To AI or not to AI: Where do we draw the line?

Sorry, that was meant to be humor. You had closed your (very good) post by saying "wow. i must need to talk to someone because ive written more here then i have in a month" and so I was attempting to joke about 12-step programs for dealing with various "problems." Which of course is silly given how long my response to Levina was.
got it.

speaking on AI (some more...:whistle: ) ive been on Linkdin for about a year or more. looking for commercial photo work. i get INUNDATED with 'job openings' (not necessarily 'offers') for people to join some team to use AI to help something. i dont even bother reading past the AI part of the job descriptions.

i HAVE seen a couple though where jobs for editing are open. mostly part time or seasonal. mostly about $17-$22 an hour.
 
If you (Levina) manually replace the sky or clone out 3 people in the background to create a different looking image, you're not taking the work of other photographers. You may be altering the depiction of reality. But it's all your work (you just didn't do it "in camera").
I do use software filters and presets sometimes (e.g. film sims or various colour filters in B&W shots) but they are not A.I.. I treat them as a normal part of post processing. I think that, if we had to declare them, then, to be consistent, we'd probably have to declare the whole editing process, which would become tedious very quickly.
What if I replace the sky with a sky from another photo that I took? A photo taken on another day and in a different location. But the sky was nice and I could use it now to enhance the photo I took today. Is that still a legit edit? Or is that cheating?
 
In my opinion the line between real and "fake" images has always been blurred, far before AI entered the scene.

Many years ago, I used to pride myself on producing "natural images" and it was one of my strongest selling points to wedding clients...until it wasn't. Somewhere along the line clients started showing me sample images of what they wanted. They were usually HEAVILY edited photos they had seen on social media or in magazines. Social media and the underlying pressure for people to get likes/shares/comments moved the needle away from authenticity. They didn't want to remember the moment as it existed, they wanted to recreate the moment with flair. The criteria for wall-hangers changed drastically. To deliver on the request, I started shooting with the primary focus of getting as much data onto the histogram as possible so I could manipulate it in post. I would start with flat, dull images that would have been embarrassing to share. It took time and a bit of skill, but some of the before/after sequences were rather mind blowing.

AI does what many photographers had already been doing...except it does it quicker and with essentially no editing skills needed. My gut tells me this is the real reason many photographers despise AI. I've heard similar comments from film photographers after digital photography went mainstream. The fear remains the same...how do I stand out as a "professional" (and I actually take major issue with that terminology) if anyone can now click a button to do what once required skill? Considering the film to digital parallel, I believe the answer is probably quite similar.
 
Ai is a great easy tool of the future.
Photography is graphing the photons = manipulation of light, no relation to capturing the reality, which is not captured anyway, film or sensor record a scene differently from the eye, then it comes to post processing so reality is gone.
I enjoy using Ai, sometimes it succeeds sometimes not.

Original
IMG_20250727_084050.webp

Strikes removed and flash lighting applied with AI
AirBrush_20260228170102.webp

Original
IMG_20260301_113522.webp


Rotated with AI
AirBrush_20260301210642.webp


Original
IMG_20260301_112648.webp


and a total failure
AirBrush_20260301211320.webp
 
What if I replace the sky with a sky from another photo that I took? A photo taken on another day and in a different location. But the sky was nice and I could use it now to enhance the photo I took today. Is that still a legit edit? Or is that cheating?
wouldnt that be the same as making a composite image like we did back in the day with two different negatives? you shot both photos (i presume) and you did the compiling and editing (using Ps 'layers' which are the bane of my existence since i dont know how to use them). i dont see that as cheating. i guess as long as youre not trying to sell it to a news outlet as it is original, as applicable to a news story. i.e. a headline saying "multiple funnel clouds seen in sky as tornado touches down!!!" where the 'multiple' was added in the darkroom/lightroom/photoshop
 
What if I replace the sky with a sky from another photo that I took? A photo taken on another day and in a different location. But the sky was nice and I could use it now to enhance the photo I took today. Is that still a legit edit? Or is that cheating?
At that point, it's a composite. And the question then becomes: is a composite photo "cheating" or some milder version of "AI"? That is where the line gets blurry for me. Part of the issue with AI is using work generated by others that they aren't credited for. Your example avoids that. But it also is more than just "enhancing the sky"--you're creating a reality that didn't exist when you took the photo.
 
