It seems to me that where AI fits into this process is simply a partially new and easier way of manipulating an image. Originalīe It Ever So Humble – Original capture Be It Ever So Humble – A digital image manipulated I do it all to the extent that I am capable and I admire those more skilled than myself. I am not against nor do I diminish what image creators do to make their point and get it across. Moonrise over Hernandez – Ansel Adams – old-time manipulation by a master The evolution of technique and technology has been essentially an unbroken and continuing line of developments in the post-capture aspect of photography and the advent of AI-based applications is but the latest nudge forward. And manipulation is what AI post-capture processing is all about.įrom film processing to darkroom dodging and burning and other techniques, through Photoshop and Lightroom, to AI, image manipulation has pretty much-been part and parcel of photography. And while many photographers pay lip service to “getting it right in the camera” the reality of the matter is that these technological aids are relied upon to get a higher percentage of “keepers” that will be manipulated later. Red Truck original picture Red Truck imageįacial and eye recognition (human and animal), face registration, motion tracking, backlighting adjustments, and all the stuff in program mode/automatic are not AI but in some sense, they are getting pretty close. What you decide to photograph, what you include in the frame, what you exclude from the frame, the chosen angle of view, what you put in the foreground, middle ground, and/or background, and a myriad of other variables are choices you make consciously or unconsciously. One of my favorite soapboxes to climb up on is that unless you are into forensic photography (even then!), you are pretty much always making images, not taking pictures. Is this distinction meaningless pettifogging or does it make a real difference? I think it makes a difference or I would not be wasting my time writing this. In common parlance, they are often used interchangeably but because I am writing this I get to choose, so the connotations I mentioned above are the freight that each word carries for purposes of this discussion about photography. Indeed “image” seems to be the bigger word, and “picture” is sometimes defined as a type of “image”. Webster’s tome or the English Oxford Dictionary will reveal, there is plenty of room for elaboration, refinement, overlap, and debate. The categories are hardly discrete and, as a wander through Mr. When a picture can become an image is very amorphous. “Image”, on the other hand, does not and connotes an effort to communicate visually an idea, an emotion, or value. “Picture”, for me in the photographic context, connotes veracity, objectivity, and accuracy. For me, there is a significant difference between the words “picture” and “image” and what they convey as meaning. I start with a bit of wordsmithing – semantics if you prefer. I am concerned only with the implications of AI for post-capture image processing. That kind of wide-ranging discussion is not what this modest effort is about. Some of it is nefarious and some of it simply a paean to production values, such as using virtual models and virtual reality sequences of one kind or another. The ability to manipulate images to artificially create identities and events is a growth industry. I have been reading of late on this and other sites about the supposed impact of AI on photography. Like most photographers, I do use programs that have all kinds of presets that provide various “looks” with all sorts of contrast settings, color casts, film types, and just about every effect I can imagine and many I could not if I tried. I do not presently own or otherwise, have access to it or any other computer application that touts itself as being powered in whole or in part by artificial intelligence (AI). It derives from my ambivalence as to whether to “pop” for a copy of Luminar AI. This essay is not a user experience or a “how-to” report.
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