Photoshop & Body Image Views by Alice Cadenhead

PHOTOSHOP & BODY IMAGE VIEWS

An investigation into Photoshop & body image views Written by Alice Victoria Cadenhead

“Beauty is in the Eye of the Retoucher” Photo Credit: Matt John Lloyd

PHOTOSHOP & BODY IMAGE VIEWS BY ALICE VICTORIA CADENHEAD

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PHOTOSHOP & BODY IMAGE VIEWS BY ALICE VICTORIA CADENHEAD

IT’S ONLY AN ARTIFICIAL NIP & TUCK

In a digital culture, anything has become achievable within an image with the help of Photoshop, a piece of computer software created by Adobe that is widely used to edit, manipulate and compose images. Since its release in 1990 Photoshop has become a phenomenon worldwide as its tools are applied to the majority of images we see in the mass media today. The term Photoshop is commonly used as an expression to denote the general manipulation of images and will be used in this context throughout this paper. The program and its techniques have become so mainstream that it’s both expected and demanded within the industry. Many advertising projects have dedicated retouchers, such as Pascal Dangin & Amy Dresser arguably being the best in their field, as part of the post production process.

Advertisers are able to give models an artificial nip and tuck where in reality that tuck ceases to exist. Any unwanted flaw can vanish with the click of a button.

Media within Western culture veers towards a perspective which employs the notion that women are objectified to be judged on their outer appearance and, more recently, men are increasingly being judged on their muscularity. It seems the image presented in advertisements portrays an idealistic body of what women ought to look like, what men should desire, and is suggested that Photoshop is a contributing factor in the creation of this body ideal.

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THE AFFECTS ON WOMEN

The old tradition of ‘beauty is in the eye of the beholder’ has been eradicated by media outlets...

PHOTOSHOP & BODY IMAGE VIEWS BY ALICE VICTORIA CADENHEAD

We create and sustain our own body image views via the intricate connection between our cognitive and social interactions. Whether or not these become a source of dissatisfaction with the way we look depends on the degree in which our ideal standards are met. The standards of beauty are set internally, with the preconception that if one cannot meet this ideology, one will become dissatisfied with one’s body image. Sarah Grogan defines body dissatisfaction “as a person’s negative thoughts about his or her own body”, and involves judgements about “size, shape, muscularity/muscle tone and weight” (2008, p. 4).

Body image is the picture of ourselves that we create of what we think we look like in our mind. However, it may or may not be a close representation of how others actually perceive us. It is subject to all kinds of variations from different elements like our emotions, experiences, exposure to media, etc. Nonetheless, it strongly influences one’s behaviour.

People do not realise to what extent photos are in fact edited and retouched.

But even if they do, the realisation doesn’t impact as it should. Individuals try to accomplish this unachievable body ideal, regardless if it is possible or not.

The desire to be thin is only one factor that can affect views towards personal body image. Body and facial features also play a role in both the satisfaction and dissatisfaction of an individual.

Susie Orbach identifies that women have become a target for the fashion and

diet industry, recognising that they are the ones who are primarily responsible for producing this picture of an ideal femininity in the media (Orbach, 1978, p.

17). Advertisements continue to produce impossibly high standards of beauty, and Photoshop has made it harder to achieve this ideal. Print media outlets, such as magazines and billboards promote the ideology that appearance defines who an individual is, and it’s no secret that the images of women we see in the media today are thinner than media images in the past, alongside being thinner than the real female population.

There is a general perception on the reasoning behind image retouching in that it is done to persuade consumers to purchase a certain product in the hope of attaining, for the vast majority of consumers, the unattainable. The old tradition of ‘beauty is in the eye of the beholder’ has been eradicated by media outlets in their never ending quest for their vision of perfection and instead, a false beauty ideal has been instilled in us. A stereotypical image has been created and projected by advertisers onto women with the purpose of changing our perception of what we expect genuine beauty to actually be. Most people have held the mass media accountable for being a core contributor in regards to influencing female consumers to adopt the thin ideal as the standard of beauty, alongside standardising the illusion known as the perfect body—a body which in fact does not exist in reality.

