Photoshop 1.0 was released in 1990, ushering in a new age of tampering with photography. Yet the history of manipulated photos stretches back over a century before the dawn of Adobe's software.

The Metropolitan Museum of Art will explore this widely uncharted narrative with "Faking It: Manipulated Photography Before Photoshop," an exhibition comprised of 200 photographs taken between the 1840s and 1990s. Some photographs are manipulated to reach a higher form of truth, others to lie, while many revel in the space in between.

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In the good old days before airbrushing a zit or sharpening a blurred figure was just a mouse-click away, the task of transforming an image was an art form. Techniques included multiple exposure photographs, in which a photographer took a number of pictures on a single negative, and combination printing, in which one added many negatives to make a single print. These techniques are complex, but not nearly as much as the reasoning that would lead one to manipulate an otherwise truthful photograph.

The exhibition is divided into seven sections, separated by the motivation behind the photographic transformations. "Picture Perfect" shows 19th century photographers including Gustave Le Gray and Carleton E. Watkins trying to correct photography to allow it to closer mirror the human eye. One trick involved patching together many different individual photos to create a faux group portrait.

With "Artifice in the Name of Art," photographers began doctoring images for the sake of art, to turn photography into a creative process instead of a recording process. Artists like Edward Steichen and F. Holland Day wedged a place for photography in the artistic canon with their aesthetically dazzling visions.

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"Politics and Persuasion" shows photographs on a political mission, whether garnering patriotism or advancing darker political agendas. One 1949 photo from an unidentified Russian artist portrays Lenin and Stalin looking suspiciously chummy on a park bench. The mutability of images communicated the ease with which the mind of the public could be manipulated, and history itself transformed.

Photo manipulation takes a lighter turn with "Novelties and Amusements," where hokey photographs, often by amateurs, exist for shock value and entertainment. Photographers cloned, distorted and even chopped up their subjects, turning photography into a magic trick instead of truth-telling device. "Pictures in Print" focuses on newspapers and magazines to tamper with images, whether to appear extra glamorous for advertisements or to depict events that never were. Erwin Blumenfeld's "Doe Eye" Vogue cover gives consumerist desire a surreal beauty, paving the way for the next section, "Mind's Eye." Here surrealism takes hold of the real thanks to artists like Maurice Tabard and Picasso muse Dora Maar. One example is Grete Stern's "Dream No. 1," (above) which replaces a traditional lampost with a voluptuous female form, mixing desire and domesticity in a very unlikely snapshot.

The final section, simply dubbed "Protoshop," tackles the latter half of the 20th century as artists gain self-awareness of the ramifications of photographic modification. John Bladessari and Duane Michals incorporate their signature senses of humor into the ongoing examination of a photograph's precarious relationship to truth.

"Faking It: Manipulated Photography Before Photoshop" runs from October 11, 2012 until January 27, 2013 at the Metropolitan Museum of Art in New York.

Until then, enjoy this preview of the works.

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  • Unidentified American artist Dirigible Docked on Empire State Building, New York 1930 Gelatin silver print The Metropolitan Museum of Art, Twentieth-Century Photography Fund, 2011 2011.189 Photo Courtesy: The Metropolitan Museum of Art

  • Unidentified American artist Two-Headed Man ca. 1855 Daguerreotype The Nelson-Atkins Museum of Art, Kansas City, Missouri (Gift of Hallmark Cards, Inc.) 2005.27.373 Photo Courtesy: The Metropolitan Museum of Art

  • Maurice Tabard (French, 1897-1984) Room with Eye 1930 Gelatin silver print The Metropolitan Museum of Art, The Elisha Whittelsey Collection, The Elisha Whittelsey Fund, 1962 62.576.4 Photo Courtesy: The Metropolitan Museum of Art

  • F. Holland Day (American, 1864-1933) The Vision (Orpheus Scene) 1907 Platinum print The Royal Photographic Society Collection at the National Media Museum, Bradford, United Kingdom Photo Courtesy: The Metropolitan Museum of Art

  • Maurice Guibert (French, 1856-1913) Henri de Toulouse-Lautrec as Artist and Model ca. 1900 Gelatin silver print Philadelphia Museum of Art: Gift of Henry P. McIlhenny, 1982 Photo Courtesy: The Metropolitan Museum of Art

  • Unidentified French artist Published by Allain de Torbéchet et Cie. Man Juggling His Own Head ca. 1880 Albumen silver print from glass negative. Collection of Christophe Goeury Photo Courtesy: The Metropolitan Museum of Art

  • Henry Peach Robinson (English, 1830-1901) Fading Away 1858 Albumen silver print from glass negatives The Royal Photographic Society Collection at the National Media Museum, Bradford, United Kingdom Photo Courtesy: The Metropolitan Museum of Art

  • Unidentified Russian artist Lenin and Stalin in Gorki in 1922 1949 Gelatin silver print with applied media Collection of Ryna and David Alexander Photo Courtesy: The Metropolitan Museum of Art

  • Unidentified American artist Man on Rooftop with Eleven Men in Formation on His Shoulders ca. 1930 Gelatin silver print Collection of George Eastman House, International Museum of Photography and Film, Rochester Photo Courtesy: The Metropolitan Museum of Art

  • George Washington Wilson (Scottish, 1823-1893) Aberdeen Portraits No. 1 1857 Albumen silver print from glass negative The Metropolitan Museum of Art, The Horace W. Goldsmith Foundation Fund, through Joyce and Robert Menschel, 2011 2011.424 Photo Courtesy: The Metropolitan Museum of Art

  • Grete Stern (Argentinian, born Germany, 1904-1999) Sueño No. 1: Articulos eléctricos para el hogar Dream No. 1: Electrical Appliances for the Home 1948 Gelatin silver print The Metropolitan Museum of Art, Twentieth-Century Photography Fund, 2012 2012.10 Courtesy of Galería Jorge Mara - La Ruche, Buenos Aires

  • Gustave Le Gray (French, 1820-1884) Cloud Study, Light-Dark 1856-57 Albumen silver print from glass negatives Estate of Maurice Sendak Photo Courtesy: The Metropolitan Museum of Art

  • William Henry Jackson (American, 1843-1942) Unidentified artist at Detroit Publishing Company Colorado Springs, Colorado ca. 1913 Collage of gelatin silver prints with applied media Amon Carter Museum of American Art, Fort Worth, Texas Photo Courtesy: The Metropolitan Museum of Art

  • Unidentified German artist A Powerful Collision 1914 Gelatin silver print The Metropolitan Museum of Art, Twentieth-century Photography Fund, 2010 2010.296 Photo Courtesy: The Metropolitan Museum of Art

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