data could be collected which were analysed using descriptive statistics, additionally the qualitative data were interpreted using a thematic analysis. The results showed that younger women photo manipulated selfies more often than younger men, but the difference levelled out with age, that the time spent on social media did not lead to a higher frequency of photo manipulation and that the most frequently used photo manipulation was filters and photo effects. In addition, the driving forces of impression control, the selfie-self, digital culture, and self-encouragement could be identified, and affected what was corrected, how the correction was performed and the frequents of photo manipulation on selfies. The result showed that photo manipulation of selfies on social media can have positive effects which can help to nuance the discussion about digital editing of selfies. / Sociala medier är idag en naturlig del i livet för de allra flesta och det är nog få som har missat den stigande populariteten hos selfies, men det är kanske inte lika uppenbart att även fotomanipulering av selfies har en stigande popularitet. Trots att det finns forskning som visar att det kan finnas positiva effekter av selfies verkar ändå de flesta vara överens om att utvecklingen är oroväckande och eftersom selfien verkar vara här för att stanna är det högst angeläget att få mer kunskap om fenomenet. Studien använde en kombinerad metod för att beskriva vem som fotomanipulerar selfies, vad i selfien som korrigeras och hur korrigeringen utförs samt att öka förståelsen för varför en person väljer att fotomanipulera selfies på sociala medier. Genom att använda ett webbaserat frågeformulär och semistrukturerade intervjuer kunde kvantitativ data samlas in och analyseras med deskriptiv statistik samt kvalitativ data som tolkades med tematisk analys. Resultatet visade att yngre kvinnor fotomanipulerade selfies oftare än yngre män men skillnaden planade ut med åldern, att den spenderade tiden på sociala medier inte innebar en högre frekvens av fotomanipulering samt att den vanligaste fotomanipuleringen var filter och fotoeffekter. Dessutom kunde drivkrafterna intrycksstyrning, selfie-jaget, digital kultur och självuppmuntran identifieras som i sin tur påverkade vad som korrigerades, hur korrigeringen skedde och hur frekvent selfies fotomanipulerades. Det visade sig att fotomanipulering av selfies på sociala medier kunde ha positiva och resultatet hjälper till att nyansera diskussionen kring digital redigering av selfies.