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Professor Henry Farid—digital forensics and photo manipulation specialist—states in an interview with ABC News that; “it’s moving towards the Barbie doll model of what a woman should look like — big breasts, tiny waist, ridiculously long legs, elongated necks” (Farid, 2009). Due to these images becoming widely accepted, mental health issues are on the rise because they not only cause negative self-perceptions, but also depressed moods, and in extreme cases disordered eating. The latter has made the link between these media images and body dissatisfaction an important issue to investigate due to its extremity.

This then can lead on to damaging consequences to women who do not perceive themselves as fulfilling the stereotype of adequate feminine beauty.

Previous research has established a relationship between magazine readership, perceived body image ideals, and eating patterns of women (Wykes & Gunter, 2005).

This behaviour occurs when women with low self-esteem and high body dissatisfaction use thin, idealised media bodies as an incentive for getting thinner. It can be argued that, with moderation, using such images to become healthier and fitter as a motivational drive is a positive decision. However most of the time this is not the case. The idea of crash dieting and other extreme weight loss techniques are perhaps stimulated by the increasing amount of digitally altered media images we see today.

Through the growing norm of thinness within advertising the degree of body dissatisfaction and eating disorders amongst women has climbed. This could be explained by the inability to obtain the perfect body that is portrayed, alongside assertions that a flawless, slim female form is oversymbolised within media images.

PHOTOSHOP & BODY IMAGE VIEWS BY ALICE VICTORIA CADENHEAD

It’s moving towards the Barbie doll model of what a woman should look like — big breasts, tiny waist, ridiculously long legs, elongated necks...

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The inability to avoid exposure to media images is chronic.

Advertising images provide societal role models in which consumers can aspire to, especially amongst young girls (Wykes & Gunter, 2005). Consumers relate to these sociocultural standards which highlight physical attractiveness over other body types, and judge them to be a desirable exemplar of physical attributions (Wykes & Gunter, 2005). This supports the magnitude of arguments associated with the media’s influence regarding unrealistic portrayals of beauty.

Changing the ideology of what society perceives to be the perfect body image is a substantial challenge in itself, perhaps even a delusion. The inability to avoid exposure to media images that demonstrate this ideal has been described by Helga Dittmar & Sarah Howard as “chronic”. They suggest that “despite mounting critique that skinny models send unhealthy messages, the advertising and fashion industries seem reluctant to change their approach” (Dittmar & Howard, 2004, p. 478). They indicate that this derives from the industry thinking that “thinness sells” and that the use of larger, heavier models won’t benefit the marketing of products.

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PHOTOSHOP & BODY IMAGE VIEWS BY ALICE VICTORIA CADENHEAD

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THE AFFECTS ON MEN

A cultural change in the representation of men & their bodies has become apparent...

PHOTOSHOP & BODY IMAGE VIEWS BY ALICE VICTORIA CADENHEAD

Many would suggest that body image is a gender specific issue, which only affects females. In spite of this it is now becoming a prevalent issue for men which affect them more than we think.

The majority of research regarding the displeasure of body image is focused mainly on women. This is largely due to a general perception within society that there are more prominent societal pressures on women than on men.

Nevertheless, a cultural change in the representation of men and their bodies within advertising has become apparent, and like women, society’s view of men may have been moulded by media images. Marc E. Mishkind et al. state that men are constantly under pressure to be consistent with a recent ideal of the super lean, muscular and toned build, which is seen to have a growing presence in advertisements and, consequently, society (1986, p. 545).

be large and muscular.

What is more, recent studies now assess male attitudes towards muscularity, which has resulted in most men opting for a more muscular physique than their actual body can attain (Vartanian, 2012). This signifies that men are progressively feeling the need to conform to muscular ideals presented in media images, in addition to improving their muscular tone, strength and size.

