However, OstLicht now says the auction was manipulated, prompting the long-time Austrian company to sever its relationship with its Chinese auction partner, Lidong Auction Ltd. In a statement on its website, OstLicht claims that Lidong Ltd. manipulated the auction bidding and results. The complete statement from OstLicht founder Peter Coeln is available below:
Carl De Keyzer made his name by capturing very real photographs from the Soviet Union, India, and the Belgian Congo. However, for his most recent project, De Keyzer swapped the camera for artificial intelligence imaging tools.
“More than 50 years later, I cannot understand why Mr. Carl Robinson, a fellow employee of the AP in Saigon at the time, would make up a story and claim I did not take that iconic photo, The Terror or War aka Napalm Girl,” he writes.
if photography is to survive, the community will need to institute rigorous measures to help certify what is real photograph from what is generated images
Below are the three broad approaches—technological, behavioral, and legislative—that can create an infrastructure supporting photography as a reliable witness. Each is described in more depth, highlighting specific tools and standards that could tangibly bolster trust in light-based imagery.
If you have had a visual currency that has been both believable and useful in making the lives of millions of people better, in helping to bring wars to an end earlier, in promoting civil rights, and in provoking global interventions when there’s disease or famine or earthquakes or other serious issues, rather than saying just that it’s been diminished in terms of its credibility, which it has been, I think the appropriate question is: What can be done to restore trust in it as a witness?
When Russia’s invasion of Ukraine stymied his travel plans, photographer Carl De Keyzer decided to take a virtual trip instead, creating a series of AI-generated images. He was unprepared for the consequences.
From his home, the lauded documentary photographer began to work on a collection of images about Russia with the help of generative artificial intelligence (AI). He was unprepared for the consequences.
Alleged editorial chats published by independent journalist Ken Klippenstein suggest the paper tried to limit the publication of photos of the accused shooter.
“We’ve had Mangione leading the site overnight (and the pic is very strong), but as more details have emerged, his profile matches one of a mass shooter more closely than anything else (mental health questions, shocking crime, manifesto, etc. etc.),” the photo editor said in the messages. “The news value and public service of showing his face are diminishing, compared with concerns of amplifying the crime and inspiring others — something we avoid with mass shooters in particular.”
As a research physicist from MIT, Stuart Sevier learned a lot about reality, technology, and perhaps most importantly, the perception of reality. He veered off his hardcore academic track to pursue the concept of reality from a more engineering-based perspective, ultimately founding Atom Images and working with a talented team to build the Atom H1, a tool built for photographers to capture trusted, authentic images in a world where the line between real and fake is becoming blurrier by the day.
The response to the podcast was immediate — so fast that it isn’t even possible that a majority of those who left comments and hit the dislike button could have listened to the whole podcast. Simply for setting foot in Adobe’s building, we were called shills as the hate flowed in. It feels very much like a “shoot the messenger” situation — one I’ve been in before, but that doesn’t make it any easier to come to terms with.
Over the past few weeks, we’ve compiled the questions you want Adobe to answer related to its push into AI, recent controversies, and the state of photography in general. We had a chance to sit down with Maria Yap, Adobe’s Vice President of Digital Imaging, to give the company a chance to respond.
The scientists say that when a camera operator appears on screen, it “detracts from critical game moments” and could lead to “revenue losses for broadcasters because of viewer dissatisfaction.”
BNN Breaking had millions of readers, an international team of journalists and a publishing deal with Microsoft. But it was full of error-ridden content.
During the two years that BNN was active, it had the veneer of a legitimate news service, claiming a worldwide roster of “seasoned” journalists and 10 million monthly visitors, surpassing the The Chicago Tribune’s self-reported audience. Prominent news organizations like The Washington Post, Politico and The Guardian linked to BNN’s stories. Google News often surfaced them, too.
One person who is not bothered by the winning photo is Shani Louk’s father, Nissim. He told Ynet News that it’s good that the image of his deceased daughter won the prize because it is “one of the most important photos in the last 50 years.”
“At closer inspection it appears that the source has manipulated this image,” wrote the AP in a so-called kill notification. AFP cited an “editorial issue,” and said that the photo “may no longer be used in any manner.” News outlets that had run the photograph, including The New York Times and The Washington Post, subsequently took it down.
Today we chat with A. D. Coleman, photography critic and historian, about the history, legacy and controversy of the famous Robert Capa. Known for his groundbreaking photography of the D-Day invasion in 1944
The huge list includes thousands of artists’ names; among them are scores of photographers — both living and dead — whose styles Midjourney apparently wanted to copy so that users of its AI image generator could make AI pictures in the style of that photographer.
Even as a camera gives you considerable power — you literally get to shape how other people will be seen, it is very difficult for many photographers to be mindful of it, in particular when being confronted with the power a father figure seems to exert (even if in reality that power might have now waned if not outright disappeared).
This drives us to the core issue: what is that trust’s value? Does a photograph that contains that certificate have more value than one that doesn’t? And if so, how much more?
In a series of three essays published in 1991, the philosopher Jean Baudrillard argued that the Gulf War, which ended up with more than a hundred thousand dead Iraqis, had not really taken place. In his inimitable fashion, his argument was filled with internal contradictions, annoying trolling (Baudrillard had initially written that the Gulf War would never actually happen, which, of course, it did), and some pockets of real clarity. His ultimate argument was that what had taken place wasn’t so much a war but a one-sided aerial slaughter that was scrubbed clean through intensive media control. What people in the West saw were so-called live feeds of missiles and aerial assaults fuelled by new forms of technology, whether the Patriot missile or the stealth bomber. The war was communicated to us almost like an advertisement for a new car—here are all the new features, and here are the salesmen in the form of generals or foreign-policy experts paraded on cable news. We did not see slain enemy combatants, destroyed civilian homes.
