WEBVTT - TechStuff Classic: Photo Editing and Manipulation, Part Two 0:00:04.400 --> 0:00:07.760 Welcome to Tech Stuff, a production from my Heart Radio. 0:00:11.760 --> 0:00:14.000 Hey there, and welcome to tech Stuff. I'm your host 0:00:14.080 --> 0:00:16.560 job in Strickland. I'm an executive producer with iHeart Radio. 0:00:16.600 --> 0:00:19.000 And how the tech are you? It is time for 0:00:19.040 --> 0:00:21.680 another classic episode. We're actually doing a follow up to 0:00:22.000 --> 0:00:26.680 last week's classic episode. This week's episode is Photo Editing 0:00:26.680 --> 0:00:31.200 and Manipulation, Part two. Originally published on September two, two 0:00:31.200 --> 0:00:35.640 thousand fifteen. Dylan was a guest host on this show. 0:00:35.720 --> 0:00:38.160 He is now a managing executive producer with I Heart, 0:00:38.560 --> 0:00:42.560 so he's stuck with us and has done incredible work. 0:00:42.760 --> 0:00:46.800 The guys very busy. But way back then we had 0:00:46.880 --> 0:00:49.479 him on as a guest to talk about photo manipulation 0:00:50.000 --> 0:00:54.480 and yeah, I hope you enjoy this classic episode. Images 0:00:54.560 --> 0:00:57.120 on computers, that's nothing new, We've had those for quite 0:00:57.120 --> 0:01:01.240 some time. I would argue that perhaps the pivotal moment 0:01:01.960 --> 0:01:05.640 in the post digital era would be nineteen eighties seven. 0:01:05.880 --> 0:01:08.480 That's when you have a PhD student at the University 0:01:08.480 --> 0:01:11.920 of Michigan named Thomas Noel who builds a program for 0:01:11.959 --> 0:01:15.840 the Mac Plus. He calls it display. Oh yeah, yeah, display. 0:01:15.880 --> 0:01:18.319 Everyone's using that these days, but they are They just 0:01:18.360 --> 0:01:21.280 don't know. Yeah, they just it's just not called that anymore. Yeah. 0:01:21.360 --> 0:01:25.840 So in he and his brother John Noel. John Noel 0:01:26.080 --> 0:01:29.959 was an effects expert a little company called Industrial Light 0:01:30.000 --> 0:01:35.520 and Magic. Yeah so a little, little known Hollywood effects studio, 0:01:36.040 --> 0:01:38.800 just one of the smaller ones. Yeah. So that they 0:01:40.080 --> 0:01:42.840 put their heads together and together they come up with 0:01:42.880 --> 0:01:45.800 an idea. They decided to rename display and they call 0:01:45.880 --> 0:01:50.680 it Photoshop, and they license it to a manufacturer of 0:01:50.800 --> 0:01:56.480 slide scanners, and the manufacturers called Barney Scan. So the 0:01:56.600 --> 0:02:00.000 very first version of Photoshop, which was not version one point, oh, 0:02:00.120 --> 0:02:03.680 it preceded version one point. It was version zero point 0:02:03.760 --> 0:02:09.240 eight seven. It was included with about two hundred scanners. 0:02:09.600 --> 0:02:12.320 So are about two hundred editions of Photoshop zero point 0:02:12.360 --> 0:02:17.000 eight seven out there? Wow, that's a yeah, I guess. 0:02:18.440 --> 0:02:22.000 And in nineteen nine they would sign a distribution deal 0:02:22.080 --> 0:02:26.600 with Adobe, and thus the relationship with Adobe and Photoshop begins. 0:02:28.520 --> 0:02:33.799 Was also when we get a famous incident of photo manipulation, 0:02:34.000 --> 0:02:38.959 a huge slap. I would say, this was a TV 0:02:39.120 --> 0:02:42.480 guide cover. I don't know if you're particularly familiar with 0:02:42.520 --> 0:02:49.880 this instance. It is Oprah. Yes, so this was pretty awful. 0:02:49.960 --> 0:02:53.880 I would say, yeah, So, what what happened was TV 0:02:54.000 --> 0:02:57.600 Guide puts Oprah on the cover. That's not the egregious, nasty, 0:02:57.720 --> 0:03:01.520 horrible part. That's that's perfectly fine. Was a ratings champion 0:03:01.720 --> 0:03:06.760 absolutely deserved to be on the cover of TV What 0:03:06.760 --> 0:03:09.320 what she did not deserve is is the way she 0:03:09.440 --> 0:03:13.760 was portrayed. So what happened was they had cut her 0:03:13.840 --> 0:03:17.800 head off of one picture and then superimposed it on 0:03:17.880 --> 0:03:21.200 top of the body of Anne Margaret and