In most cases, men used to show less discrepancy towards body image than women. However, it has been recently suggested that, although body image dissatisfaction is notably common among women, men are becoming more negatively affected (Brennan, et al., 2010). When regarding selfdiscrepancies among men an important factor to think about is the nature of these discrepancies. A good number of studies typically determine that most women report an ideal-self that is both thinner and smaller than their actualself. This notion is more difficult to conclude for men as the desire to be slim and lean is just as likely as the desire to 17

With the rise of the metrosexual man in today’s society there has been an increasing amount of pressure put on men to conform to an elusive standard of physical excellence.

Men receive these pressures from the definition of masculinity that the media provides. In addition, the male body is becoming increasingly sexualised in print advertisements.

For example advertisements for male underwear, exercising goods, and cologne objectify the model and focus on the ‘ripped’ body he possesses, more so than the products they are selling. These types of advertisements promote hypermasculinity—the embellishment of stereotypical male behaviour, such as muscular strength, toughness, and sexuality—and focus on the sexualisation of the model so that they become more attractive to the consumer. These images are increasingly being published within mainstream beauty and health magazines targeting both men and women, thus spreading the ideology of false male attractiveness even further.

Similar to the way in which women have always had to in the past, it is clear that men now have to contend with exploitation and objectification too. Despite having differing social meanings, the cultural effect of sexualised images of men is similar to that of women. Individuals attempt to achieve the idealised bodies that are symbolised in media images, cannot achieve them and therefore develop a “masochistic or punitive relationship with one’s own body” (Rohlinger, 2002).

It is important to realise that a muscular, strong-physiqued ideology is being broadcasted to men in a similar way to the slender ideal that is being presented to women. It is necessary to think about the degree in which men’s bodies are regarded as objects to be looked upon in the same way as the portrayal of women’s bodies (Wykes & Gunter, 2005). It is my understanding that, as concern for the appearance of the male body grows, affects surrounding the issue are varied. Like women, the perception of media images could translate into a motivational tool to increase exercise which subsequently leads to an improved cardiovascular system and overall general fitness.

However, an increased unhealthy fixation on obtaining the muscular ideal could result in negative effects such as the intake of protein supplements and anabolic steroids (Wykes & Gunter, 2005). It is common knowledge that the ingestion of such drugs can cause fatal health risks such as heart disease and even cancer. If the ideal cannot be achieved, then dissatisfaction within an individual occurs, thus leading to possible further (mental) health issues such as low self-esteem and depression.

PHOTOSHOP & BODY IMAGE VIEWS BY ALICE VICTORIA CADENHEAD

A muscular, strong-physiqued ideology is being broadcasted to men in a similar way to the slender ideal that is being presented to women...

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PHOTOSHOP & BODY IMAGE VIEWS BY ALICE VICTORIA CADENHEAD

If you buy their product, you will indeed be manlier.

By utilising the understanding of societal standards, advertisements promote masculine ideals. Although what’s being represented isn’t necessarily how men are in reality, they inculcate desirable forms of the male body, and instil these attributes into the product being sold. By combining hyper-masculine ideals with products i.e. aggression and toughness, its appeal becomes heightened towards male consumers, thus becoming an extension of themselves (Rohlinger, 2002, p.

61). It is apparent that the central message surrounding such advertisements is one of increased masculinity; if you buy their product, you will indeed be manlier.

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PHOTOSHOP & BODY IMAGE VIEWS BY ALICE VICTORIA CADENHEAD

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PHOTOSHOP & BODY IMAGE VIEWS BY ALICE VICTORIA CADENHEAD

DIGITAL MANIPULATION CONTROVERSIES

The sad truth is that we are more surprised when we see non-retouched images than we are when we see manipulated ones. Such is the case with Art Shay’s 1952 nude photograph of the French philosopher Simone de Beauvoir. The image was used for the front cover of Le Nouvel Observateur in 2008, and was Photoshopped, debatably bringing it into the contemporary digital world.

When comparing the original with the altered it is clearly evident that Photoshop was used as the photo is brighter, and her body has been slimmed down, with particular attention to the philosopher’s lower half. As a result, her skin became smooth and toned. However, the controversy was generated by the content of the image, not the post production itself. It is right in assuming that the purpose behind the image was to present the philosopher in a scandalous light. Why feature a respectable portrait of a great feminist philosopher, when a photograph of her behind will serve as a much greater success regarding the sales of the issue? The image of Simone de Beauvoir is provocative, promiscuous and visually stimulating, which provides all the ingredients to generate higher sales.

