The article discusses how a move toward truth in labeling would bring photographic arts more in line with ecological science. Today, the digital revolution in photography results in natural scenery that never looked so alive, so vibrant and luminous, even transcendent, though many famous subjects one knows are ecologically compromised, environmentally degraded, or simply destroyed. Nature
... [Show full abstract] photography today, with the added benefits of Adobe's Photoshop, seems to revel in a hyper 'grandeurism.' An essential of most nature photography as a genre is to move people to love and revere it; it further assumes that only through such a response will people feel the urge to preserve or restore it. Contrariwise, pictures of environmental degradation may incite people, but they may just as likely turn off donors and drive activists away. Some nature photographers specialize in bizarre alien landscapes, ones people have tarnished and trashed. Richard Misrach, whose subjects have ranged from seascapes to nuclear test sites, creates eerie scenes of desolation in photographing the desert intrusions.