The Meaning of Digital Photography

by Ginny Santora

At the February 8th meeting of the Raritan Photographic Society, Joel Morgovsky lectured on "The Meaning of Digital Photography." Due to the rapidly increasing usage of digital applications, this is the first of a two-evening discourse on digital photography that will be presented this year.

Joel delved into the philosophical and esthetic implications of digital photography on the medium. Through his many fine lectures and print and slide contest judging at RPS over the years, Joel has become as well-known to our club members as he is in his profession, that of professor of Psychology at Brookdale Community College. Joel's lectures on photography have always reflected that inner voice, the "vision", those indefinable elements that transcend cameras and film, which enable each of us to produce our own highly specific impressions which we translate into images representative of those impressions.

Now, with digitization, the possibilities are endless as to how we translate our experience into images. Joel first began with a discussion of books written by various photographers, among them Fred Richman ("In Our Own Image"), and A. D. Coleman, who also wrote for the Village Voice. When talking about digital photography, the first thing to consider is what are the essential parts of photographs. And then, the ongoing question: Is digital imaging photography? There are certain properties of the image--among them are precision of definition/fine detail, and subtle gradation from black to white. There are also certain "essences" in a photograph, essences being defined as feelings people have when looking at photos. Examples of these are: 1. Photographer is more a pointer than a painter. 2. Something exists. 3. Denotes objects, persons or scenes. 4. Evidence. 5. Reality and truth. 6. Light etches molecular structure of film.

Photos and digital images are created differently and exist and reside in different forms. Mislabeled or manipulated photos can be used to create illusions of existence. Some illusionistic strategies are to use deletions or substitutions, e.g., the TV Guide cover shot with Oprah's head on Ann-Margaret's body! This brings to the forefront the question of valid reporting. Photojournalists are now sending pictures by modem to their editors, but presenting synthesized images as valid photos breaks the rules of valid reporting. Ethics addresses copyrights, status of collectibles, plagiarism, editorial truth in journalism, and liability.

By evening's end, Joel had offered those who are interested in digitally manipulating their images much food for thought as to the implications and responsibilities of so doing. Much thanks to Joel for another super presentation!