It is evident that we are no longer shocked by the use of Photoshop on images as it has become a contemporary convention. We must take into consideration the form on which the image is featured; because the image is seen on a mainstream magazine cover we are aware of that while the nudity is contentious, the photoshopping is standard. It is this lack of indignation towards the Photoshopping of de Beauvoir that is notable in the sense that these improvements to mass media images are universal and are therefore completely expected. We are so unaccustomed to seeing blemishes that when they do emerge they make the model appear more exposed and somewhat vulnerable. Maybe because we are so familiar with the effects of Photoshop nowadays, it would almost be indecorous not to Photoshop de Beauvoir for the present-day media.

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It’s only when extreme photo doctoring crosses the boundaries are we then enraged. An example of this is the infamous Photoshop job of model Filippa Hamilton-Palmstierna who posed for the clothing company Ralph Lauren. Xeni Jardin, a blogger from Boing Boing, reproduced the advert with the caption “Dude, her head’s bigger than her pelvis” (2009), which unsurprisingly provoked discussion among the public. After taking legal action against Boing Boing, a spokesman for Ralph Lauren then issued a statement of apology (Ralph Lauren, 2009). It stated:

PHOTOSHOP & BODY IMAGE VIEWS BY ALICE VICTORIA CADENHEAD

“After further investigation, we have learned that we are responsible for the poor imaging & retouching that resulted in a very distorted image of a woman’s body. We have addressed the problem and going forward will take every precaution to ensure that the calibre of our artwork represents our brand appropriately” 27

Despite their best efforts to remove the image from the public eye, the internet posed a large problem as it was able to carry on circulating the web. The general response from the public demonstrated a great dissatisfaction towards the extent in which Photoshop was used to alter this woman’s body.

Comments expressed that: PHOTOSHOP & BODY IMAGE VIEWS BY ALICE VICTORIA CADENHEAD

“France is currently considering a bill that would require photos that have been electronically manipulated to be labelled as such. Bring it on — this one is so bad as to be laughable, but I’m tired of seeing digitally enhanced ideals of what someone else considers beautiful” 29

“That is ghoulish! True or Photoshopped, does it really matter?! The fact that it was approved to sell the product is the complete and total crime”

PHOTOSHOP & BODY IMAGE VIEWS BY ALICE VICTORIA CADENHEAD

These comments capture the consensus of outrage that the public displayed towards the edited image. The argument outlined here is that the exposure to the thin ideal within advertising impact consumer views on body image; we consume images that have been edited in Photoshop, realise that our own bodies and faces do not measure up to them, and consequently become unhappy with our appearances. It is evident in the consumer responses that the uproar opposing the Ralph Lauren image surfaced due to the extreme adjustments that were exhibited in the image. This issue is something that we are passionate about, and when these boundaries are crossed, we are not afraid to put our opinions across.

Constant exposure to the thin media stereotype can create the illusion that the representations we see are truth because they have become familiar (Signorelli & Morgan, 1990). In society today, people are bombarded with advertisements all the time, and the idealised body imagery is plastered everywhere. So it is natural that the people we see in these advertisements are depicted as the norm of beauty. It’s this false vision of perfection that disillusions our understanding of beauty, and can impact readers’ self-esteem and body image. Ui-Jeen Yu et al. discuss how the media shapes social and cultural ideals which then “can influence an individual’s attitude toward body and appearance through social comparisons of oneself with media ideals” (Yu, et al., 2011).

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The protest against unnatural media images is illogical.

It is clear that an image with as much modification as the one aforementioned would spark controversy from the off. The general displeasure expressed by the public came about due to the extremity of the image’s adjustments. For that reason, the fact that the Ralph Lauren image was even released was lackadaisical and poor quality control on their part. Whilst some would agree that the extent of which the thin ideal demonstrated here is devastatingly unfeasible and very much unnecessary, it can be opposed with the simple notion that the protest against this unnatural image is illogical. We can clearly see that this is not a true depiction of reality, and therefore not misleading. I suggest that when comparing oneself to drastically manipulated media images such as this one, it should be obvious that our bodies are what is real, and that there is a clear disconnection from reality within such images.

