The buzz around artificial intelligence has garnered a sizeable number of opinions. There are some photographers who do not wish to use AI in their work, even if it is just used as an assistant. As someone once said to The Phoblographer, the reason is that they “abhor” it. Then you have the other division of photographers, who would use AI, as long as it is being used ethically, and does not infringe the copyright of other photographers or artists. However, as the use of the latter is becoming more prominent, we reached out to seven photographers to get an idea of how one can navigate the situation in the most fair and moral manner. Here is a look at their responses and how you can include the practice, if it ever comes down to it, in your career.
What Photographers Agree On
Here’s a quick and brief look at the touchpoints about what all our seven photographers have agreed on:
- There’s a difference between generating and creating
- A photographer should absolutely be deeply involved in the process
- Assistive AI is absolutely fine
- Using AI to alter something and not totally generate it is fine because it just speeds up what you’d be doing anyway
- Declare that it’s being used and be honest
Amanda Powell
A photographer with years of experience, Amanda Powell is most well-known for her portrait, travel, editorial, experimental, and event work.
“AI, like anything, can be used as a tool. The biggest distinction I see is one between ‘generating’ and ‘creating.’ ‘Generating’ is to push a button that completes an entire process for you, not just one element of the process. Nothing is actually created by you in this process. ‘Creating’ would be when you use specific tools to help with aspects of your creation, and a high level of control/hands-on/etc is maintained in the process. Given these definitions, it would be incorrect for someone who ‘generates’ to call themselves an artist. A photographer using something like PS’s content aware fill to expand a canvas ratio for the goal of their creative photography (NOT photojournalism) or even using things like clonestamp, digital double exposure, etc—I would still view them as keeping control/vision/direction in the final result, and thus using these tools ethically. These lines are blurry, but they always are in the advent of any new technology, from using multiple negatives, dodging/burning for effect in the darkroom, to the more modern version of using cloning, content removal, etc in Adobe products.”
Łukasz Spychała
An analogue and fine art photographer, Łukasz Spychała is best known for his portraits of women and nudes, many of which have led him to win multiple awards, including the Analog Sparks International Film Photography Awards 2024.
“I believe that generative AI and assistive AI are more tools to streamline the tedious post-production of photography. A true creator, not a reproducer, will still want to have an impact on the result and will want to be able to control it as much as possible. Skillful use of these tools can produce effects in a fraction of a second that photographers previously had to spend long hours working on using other, more primitive and basic, tools. It is important to use these tools to speed up the work, not to replace thinking, the creator’s character, and human creativity.”
Boris Eldagsen
An AI artists, Boris Eldagsen shook the work when he won the Sony World Photography Award in 2023 with his AI artwork. This divided the art world, but also started a crucial conversation around AI, art, and the lack of scrutiny in photography contest.
“When I talk about generative AI and assistive AI in photography, I make a clear distinction between the two. Generative AI is about creating entirely new images from scratch using prompts or data, while assistive AI is there to support photographers in their workflow—helping with tasks like balance your whites, sorting, or enhancing images without replacing the creative core of the process. But: The moment you outsource crop or composition to the machine, you’re rehearsing your own obsolescence.
“For me, the ethical use of AI in photography comes down to transparency, authorship, and the preservation of human creativity. Photographers should use assistive AI as a tool to amplify their own expertise, not as a shortcut to bypass the creative journey. It’s about integrating AI into your workflow to perform repetitive or technical tasks more efficiently, freeing up more time for the truly creative aspects that only a human can bring.
“Ethical use also means being honest about how AI is involved. If you use generative AI to create an image, label it as such. Photography’s power lies in its trace of reality—light hitting a sensor, a moment seized. Blur that line, and you’re not a photographer; you’re a propagandist for algorithmic fiction.