a ten 0:03:21.280 --> 0:03:25.760 year old photo of Ann Margaret at that from nine yeah, 0:03:25.960 --> 0:03:30.919 nine seventy nine publicity shot of Anne Margaret, different woman, 0:03:31.200 --> 0:03:38.240 different race, and the it was immediately recognized by the 0:03:38.280 --> 0:03:40.960 fashion designer for Ann Margaret, the person who designed the 0:03:41.080 --> 0:03:45.080 dress and Margaret was wearing in that publicity photo and 0:03:45.320 --> 0:03:49.520 clearly was the same photo obviously the exact same pose 0:03:49.600 --> 0:03:52.880 and same body. It just had been manipulated so that 0:03:53.120 --> 0:03:56.800 it was supposed to like Oprah's body. This was not 0:03:57.120 --> 0:04:02.200 one of TV Guide's best moments, and it certainly was 0:04:02.240 --> 0:04:06.640 one of those that really brought the the this photo 0:04:06.680 --> 0:04:11.320 manipulation uh concept back into the public eye. Keep in 0:04:11.360 --> 0:04:14.280 mind that a lot of the manipulations we talked about 0:04:14.280 --> 0:04:18.360 in our first episode. For a really long time, we're 0:04:18.400 --> 0:04:23.920 not necessarily public knowledge. People weren't aware that a lot 0:04:23.920 --> 0:04:26.200 of this was happening, you know. I think a lot 0:04:26.240 --> 0:04:30.200 of people still believed that when you see a photograph, 0:04:30.480 --> 0:04:33.320 what you're seeing is exactly the way it it rolled 0:04:33.320 --> 0:04:35.440 out in real life. And I think a lot of 0:04:35.440 --> 0:04:38.240 people now would still look at some of these photographs 0:04:38.240 --> 0:04:41.120 from like the eighteen sixties and not know that there 0:04:41.240 --> 0:04:44.600 was the ability to do manipulations like we're possible, right, 0:04:44.680 --> 0:04:46.480 So if you were looking at, say some of the 0:04:46.520 --> 0:04:49.680 spirit photography that we talked about in our last episode, 0:04:50.080 --> 0:04:54.120 you might be led to believe that somehow the photographers 0:04:54.120 --> 0:04:58.160 of the nineteenth century had an ability to capture spirits 0:04:58.200 --> 0:05:02.279 in photographs. They weren't. They use double exposure. Double exposure 0:05:02.279 --> 0:05:04.600 is no longer a thing. So maybe that's part of 0:05:04.600 --> 0:05:08.560 the problem, because unless you're using film double exposure like 0:05:08.600 --> 0:05:11.640 you could, you could digitally create an effect that's like 0:05:11.680 --> 0:05:15.640 double exposure. You can overlay one layer and photoshop on 0:05:15.680 --> 0:05:19.560 another and change the opacity. Yes, but as far as 0:05:20.040 --> 0:05:25.240 putting two pictures on the same piece of film, it's 0:05:25.240 --> 0:05:28.320 not exactly the same. Yeah, yeah, it's it's I mean, 0:05:28.360 --> 0:05:30.520 you can you can fake it so that you get 0:05:30.560 --> 0:05:32.960 the same effect, But it's not it's definitely not the 0:05:33.000 --> 0:05:39.160 same process. Nine was when Adobe Photoshop one point oh 0:05:39.320 --> 0:05:43.359 would ship Happy anniversary Photoshop. Hey, there you go. I 0:05:43.400 --> 0:05:45.680 didn't even make them do the math because in English 0:05:45.720 --> 0:05:50.200 major don't blame me. So here's here's something that's hard 0:05:50.240 --> 0:05:55.080 to believe. Adobe Photoshop one point oh fit on a 0:05:55.160 --> 0:05:59.960 single three and a half inch floppy disk. That's incredible. Yeah, yeah, 0:06:00.080 --> 0:06:03.000 uh yeah. You think about the size of those those 0:06:03.080 --> 0:06:06.599 programs now, and well, first of all, we don't use 0:06:06.640 --> 0:06:10.760 sloppy disks anymore. You know, I don't know if Photoshop 0:06:10.839 --> 0:06:13.239 still I guess you can still physically, but most people 0:06:14.040 --> 0:06:16.040 downloaded from the cloud now right, Yeah, you get a 0:06:16.080 --> 0:06:20.080 digital download and it's sizeable. It would take many three 0:06:20.080 --> 0:06:22.480 and a half inch disks to hold it. Now, and 0:06:22.760 --> 0:06:26.279 that Photoshop one point oh contain several of the tools 0:06:26.320 --> 