Photographic manipulation is a familiar phenomenon in digital era. What will come as a revelation to readers of this captivating, wide-ranging book is that nearly every type of manipulation we associate with Adobe's now-ubiquitous Photoshop software was also part of photography's predigital repertoire, from slimming waistlines and smoothing away wrinkles to adding people to (or removing them from) pictures, not to mention fabricating events that never took place. Indeed, desire and determination to modify camera image are as old as photography itself-only methods have changed. By tracing history of manipulated photography from earliest days of medium to release of Photoshop 1.0 in 1990, Mia Fineman offers a corrective to dominant narrative of photography's development, in which champions of photographic purity, such as Paul Strand, Edward Weston, and Henri Cartier-Bresson, get all glory, while devotees of manipulation, including Henry Peach Robinson, Edward Steichen, and John Heartfield, are treated as conspicuous anomalies. Among techniques discussed on these pages-abundantly illustrated with works from an international array of public and private collections-are multiple exposure, combination printing, photomontage, composite portraiture, over-painting, hand coloring, and retouching. The resulting images are as diverse in style and motivation as they are in technique. Taking her argument beyond fine art into realms of politics, journalism, fashion, entertainment, and advertising, Fineman demonstrates that old adage the camera does not lie is one of photography's great fictions.