We have got used to the existence of ‘deepfakes’, computer generated images and videos that are almost indistinguishable from the real thing. This has caused some serious concerns about the possibility of deepfakes becoming a powerful tool for disinformation and mischief, especially in the political arena, since it is possible to have people seem to say and do things that are damaging to themselves with the viewer being none the wiser that they have been conned.
But how dangerous is this?
In the November 20, 2023 issue ofThe New Yorker, Daniel Immerwahr reviews some recent books that look at the dangers posed by deepfakes and concludes that the fears may be overblown, and that even when deepfakes are explicitly political, most of it is used for parody and otherwise humorous purposes, and not meant to convince us that we are watching the real thing,
Fakery in the visual realm goes back to the earliest days of photography, where a lot of editing was done in darkroooms to get the effect sought.
In “Faking It” (2012), Mia Fineman, a photography curator at the Metropolitan Museum of Art, explains that early cameras had a hard time capturing landscapes—either the sky was washed out or the ground was hard to see. To compensate, photographers added clouds by hand, or they combined the sky from one negative with the land from another (which might be of a different location).
…From our vantage point, such manipulation seems audacious. Mathew Brady, the renowned Civil War photographer, inserted an extra officer into a portrait of William Tecumseh Sherman and his generals. Two haunting Civil War photos of men killed in action were, in fact, the same soldier—the photographer, Alexander Gardner, had lugged the decomposing corpse from one spot to another. Such expedients do not appear to have burdened many consciences. In 1904, the critic Sadakichi Hartmann noted that nearly every professional photographer employed the “trickeries of elimination, generalization, accentuation, or augmentation.” It wasn’t until the twentieth century that what Hartmann called “straight photography” became an ideal to strive for.