From Zero to One

I really love Ritchin's opening paragraph to this chapter when he describes digital photography as "destabilizing the photograph as a faithful recording of the visible," while at the same time opening up a new spectrum of possibilities. Though I would definitely deem this statement true, I would say there exists some exceptions. It was still very possible to doctor film photographs (though obviously not to the degree and ease which digital allows). However, I think it is that same idea of film being a "faithful" recording that also got many people in trouble (such as photographic hoaxes like fairies and bigfoot). I think Ritchin's statement sums up the chapter very well, as he continues to give examples of digital photography's expanded horizon such as satellite photos taken with google earth or the "spellbinder" approach from the University of Edinburgh in Scotland.