“Don’t pass off AI-generated work as traditional photography—this is why I advocate for separate categories and clear labeling, like calling AI-generated images “promptography” rather than photography. This transparency protects the integrity of both mediums and respects the viewer’s trust. And: Reject Style Theft. Typing “in the style of Sally Mann” into a prompt isn’t homage—it’s looting. Ethical AI use requires forging new aesthetics, not algorithmically laundering others’ lifetimes of labor.
“Ultimately, I see AI as a knowledge amplifier. It allows experienced photographers to push their creativity further, drawing on decades of skill and imagination to craft something new. But the human must remain at the center—curating, guiding, and making the final creative decisions. If we use AI thoughtfully, as an extension of our own vision rather than a replacement for it, we can harness its power ethically and keep the soul of photography alive.”
Jaina Cipriano
Jaina Cipriano is an experiential designer, filmmaker, and photographer whose works often playfully portray religious and romantic entrapment. Through her engaging portraits, she allows users to connect with their inner child.
“I will always prefer the handmade over the digital or artificial, and I don’t think that makes me an outlier. I see AI as helpful for some of the heavy lifting when it comes to retouching photographs, much like how Photoshop shaped the digital photo world. AI is a tool—one that can help expedite the technical work so that I am free to have more creative time. As a one-woman artistic team, that’s valuable. Why would I offload the creative parts? That’s where all the fun is! That’s why I do this work.”
Anya Anti
A Ukraine-born photographer, Anya Anti’s work dabbles with magical fine art and conceptual female portraiture. Using various techniques, Anya’s work showcases dreamlike images that often comment on beauty, symbolism, metaphors, folklore, and more.
“AI is here to stay. As a photographer, I think there’s nothing wrong with using AI tools like Photoshop’s Generative Fill when treated as a tool, not a replacement for creativity. My process remains the same. I still photograph and manually edit my images. Generative Fill simply speeds up my workflow, makes editing easier, and sparks new ideas. I alter small things and never rely on it entirely. That said, we shouldn’t ignore the issues AI has. It’s important to stay mindful and vocal about the ethics of model training and data sourcing, and the environmental impact of these technologies.”
Efraïm Baaijens
One of the youngest photographers on our list, Efraïm Baaijens, captures the unseen beauty of the macro world. He has won the Hasselblad Masters 2023 Award and continues to strive to bring us more marvels of the little planet to us.
“AI can enhance photography, but it should never replace the photographer’s creative vision. Transparency is key; we must use AI as a tool, not a substitute. Photography is about human perception, emotion, and intentional choices—things AI cannot replicate. When applied consciously and respectfully, such as in noise reduction or a little retouch, AI can help elevate image quality without losing the soul of the craft. Honesty toward fellow photographers and viewers is essential as well.”
Thaddäus Biberauer
Thaddäus Biberauer is best known for his fairytale-like images of serene, urban landscapes from Europe and beyond. From wildflowers dancing in the wind to gloomy forests awaiting more visitors, Biberauer reminds us of the beauty of the wild that we are missing every day.
“Photography for me is about being present, walking, observing, and reacting with my camera. Creating, from the first shot to the finished piece, is personal and intentional or even accidental, but it’s mine. Making art without that hands-on experience, by simply prompting or copying, would not satisfy me. I admire experimentation, but I value honesty. Declaring AI use is crucial, especially when it blurs reality. In commercial photography, AI is probably used to save time and cut costs, which may be more threatening. I don’t use generative AI for my images, but I do use it for research and learning. I’m speaking from an artistic perspective.”
AI is Now an Integral Part of Our World
As we can see with the varied changes in the photo industry, AI is here to stay. Companies like Adobe, Shutterstock, and Visco are heavily invested in it, and it seems there is no turning back. However, the only way one can truly benefit is if they are able to integrate these changes into their workflow. But the stigma around the word ‘AI’ probably discourages many photographers from taking a stance. As each of the photographers has revealed, as long as you are using the technology in an ethical way, without harming others or peddling propaganda, you are good to go. Technology will advance, what matters is how it is being used and to benefit whom.
