I like the comment that the camera can fool us into thinking it is accurate. Something all landscape painters need to be aware of.

Altered images whether created in Camera and later manipulated or artists impressions are often used by those marketing new concepts such as a new resort or large office blocks. Many times these images give a false impression of what the tinal object will look like resulting in bad publicity about the project. False advertising using such images is now banned in some jurisdictions. Travel brochures are another area where both modified photographs and artists impressions can be totally misleading.

In the article above the author fails to point out that Photoshop and other manipulation tools can lighten shadows particularly when the original images was taken in Camera Raw format, not jpg. There are also many times when increasing the contrast can make the image more visually appealing or to bring out details particularly if the original was taken under overcast skies of similar flat lighting. The eye sees what it wants to see and as our vision is usually restricted to the central part, it is only when we scan an on screen or printed images that 'faults' such as described by the author become apparent. Then it is correct to enhance the image to get it back to what we perceived at the time of taking the image. Remember also that the palette used in modern photography is virtually unlimited in colour and hue, but the paper print is restricted by the ability of modern fine art printers to resolve the subtle differences between shades of the same colour.

That is true, but it is difficult to just go to the same place to take new pics. I have that problem sometimes, but thanks to enough sketches  and classical drawiing training, I slowly decipher the forms inside the shadows. It takes time, but it helps a lot.

Thanks for the thoughtful comments.

Nevin is right that the faults often don't become apparent until the photo is processed later, and then, as ChristineB pointed out, it can be too late! The little LCD screen on the camera is not very faithful either, so it is the info on the histogram that tells the true exposure story. Professional photographers know all about their tools, but often artists are unaware of the limitations of the cameras they use.

I think that this discussion strengthens the point that spending the hours learning to see by working from life is the best way to make accurate comparisons in nature. "Waiting" was painted on location, not from a reference photo, so I was able to make accurate judgements about my shadow values and colors on the spot.