Every fifth entry in this year's World Press Photo competition, a prestigious photojournalism contest, was eliminated because it was heavily edited using digital tools like Photoshop.
Is changing the colors already too much editing? The same goes for newsrooms and media organizations all over the world. There are no overall criteria for how much news photos can be edited. Generally, technical edits like adjusting colors, sharpening, and removing fluff are tolerated by most media organizations, according to Knieper. But what's usually considered a no-go is changing the meaning of a picture by creating a montage, removing objects and people as well as adding in new information.
And there are many examples - from "Time magazine" darkening O. Simpson's mugshot triggering allegations of racism to "The Economist" removing two people from their cover photo of US President Obama on a Louisiana beach during the BP oil spill.
Even by simply cropping a photo in a certain way, the meaning of a picture can easily be changed and its information can be manipulated. A famous example is a picture of two US soldiers in Iraq in Depending on the crop, the US soldiers could either be portrayed as helpers or as aggressors.
Knieper's advice for media organizations is to base their regulations on their audience and what they deem acceptable. After all, he says studies have shown that readers aren't happy about photos being changed too much, especially when those pictures are supposed to carry accurate information.
In the end, Photoshop is a tool and "like any tool it can be used to do good things or bad things," Thomas Knoll, who invented Photoshop with his brother, recently told CBS news in an interview.
When used responsibly by the fashion industry, media organizations and the average citizen with a smartphone, Photoshop might remain a great editing tool for the next 25 years to come. Too ugly, too fat, too tiny - are your looks holding you back? Don't despair: There are several people trying to redefine beauty.
He's back! Or is he? Photographs of an apparently recovered Kim Jong Un have raised as many questions as answers. But they may have also put to bed some bizarre theories about the leader's whereabouts. It was dubbed the "darkest hour" in postwar German media history.
DW takes a look back at the Gladbeck hostage drama and how coverage of the event 25 years ago shattered the nation and redefined the rules of reporting.
Visit the new DW website Take a look at the beta version of dw. Go to the new dw. More info OK. Wrong language? Change it here DW. COM has chosen English as your language setting. COM in 30 languages. Deutsche Welle. Audiotrainer Deutschtrainer Die Bienenretter. Unsurprisingly, John was also working on image processing at ILM, and during a holiday visit he became very impressed with Thomas's progress.
It wasn't long before John had bought a new colour Macintosh II and persuaded Thomas to rewrite Display to work in colour.
Indeed, the more John saw of Display, the more features he began to ask for: gamma correction, loading and saving other file formats, and so on. Although this work distracted Thomas from his thesis, he was quite happy to oblige. He also developed an innovative method of selecting and affecting only certain parts of the image, as well as a set of image-processing routines - which would later become plug-ins.
A feature for adjusting tones Levels also emerged, along with controls for balance, hue and saturation. These were the defining features of Photoshop, but at the time, it was almost unthinkable to see them anywhere outside of specialist processing software in a lab - or at ILM.
By , Display had become ImagePro and was sufficiently advanced that John thought they might have a chance at selling it as a commercial application. Thomas was reluctant: he still hadn't finished his thesis, and creating a full-blown app would take a lot of work. But once John had checked out the competition, of which there was very little, they realised ImagePro was way ahead of anything currently available. Thus the search began for investors.
It didn't help that Thomas kept changing the name of the software, only to find a name was already in use elsewhere. No one is quite sure where the name 'Photoshop' originally came from, but legend has it that it was suggested by a potential publisher during a demo, and just stuck.
Incidentally, splash screens from very early versions show the name as 'PhotoShop' - which seems far more in line with today's craze for ExTraneous CapitaliSation. Remarkably in retrospect, most software companies turned their corporate noses up at Photoshop, or were already developing similar applications of their own. Only Adobe was prepared to take it on, but a suitable deal wasn't forthcoming.
Eventually, though, a scanner manufacturer called Barneyscan decided to bundle it with its scanners, and a small number of copies went out under the name Barneyscan XP. Fortunately for the future of digital imaging, this wasn't a long-term deal, and John soon returned to Adobe to drum up more interest. There he met Russell Brown, then Art Director, who was highly impressed with the program and persuaded the company to take it on.
Whether through naivety on Adobe's part or canniness on the brothers', Photoshop was not sold wholesale but only licensed and distributed, with royalties still going to the Knolls. It wasn't as if this deal meant the Knoll brothers could sit back and relax; if anything, they now had to work even harder on getting Photoshop ready for an official, 1.
Thomas continued developing all the main application code, while John contributed plug-ins separately, to the dismay of some of the Adobe staff who viewed these as little more than gimmicks. Curiously, this attitude still remains among some purists, who claim that most Photoshop plug-ins are somehow 'cheating' and not be touched under any circumstances, while others swear by their flexibility and power when used properly.
As in the program's formative days, there were always new features to be added, and somehow Thomas had to make time to code them. With the encouragement of John, Russell Brown - soon to become Photoshop's biggest evangelist - and other creatives at Adobe, the application slowly took shape. It was finally launched in February This first release was certainly a success, despite the usual slew of bugs. Like the Apple of today, Adobe's key marketing decision was to present Photoshop as a mass-market, fairly simple tool for anyone to use - rather than most graphics software of the time, which was aimed at specialists.
There was also the matter of pricing. With development of version 2. This was another canny move on Adobe's part, as it opened up the Photoshop market to print professionals for the first time. The program's first Product Manager, Steven Guttman, started giving code names to beta versions, a practice which survives to this day. Until now Photoshop was still a Mac-only application, but its success warranted a version for the burgeoning Windows graphics market.
Porting it was not a trivial task: a whole new team, headed by Bryan Lamkin, was brought in for the PC. Oddly, although there were other significant new features such as bit file support, this iteration was shipped as version 2. Like that difficult third album which can make or break a band, version 3 had to really deliver if it was to corner the market.
0コメント