A picture is worth a thousand lies: Using false photographs to create false childhood memories


Because image-enhancing technology is readily available, people are frequently exposed to doctored images. However, in prior research on how adults can be led to report false childhood memories, subjects have typically been exposed to personalized and detailed narratives describing false events. Instead, we exposed 20 subjects to a false childhood event via a fake photograph and imagery instructions. Over three interviews, subjects thought about a photograph showing them on a hot air balloon ride and tried to recall the event by using guided-imagery exercises. Fifty percent of the subjects created complete or partial false memories. The results bear on ways in which false memories can be created and also have practical implications for those involved in clinical and legal settings.
How fake pictures make real memories

How fake images change our memory and behaviour

Rogues gallery
Doctored images emerged as Hurricane Sandy hit New York earlier this year. History shows this is far from the first time people have tried to manipulate our minds in this way.
Doctored images can affect what we eat, how we vote and even our childhood recollections. The question scientists are asking is why there’s nothing we can do to stop it.Exhibition shows photo tricks
The year was a memorable one – looking back at the unforgettable images over the past 12 months, you might think of apocalyptic-looking clouds over Manhattan during Hurricane Sandy, or Mitt Romney’s children mistakenly standing in a line spelling out the word “MONEY”, or even the winning US Powerball lottery ticket that became the most shared picture on Facebook. There’s only one problem. All these images are fake.

David Hockney - Video Work

David Hockney at his DSLR video bank
Above: artist David Hockney at his DSLR video bank
For his latest work David Hockney shot video with a rig of nine 5D Mark II DSLRs provided by his fine art printing solutions supplier Ted Chau.
The work is for Hockney’s new exhibition currently open at the Royal Academy in London. Similar to his photography and painting – the video piece is a large montage of 18 canvas-like video displays, showing DSLR footage shot by the artist in Yorkshire, England.
In this interview Ted Chau talks to EOSHD about the project and Hockney’s use of DSLRs.

Jean Rouch - Moi, un noir

Whose voice? Who's Film?: Jean Rouch, Oumarou Ganda and Moi, un noir

Becoming another?

Can one put the West to flight?  Can one flee oneself?  In Cinema 2: The Time-Image (1985), Gilles Delueze describes the problems faced by the filmmaker in Africa among peoples colonised by those who impose their stories from  elsewhere and appropriate local myths to their own ends.  In answer to this question, Deleuze cites the trance sequences in Jean Rouch's film, Les Maitres fous (1955), in which characters on screen become others by storytelling, while the filmmaker becomes another by fashioning characters drawn from real life.  He conceptualizes this reciprocal interaction as a double-becoming and concludes: 'It may be objected that Jean Rouch can only with difficulty be considered a third world author, but no one has done so much to put the West to flight, to flee himself, to break with a cinema of ethnology and say Moi, un noir [1958]' (1985: 223). 

“Point and Shoot: How the Abu Ghraib Images Redefine Photography”

“Point and Shoot: How the Abu Ghraib Images Redefine Photography” (2005)

abu Point and Shoot: How the Abu Ghraib Images Redefine Photography (2005)

Point and Shoot: How the Abu Ghraib Images Redefine Photography (2005)
By: Andy Grundberg, American Scholar, January 1, 2005
In spring of 2004, the International Center of Photography in New York presented an exhibition called “War in Iraq: The Coordinates of Conflict”, featuring the work of James Nachtwey, Christopher Morris, Ron Haviv, and other veteran photojournalists. Apparently timed to mark the first anniversary of the Iraq conflict (the American invasion began March 19, 2003; President Bush triumphantly announced its end a month and a half later, on May 1), the show included most of the usual tropes of combat photography, from portraits of weary but determined foot soldiers to bloody corpses of the enemy. What was different about the pictures compared with traditional war photographs was that all had been shot with digital cameras.
The curators, Peter Howe and Edward Earle, spoke to this difference in the exhibition brochure:
This is an unprecedented moment in the history
of photojournalism, and in our understanding
of its role in the media. The war in
Iraq demonstrates a dramatic change in the way
news is gathered: the development of laptop
computers, digital cameras, satellite phones,
and micro recording devices has enabled the
photographer to give viewers immediate, live
access to the battlefield.

“Don’t Smile – You Look Stupid” - Bill Brandt

BILL BRANDT: “Don’t Smile – You Look Stupid” (2004)

focus1lg Custom BILL BRANDT: Dont Smile   You Look Stupid (2004)
Dylan Thomas, 1941
Taking celebrity portraits involves making a crucial decision. You can embrace the celebrity machine, relishing your own role in the business of image-creation; this was the approach of Cecil Beaton and he handled the task more deftly than almost anyone, as the crowds at the National Portrait Gallery for the current Beaton exhibition (2004) know.
Alternatively, you can try to prick the celebrity bubble. This might mean taking the warts-and-all route – revelling in the reality behind the glitz of fame. Or it might mean adopting a more artful attitude, one that embraces ambiguity and suggests certain truths that may or may not be specific to the celebrity in question.
This last was the way Bill Brandt tackled the job of photographing the famous. And though portraiture was never his first love (Brandt’s most striking achievements came in the form of nudes, landscapes, and social documentary-style photographs), his idiosyncratic approach could be just as memorable as Beaton’s.
Both men were born in 1904. Brandt’s birthplace was Hamburg but, as Paul Delany reveals in his new biography, Bill Brandt: a Life, he went to great lengths throughout his life to conceal his German origins. Through a mixture of talent and good fortune, he quickly carved out a career in photography, and eventually became one of the form’s most important practitioners. To mark the 100th anniversary of his birth, Brandt is the subject of a major exhibition at the V&A Museum. And, to complement this show, 40 of his portraits are going on display at the National Portrait Gallery.

“An Interview with Walker Evans” Pt. 1 (1971)

INTERVIEW: “An Interview with Walker Evans” Pt. 1 (1971)

8a19571a 1300 Custom INTERVIEW: An Interview with Walker Evans Pt. 1 (1971)
Interview Excerpt from, Leslie Katz with Walker Evans, 1971.
Leslie Katz: You took photographs of whatever interested you?
Walker Evans: Oh yes. I was a passionate photographer, and for a while somewhat guiltily. I thought it was a substitute for something else – well, for writing, for one thing. I wanted to write. But I became very engaged with all things there were to be had out of a camera, and became compulsive about it. It was a real drive. Particularly when the lighting was right, you couldn’t keep me in. I was a little shame-faced about it, because most photography had about it a ludicrous, almost comic side, I thought. A “photographer” was a figure held in great disdain. Later I used that defiantly. But then, I suppose, I thought photographing was a minor thing to be doing. And I guess I thought I ought to be writing. In Paris, I had been trying to write. But in writing I felt blocked – mostly by high standards. Writing’s a very daring thing to do. I’d done a lot of reading, and I knew what writing was. But shy young men are seldom daring.
L.K.: Who were your favorite authors? Did they influence your photography?
W.E.: Flaubert, I suppose, mostly by method. And Baudelaire in spirit. Yes, they certainly did influence me, in every way.

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