...you're creating a reality that didn't exist when you took the photo.
if its for art, i dont have any issue with creating a reality that didnt exist, but if youre using/putting forth an image of a factual event, then that is not kosher. MY opinion...

i.e.
youre shooting landscapes. change/fix/create the sky (y)
youre shooting a news event. change/fix/create the scene (n)
 
wouldnt that be the same as making a composite image like we did back in the day with two different negatives? you shot both photos (i presume) and you did the compiling and editing (using Ps 'layers' which are the bane of my existence since i dont know how to use them). i dont see that as cheating. i guess as long as youre not trying to sell it to a news outlet as it is original, as applicable to a news story. i.e. a headline saying "multiple funnel clouds seen in sky as tornado touches down!!!" where the 'multiple' was added in the darkroom/lightroom/photoshop

At that point, it's a composite. And the question then becomes: is a composite photo "cheating" or some milder version of "AI"? That is where the line gets blurry for me. Part of the issue with AI is using work generated by others that they aren't credited for. Your example avoids that. But it also is more than just "enhancing the sky"--you're creating a reality that didn't exist when you took the photo.
I have no problem with a composite. Like when you can't capture the whole dynamic range of a scene in one shot and you take differently exposed shots and blend them in post.

But that is still different from taking one image and then going into your photo catalogue and taking another sky, from another location and then actually replacing that sky.

I do the first but I don't do the second. Doing the second to me feels like cheating. I understand and respect that others feel differently but as crappy as my images may be, I want them to be truthful. Although I too manipulate my images to a certain point if I need to, like removing a distracting something. In one of my Sail photos e.g. the steering wheel of my bicycle was in the frame, bottom left. I removed that.
 
I have no problem with a composite. Like when you can't capture the whole dynamic range of a scene in one shot and you take differently exposed shots and blend them in post.

... as crappy as my images may be, I want them to be truthful. Although I too manipulate my images to a certain point if I need to, like removing a distracting something. In one of my Sail photos e.g. the steering wheel of my bicycle was in the frame, bottom left. I removed that.
that sort of composite is like an HDR image, right? ive never learned how to do that. i think its a job for Photoshop. i really need to find a class for that. i dont do well trying to watch on youtube and then doing...

crappy or not, thats the deal with photojournalism. if its a breaking news story, editors might give you the side eye for something slightly out of focus or with a bit of camera blur but capturing the event is what's important. the 1936 image "the falling soldier" by to Robert Capa (whether staged or not, ill leave to others to debate) while very striking and dramatic, isnt the pin sharp image so many of us are used to. also the images from the D-Day landings (known to some as the Magnificent Eleven, also shot by Robert Capa) are blurry and high contrast* but they (to me) appear to be how it was.

*the film stocks of the day were NOT rated very fast, the lenses were NOT very fast, so to get a properly exposed image, slow SLOW shutter speeds were needed hence the blur. i get that and fully understand that, so they were limited by their kit. ive never had an editor give me much grief over stuff i shot with those 'faults' but these are the types of images i think should NEVER be manipulated by editing out backgrounds, or compositing. if a crop is necessary im good with that as long as it tells the story of what truly happened.

YOU removed part of your bike from the frame? heavens to murgatroyd!* its all good!

*
"Heavens to Murgatroyd!" is the characteristic catchphrase of Snagglepuss used to express disbelief or utter bewilderment in the vein of the similar American phrase "Heavens to Betsy!"

Prior to the 20th century, the name Murgatroyd was used in the Gilbert and Sullivan comic operetta Ruddigore (1887), which has no less than ten baronets named Murgatroyd in the storyline.

