The advent of the post-truth era has blurred the boundaries of "authenticity," and the "objective record" attribute traditionally associated with images as "slices of reality" has been unprecedentedly questioned. This paper, taking contemporary Western photography as the research subject, explores the dialectical relationship between image authenticity and virtuality from a philosophical perspective, especially under the influence of digital technology. Through examining the evolution of photographic forms from traditional silver halide photography to digital composite photography, and incorporating Baudrillard’s theory of simulacra, Benjamin’s notion of "aura," and Wittgenstein’s theory of "language games," the paper discusses the shift from images "reflecting reality" to "constructing reality," while reflecting on the reconstruction of authenticity under the infiltration of virtuality. The study shows that photography in the post-truth era does not dissolve "truth"; rather, it gives rise to a "plurality of truths." The value of images is no longer limited to simple reproductions of objective phenomena but has become a medium for human perception, thought, and dialogue with reality, expanding the philosophical depth of visual expression in the tension between authenticity and virtuality.

Minying Han. The Authenticity and Virtuality of Images: A Philosophical Exploration of Contemporary Western Photography in the Post-Truth Era. Frontiers in Art Research (2025), Vol. 7, Issue 8: 13-18. https://doi.org/10.25236/FAR.2025.070803.

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