0:06:29.839 that would later become the standard features of Photoshop. That's 0:06:29.839 --> 0:06:33.280 pretty amazing to me. Yeah, the clone tool was included 0:06:33.320 --> 0:06:36.279 in Photoshop one point oh. Yeah, and you you you 0:06:36.360 --> 0:06:40.800 already had the ability to select certain certain parts of 0:06:40.800 --> 0:06:48.479 an image and human saturation levels or tones. Thinking since 0:06:48.520 --> 0:06:51.920 I never used one point. Oh, thinking back and imagining 0:06:51.960 --> 0:06:55.880 that that was possible back then already in some form 0:06:56.040 --> 0:07:00.000 is is pretty amazing. Although the great thing about photoshop 0:07:00.200 --> 0:07:04.120 was that in comparison to its competitors, it was it 0:07:04.240 --> 0:07:08.839 was easier, more intuitive, and that's the way it was marketed. Right. 0:07:08.880 --> 0:07:11.920 So keep in mind that when we talked about in 0:07:12.000 --> 0:07:16.360 Part one, those those those means of manipulating and editing photos, 0:07:17.080 --> 0:07:19.920 that was a specialized skill. Like if you were not 0:07:20.040 --> 0:07:23.840 a photographer, chances are you were unaware of how this 0:07:23.840 --> 0:07:29.560 this trickery or manipulation took place. And it's almost like 0:07:29.600 --> 0:07:31.960 you can almost think of it like a guild system. 0:07:32.000 --> 0:07:35.240 It wasn't formal like that, but it was this thing 0:07:35.240 --> 0:07:37.640 that if you were not part of that club, you 0:07:37.800 --> 0:07:40.840 were largely ignorant of what was going on in order 0:07:40.880 --> 0:07:44.800 for that stuff to happen. Uh. This approach meant that 0:07:44.840 --> 0:07:47.480 it suddenly became much more accessible. It's still had a 0:07:47.600 --> 0:07:50.040 barrier to entry. There was still a learning curve to 0:07:50.160 --> 0:07:53.560 be to be conquered, but it was much lower than 0:07:53.920 --> 0:07:58.560 say having to go and roll in classes in photography 0:07:58.680 --> 0:08:00.760 and all the chemistry and fault there was. There was 0:08:00.800 --> 0:08:04.200 no longer chemistry involved, and there was no chemistry in 0:08:04.240 --> 0:08:07.760 a photo which didn't need to have chemistry, and you 0:08:07.800 --> 0:08:10.080 didn't have to go into the dark room and stand 0:08:10.080 --> 0:08:12.280 there with the tools if you wanted to lighten a 0:08:12.360 --> 0:08:15.120 part of an image or dark end. Yeah. I loved 0:08:15.160 --> 0:08:17.080 and you're in the part one you talked about the 0:08:17.120 --> 0:08:19.760 experience of going into a pitch black room in order 0:08:19.800 --> 0:08:23.240 to manipulate a camera so that you don't expose the 0:08:23.280 --> 0:08:26.600 film to light, thus ruining the film because obviously the 0:08:26.600 --> 0:08:30.840 film is as photoreactive. You can't since its photoreactive, any 0:08:30.920 --> 0:08:34.280 light is going to make it react. And the idea 0:08:34.320 --> 0:08:36.400 of fumbling around in the dark that first time, where 0:08:36.400 --> 0:08:39.120 you're trying to build that familiarity, it made me think 0:08:39.160 --> 0:08:43.439 of every scene in every military movie where someone has 0:08:43.520 --> 0:08:46.320 to take apart a gun and then reassemble it. It's 0:08:46.400 --> 0:08:49.080 like it sounds like that, like that, like after after 0:08:49.160 --> 0:08:52.480 week five or six, you just confidently just you're not 0:08:52.520 --> 0:08:54.920 even thinking about it's no longer conscious thought. It's just 0:08:55.000 --> 0:08:58.520 muscle memory. Yeah, and that that's that's great, But it's 0:08:58.559 --> 0:09:01.920 also great now, as much as I love film photography, 0:09:01.960 --> 0:09:03.800 to do that on a daily basis is not as 0:09:03.840 --> 0:09:06.679 easy as taking a digital SLR and putting an SD 0:09:06.840 --> 0:09:10.320 card slot. Yeah, it turns out that you know, you 0:09:10.360 --> 0:09:12.320 can even do that with the lights song you can. 0:09:14.440 --> 0:09:18.560 That's great. So the cool thing also about Adobe Photoshop 0:09:18.679 --> 0:09:20.840 one point