Asima Gulzar

Natural photography has been popular since birth. In recent years it has gained new respect as a form of art. Twenty years ago, photography of nature was canceled on many cardinals and in questionable calendars. Certainly not found embedded in the gallery wall. Over the years, postcards and calendars began to improve in quality as real nature photographers entered the industry. The high planks of whales, wolves, elephants and beautiful landscapes from all over the world are already well suited to be framed. Eventually a natural photo gallery began to emerge and, most importantly, made a profit. When I opened my gallery in 1993, many people already felt that you could not make a living by selling pictures; that people will only buy paintings that will hang on their walls. These days, new galleries are opening up everywhere; some are beautiful, some are not so beautiful, and a few have hit the big time. All this work in the natural world has inspired new generations of photographers to view natural photography as a hobby or a profession. These new nature photographers have grown up in a world very different from the one I came from. Unimaginable technology then is now commonplace, and new photographers have more power in their hands than ever before. But what effect does all this technology have on photography? Natural photographers now have to decide how much they will allow their photography to be influenced by technology. In the old days, beautiful pictures of nature required a much simpler approach; find the best theme, with the best light, and use your camera skills to capture what you see. Today is a very different story. A natural photographer (if he or she wants to) can find a dignified title, capture it in any light conditions he or she can find, and then go home and completely change the colors, contrasts, and details of the image. The result may be a picture caused by technological wonders rather than natural wonders. Each one in his own way. It is not for me to judge the creative decisions of another photographer. But the question that is on your mind right now is worth asking; is this a natural picture? Every photographer has the right to pursue his or her art in any way he or she chooses. No one can deny that computer skills are far wiser than traditional photographic skills. However, the person looking at the picture should know what to look for, especially if that person is a customer who is willing to part with his or her hard-earned money. I know that many photographers are defending this issue. Camera clubs around the world continue to fight the problem of judging nature photos alongside deceptive images. Some clubs have tried to divide the competition into separate categories, only to find people stealing their digital photos and placing them in an unallocated category for equal recognition. Understandably, ‘software photographers’ want their skills recognized at the same level as ‘camera photographers’. And it should, but not in a way that ignores the differences between the two indicators. This is not an attempt to undermine the skills of software photographers. To me it seems that the viewer, especially the paying customer, should know. He is increasingly being accused by the public of taking beautiful pictures. Anything more prominent or unusual is now thought to have been altered or modified using computer software. In most cases, that is likely the case. Unfortunately, this suspicion gives little credit to the traditional photographer (and many of us) who prefer to do creative work in the field, before pressing the lid, and reproducing what was filmed that day. You would not think, unless it ever happened to you, how frustratingly it can be to show off your beautiful natural images, and then hear people say 'Nowadays it's all about computers.' According to the record, my photography is as traditional as it can be in the digital age. Software becomes an integral part of my work, as I continue to process the process of scanning thousands of slides from my travel years. Not to change the image, but to adjust the color and brightness to ensure that the printed image is the same as the original slide. And it is a great advantage that you are finally able to restore images that have been scratched or otherwise damaged for years. I can see that the practice of using software to enhance and transform images is not only inevitable, but as legitimate as taking natural photographs. However, I continue to encourage people to also learn true camera skills, so that the use of software to manipulate images is a creative decision, not a solution to inefficiency. Thankfully, the need

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