Efeitode real not if of the one in them with the same transparency and innocence with that conventional nafotografia occurs or in the cinema. For its proper characteristics, electronic osmeios if give little to a naturalistic use very, the mere homologatria umautilizao of ' real' ' '. (AXE, 1998: 324) Of this form currently any photographic image to podeser modified, becoming possible to modify the position of the things, retirarexcessos, to add lacks and to correct errors. had the digital essasmanipulaes that the photographs had lost its credibility. (AXE, 1998: 320) To if affirming that in this period, marked for happened intensastransformaes of the electronics, the photo is not insenta desubjetividades, is affirming that situated at previous time it not assumiatal position. Fact this that we disagree, therefore since much time fotgrafoatribui to the photo the meaning that one desires, exactly that without interferences of outrosmecanismos (digital manipulations), it constructs a scene, meaning.

A time that if finds citizens diversasmudanas, or even though distortions the digitalizada image suffers to a species demetamorfose (term used for Arlindo Axe to assign all asmanipulaes suffered for a photo), being able to intervene with its chromatic values, to cut and to insert figures, to generate exotic landscapes and etc. (AXE, 1998:323) According to Carlos Fadon Vicente (1998: 333/334), have umacerta illusion how much to the freedom of creation in the use of the systems for amanipulao of photographs: ' ' Aslimitaes operational and aesthetic subtle imposes paradigms that tend to abanalizar and to pasteurizar the final results. A more creative boarding einteligente goes to demand a careful examination and in depth of the resources, perhaps even though working contracorrente' '. Certainly as detached for Arlindo Axe (1998: 320), at other moments of our history also modified constituent oselementos of the image, but this done age of sendopossvel grotesca form to identify them with easiness.