oh is it was being used for some 0:09:20.960 --> 0:09:25.440 really high profile, uh feature films at the time. There 0:09:25.480 --> 0:09:29.720 were actual effects studios that were using elements of Photoshop 0:09:30.120 --> 0:09:34.679 to work on composite digital shots of their films, including 0:09:34.720 --> 0:09:39.200 movies like The Abyss. So that's James Cameron's big movie 0:09:39.280 --> 0:09:42.280 that depending on which version you're seeing, you're dedicating about 0:09:42.320 --> 0:09:46.040 four hours of your life. Too. There's The Rocketeer, which 0:09:46.559 --> 0:09:51.120 highly underrated fantastic sci fi fantasy film. Yeah, yeah, I 0:09:51.160 --> 0:09:54.000 remember seeing that one of us really young. It's a 0:09:54.480 --> 0:09:56.439 great it's a great movie. Go check it off. You 0:09:56.480 --> 0:09:58.280 haven't seen The Rocketeer, youve got to see The Rocketier. 0:09:58.360 --> 0:10:00.520 So it's actually a really good superher Row film. It 0:10:00.600 --> 0:10:05.200 just didn't get adopted by a larger audience the way 0:10:05.200 --> 0:10:08.440 some of the ones today did. Terminator two was one 0:10:08.480 --> 0:10:13.400 of the movies that Phomshop one point oh influenced. James Cameron. Ye, 0:10:13.559 --> 0:10:16.040 so if you uh, if you you know, if you 0:10:16.120 --> 0:10:19.439 really want to celebrate give photoshop one point, I was 0:10:19.600 --> 0:10:24.680 very slowly descending thumbs up. And then one of one 0:10:24.679 --> 0:10:28.000 of a movie that I love despite its flaws, Hook, 0:10:28.600 --> 0:10:33.320 Steven Spielberg movie. Yeah, the the Steven Spielberg Retelling of 0:10:33.400 --> 0:10:36.120 Peter Pan, where Robin Williams is a grown up Peter 0:10:36.200 --> 0:10:39.920 Pan and Dustin Hoffman's Captain Hook. Uh. Dustin Hoffman, by 0:10:39.920 --> 0:10:42.960 the way, phenomenal Captain Hook, one of my I loved 0:10:42.960 --> 0:10:45.080 his performance. I wish there were more Hook in the 0:10:45.120 --> 0:10:47.320 movie Hook, because every time he was on screen, I 0:10:47.360 --> 0:10:50.520 was happy. It's just pretty phenomenal. Yeah. It was a 0:10:50.520 --> 0:10:54.160 totally different style of Hook than I was anticipating, and 0:10:54.200 --> 0:10:57.120 I loved every second of it. Anyway, all of those 0:10:57.280 --> 0:11:01.360 had influence from photoshop. They were digital composites, and we 0:11:01.400 --> 0:11:05.400 talked previously in the earlier episode about composite photographs. In 0:11:05.440 --> 0:11:08.280 that sense, there were composites that were completely made through 0:11:08.360 --> 0:11:11.600 analog methods where you're literally cutting and pasting either in 0:11:11.600 --> 0:11:13.880 a negative form or print form and taking a new 0:11:13.920 --> 0:11:17.840 photograph whatever it may be. But you were putting together 0:11:17.880 --> 0:11:21.880 two or more images to create a new image that's 0:11:21.880 --> 0:11:25.439 a composite of those previous ones. Now we're talking about 0:11:25.440 --> 0:11:29.160 doing the same thing but using digital tools, which gives 0:11:29.160 --> 0:11:32.240 you a lot more freedom. It does, and in soon 0:11:32.800 --> 0:11:36.200 thereafter I think three point oh was the introduction of layers, 0:11:36.200 --> 0:11:41.559 which changes everything. Yeah, you have non destructive editing. Please 0:11:41.760 --> 0:11:44.720 can you explain what that is? Non destructive editing is 0:11:44.960 --> 0:11:50.680 a godsend because, uh, I guess when most people maybe 0:11:50.679 --> 0:11:53.840 open up Photoshop for the first time and they're messing around, 0:11:53.920 --> 0:11:56.080 you see things like the eraser things that kind of 0:11:56.120 --> 0:11:58.080 makes sense. Like maybe if you ever opened up a 0:11:58.120 --> 0:11:59.880 picture in MS paint and you thought, like, I can 0:12:00.040 --> 0:12:04.240 paint on this, But once you do that, you're you're 0:12:04.280 --> 0:12:06.400 you're limited by how many times you can hit the 0:12:06.480 --> 0:12:11.840 undue button. But with layers, um you can continually add 0:12:11.880 --> 0:12:16.920 on different elements, on on, different on. The best way 0:12:16.960 --> 0:12:18.920 to say is layers. So it's like putting pieces of 0:12:18.920 --> 0:12:21.920 paper over one another kind of or clear acetate as 0:12:21.920 --> 0:12:28.120 maybe and and so if you uh subtract from one 0:12:28.400 --> 0:12:30.480 part of that layer, if you still have a copy 0:12:30.520 --> 0:12:34.560 of that underneath, nothing's going to happen to the original 0:12:34.600 --> 0:12:36.199 part of that image you're and you're still going to 0:12:36.320 --> 0:12:38.959 have on the bottom layer. If you don't edit that 0:12:39.040 --> 0:12:41.360 layer the whole image. You're still going to have the 0:12:41.360 --> 0:12:44.160 whole image. So you have your original as the base, 0:12:44.240 --> 0:12:47.120 the foundation, yes, and then you lay other layers on 0:12:47.160 --> 0:12:49.360 top of it. That's where you can do your manipulation. 0:12:49.480 --> 0:12:51.720 And then you decide, maybe you decide, you know, I 0:12:51.760 --> 0:12:54.400 took that balloon out, but I actually kind of want 0:12:54.400 --> 0:12:56.480 that balloon back in. Now that I've done these other edits, 0:12:56.480 --> 0:12:59.040 I'm gonna go back re add that one layer or 0:12:59.120 --> 0:13:01.800 undo what I did on that one layer. And now 0:13:02.120 --> 0:13:05.360 it's as if by magic we get the balloon bag exactly. 0:13:05.400 --> 0:13:07.360 And and I'm sure a lot of people have noticed 0:13:07.400 --> 0:13:11.079 that you have at the top of your your application 0:13:11.160 --> 0:13:13.880 you have different tabs on them is like adjustments, and 0:13:13.960 --> 0:13:17.280 you can go and you can change the contrast, the saturation, 0:13:17.400 --> 0:13:21.120 things like that. Well, with adjustment layers, you can add 0:13:21.200 --> 0:13:24.360 that on and then you can you can turn off 0:13:24.360 --> 0:13:27.280 that layer and the effect goes away. If you do 0:13:27.320 --> 0:13:30.559 that through the file menu at the top, it changes 0:13:30.840 --> 0:13:34.400 the picture permanently. If you can't, if you don't have 0:13:34.960 --> 0:13:37.360 the back button, if you don't have undo, yeah, yeah, 0:13:37.360 --> 0:13:40.079 as long as you or or if you avoid saving it, 0:13:41.040 --> 0:13:43.880 you still have your original. But then what's the point 0:13:43.920 --> 0:13:46.560 of doing all the work. Yeah, it's a great point. 0:13:46.640 --> 0:13:49.920 I mean I've often wondered because as someone who has 0:13:49.960 --> 0:13:54.200 only casually used these editing tools myself, Uh, it took 0:13:54.240 --> 0:13:56.760 a while for me to figure out what layers were. 0:13:57.200 --> 0:14:01.200 And um, like I remember specific quickly using them to 0:14:01.280 --> 0:14:05.240 do things like if I wanted to take an image 0:14:06.120 --> 0:14:10.000 but remove, like remove an image on a white background, 0:14:10.040 --> 0:14:12.560 like let's say it's a stock photo of something, and 0:14:12.600 --> 0:14:14.720 I want to put that image, the image of that 0:14:14.800 --> 0:14:17.360 thing on some other background and not have a big 0:14:17.400 --> 0:14:20.720 white box behind it. That's when it was it was 0:14:20.800 --> 0:14:23.080 useful if that was a layer itself, like I could 0:14:23.080 --> 0:14:26.040 take the layer that had the object and leave the 0:14:26.040 --> 0:14:29.800 white background behind, so I could actually put that against 0:14:29.800 --> 0:14:31.840 a different background and have it look like it meant 0:14:31.840 --> 0:14:34.840 to it was meant to be. There another huge breakthrough 0:14:34.880 --> 0:14:38.320 his masks. And if use layers and masks together, you 0:14:38.520 --> 0:14:42.320 have so much control and and it's you can go 0:14:42.520 --> 0:14:45.360 backwards or forwards as much as you want in your document. 