And lastly, now comes Photoshop, which is changing photography from an interchange with life into a studio experience in one form or another. If you don’t like the background, change it. If you don’t like the expression, change it. Change everything. Change the colors, the light, the clothes, etc., until photography is on its merry mechanical way of being a form of illustration. So photographers have slowly lost control under the guise of getting more. They have slowly given up the great gift of a meaningful and spiritual interchange with this glorious world, for consistency, ease, control, and most importantly a fear of failure.
‘I am afraid that there are more people than I can imagine who can go no further than apppreciating a picture that is a rectangle with an object in the middle of it, which they can identify. They don’t care what is around the object as long as nothing interferes with the object itself, right in the center. Even after the lessons of Winogrand and Friedlander, they don’t get it…. They want the obvious. … I am at war with the obvious.’
—William Eggleston —
The limits of photography have always existed in a changing, fluid dynamic form. Cameras, lenses, papers, films, and, yes, digital technologies come and go. They are the current on which photography rides, but not the substance of what makes a photograph a worthy work of art.” —— David Maisel