As a result of what he terms the ‘virus of manipulation’, Andy Grundberg (1990) laments that even some of photography’s icons have been subjected to alteration, and cites the example of a Eugene Smith image of Albert Schweitzer that was later revealed to be a composite of two negatives (the original images not available since Smith developed all his prints in his own laboratory before submitting them to Time): Continue reading “Image manipulation”
Carl Whetham photography 