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TACKLING THE ISSUE When we, both men and women, consume the ‘perfect’ body that is projected onto us every day, we cannot help but compare ourselves to them, thus becoming dissatisfied with our appearance. In recent years the retouching of models has been heavily scrutinised. Readers have become enraged at overly photoshopped images, and as a result, a backlash against digital retouching has evolved, especially when it comes to celebrity culture.

PHOTOSHOP & BODY IMAGE VIEWS BY ALICE VICTORIA CADENHEAD

For the cover of W Magazine (Feb 2009), Brad Pitt specifically requested the photographer Chuck Close for the photo shoot, a man renowned for taking exceptionally detailed photographs which expose many of the subject’s flaws. In addition Kate Winslet actively speaks out against excessive manipulation of her photographs.

In 2003 Winslet expressed her anger towards the amount of airbrushing that was used on her body for a cover of GQ Magazine, and in 2007, after suing the Daily Mail for lying about her exercise regime, the actress made a statement in which she said; “I strongly believe that women should be encouraged to accept themselves as they are” (2009). And this wasn’t the only case where Winslet has been notably Photoshopped. In November 2013 Winslet was once again a victim to a retoucher’s hands.

Her image on the cover of the fashion magazine Vogue was dramatically airbrushed, making her look like she had ten years knocked off her age.

I commend the bravery of both the celebrities and magazines for going against the tide. However, there are concerns about the status of the people involved in these anecdotes. Whilst there is a mass celebration of natural beauty, with many other celebrities jumping on the band wagon, would this be accepted if an aspiring model, musician, or actor wanted to do the same? It seems to me that you have to have a reputable status within popular culture for any affect to take place.

Alongside Winslet and Pitt, in April 2009, Elle France featured a hoard of female stars with no make-up or photo retouching whatsoever with the photographs being taken by Peter Lindbergh. Amongst these women was actress and fashion model Monica Bellucci, super model Eva Herzigova and actress Sophie Marceau. The images featured within the magazine embrace the natural beauty that these women encompass.

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Although they portray a positive message and celebrate organic beauty, it is still perceived as a novelty, not the norm. Which poses the question, is the shift towards positive change really happening? In 2011 the American Medical Association (AMA) approved a new policy against photographic retouching “in a manner that could promote unrealistic expectations of appropriate body image” (AMA, 2011).

I do not believe that banning Photoshop is a realistic option. It’s something that just won’t happen. However, what is realistic and has been suggested to help combat unhealthy images is to add a disclaimer to the photos that have been retouched in magazines and advertisements.

Such policies have already been proposed in several countries, like France for instance. In 2009 a group of French MPs put forward a new bill requesting that all altered images that are published must have the statement “Retouched photograph aimed at changing a person’s physical appearance” printed on it (Boyer, 2009). It was insisted that the new proposal was a method on advising consumers on what is real and what is artificial. Israel followed in these footsteps on March 20th 2012, when the country announced their plans to pass the Photoshop legislation.

The law incorporated a limit on how much published photographs and advertisements could be digitally enhanced, as well as having regulations on underweight models, and requires

Is the shift towards positive change really happening?

PHOTOSHOP & BODY IMAGE VIEWS BY ALICE VICTORIA CADENHEAD

the image to have a disclaimer to make any alteration made to the image known. If we can make it much more obvious to consumers that these photographs have been retouched it can make an improvement, even if only slight.

An anonymous celebrity retoucher disclosed to the staff at Buzzfeed.com the extent of which media images are edited during the post production process. She explains how providing altered images with a disclaimer saying they have been retouched is impractical due to the fact that the vast majority of media images are edited. She further reveals that one hundred percent of the images in fashion magazines are retouched (Buzzfeed, 2012). This demonstrates the extent of which our views of beauty are distorted by what we see in advertisements. With this line of thought it appears to me that disclaimers are not a viable option to tackle the issues regarding body image.

