Almost everyone of us is seeking a change of one kind or another. Being thinner, firmer, smoother, better trained or simply a different look — beauty is at its peak. Photographers and retouchers apply this analogously to the digital image: A flawless appearance of the image becomes the goal. The discrepancy between the beauty of the recipient and the medially ideal of advertising is increasingly emphasized by retouching.
When does retouching starts?
The question of where exactly image manipulation starts is difficult to answer, since some decisions for example the choice of a suitable camera, the lens, the light filter, the light conditions, the image crop, etc. are taken at the moment of the acquisition. Also the choice of color (schemes), accessoires, make-up artist, stylist and model choice take place. After selecting the technical and personal parameters, the models are prepared according to a conceptual ideal in a complex and several hours process. They get professional makeup, hair and a wonderful styling.
Timeconsuming or impossible changes, lacking quality elements or flaws are perfected in post-production. The mediale beauty is considered as a result of an appropriate staging – for example by the right lighting – and the use of digital retouching techniques. So these are artificial situations that are optimized to the respective advertising goals and for the consumer to be as realistic and desirable as possible.
Rule of suppression
In order to achieve a positive effect on the target group of advertising, fade-out and fade-in mechanisms are used which have led to the designation of advertisement as a distorted mirror (Wiles, Wiles & Tjernlund, 1996, cited by Gartmann, 2008, p. 12). Accordingly, everything in the picture that could have a negative effect on the consumer is not displayed and everything that appears conducive to positive emotions is displayed (Schnierer, 1999, cited by Gartmann, 2008, p. 12; Gläßel, 2010, p. 15). Image processing serves additional emotionalization by first creating the emotional attention and then the emotional attachment (Pleiner, quoted in Gläßel, 2010, p. 46). The influence of advertising on the consumer is even greater and more effective when he/she is in a passive, experiencing and enjoyable mood, which is more likely the more beautiful the image is (Buddemeier, 1987, quoted in Gläßel, 2010, p. 23 ). This passive attitude leads to an uncritical examination of the visual image impressions intended by the advertisers (Behrens, 1976, quoted in Gläßel, 2010, p. 23).
The question is: To which extent are retouching and naturalness mutually exclusive?
A natural appearance is characterized by the fact that not everything is completely retouched, but small deviations from the ideal of beauty, e.g. wrinkles, tooth gaps, freckles or a fuller figure remain preserved. An immaculate appearance, on the other hand, is defined as having a perfect correspondence of the ideal of beauty (Jäckel et al., 2009, p. 40). However, it depends on the image type and purpose, how much retouching will be done. So one differentiates already between portrait and beauty images. For example, if it’s a beauty shot with a product, the model is just an accessory. For jewelry, for example, the model is the holding frame for the piece of jewelry. Accordingly, the retouching is adapted to this type of image: The model is exchangeable, all personal characteristics, such as birthmarks are removed. Differently one proceeds with celebrities, thus prominent persons, whose occurrence is known and with whose reputation and recognition value the product is sold. The basics of any retouching, however, are things that can not be done while photographing, such as the setting of light for bones, temporary skin problems, dust and make-up marks, gloss corrections, peach fuzz, small protruding hairs to the taming of the main hair, slight color differences, which are also due to the differences in the pigments.
In some cases, body shadows or body shapes are adjusted. In the last case, it depends on the knowledge and style of the retoucher. Such body changes are made constantly. Until it is altered in a realistic, discreet amount it is not necessarily bad.
Criteria of quality
Each retoucher sets his own rules and regulations in order to be able to deliver good work on a continuous basis. Within a set of rules should be the technical perfection, because the retouching should leave no trace. The viewer should never get the feeling that the image has been edited. If the viewer gets the feeling of the image being edited, he will start looking for mistakes and will find them.
Amount of shape/body retouching
Due to the latest developments in technology, the question is, to which extent is it possible to alter the image? A strong retouching of the silhouette of a model does not take place without traces and thus works against the mentioned quality criteria. At a certain level where photography does not correspond 100% to the optimum, one has to save the image and the price is that the end result is not credibly anymore. Our perception is able to unmask very easily what looks real and what is strange or unreal. Therefore, in high-quality advertisements, attention is paid to the smallest details when the raw material is created, so that heavy retouching does not have to take place.
Current trend in retouching
Retouching is an everyday occurrence in today’s advertising world. Already in 2012, there was a trend towards more realistic pictures. It is also changing in the magazines to natural retouching.
Many photographers say they do not retouch or very little and experience great successes. It became increasingly important that things are less retouched, more taken out of every day life szenes (as one can see through the current trend of influencer marketing). This seems to be a new authentic way of bringing products closer to the target audience.
Nevertheless – as our previous investigation of the retouching lable shows – there is also the trend for a bit overretouched images, especially with big brands, they may not respond immediately, there will stick to heavily retouched advertisements.
This may have its origin in how Hoffmann (2008) states that young people in principle like to reclaim ‘authentic’ media actors, on the other hand […] They tend to prefer flawless bodies that correspond to the current ideal of beauty in the media (Hoffmann, 2008, p. 1760). As long as there are no major changes to be made, this market will not, until only slightly, adapt.
Danger of naturalness
But what is the result that can be expected from a more natural retouching? The most critical aspect of digital image manipulation is its goal of creating the viewer’s belief in actual reality: perfect models that are away from reality, are of course no longer credible. Naturalness is connected to realness. If the advertisement plays with the naturalness, with all the effort that is done to bring naturalness to paper, it is a little more dangerous. It’s easier to identify with something real and easier to compare.
- Gläßel, M.-L. (2010). Werbeopfer Frau? Beeinflussung weiblicher Körperwahrnehmung durch die Schönheitsideale der Werbung. Darmstadt: Büchner-Verlag.
- Jäckel, M., Derra, J. & Eck, C. (2009). SchönheitsAnsichten. Geschlechterbilder in Werbeanzeigen und ihre Bewertung (1. Aufl.). Baden-Baden: Nomos.
- Hoffmann, D. (Hrsg.). (2008). Zur alltäglichen Wahrnehmung von Körpern in den Medien und den Konsequenzen für die Selbstakzeptanz von Körper und Sexualität im Jugendalter. Verhandlungen des Deutschen Soziologentages. Frankfurt: Campus Verlag (S. 1754–1764).
- Gartmann, K. (2008). Der Einfluss der werbemedialen Kommunikation weiblicher Schlankheitsideale auf körperbildrelevante Größen der Frau: Eine experimentelle Studie (Dissertation). Universität zu Osnabrück, Osnabrück.
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