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Digital retoucher Amy Dresser discusses manipulated photography in the digital age. Dresser modifies and composites photographs for a wide range of clients. Using her background as a painter, she brings a unique touch to the images she creates.
Recorded October 14, 2012
Part of a Sunday at the Met program held in conjunction with Faking It: Manipulated Photography Before Photoshop, on view October 11, 2012–January 27, 2013.
The exhibition is made possible by Adobe. The catalogue is made possible by The Andrew W. Mellon Foundation.
James Nares: Street
(00:02:17) 18338 views
Presa da una litografia
Tavola parecchiata per colazione a Thè
[Photogenic Drawing of a Plant]
Thapsia Asclepium from Corfu
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This artwork is not on display
This mysterious view through the diamond-paned oriel window of Talbot's home is one of the earliest photographs in existence—a remarkable relic of the inventor's earliest attempts to make pictures solely through the action of light and chemicals. He brushed a piece of writing paper with salt and silver nitrate and placed it in a small wooden camera stationed on a mantel opposite the window for an exposure that may have lasted hours. The image is tonally reversed—a negative, though the term did not yet exist—as the paper darkened most where it recorded the bright light of the windows.
Lacock Abbey; Mathilde Talbot; Harold White, Filby, Norfolk, England; [Sean Thackrey, San Francisco]; Rubel Collection; [Hans P. Kraus, Jr. Fine Photography, New York]
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