Photoshop Manipulation Quotes

It’s futile to attempt to prevent young people from accessing porn on the internet. But that doesn’t mean that we can’t offset its impact with clear, targeted education to provide them, at least, with an alternative narrative and to prevent what they have seen from crystallizing into unquestioned, accepted assumptions. We might not be able to protect young women from the barrage of Photoshopped images and objectifying adverts regularly bombarding them, but we can at least arm them with the tools to analyse and rationalize the manipulation – and in so doing offset at least some part of the impact. There

If you want to trick someone with a photograph, there are lots of easy ways to do it. You don’t need Photoshop. You don’t need sophisticated digital photo-manipulation. You don’t need a computer. All you need to do is change the caption.

In under two weeks, and with no budget, thousands of college students protested the movie on their campuses nationwide, angry citizens vandalized our billboards in multiple neighborhoods, FoxNews.com ran a front-page story about the backlash, Page Six of the New York Post made their first of many mentions of Tucker, and the Chicago Transit Authority banned and stripped the movie’s advertisements from their buses. To cap it all off, two different editorials railing against the film ran in the Washington Post and Chicago Tribune the week it was released. The outrage about Tucker was great enough that a few years later, it was written into the popular television show Portlandia on IFC. I guess it is safe to admit now that the entire firestorm was, essentially, fake. I designed the advertisements, which I bought and placed around the country, and then promptly called and left anonymous complaints about them (and leaked copies of my complaints to blogs for support). I alerted college LGBT and women’s rights groups to screenings in their area and baited them to protest our offensive movie at the theater, knowing that the nightly news would cover it. I started a boycott group on Facebook. I orchestrated fake tweets and posted fake comments to articles online. I even won a contest for being the first one to send in a picture of a defaced ad in Chicago (thanks for the free T-shirt, Chicago RedEye. Oh, also, that photo was from New York). I manufactured preposterous stories about Tucker’s behavior on and off the movie set and reported them to gossip websites, which gleefully repeated them. I paid for anti-woman ads on feminist websites and anti-religion ads on Christian websites, knowing each would write about it. Sometimes I just Photoshopped ads onto screenshots of websites and got coverage for controversial ads that never actually ran. The loop became final when, for the first time in history, I put out a press release to answer my own manufactured criticism: TUCKER MAX RESPONDS TO CTA DECISION: “BLOW ME,” the headline read.

Adobe Photoshop is the most widely-used professional graphics editing program in the world. The software provides hundreds of advanced features for creating and manipulating images. At first, learning the program is difficult, but as users become more familiar with the product — often investing hours watching tutorials and reading how-to guides — their expertise and efficiency using the product improves. They also achieve a sense of mastery (rewards of the self).

I genuinely don’t know how the dating scene works now. People can manipulate their image totally with filters on dating sites, so you don’t know what they really look like. If you try to chat someone up, it’s seen as harassment. Society is fragmenting more and more at an alarming rate.

Although earlier computers existed in isolation from the world, requiring their visuals and sound to be generated and live only within their memory, the Amiga was of the world, able to interface with it in all its rich analog glory. It was the first PC with a sufficient screen resolution and color palette as well as memory and processing power to practically store and display full-color photographic representations of the real world, whether they be scanned in from photographs, captured from film or video, or snapped live by a digitizer connected to the machine. It could be used to manipulate video, adding titles, special effects, or other postproduction tricks. And it was also among the first to make practical use of recordings of real-world sound. The seeds of the digital-media future, of digital cameras and Photoshop and MP3 players, are here. The Amiga was the first aesthetically satisfying PC. Although the generation of machines that preceded it were made to do many remarkable things, works produced on them always carried an implied asterisk; “Remarkable,” we say, “. . . for existing on such an absurdly limited platform.” Even the Macintosh, a dramatic leap forward in many ways, nevertheless remained sharply limited by its black-and-white display and its lack of fast animation capabilities. Visuals produced on the Amiga, however, were in full color and could often stand on their own terms, not as art produced under huge technological constraints, but simply as art. And in allowing game programmers to move beyond blocky, garish graphics and crude sound, the Amiga redefined the medium of interactive entertainment as being capable of adult sophistication and artistry. The seeds of the aesthetic future, of computers as everyday artistic tools, ever more attractive computer desktops, and audiovisually rich virtual worlds, are here. The Amiga empowered amateur creators by giving them access to tools heretofore available only to the professional. The platform’s most successful and sustained professional niche was as a video-production workstation, where an Amiga, accompanied by some relatively inexpensive software and hardware peripherals, could give the hobbyist amateur or the frugal professional editing and postproduction capabilities equivalent to equipment costing tens or hundreds of thousands. And much of the graphical and musical creation software available for the machine was truly remarkable. The seeds of the participatory-culture future, of YouTube and Flickr and even the blogosphere, are here. The

Como si un recuerdo fuera tan fácilmente manipulable, como si a base de Photoshop se pudiera reescribir la historia personal de una familia. Débora creía firmemente que eso era posible. La memoria no es más que la novelización que hacemos de nuestra vida, y a base de recrearla, recordarla y manipularla nos acabamos construyendo un pasado a la medida, decía.

Let's get real about the ideal. It sucks. It doesn't represent us, and it doesn't even try to. It refuses to acknowledge that people of all sizes, shapes, ages, skin colors, genders and abilities exist and are worthy of being seen, heard, and valued. It's built on digital manipulation and deception. And yet we're still told to do everything we can to look like something only a Photoshop pro could create. It changes over time so that even if we do come close to fitting the standard, it slips from our grip and transforms into something else. Which shows us that it's only really about fashion, not truth, not necessity, not evolutionary purpose, just a made-up rule. A rule that keeps us trapped, small, and believing that we don't deserve better. Why are we still buying into this?

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