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This area of electronic retouching of photos has bothered me for some
time now ever since my company photos were  "enhanced" for use in CSX
annual reports, sales brochures, etc., with the use of Scitex and Hell
Chromacron technology a decade ago.

As a professional photographer I realize that such photo manipulation is
part of the game of making a client look good, and I have no problem with
retouching "small" things like utility wires in the sky, correcting color
balance or cleaning up lineside trash with a computer mouse for photos
that will be used commercially in brochures. 

But as a lens artist I take great offense at someone else playing with my
photographic creations, changing and coloring them to their own "vision"
when that person was not at the photo location to see what really was
there and how I had interpreted the scene with my choice of camera, lens,
filters, etc.  Too often my CSX photos were absolutely butchered by
well-meaning but overly-creative people from advertising agencies who
charged for their services by the hour.  (Does any reader in the
photography business remember when such electronic retouching services
cost $700 an hour?)   What is perhaps CSXT's most extreme example of this
creative overkill was when some guy  maticulously manipulated my shot of
a GP40 into a rocket blasting away from the earth below and out into
space for a chemicals marketing brochure!  What a load of nonsense for a
railroad company.  But CSXT liked it, and paid big bucks for this junk.

How does this relate to SPORRS readers?  Well, we all would recognize
that a photo of a NASA GP40 is a bunch of hogwash, and would not be
fooled by such trickery.  But what about more subtle electronic photo
retouching in order to remove utility wires and poles, a silver
electrical cabinet by a turnout, or some offensive graffiti spray painted
onto a bridge pier?

Such retouched photos in railfan publications have caused consternation
among railfan readers who later go to that exact spot to shoot their own
photos, only to find that somehow an otherwise "invisible" electrical
cabinet or telephone pole has shown up in front of their camera that did
not appear in the published photo.  I can see where some folks would
become angry after spending their dollars and vacation time on a railfan
safari only to find that they could not replicate that same image because
of an offending object in the scene.  Heck, how many people went to Egypt
to photograph the pyramids, but could not get exactly the same shot that
appeared on the cover of National Geographic because that magazine had
"moved" one of the pyramids with electronic retouching!

I would think that the publishers of calendars, magazines, books, etc.,
have a legal and moral obligation to their contributors NOT to manipulate
their photos without the consent of the individual photographer.

I think that these same publishers have the same moral obligation to
their readers to produce calendars, magazines and books with beautiful
photos that are unfettered with distracting elements that nobody wants to
see in a photograph.  A photo does not always have to be an absolute
mirror of reality.

I also think that, like the pyramid example stated above, people going
out to shoot photos based on what they had seen published before they
left home should be aware that they might not really get what they
actually saw.

John B. Corns
Owings Mills, Maryland

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