Post Photography or Past Photography is a fragment of text written by Andreia Alives De Oliveria analysing the digitalisation and use of technological equipment within the Photography medium. The text opens with the screen being the current norm for displaying photographs with digitalisation being the instant transmission and distribution of Photography thus being a highly acceptable concept whether that would be instantly sending your peers, family or colleagues images through social media or other messaging apps, waking up to view the “Breaking News alert on your smartphone or another technological device, advertisements through social media or fellow internet-based platforms, even the images you capture on your smartphone or tablet is required by lightly tapping onto a touchscreen. When you are living in a contemporary society addicted to the latest Apple devices it seems compatible to cooperate with high – tech consumer culture as almost every individual carries the light, compact smartphone.
The text delves more into the novelty of digital photography and the quirky enhancements/features digital manipulation can offer taking advantage of these characteristics for external agents and money making agents contributing to consumer culture within a marketing standpoint it seems logical to take advantage of the high – tech audience. The wording of this perspective seems highly shallow to an extreme standpoint that using digital advantages for marketing purposes is the equivalent of selling your artistic integrity in order to survive we must make ourselves somewhat flexible this doesn’t necessarily mean destroying any creative beliefs of passion but displaying that you can compromise.
However, the perspective that was very prominent was by Martha Roller who claimed that manipulation was a fundamental element of Photography including lighting, framing, printing and presentation whether this is a conscious decision or not as Photography experience increases it becomes a force of habit to experiment and change these factors. Nevertheless, these aspects are used more for visual and artistic purposes than ethical. Another prominent perspective was Geoffrey Batchen stating that the absence of truth is inescapable whether this is conscious or not in wishing to be reliable we might take away elements of truth through digital manipulation in order to make the photograph believable or deceiving by creating a narrative or convince viewers that something is real. We may not think with this intensity as we clone stamp one segment of our image even without realisation of doing so.