Postproduction in the digital era. With this essay I giving my opinion about a debate that is more and more present with the development of digital cameras and software: to what extent is digital editing licit in a photographer’s workflow? When does editing become over editing? Where is the boundary between photographic and the digital art? Engaging with the works of different artists who use digital techniques, this essay aims to clear some of the confusion about this subject and deliver a concrete and rational view of how to better understand the latest and ever changing technological developments in this field. I chose to write about this subject because I have always been fascinated by digital manipulation since I started using my father’s computer as a boy. During my stay in Toronto, Canada, I took classes in Adobe Photoshop and further developed my interest in the subject, as well as my knowledge about it. Digital editing will always be somehow related to my practice as a photographer, because I think that it broadens creative possibilities in a number of ways that is always growing bigger. Digital editing is a very powerful tool, but I think that great power necessarily implies great responsibility. In this case, I think the responsibility that is upon the photographer is just not to deceive the viewer, not to try and play it off as it was not heavily edited when it was. I believe there is no such thing as faithful mimesis of reality in photography. Photography, etymologically meaning “light drawing”, was often considered, since its dawn, to be a direct way to capture reality, without any influence of the operator’s hand. But photography has no ambition of this sort, it can only depict a part of what one could see in the shooting location, from one single point of view and in a single instant. How can that describe an entire situation? It is only the photographer’s assignment to use all that is in his power to make the picture resemble what he understands as reality, if that is his goal. This is the case in documentary photography, where the medium is (or should be) used specifically to try and report something as faithfully as possible. When a reportage or even a single image manages to show an entire local reality so that the viewers had a similar experience to the one the photographer had, that it should be considered some really successful work. From 1936 to 1939 war photographer Robert Capa documented the Spanish Civil War, creating some of the most iconic war photographs of all times. In particular, probably Capa’s most famous image, The Falling Soldier was believed to depict the exact moment of the death of a Republican soldier. It was later on proved to be staged, although there are still some that believe the veracity of this image. Regardless of how the image was created, it still soon became an icon for the Spanish Civil War, being published by several magazines in the following months. I think this is a good example of how a documentary photographer can use staging to create an image that depicts an ongoing situation like Spanish Civil War in a way that is probably better than how a picture taken on the actual field could have represented it.