0:14:45.440 --> 0:14:49.560 With with masks, you can select a certain part of 0:14:49.720 --> 0:14:52.680 the image and then you can mask out the rest 0:14:52.720 --> 0:14:56.120 of it. So you just have that that part selected 0:14:56.160 --> 0:14:59.440 and then you can use the paint brush to paint 0:14:59.480 --> 0:15:02.360 and or paint doubt to kind of clean up the 0:15:02.400 --> 0:15:04.960 lines that you just selected. If you want more of 0:15:05.080 --> 0:15:07.080 that layer that you just blank part of it out, 0:15:07.120 --> 0:15:08.840 you can you can erase part of it and you 0:15:08.840 --> 0:15:13.720 can bring it back in. So layers and mass I 0:15:13.760 --> 0:15:17.640 think we're big game changers for photo editors and photo 0:15:17.720 --> 0:15:20.960 manipulators who either used as an art or they used 0:15:20.960 --> 0:15:22.920 it to deceive whatever you want to use it for. 0:15:23.080 --> 0:15:27.440 Photoshop was making it possible as we as we have 0:15:27.600 --> 0:15:30.480 said many times on tech stuff, it's not the tool 0:15:31.280 --> 0:15:35.080 that's necessarily the issue or the problem. It's the way 0:15:35.080 --> 0:15:38.480 the tools implemented. And the purpose of these tools was 0:15:38.520 --> 0:15:41.720 to give greater freedom to people who work in images, 0:15:42.280 --> 0:15:45.480 and what you do with that freedom is up to 0:15:45.600 --> 0:15:48.240 the choice of the individual, and in some cases it 0:15:48.320 --> 0:15:50.600 was to make art. In some cases it was just 0:15:50.640 --> 0:15:53.600 to clean up an image so that the point that 0:15:53.680 --> 0:15:56.560 the photographer wanted you to focus on was in fact 0:15:56.720 --> 0:16:00.200 the most notable element of that image. Like if I'm 0:16:00.240 --> 0:16:02.880 taking a photo of something and i think like, oh, 0:16:02.880 --> 0:16:06.520 it's this great background, and I've got a wonderful subject 0:16:06.560 --> 0:16:09.800 in the foreground, and I'm really concentrating on my subject, 0:16:09.840 --> 0:16:12.960 and I don't notice that there's some jackass twenty feet 0:16:13.000 --> 0:16:16.720 back who's you know, waving maniacally into the camera. And 0:16:16.720 --> 0:16:19.760 then I think, I really don't want that guy there. 0:16:19.920 --> 0:16:23.400 I mean, you know, just pop open a new layer 0:16:23.400 --> 0:16:27.480 and photo shop and clone stamp them out. I like 0:16:27.560 --> 0:16:29.800 the way you think, well, when you see that guy 0:16:29.880 --> 0:16:32.800 on the street, like I clone stamped you exactly, he 0:16:32.840 --> 0:16:35.920 doesn't know what you mean. Maybe there's a good chance 0:16:35.960 --> 0:16:38.520 he has no idea how what what a sick burn, 0:16:40.560 --> 0:16:43.240 which is essentially saying like I did what I did 0:16:43.240 --> 0:16:47.200 to you what Stalin did to the commissar, only in 0:16:47.240 --> 0:16:51.760 the photo sense. Though, you're free to go. We'll be 0:16:51.880 --> 0:16:55.520 back to talk about more photo editing and manipulation in 0:16:55.720 --> 0:17:09.119 just a moment after this break. So some other instances 0:17:09.160 --> 0:17:12.680 of photo manipulation, some of which were not necessarily meant 0:17:12.720 --> 0:17:17.359 to be uh taken as a representation of the actual person, 0:17:17.680 --> 0:17:22.520 some of which it's arguable. Texas Monthly Magazine had a 0:17:22.640 --> 0:17:26.840 great image of Governor Ann richards on a Harley Davidson. 0:17:27.119 --> 0:17:30.080 That's a great one, and she liked it. Yeah, yeah, 0:17:30.080 --> 0:17:32.600 she looked great. But if you actually looked in the 0:17:32.640 --> 0:17:35.720 credit page of the magazine. They they indicate that the 0:17:36.480 --> 0:17:40.400 motorcyclist was a stock image, and so if you were 0:17:40.520 --> 0:17:42.879 to take the trouble of looking at the at that 0:17:42.920 --> 0:17:46.280 credit page, you would see that they don't hide the 0:17:46.280 --> 0:17:49.200 fact that this was a manipulation. And that's almost become 0:17:49.280 --> 0:17:54.320 common practices for manipulated covers. Maybe if it's someone's head 0:17:54.359 --> 0:17:57.480 on someone else's body, yeah, which is a big thing, 0:17:57.840 --> 0:17:59.919 that it will have a small disclaimer either on the 0:18:00.000 --> 0:18:02.560 credit page or very small