Ethics and Images and the Messiness of AI

You might be aware of the raging controversy of the use of an Ansel Adams photograph as the source material for an AI generated “colorized” version of the photograph.

That isn’t the problem – the copyright expired on this particular photograph and was not renewed, so the photograph was “in the public domain” and could be used in any way by any artist for any purpose.

The issue is how the gallery that recreated the image then marketed it with Ansel Adams name and reference to the original photograph. Why is that a problem?

Disclaimer: I am not a lawyer and this is not a legal case or legal advice.

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What Does It Mean When a Photograph is “Stunning”?

We’ve all done it. Used words like “fabulous”, “incredible”, “stunning” to describe photographic works that we see posted online or hung in a gallery. Sometimes we actually mean it. Sometimes we say it to be nice. We hope those words will be applied to our work too. In this age of social media, praise is often a given and we think something is wrong if it doesn’t come.

But eventually, we all reach a point in our own personal journey where we become more selective. We don’t offer praise as readily. Perhaps your own work also becomes a bit monotonous. Perhaps you have seen too many of the same presentation of a piece, even if expertly done. I hear that often happens to those asked to judge competitions. They may rate an otherwise superb item very low just because they have seen something similar before, often many times before.

It is said that familiarity breeds contempt. Even in art. We are taught from an early age to strive for the next victory, to be the best and to not stop there. But because art is so subjective, how do you know when you are looking at something truly stunning?

For me, it’s all about the emotional reaction I have to a piece. Does it make me stop doing whatever other thing I was doing to admire it? Does it take my breath away? Do I linger watching it? Do I struggle to describe what I am feeling?

Take a walk with me. I’d like to explore just one photograph that I label as “stunning” and reveal why. This photograph was taken by a young insanely talented wildlife/bird photographer in the UK by the name of Rachel Bigsby.

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Creative Ideas at the Creative Lab

Yesterday, I dropped by the Canon Creative Lab in Mississauga where they were hosting Image Wonderland. This was an event showcasing Canon gear (of course), along with a number of sets with models and high end props (including a vintage Cadillac) where you could try out the gear. I’ve never been to one of these, and honestly did not know what to expect.

I’ve been a Canon fan-girl forever, and we were also encouraged to bring our own cameras and shoot away. Images could also be printed through the onsite Canon Print Shop for free, although this was confined to 4×6 prints for walk-ins, and 11×17 prints if you submitted them ahead of time. And there was a series of talks given by Canon Ambassadors, including Irene Rudnyk, Sal Balaji and Steve Russell.

What did I see and experience at the event? Read on…

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Why Edit Your Photographs?

Frankly, it’s a question I’ve never thought about. Ever since I starting shooting digitally, and ever since I became aware of software available to edit, I’ve edited. But I’m preparing a short talk for a group of hobbyist photographers and I’ve discovered that some of them don’t edit, have never edited and have never considered editing. I find that fascinating. We will talk more about why they don’t edit in a bit.

There is a long standing debate about in-camera skills vs. post-processing skills. From the early days of photography, and rightly so, it was decisions about framing, composition, exposure, and using natural light and shadow properly that determined the end result. I agree with that perspective and continue to refine my skills in-camera. But artists being artists, more options were discovered for adding a unique look, a mood or an effect to that end result. Today, the options can be almost endless, including AI driven editing technologies. So let’s explore that a bit further.

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Opening Your Mind on Opening Night

I’ve had the opportunity over the past few months to visit several galleries where photography exhibitions had opened. These openings were in no way related to each other: one showed historical/documentary work, one showed the natural world and one showed artistic creations supported by artificial intelligence. In two cases, the artist or curator was available to discuss the work as I wandered through it. Each was a wonderful journey. Let me telll you why.

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Visiting ProFusion Expo

Earlier this month, I ventured into that den of iniquity – the largest photo and video trade show in Canada, called Profusion Expo. It is hosted by retail vendor Vistek here in Toronto. It brings together vendors of all the major camera and video brands, and includes a myriad of special presentations from their ambassadors along with the opportunity to put hands on their latest equipment.

The retail marketplace has changed big-time for this market since Covid. Products are not refreshed as often, and when they are, the new releases are not available everywhere for customers to see and touch before buying. Anything I’ve bought in the last few years has been online or as a “pre-order”, sight unseen. One reason for my going to the show this year was to see what I could not see elsewhere. It did not disappoint.

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How Perfect is Perfect?

One odd thing I’ve run into in both daytime and astrophotography is the hunt for the perfect image. The number of photographers who mention it, speak about their quest for it, show their edits for it and either feel rewarded or insulted if others don’t share their views has always puzzled me.

The definition of perfect of course takes many forms. Here are a few examples.

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Changing Priorities

I love to write. I love to read. Have been that way since I was a kid. I would much rather read a well-written article than watch pretty much any show, video or online short. But sometimes, priorities change. I’ve decided to give a more concerted try to YouTube – to learn how to create visual media that will be informative and more entertaining. I’ve dabbled in it for several years, but am now stepping up my game.

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Image-ination

I went for a walk in the neighbourhood the other evening. It was a beautiful evening and I had to get out, if only to feel the late day sun and smell the air. Late spring air smells lovely.

I found myself stopping at various points along the way: watching a neighbourhood baseball game, greeting a neighbour out with his family, watching some kids skateboarding on the oval. And something unusual happened. I started taking pictures, without a camera.

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Get Real, OK?

There is a raging debate right now among pro and hobbyist photographers alike about where to draw the line when editing images. Of course, this stems from the other big debate around the role of AI (artificial intelligence) in photography, but comes at it from a different slant.

Some time ago, Samsung was accused of faking a moon image to demonstrate the new low light (or was it astro?) features of its latest smartphone. Samsung’s response was that nothing is “real” in photography anyway so what does it matter?

What does it matter?

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