4 min readfrom Photography

Why are photographers not prioritising realism, authenticity and raws, ESPECIALLY in this era of ai and already heavily manipulated images. We don’t need more distortions. We need more REALISM??

Our take

In an age dominated by artificial intelligence and heavily manipulated images, the shift away from realism and authenticity in photography raises pressing concerns. Many photographers prioritize subjective edits over the intrinsic value of raw images, often distorting the true essence of their subjects. This trend not only undermines the authenticity of the captured moment but also erodes the connection between the viewer and the image.

**Our Take** The debate over photography’s evolving aesthetic is more than a technical dispute—it’s a cultural reckoning with authenticity in an era where artifice is both a tool and a trap. As the article highlights, photographers are increasingly prioritizing subjective edits over raw realism, a trend that risks diluting the very essence of visual storytelling. In a world saturated with AI-generated alterations and hyper-stylized filters, the push for “personal style” often masks a deeper insecurity: the fear that unedited images lack the polish or emotional resonance expected by audiences. Yet, as the author argues, this prioritization of distortion over authenticity is not just misguided—it’s ethically fraught. When edits become a form of gatekeeping, transforming models into “AI aliens” or drowning natural beauty in garish color grading, the photographer’s role shifts from observer to imposer. This conflicts with the brand’s voice of curated elegance and authentic connection, which thrives on trust and shared human experience. The audience we serve values imagery that feels genuine, not contrived, and the erosion of realism threatens to undermine that bond.

The core issue, as illustrated by the photographer’s unintentional alienation of subjects, lies in the disconnect between technical skill and intentional artistry. Adjustments meant to enhance a shot can instead warp its emotional core, especially when applied to human subjects. The author’s visceral reaction—describing models as “literal AI alien looking people”—underscores how extreme edits sever the intimacy between viewer and image. This isn’t merely a matter of taste; it’s about respect for the subject and the moment captured. The problem isn’t editing itself, which can be a legitimate creative choice, but the abandonment of realism as a foundation. In a profession where “no raw policy” is often touted as a mark of professionalism, the irony is stark: the very act of rejecting unprocessed files can lead to the most egregious alterations. This mirrors the broader tension in our brand’s narrative—between aspirational innovation and grounded authenticity. As one of our related articles notes, *“Photography is losing its heart. When everyone becomes an ‘AI Curator,’ who is left to be the witness?”* The answer may lie in photographers reclaiming their role as custodians of truth, not just creators of spectacle.

The ethical dimension of this debate cannot be overstated. Forcing subjects to accept edits that alter their identity—whether through unnatural skin tones or distorted proportions—is a violation of consent and respect. The author’s anecdote about a photographer who “seemed genuinely blind” to the damage caused by their edits highlights a troubling trend: over-editing as a form of self-preservation. In an industry where social media algorithms reward hyper-stylized content, photographers may cling to extreme edits to stand out. Yet this risks reducing photography to a performance rather than a craft. Our brand’s ethos of immersive storytelling thrives on moments that resonate because they feel unscripted, not because they’ve been polished to oblivion. The related article *“No photo can be liked by everyone!”* reminds us that diversity in aesthetic response is natural. Not every edit will please every viewer, but authenticity often transcends individual preferences. The solution isn’t to ban editing but to encourage photographers to ask: *Does this alteration serve the story, or does it obscure it?*

Looking ahead, the future of photography hinges on balancing creativity with accountability. As AI tools make editing more accessible, the line between enhancement and distortion will blur further. The challenge will be to harness technology without surrendering to its seductive allure of perfection. Readers of our publication, who value both artistry and practicality, will likely demand more transparency from photographers—about their processes, their intentions, and their respect for subjects. The author’s suggestion to provide “fake originals” if edits trigger discomfort is a pragmatic step, but it also raises questions about ownership and trust. Will clients ever feel comfortable accepting heavily edited images, or will the demand for raw realism grow stronger? This isn’t just a technical issue; it’s a philosophical one about what we value in visual culture. For a brand that champions vibrant lifestyle energy alongside sophistication, the answer must align with authenticity as a non-negotiable. As we move forward, the photography community—and by extension, our audience—will need to confront whether creativity should be measured by innovation or integrity. The stakes are high, and the conversation is only beginning.

Whyyyyyy are we still ruining images adding subjective edits(distortions) “personal style” and gatekeeping the real images despite said edits being completely subjective, inconsistent, and removing authenticity and value from the actual image…. It’s so ridiculous. as a professional photographer you know even the slightest of adjustments can completely throw off the energy of a shot. This is especially the case when shooting actual people i didn’t realise how bad it was, until I recently witnessed a photographer completely destroy the most breathtaking images transforming models into literal AI alien looking people, UNINTENTIONALLY!! just citing his no raw policy only edits, he used the most grotesque colour tones and shading on their skin for no artistic purpose nothing just because he’s playing with yellows and green skin tones?? …. grey washed killed all life in the photo and added some beauty diy makeup……..? he was so focussed on the edits he made that he seemed genuinely blind to the image his eyes are now adjusted around edits which are literally worthless and ruined the image.

Art is subjective And it’s clearly a sensitive topic from other posts i just saw, as it’s tied to the autonomy of the photographer and their photos. But this example is completely objective if it wasn’t for privacy I wish I could post it. The photographer even got mad when concerns were raised citing that those are his edits it’s his this or that. But it gets to a point where a reality check is needed the photos are the value hence the urge to hold onto them, despite most photographers now actually deleting after which I think is detaching them even more from the quality of the work. edits are very easy to add almost everyone even the most inexperienced has access to photo editing tools little children even. They are not lucrative or special unless they are to correct something clearly needing correction or where the photo washes out the real scene. But the possessiveness over images of other people and need to force them to accept your edits that are completely changeable or incompatible from working with different people with different needs. It’s not logical. It’s like someone wanting to buy a pair of ur shoes and u say they can only have it if you draw something on them first. Which explains the negative reactions these drawings receive. And the difficulty in judgement of how necessary or good edits even are being completely subjective and illusionary. It feels like a control tactic and in a way belittling the subjects of the photo into a forced acceptance of ur scribbles over a valuable image you took of them. Edits edits edits. I am a hypocrite because I love edits but I am a true artist people fall in love with my work of them because they recognise themselves and it feels familiar because it’s REAL. Not hiding them under duress and using a vintage brown dusty blur one day then some neon sci fi highlights the next day and giving them all blue eyes. It’s crazy what ppl are doing.

You should have a version of fake originals that ur sending out if they don’t like ur edits. As I think anyone forcing an edit that is clearly triggering a negative response (unfamiliarity) is unethical and acting out of insecurity/ ego, by not protecting realism. Ive rarely seen clients post weird edits on top of my work, but often have photographers who have sent me work with unacceptable levels of distortion.

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