Harsher guidelines should be put in place to measure when retouching becomes too much, alongside raising the awareness of manipulated images to young people. By doing so, it is possible the way in which people understand media images could be affected in a positive manner, especially amongst the younger generation.

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Alongside disclaimers, one popular solution amongst mainstream retailers is to inform the public about such issues through the utilisation of thought-provoking ad campaigns. On one hand, efforts are being made by companies such as Dove for example, who have launched a ‘Campaign for Real Beauty’—perhaps an untruth in itself—which aims “to broaden the definition of beauty and portray it as something that is inclusive, attainable and rooted in taking good care of one’s self” (Dove, 2014).

The latest success from the campaign is a 60-second video entitled Camera Shy (2013) that shows a variety of adult women trying to hide themselves when they are approached by someone with a camera. As the video progresses, it then shows young children happily parading in front of the camera, brimming with confidence. The video ends with the question; “When did you stop thinking you were beautiful?”

But, this isn’t the only inspiring video released by the beauty company. Real Beauty Sketches (2013), which has received 114 million views, shows a male FBI sketch artist drawing a handful of women, firstly from the individual’s description of themselves, then from a description given to him by a stranger. The finished results revealed that women see themselves as unattractive in comparison to what a complete stranger does. As touching as the video is, its release divided the internet, with just as many people criticising it than complimenting.

People thought that the video was reinforcing beauty stereotypes. For instance, blogger jazzylittledrops points out the videos lack of diversity: “All four are Caucasian, three are blonde with blue eyes, all are thin, and all are young—the oldest appears to be 40. The majority of the non-featured participants are thin, young white women as well” (2013). Alongside this, the ad still appears to focus on the issue it’s trying to preach against; when it comes to assessing ourselves as well as other women, beauty is the main principal (Friedman, 2013) and other traits are inferior.

Another video that Dove created was The Evolution of Beauty (2006) which gives a good example of how a female model can be transformed using traditional makeover regimes that take place pre photo-shoot, which in itself presents the model as near perfect to the viewer. She is then further enhanced with the use of Photoshop techniques by actually altering the shape of the model’s face, elongating the neck, airbrushing the skin and enlarging the eyes. The model is attractive regardless of make-up and post production alterations, yet modifications still occur.

The video ends with the statement “No wonder our perception of beauty is distorted”. Through this video, Dove has proved that the norm today is a transformation that is not natural. This begs the question, if the model looked beautiful in the first place, why do advertisers and retouchers feel the need to misrepresent real beauty?

PHOTOSHOP & BODY IMAGE VIEWS BY ALICE VICTORIA CADENHEAD

All four are Caucasian, three are blonde with blue eyes, all are thin, and all are young—the oldest appears to be 40.

The majority of the nonfeatured participants are thin, young white women as well.

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PHOTOSHOP & BODY IMAGE VIEWS BY ALICE VICTORIA CADENHEAD

They are a company who market a sense of hope to look beautiful.

Since the launch of the campaign Unilever—the parent company of Dove—are devoted to not excessively photoshopping the images that they feature in their advertisements in the hope to steer away from supporting impossible standards of beauty. Needless to say this still indicates that they are not scrapping the use of Photoshop altogether. Dove’s ad campaign instructs women to embrace their curves and accept their bodies, yet if you scratch the surface the company still markets beauty products to insecure, vulnerable women. The Dove Campaign for Real Beauty succeeds by utilising opposing messages to aid a central paradigm; in this case realising the discontent amongst consumers with false portrayals of women being used to sell beauty products. They are still a beauty company who market a sense of hope to look beautiful alongside their products, rather than a rebellion against normalities of perceived idealised beauty in advertisements. It is questionable whether the campaign is just another method to persuade women to purchase their beauty products. Whilst I can see that a beauty company with as big a reputation as this one can create a significant impact on its customers, it is my opinion that they are being disingenuous.

