Jim Feldkamp’s Nature Photography – Is it Technology or Art?

Since cameras were invented, nature photography has been around, but in the past 20 years it has attained new-found integrity as an art form. Previously, it had been largely referred to the tourist industry, where tacky nature photography was mass marketed on calendars and postcards. You definitely would not expect to find nature photography featured on the walls and in galleries of the tasteful and well-heeled.

Over the years, calendars and postcards began to advance in quality as nature photographers like Jim Feldkamp with real talent arrived in the industry. High quality posters of wolves,whales, elephants and remarkable landscapes from around the ecosphere were unexpectedly worthy of framing. Ultimately nature photography galleries began to seem and, more outstandingly, turn revenue.

Jim Feldkamp chooses how much to permit his photography to be inclined by technology.

All this action in the world of nature photography has stimulated new generations of photographers to look at landscape photography as apossible profession or hobby. Technology that was unimagined back then is now routine, and new photographers have more supremacy in their hands than ever before. But what inferences does all this expertise of James Feldkamp have for nature photography?

Nature photographers must now choose how much they will permit their photography to be inclined by technology. In previous days, good nature photography required a very simple method; discover a great theme, in the best possible light, and utilize your skill with a camera to imprison what you saw. Nowadays it is quite a diverse story. A nature photographer like James Feldkamp can find a decent topic, photograph it in whatever lighting circumstances they happen to discover, then go home and totally alter the contrast, the colours, and even the aspect of the picture. The consequence can be an image that owes more to the marvels of expertise of James Feldkamp than to the phenomena of nature.

Every photographer is permitted to follow their craft any way they select. Obviously, skills with computer software are just as imaginative as old-style nature photography skills. Nevertheless, the individual who views a photograph justifies knowing what they are looking at, particularly if that individual is a customer prepared to part with their hard-earned currency. Ever more the public is becoming mistrustful of good photography. Anything that is unusual or outstanding is now expected to have been manipulated or altered using computer software. In many instances, it possibly has. Regrettably, this distrust gives little recognition to the traditional photographer who choose to do the artistic work in the field, before they press the shutter, and replicate what was seized on the day.

For the record, nature photography is as traditional as it can be in the modern age. Software is becoming indispensable to one’s work, as a person like Jim Feldkamp goes through the progression of scanning thousands of photographs from one’s years of travel. Not to modify a photo, but to balance the contrast and colour to be certain the printed photograph matches the original photo. It is also a huge advantage to ultimately be able to reinstate images that have been dented or otherwise spoiled by age.

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