Ultimately, the name goes back to 1371, when one Johanus de Morgateroyde was appointed constable for the district around Warley in Yorkshire, England; the name translates from Old English as "John of Moor Gate Royde," as in "the district leading to the moor."

Snagglepuss was a Hanna-Barbara cartoon character in the 60s.
 
What if I replace the sky with a sky from another photo that I took? A photo taken on another day and in a different location. But the sky was nice and I could use it now to enhance the photo I took today. Is that still a legit edit? Or is that cheating?
I don't like to add anything that wasn't there originally (apart from contrast, colour, clarity, grain, vignetting, etc. ... hmm). Of course, that's just my opinion.
 
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if its for art, i dont have any issue with creating a reality that didnt exist, but if youre using/putting forth an image of a factual event, then that is not kosher. MY opinion...

i.e.
youre shooting landscapes. change/fix/create the sky (y)
youre shooting a news event. change/fix/create the scene (n)
I'd agree with this, as long as the changed sky is acknowledged.
 
that sort of composite is like an HDR image, right? ive never learned how to do that. i think its a job for Photoshop. i really need to find a class for that. i dont do well trying to watch on youtube and then doing...

crappy or not, thats the deal with photojournalism. if its a breaking news story, editors might give you the side eye for something slightly out of focus or with a bit of camera blur but capturing the event is what's important. the 1936 image "the falling soldier" by to Robert Capa (whether staged or not, ill leave to others to debate) while very striking and dramatic, isnt the pin sharp image so many of us are used to. also the images from the D-Day landings (known to some as the Magnificent Eleven, also shot by Robert Capa) are blurry and high contrast* but they (to me) appear to be how it was.

*the film stocks of the day were NOT rated very fast, the lenses were NOT very fast, so to get a properly exposed image, slow SLOW shutter speeds were needed hence the blur. i get that and fully understand that, so they were limited by their kit. ive never had an editor give me much grief over stuff i shot with those 'faults' but these are the types of images i think should NEVER be manipulated by editing out backgrounds, or compositing. if a crop is necessary im good with that as long as it tells the story of what truly happened.
I suppose an image where the sky is exposed differently than the ground could be called an HDR. Although traditionally a HDR blends differently exposed images at a global level, using dedicated software so you end up with a rather flat image without deep blacks and without strong highlights. Basically a grey-ish, flat image. You then edit it in dedicated HDR software. A composite where you take say two photos of the same scene, one exposed for the ground and one exposed for the sky to me is just a composite not an HDR. But I might be wrong. Maybe I'm stuck in the past in that regard, remembering those HDR images that looked like alien planets.

As to blurry etc. that depends very much on the genre. For action or in photojournalism it often works but when you are shooting a model in a studio I'm sure you want that model to be in good focus. Just like when I shoot a bird perched on a branch I want that bird in good focus. So yeah, it depends.
 
I don't like to add anything that wasn't there originally (apart from contrast, colour, clarity, grain, vignetting, etc. ... hmm). Of course, that's just my opinion.
I never add anything either. I will remove something that distracts though, like my bicycle steering wheel from one of my Sail photos.
 
A lot has been already mentioned in this thread. The replies also show that AI is a wide variety of things.

Where it comes to using other peoples creations/ photos without proper credits, I considered it 'wrong'. But that is largely the case for situations where things get added to a scene, the so-called generative AI. That said, the AI is trained on billions of images and generating things is not a mere copy-paste from another persons photo, but it is the result of analysing many photos to see a pattern on pixel levels and then using the knowlegde of those pattern to create something. So crediting original creators is merely impossible.