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PHOTOSHOP & BODY IMAGE VIEWS BY ALICE VICTORIA CADENHEAD

IT’S A LOVE HATE RELATIONSHIP

Since the introduction of Photoshop its use within the advertising industry has always sparked debates. Understandably the majority of the public are against the use of digital enhancing programs such as Photoshop. The main, and perhaps most obvious, arguments against such programs stem from the unrealistic standards of perfection they portray. It is argued that even the most naturally beautiful human being still gets digitally altered before it is released to the public eye. As consumers we should be able to trust what we see, and not be falsely misled by the untruth in Photoshopped images. A director at Media Action called Shari Graydon states in agreement that “readers have a right to expect authenticity from the photos magazines disseminate...” (2008). This argument lies within the moralities of using Photoshop. The underlying question is whether or not it is ethical to use these programs the way we do.

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THOSE AGAINST, SAY NAY

One ad campaign that challenged the ethics of how much an image should be edited was the beauty company L’Oreal, whose adverts for foundation and anti-wrinkle products were banned in the UK by the Advertising Standards Authority (ASA) for not “accurately illustrating what effect the product could achieve” (ASA, 2011)t. The extensive airbrushing used in both advertisements was shocking and unnecessary. The advertisements featured Julia Roberts & Christy Turlington.

Neither of the women requires the use of Photoshop techniques as both possess natural qualities of beauty.

The editors, however, appeared to disagree. The images were manipulated so much that the credibility of the products was led to be questioned in terms of its ability to reproduce the immaculate results demonstrated in the adverts. The techniques used in these advertisements are an example of how beauty companies try and manipulate customers to buy their products.

providing a source in which to view un-retouched celebrity images which feature in advertisements, magazines and other forms of media. These websites reveal celebrity photographs that have been digitally enhanced to an excessive level. Digital alterations such as larger breasts, increased muscle size, and facial symmetry are evident amongst the images. The websites provide before and after shots of the images as a point of comparison and highlight exactly what has been changed. The central message across websites like the ones mentioned above is to discourage the industry to use photo doctoring techniques to an unnecessary level. However, such pages wouldn’t exist if it weren’t for Photoshop. The infinite displays of before-and-after photographs feed our hunger for celebrity indulgence.

It’s nice to see that the stars are just as imperfect as us common folk. It’s almost as though we need these sites for reassurance.

Another argument against photo manipulation is supplied through the web. The exposure of Photoshopped images has become an increasingly popular activity online, with websites such as Buzzfeed.com & Jezebel.com PHOTOSHOP & BODY IMAGE VIEWS BY ALICE VICTORIA CADENHEAD

However, the above websites pose the next argument in favour of using Photoshop, in that those within the industry defend the use of photo manipulation by stating that if the public are already aware that it is the norm within the industry, then these idealistic representations shouldn’t be an issue. The public should be able to identify what is fiction and what is reality, because as soon as an image is Photoshopped it then becomes a fictionalised depiction of the original photograph. Critics suggest that “we could change, but if we change then we won’t make as much money” (Schulz, 2008), implying that if what’s being sold isn’t made to look like perfection consumers will not partake in purchasing their products. The aforementioned anonymous retoucher supports this argument by stating that there is more to the alteration of images than just body modifications.

She states that the job of a retoucher is to portray the products being advertised in the best way possible (2012). But if this is the case then it all leads back full circle to the argument that the advertisements we are presented with tend to be misleading.

The disconnection from the real is inevitable within these media images, which, in terms of ethics, is iniquitous.

In my opinion, it seems to be a matter of ethics versus aesthetics.

When using editing programs like Photoshop, attaining and upholding ethics requires numerous elements in order to control quality successfully.

THOSE IN FAVOUR, SAY YEA

Both image editors and retail companies must hold themselves responsible when composing and editing advertisements.

The portrayal and presentation of realism and integrity must be accounted for, alongside being accountable for how far the editing process goes with an image. If advertising images fail at this, then media authorities will have to intervene and ban ethically challenging adverts. What’s more, consumers should judge images appropriately to establish and understand fiction from reality.

What is depicted in edited media images isn’t necessarily something we should aspire to as it is an image that’s simply non-existent.

