Conversations around artificial intelligence make many of us confused and fearful of the future. However, despite things appearing bleak, we must remind ourselves that the medium survived 200 years in almost perfect condition. This is why, as we look at what the future holds for us, we must also continue to look at the past. In a discussion with Dr. Ioannis Galanopoulos Papavasileiou at Xposure, Sharjah, we learned how one can utilize our past to advance our future.
Editor’s Note: The Phoblographer was part of the press trip to Xposure at Sharjah. We were invited to see the festival, interact with the photographers, and share our insights with our readers. Since we believe in transparency, we want to let our readers know that the trip was entirely paid for, but this post is not sponsored. We want our readers to know what the future will hold.
During his talk, Dr. Ioannis highlighted various “expanded photography” techniques, which “blurs the boundaries between art and media,” but it is not in “competition” with the medium itself. Furthermore, it is designed to intersect practices such as “cameraless photography, appropriation, surface manipulation, and staging and installation.” So, why would one look at these techniques today? Well, for starters, this is one of the great ways to push your creativity and achieve unique images without having to depend on generative technology.
An example of this is using darkroom photomontages, just like Jerry Uelsman, or you can use X-ray or Xerox copy art. The images created using such expanded photography technologies are surreal and seem to have been created with the aid of technology. But in the end, they have a soul that many AI artwork lacks. In addition, Dr. Ioannis also showcased to us the works of photographers, who have bent reality by simply shifting their perspective. For instance, Rinko Kawauchi tends to use bright exposures and softness, which renders her images a magical and ethereal feel. Then, there are practices such as antotypes and mixed media photography, which often add more layers to a story.
Overall, in addition to showcasing different types of techniques, from tilt-shift to infrared to filters, Dr. Ioannis left us with many questions at Xposure about where we think AI can outdo us. While he believes that tech will become mainstream, he is of the opinion that one should not fear it. It’s one of the things that we need to adapt to, but it only means that human creativity and human-made work are likely to have equal demand. For instance, a painting, which can cost hundreds or thousands of dollars, can never be replaced by an AI artwork. Similarly, a fine art print such as cyanotype or simple images like Rinko Kawachi’s or Rayographs can’t be replaced by AI image slop.
Instead, Dr. Ioannis wants us to ask ourselves the following to open up our horizons:
- how do these expanded photographic practices redefine our understanding of photography?
- What conceptual messages do these techniques convey?
- How do surface manipulations and on-camera distortions affect perception and meaning?
- How are institutions now making space for AI, and whether it’s something you would want to see?
- What kind of art will people own if it ever comes down to AI and photography?
As the AI debate rages on, as we have seen at Xposure, the more critical answer is to have more conversations about this discussion and ask serious questions to people around you. Awareness of phtoography, thus, will play a crucial role in how we adapt to AI and how much leeway we give the technology for its ill practices. As long as these conversations are being carried out and there is a better understanding of why phtoography and all the image-making practices are different, we may stand a chance to win the battle.