on the bottom of the 0:18:02.600 --> 0:18:08.639 cover that that it is illustration. Yeah. Yeah. And ninety 0:18:08.720 --> 0:18:11.600 three that's when photoshop would come to Windows. So finally 0:18:11.640 --> 0:18:14.399 Windows users were able to stand side by side with 0:18:14.480 --> 0:18:17.960 Mac users with sixteen bit support. That was that was 0:18:18.000 --> 0:18:22.040 the big thing that year, I think for Windows. UH. 0:18:22.160 --> 0:18:28.280 Here's a famous instance of photo manipulation that was a 0:18:28.320 --> 0:18:32.600 big controversy. This was during UH just in the in 0:18:32.640 --> 0:18:34.760 the wake of O. J. Simpson being arrested on the 0:18:34.840 --> 0:18:38.000 charge of murder, and two magazines came out at the 0:18:38.040 --> 0:18:43.199 same time, both using O. J. Simpsons mug shot. Newsweek 0:18:43.320 --> 0:18:48.760 had the unaltered mug shot as the cover. Time magazine 0:18:48.800 --> 0:18:52.639 had a altered version of that mug shot. Yes, they 0:18:53.520 --> 0:18:57.960 manipulated it to make him appear darker and more menacing, 0:18:59.240 --> 0:19:08.600 which is I would argue bad photo journalism, and yes, yes, 0:19:08.840 --> 0:19:14.200 both of those things. It is I would argue indefensible. Yeah, 0:19:14.280 --> 0:19:16.439 that was one of the things that they show you 0:19:16.480 --> 0:19:21.040 a most photography history of photograghy classes or yeah, saying 0:19:21.160 --> 0:19:25.400 quite pointing at that and saying, do not be this person. Yes, 0:19:26.200 --> 0:19:30.600 it's bad idea. It says a lot. It says a 0:19:30.600 --> 0:19:34.920 lot of really ugly things about not just the mentality 0:19:35.200 --> 0:19:38.800 of uh, the editors of the magazine at the time, 0:19:38.840 --> 0:19:43.120 but also their opinion of the American public and perhaps 0:19:43.280 --> 0:19:48.560 even by extension, the overall dominant opinion of the American public. 0:19:48.600 --> 0:19:50.679 Like all of that none of that comes out well 0:19:51.000 --> 0:19:53.560 in that in that instance, to say that this would 0:19:53.600 --> 0:19:57.080 be seen as a reasonable use of photo editing and 0:19:57.119 --> 0:20:00.720 that it would be accepted and that you that's all 0:20:00.720 --> 0:20:03.840 of that is just ugly and it's unfortunate. Yeah, and 0:20:04.040 --> 0:20:07.560 it's it's it's good that Newsweek ran the same picture, 0:20:08.040 --> 0:20:11.240 which is something that I think is is uniquely pre 0:20:11.760 --> 0:20:16.720 internet kind of saturation, is that that would happen every 0:20:16.760 --> 0:20:19.320 once in a while that Newsweek or Time would run 0:20:19.359 --> 0:20:22.359 the same image on their home on their front almost 0:20:22.359 --> 0:20:26.200 that homepage. Yeah, well, the same image of that world. 0:20:25.800 --> 0:20:29.000 I will often end up referring to old media with 0:20:29.080 --> 0:20:31.960 new media terms. And then I realized, like, I've been 0:20:31.960 --> 0:20:34.280 in this business a while now, and this is this 0:20:34.320 --> 0:20:37.840 is reality. Now. That's so weird. I remember before there 0:20:37.880 --> 0:20:41.800 was a worldwide web, um showing my age. All right, 0:20:41.880 --> 0:20:44.399 And I've got one more specific when I want to 0:20:44.400 --> 0:20:47.240 talk about, and I'm sure you have some more examples too, 0:20:47.280 --> 0:20:49.280 But the one that I was thinking of immediately that 0:20:49.560 --> 0:20:52.040 it kind of ties in in a way, and that 0:20:52.200 --> 0:20:56.400 has to do with race. Um. So the time image 0:20:56.480 --> 0:21:02.040 was racist image that was like, again, just terrible photo journalism. 