Photos have been lying to us for much longer than we think, and it's time to uncover the truth behind these visual deceptions.
In an era where AI-generated images are sparking debates, it's easy to forget that photo manipulation has a rich and controversial history. The upcoming exhibition at the Rijksmuseum in Amsterdam, titled "Fake!", aims to shed light on this often-overlooked aspect of photography.
Opening on February 6, 2026, this exhibition will showcase 52 images from the museum's collection, dating back to the mid-19th century. These images, created using collage and montage techniques, reveal a fascinating story of how people have played with the possibilities of photography.
"We're so used to talking about AI and Photoshop, but the truth is, image manipulation has always been a part of photography's story," says Hans Rooseboom, the exhibition's curator. He continues, "People have always had this urge to experiment, whether it's with a camera, in a darkroom, or even with simple scissors and glue."
The exhibition features a diverse range of images, from fantastical scenes like a man pushing a giant version of his own head to more subtle manipulations that might go unnoticed at first glance. But why did photographers go to such lengths to create these false images?
"Why wouldn't people fake photographs?" Rooseboom asks. "Photography has never been purely realistic, especially in the 19th century when people were more accustomed to seeing paintings and drawings that didn't necessarily depict literal truths."
The primary motive for these early fakes was entertainment, with around three-quarters of the images in the exhibition created for this purpose. Others were used for advertising or to make powerful political statements.
One notable example is a 1934 image by John Heartfield, the pseudonym of German artist Helmut Herzfeld. This image, featured on the cover of the left-wing Workers' Illustrated Magazine, shows Joseph Goebbels, the chief Nazi propagandist, as Hitler's barber, turning him into Karl Marx.
"Heartfield's work is a brilliant example of using photography to mock and warn people about the dangers of Nazism," Rooseboom explains. "And it's fascinating to see how this kind of satirical photography is still prevalent today."
As photojournalism began to emerge in the inter-war period, expectations of photography's truthfulness also evolved. People started to become more accustomed to seeing photographs in popular magazines, and a new trust in the medium developed.
"It's interesting to think about how people in the 19th century might have viewed these manipulated images," Rooseboom muses. "With so few photographs in their lives, it might have been harder to distinguish between what was real and what wasn't."
Many of these images were created by anonymous photographers and reproduced as postcards, with simple tricks like photomontage used to achieve the desired effect. These techniques were often described in magazines and booklets, allowing artists to learn and experiment with these methods.
Today, artists who manipulate images digitally often do so with a specific point to make. As Peter Ainsworth, a course leader at the London College of Communication, explains, "It's often used as a form of satire, providing a critical voice towards the problems inherent in the technology."
The artist's motive is key to understanding their work, and this extends to the AI-generated images that are so prevalent today. The artist behind the Hey Reilly Instagram account, for example, started by wanting to make their friends laugh but soon realized their work reflected deeper societal obsessions.
"The debate around dishonesty in AI and fakery is missing the point," they say. "The fake images exist to draw attention to the medium and the power and influence of digital platforms. That's where our focus should be."
So, as we navigate the world of AI-generated images and the debates they spark, let's not forget the rich history of photo manipulation. The 'Fake!' exhibition at the Rijksmuseum invites us to explore this often-overlooked aspect of photography, reminding us that looks can be deceiving, even without AI.
