Fotograf Magazine

We live in an era of post-production, of the subsequent retouching of photographs via graphic effects or digital editing. This represents a double-edged sword wielded by those aspiring to technical perfection and simultaneously strong emotional impact. This manner of subsequent manipulation of the image may gratify the senses of those perceiving the enhanced work of art, but at the expense of objectivity of information and precision of message. For this reason, competitions of documentary and reportage photography tend to value faithfulness of representation over the stylish visual rendering. And also for this reason, the excessive popularity of conceptual photography makes us all the more appreciative of photography which works in an objective manner – tautologically, in fact – providing testimony of its own existence.