Photograph by Owen Deutsch
From stitching together images to baiting wildlife subjects, what's acceptable when it comes to nature photography? Vote on these 12 images.
Photograph by Anita Merrigan
The photo on the left was a submission in this year’s photo contest. The one on the right is the raw file. The colors are more vivid, the contrast of subject and setting more evocative. All thanks to Photoshop.
Photograph by Gordon Gahan, 1982 National Geographic
National Geographic’s February 1982 cover is famous for its deception: The Giza pyramids were squeezed together to accommodate the cover format. After its publication, the magazine took a hard line against doctoring its photography, even after the advent of Photoshop.
Photograph by Art Wolfe
When Art Wolfe’s book Migrations was published in 1994, it was heralded as a triumph of nature photography. Two years later it came under fire when it was revealed that Wolfe had altered about a third of the images. To create this shot, for instance, Wolf cloned zebras to fill in spaces. Wolfe calls the work a “digital illustration”—a term he mentions in the book.
Photograph by Owen Deutsch
A common approach in digital photography is to add or remove elements to generate drama or clarify a photo’s story. We’re not sure, but that might be the case with this submission from the 2013 photo contest; the photographer didn’t respond to several requests for clarification, so it was disqualified.
Photograph by Connor Stefanison
Above is one of the winning shots from the Natural History Museum in London’s 2013 Eric Hosking Portfolio Award, taken by Connor Stefanison. To capture this dramatic pose, Stefanison baited the barred owl—which he explicitly stated in the caption, writing that he used a dead mouse to lure the raptor.
Photographs by Andrew Geiger
Captive-animal farms or “game” farms offer the opportunity to stage wildlife, making it look like the shots were taken in the wild. These two photos are part of a series photographer Andrew Geiger did for Audubon’s March-April 2010 issue to show the set-up, and result, of one of these less-than-wild shoots.
Photograph by Annie Marie Musselman
Unlike game-farm shoots that aim to replicate natural settings, photographers sometimes shoot captive animals indoors. Annie Marie Musselman’s photo above has a strict agenda: To raise awareness about animal abuse.
Courtesy of Paula McCartney and Klompching Gallery, NY
Paula McCartney isn’t trying to pull one over on you. She deliberately places store-bought birds in natural landscapes with the goal of blurring the line between truth and fiction.
Photograph by Todd R. Forsgren
Ornithologists and licensed banders commonly use mist nets to capture and tag birds. Photographer Todd Forsgren took this shot of a boat-billed flycatcher while accompanying scientists conducting field research.
Photograph by Arne Olav/Caters News
Finally, a match made in Photoshop. Arne Olaf merged a pug and a bird to create a purd.
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