0:21:02.080 --> 0:21:04.840 The one I was going to mention was an attempt 0:21:05.520 --> 0:21:09.320 by the University of Wisconsin to demonstrate that they had 0:21:09.359 --> 0:21:15.439 a diverse student uh population by showing a group of 0:21:15.480 --> 0:21:18.800 football fans at a game that included a black student 0:21:19.119 --> 0:21:21.480 in the middle of to the side of several white 0:21:21.480 --> 0:21:24.560 students all cheering on a football game. The only problem 0:21:24.640 --> 0:21:28.919 was it was a composite photo. The black students photo 0:21:29.080 --> 0:21:32.560 had been taken a year apart from the football fans photo, 0:21:32.640 --> 0:21:34.919 and then the black student had been inserted into the 0:21:34.960 --> 0:21:39.640 picture in order to perpetuate this idea that the University 0:21:39.640 --> 0:21:43.320 of Wisconsin had a diverse student body. Yes, and it 0:21:43.480 --> 0:21:46.800 is bad. And I mean, like the photoshop itself is bad. 0:21:46.840 --> 0:21:48.600 It does not look like that person is not the 0:21:48.640 --> 0:21:51.400 same place. There was a publication in Toronto. I think 0:21:51.440 --> 0:21:57.200 it was for uh. It was like come to Toronto 0:21:57.280 --> 0:21:59.199 and they were trying to show on the on the 0:21:59.280 --> 0:22:01.560 cover at a family and so they did the same 0:22:01.600 --> 0:22:04.080 thing that they did with the Wisconsin cover. And it 0:22:04.400 --> 0:22:07.200 hits me on two levels, both of these covers that 0:22:07.480 --> 0:22:12.480 it's it's it's it's it's not good practice, and it 0:22:12.720 --> 0:22:15.920 it wouldn't have been with all the effort and time 0:22:15.960 --> 0:22:18.400 that you went through to get those photographs, you could 0:22:18.440 --> 0:22:22.439 have gotten an actual photograph number one that would have 0:22:22.480 --> 0:22:25.400 probably been less time consuming just to get a group 0:22:25.440 --> 0:22:27.920 of people together and say hey, let's let's take your picture. 0:22:28.000 --> 0:22:29.960 We're gonna pose you here, and if there's a game 0:22:30.040 --> 0:22:32.080 and we don't take a picture. So it's not very ethical, 0:22:32.200 --> 0:22:35.520 it's not very well done and like in good taste. 0:22:35.520 --> 0:22:39.159 And then also like the editing is really bad. You 0:22:39.200 --> 0:22:41.880 look at it and you know, yeah, I mean even 0:22:41.880 --> 0:22:44.600 with an untrained eye. It definitely does not look like 0:22:44.640 --> 0:22:46.800 these photos were taken on the same day because they weren't. 0:22:46.800 --> 0:22:49.119 They were taking a year apart. And uh, you know 0:22:49.400 --> 0:22:51.600 the University of Wisconsin. What they said was they said, 0:22:52.720 --> 0:22:56.040 we do have black students in our student body. We 0:22:56.080 --> 0:23:00.840 didn't have any photos that represented the diversity, so we 0:23:01.400 --> 0:23:04.240 made one. Yeah. And and not to get on that 0:23:04.320 --> 0:23:08.720 soap box, but if you want diversity, do it. Yeah, Like, like, 0:23:08.960 --> 0:23:12.280 don't create the illusion of it by manipulation of photographs, 0:23:12.320 --> 0:23:15.639 but put the effort in to get the photograph, the 0:23:15.640 --> 0:23:18.280 real photograph, get the real diversity of the campus. Things 0:23:18.320 --> 0:23:24.080 like that. Yeah, I agree, it's because because all it takes, 0:23:24.119 --> 0:23:26.280 even if you do it really really well with the 0:23:26.280 --> 0:23:30.440 photo manipulation, all it takes is someone who has any 0:23:30.480 --> 0:23:33.120 knowledge of what's going on to say, yeah, it didn't 0:23:33.160 --> 0:23:36.879 really happen, and then everything unravels and then you have 0:23:36.920 --> 0:23:41.880 a pr problem that's way bigger than the perceived lack 0:23:41.920 --> 0:23:47.119 of diversity. Um. So definitely agree, address the underlying problem 0:23:47.160 --> 0:23:50.760 of diversity before you start worrying about Uh, you know 0:23:50.840 --> 0:23:54.760 the brochures you were handing out. That's that's definitely I'm 0:23:54.800 --> 0:23:58.000 on the same page. Yeah, and and I've all of 0:23:58.000 --> 0:24:00.320 a sudden thought of like, um. There a lot of 0:24:00.320 --> 0:24:04.520 examples of of people who have pointed out photos in 0:24:04.560 --> 0:24:09.040 this this post digital era, people who have experience with photoshop, 0:24:09.080 --> 0:24:13.720 who work with digital photography fairly extensively, who very quickly 0:24:13.760 --> 0:24:19.080