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I’ve have started to develop my ideas from Assignment 4, to explore how I can create pixelated images without filters. The images above have been produced from enlarging a photograph to 800% and then taking screen shots of areas which I think are of particular interest. I am wondering whether there is a way that I can taken sections of an enlarged image and then combining them to resemble the original.

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Jesse wants a new haircut.


At first glance, it is difficult to know which of the two images of Jesse Lingard is a photograph. Computer-generated images are so realistic nowadays, it is not surprising that this type of problem has arisen. If images can be created so accurately, they may come a time when cameras are no longer needed. Graphics are so realistic that there might not be a need in the future to send a photographer out, when the ideal image can be made on screen. 

However, it does raise the issue of image rights when creating a representation of a person. Also, what are the responsibilities of the image creator once it is out in the public domain.

At one level, it could be argued that the collection of pixels are not real, and would not exist without the screen. However, by being placed within a game-based scenario, the character becomes life-like. As computer generated imagery becomes more prevalent, it will be interesting to see what responsibilities will need to be granted for creators and what rights there are for the sprites.  

The Digital Image in Photographic Culture

Daniel Rubinstein and Katrina Sluis (2013) base their two conceptions of the image on how photography is represented in two films: Titanic and Memento

In the penultimate scene in Titanic, the photographs that appear beside Rose on her death-bed illustrate significant moments from her life, ordered chrologically after surviving the sinking of the Titanic. If a person's life could be retold in sentences, then the photographs would be the full stops, exclamation marks and question marks. They represent significant, memorable events which can be viewed and compared with each other, chronologically. 

Meanwhile, Memento includes a series of polaroids, to help Leonard, an amnesia sufferer, identify his wife's killer. The photographs give Leonard 'points of access that allow movement from one temporality to another' Rubinstein and Sluis, 2013: 23). Instead of one chronological route through the photographs, there is a multiplicity of storylines.

Photo albums enable us to organise and catalogue photographic memories. If they are stored in a physical album, then they will usually be in chronological order. This enables the viewer to move forwards and backwards through time. Meanwhile, photographs which are stored digital are able to be accessed in a multimodal fashion. This can include clicking on links for different categories or typing in keywords to retrieve images with a corresponding tag. Furthermore, 'Timehop', on Facebook, pushes images taken in previous years. Distant memories are brought to the forefront of a person's thoughts.   

Rubinstein and Sluis (2013) refer to photography as a 'two-faced Janus', because it points in two directions. Firstly, one side faces the 'real world' people, places and events, transforming them into a two dimensional object. Meanwhile, the other side faces the repetition and reproduction of those photographs.