Abstract
It is my claim that the photograph as an objectified framed reflection of reality is open to certain types of manipulation. Firstly, there is the possibility of manipulating reality, which means creating the entire scene of a photograph.
Secondly, there is the possibility of manipulating "the photographic picture" and the photograph itself. Thirdly, there is the possibility of manipulating the meaning of the photograph via a "title" (a text which defines or describes the photograph and/or also brings its own meaning to the photograph, regardless of whether this is true or false).
Considering the possibilities for manipulating a photograph, any use of a photograph as objective testimony is problematic. I widely examine the options for manipulation through the semiotics of Peirce, and in particular his trichotomy of icon, index and symbol.
The scale of authenticities used to recognise a value (true or false) shows that both verification and validation of a photograph are impossible. However, it is becoming obvious that authenticity as a condition for truth is not important to present-day digital pop culture.
In that realm, it is just important to record every moment and perform instant manipulation. This is more about the authenticity of a fugitive moment than about the conditions for an original and truthful vision of reality.