It’s March 2005 and Martha Stewart is getting out of jail. As celebrities’ personal lives have become media worthy, Newsweek publishes her coming out from behind a red curtain on the cover. From this curtain, which represents her time in a minimum?security prison for insider trading, emerges the new trimmer, healthier looking Martha. This new trimmer body represents the overall reformation that Stewart experienced behind bars. There is a catch. Yes, that is Martha Stewart’s head, but the body belongs to a model. This is in fact a photo?illustration. A new term created for the age of digital technology, a photo illustration is one that is altered to the point that the editors deem it is no longer ethical to consider it a photograph. Yet, in order to find out that this image is in fact a photo?illustration, and not a photograph, one has to flip to the third page and read the fine print. This photo is a compilation of things that do exist, to form a person who never existed in this form, and it looks entirely believable. In the age of digital media this image is not the exception to the norm—it is the norm. We often assume that photographs do not need interpretation, especially in a journalistic context where it is assumed that they record the reality the journalist is attempting to convey. The inference of reality, however, is not always justified.
Photography is a language. 1 A part of our visual culture, photographs are used across society for diverse purposes ranging from personal remembrances to an international means of communication. Photos are used in scrapbooks and greeting cards, as backgrounds on computer desktops and decorations in our homes. Photographs 1 This thesis follows the style and format of History of Photography. surround us. From the moment one wakes up, to the moment one goes to sleep, the twenty?first century is defined by photographic images.