There are several things that are now labeled as "AI" that were around before AI became a thing.
Forms of automation that exists for longer time, were in fact already 'artificial intelligence' . Making selections based on luminosity levels or color ranges and changing brightness, hue etcetera, already was a form of AI. i.e. The computer analyzing the photo, determining a value and determining to include a pixel or not. Then when we as user move a slider like a hue slider, the computer determines how to alter the included pixels, but not necessarily alters each in the exact same way.
The blend modes in programs like photoshop have intelligence driving them. With a 'color dodge' blend mode for example, the software has the intelligence to know how to change the appearance on a pixel level based on how things overlay. The analogy of us as people, would be tracing paper with different levels of transparency with different colors in different areas that in the end combine to a desired end result.
Automated focus stacking is based on the computer determining what is sharp in a photo, in which photo parts are the sharpest and then masking out areas on photos from the stack that should not be used. We as people have the 'intelligence' to see what is sharp, and determine what to mask, but the computer just is faster in doing so.

Subject detection masks are an addition that take over the manual labor, but it is not (strictly) based on pixel properties like a hue and brightness and they are trained on many photos (of others). They do however take away manual labor and do not add anything based on the work of others. So would credits to the creators of the photos the AI was trained on be 'required'? (Apart from the practicality that crediting is shear impossible).
When using automatic masking ones life gets easier as you do not have to do it by hand, but the end result of the post-processed photo is the same, but just accomplished in a shorter amount of time. So from a 'photography' point of view it should be allowable for sure.

I have nothing against compositing, but the 'art' is then 'compositing' and not 'photography'. Photography just becomes a mean to achieve the goal, the composite. And although compositing relied heavily on photography and the art of shooting for composite purposes, the advancements in AI do change compositing a bit more. Not only easing task that used to be manual/ labor intensive, but also the option to generate more rather than needing proper base photos.

For small removal tasks I think AI is fine, like it was mentioned earlier in this thread it used to be done by hand through cloning and stamping and the like. Also noise reduction through AI is fine in my opinion, since it removes something that wasn't here in the first place but was induced by the sensor. In both cases the essence of the photo remains and I still consider it 'photography'. When removing things that were in the photo, but did not necessarily be in the photo, that is fine with me. For example removing people from a scene, that in theory could have been photographed without the people is fine with me (it is not practicaly possible to be at a Venice square alone without other tourists, but in theory it is achievable).

So for me use of AI is allowed for 'photography' and the 'photos' on this forum. In some cases the use of more impactful AI could be fine, but then it should be mentioned and preferably should have resulted in a photo that in theory could have been taken in camera if one would have had control over the circumstances. When it goes towards another art form that 'photography' it should not be on this forum, since the forum is about photography and not on other forms of art.

To conclude there are other forms of AI that I think were not mentioned in this thread and that has less to do with adding stuff to a photo or removing parts. The ones I can think of are:
  • AI (assisted) culling . For some genres this AI can be really useful and although trained on many images, it does not directly makes use of other peoples content. (It is shear impossible to credit all the creators who's content was used to train the culling AI). I have looked into automated culling, but for my purposes and style of culling, it is just not there yet (my shooting being sports mostly).
  • AI editing (basic). A program like Aftershoot can be used to do basic edits to your photos. Either based on your own edited images or a style that was learned from other peoples photos. I fed it with a series of my own photos and use the style to a basic edit of my RAW photos. I feed new RAWs to the program and it analyses them and determined the adjustments I likely would made and then I import the edit settings into Lightroom. It is like a preset in Lightroom, but rather than setting each value the same for each slider on each photo, the slider values are tweaked per photo. Also some straightening is done. Where culling does not fit my needs, the edits in >95% of the cases are pretty much like I would have set it, with some photos needing some minor tweaks on some of the sliders.
  • AI retouching. I have not used this, as I hardly retouch photos. But for wedding, event, portrait photography I can see the benefits of it. As far as I know it can do retouching based on you style or if you wish so the style of other photographers who made 'their style' available. It merely are retouching edits that you would other wise have to do manually in Photoshop (or similar programs). Things like skin softening.

These three applications of AI can be used to automate things you would otherwise do manually and will not result in a different outcome than when you would have done things manually. This form of AI can be pretty useful (i.e. time saving) and still rely on the skills of the photographer.
 
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