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PHOTOSHOP & BODY IMAGE VIEWS BY ALICE VICTORIA CADENHEAD

SO IS IT JUST AN ARTIFICIAL NIP & TUCK?

As established earlier, women tend to favour a thin, slender body ideal whilst men prefer a more muscular ideal (Brennan, et al., 2010, p. 130). Altered media images, however drastic, lay emphasis on sociocultural standards, and it is supposed that these images concentrate on slim female bodies and strong muscular male bodies. Through the research that I have conducted it is obvious that the issues surrounding body image are not gender specific. Idealistic body image ideals are publicised to both men and women and such images pose as a threat to their sense of well-being (Murnen, 2011, p. 177). Although the ways in which media images are interpreted differ between the two genders, men are still nevertheless affected by Photoshopped images just like women. Whilst such images might lower the self esteem of young girls, it can also raise the expectations of men, not to mention placing an increasing pressure to conform to the muscular ideal. Another difference is the likelihood of females making social comparisons and wanting to diet is greater than that of males. It could be argued that dieting is seen as a feminine way to tackle body image (Grogan & Richards, 2002, p. 227). With that in mind, this explains the possible use of muscle building drugs, such as anabolic steroids, and muscular orientated exercises to conform to the masculine stereotype amongst men.

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The Photoshop debate, as tiring as it is, still remains to be a vehement subject of discussion in regards to body image views. It is my understanding that using photo editing software to alter images is neither good nor bad, so long as it is done cautiously with the consumer in mind. To completely deny the use of Photoshop, and similar programs, will not solve the issue. It will only be the cause of suppressed artistic rights. Photoshop was created to alter photographs artistically, and its sole purpose is not just to cover up blemishes. I believe this is something that both the media and its consumers need to be reminded of; the original purpose of Adobe’s Photoshop is to bring objects into focus and to create original pieces of artwork.

Following on from this, media imagery may be a key principal in changing the ways in which body image is interpreted by consumers. Both socioculture and social comparison theory provide an implication into the media’s role regarding self discrepancies and body dissatisfaction amongst individuals.

By changing the way photographs are manipulated it is possible to change body image attitudes in consumers.

Alongside this, education is crucial to future interpretations of edited media images. If we can inform society to become more media literate, it is possible that we can shape how comparisons and internalisations take place in regards to consumers.

Whilst companies such as Dove are

trying to change how we perceive beauty, perhaps instead of just giving the public something to think about, we need to do more to raise the awareness of real beauty. In order to do this we should start thinking about promoting a better lifestyle, i.e. healthy eating and exercise. At least then if the standard of beauty remains the same in years to come, not only will we be closer to that ideal, but we will also be a healthier community. We are led to believe that healthier lifestyles make for happier individuals. It is suggested that people who think more positively about their bodies, no matter what size or weight, ultimately try and take better care of themselves. Society as a whole will reap the benefits from media images representing a more accurate, positive and truthful representation of body image in the media. I believe that simply shifting the perceptions of beauty towards the notion that everyone is beautiful will not be as beneficial as promoting healthy lifestyles. You can still be curvy and healthy at the same time!

To conclude, it is heavily suggested that the use of Photoshop within printbased media does have some form of impact on consumer views on body image, although the link is not directly causal. It is inevitable that comparisons between heavily edited advertising images and the consumer heighten body dissatisfaction within an individual.

We are bombarded with these images everyday through a mass amount of print media outlets, all of which have

PHOTOSHOP & BODY IMAGE VIEWS BY ALICE VICTORIA CADENHEAD

You can still be curvy and healthy at the same time!

revealed that the majority of the images have been digitally altered in one way or another. Even though most people may know that images in print advertisements are edited, it isn’t completely apparent as to why consumers still compare their own appearances with said representations.

Further research is needed into this subject area to fully understand the reasoning behind consumer’s perceived reality of media images. Perhaps it is associated with the fact that we still maintain the assertion that photography presents a connection to the real.

Regardless, to suggest that Photoshop does not play a role is, in my opinion, outlandish. If the program’s use, and others alike, wasn’t significant then there would not be this everlasting debate on the issue.

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