In 2016 Virtual Photography saw the release of Nvidia Ansel which was a new avenue to capture shots in-game. This software would provide the user the freedom of movement to capture from any angle, adjust the shots with post-processing filters and tools, capture in HDR formats (sometimes of upwards of 10x resolution), as well as share them in a 360 degree format to various device platforms. One recent example of Ansel being used is in DICE’s Battlefield V where the photo tool takes advantage of Nvidia’s newest GPU, the Geforce RTX 2070 and it’s ray tracing technology which produces far more realistic scenes within video games. Despite this, only a handful of games use this current platform as it’s heavily dependent on whether or not a developer company wants to program their game to work with Nvidia Ansel. Many virtual photographers hope to see more developers adopt the Nvidia Ansel tech and are excited for the future of this tool’s adoption into many upcoming video games.
From it’s humble beginnings in 2006 to present day, virtual photography has been featured in real world exhibitions, podcasts, news articles, essays, company presentations, and academic journals from around the world. Despite the immense well received reception of this new form of photography, it isn’t without it’s doubters who argue that these photographs are shots taken of assets created by developers and other artists; stating that virtual photography is just a glorified virtual form of taking photos of artwork in the real world.