We seem to be moving at lightening speed towards a future of photography that heavily incorporates the use of AI. When we were first instructed to comment our reactions to AI I had barely ever seen or heard of its use. Obviously, there were those instances of posts that would show how the average human would look in 60 years and the deepfakes of Putin that circulated social media but I didn’t really consider how quickly it would take over photography and journalism.
There are some occasions where it illuminates images such as Halle Bailey’s Vogue cover for The Little Mermaid. However, there are often others were it feels misplaced, i.e. all the other instances of its use on magazine covers for May. Conversely, a huge issue is its use to humiliate people on the internet by putting their face on pornographic images or its ability to eliminate job positions for journalists as it can generate media stories. AI can be a cool feature that allows us the opportunity to enter a world we can only imagine or it can destroy lives and limit career opportunities. It like many other things is neither inherently bad or good but the person who utilizes the tool is who is the decider of its power.
NYC Food Trucks/Carts
For my second photoessay I wanted to highlight food trucks and carts. I believe they are very instrumental in the lifestyles of New Yorkers. Post-pandemic their diversity and presence have expanded. I want to capture the food carts I see in the places I spend the most time. In order to demonstrate how food diversity and convenience is a staple in communities.
After viewing Michael Christopher Brown’s post on AI images, I took his perspective as an offense to photojournalism in general. First, his description of 90 Miles images was “post-photography AI reporting.” Brown tries to portray the historical realities and struggles of Cubans in the borders of artificial intelligence. He diminishes his own profession as a photojournalist by using this outlet instead of real photography. Giving credit to fake images of real-life events in history and even in present-day time shows how contradicting he is to his work. Yes, it may be a fascinating technological advancement. However, his support behind this new innovation will only give his career more hardships in the long run as photographers will start to be less in demand. I agree with a comment that I saw under the post where someone said, “Profiting from… degrading the profession of photojournalism? From stealing others’ artwork? From damaging the environment? From people’s trauma and suffering THEY DIDN’T EVEN GRANT YOU ACCESS TO ?! This is wrong on so many levels and you need to stop before others follow your lead.” Since Brown also said that 10% of the proceeds go to Cuban refugees, this sounds like a joke because 10% is hardly anything. Brown looks greedy for profit and looks insensitive to the authenticity of photojournalism. To me, I find it shocking that a photojournalist promotes AI in photography as it might take over individuals in his profession soon. I believe that there should be more justice for hard working photojournalists like Lynsey Addario who risk their lives to capture a real photo of conflict, poverty, and other social, political, and economic struggles worldwide. This is what I find interesting, unlike generated photos that have no original component of an actual issue.