So AI has already begun to infiltrate the field of photo history. I suspect the full onslaught of AI degradation lies not far ahead. And it ain’t pretty. For the moment, I’ll just make this prediction regarding Capa D-Day-related AI slop: Après ça, le déluge. […]
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In short, photographs carry an implicit documentary value and evidentiary function that lens culture everywhere certifies. Which is why what the VII Foundation, the Associated Press, and World Press Photo have achieved in their collective efforts on the making of “Napalm Girl” matters, deeply, regardless of their flaws. […] Michals embraced the theatrical frame and the directorial mode; for him the viewfinder is a proscenium, models are dramatis personae. Another benchmark of his work is its exploration of the forbidden. A third is his insistence on stretching the boundaries of what a photograph is allowed to be. A fourth is the profoundly sacral essence of his seemingly profane and deeply disturbing vision. […] This is a variously evasive and duplicitous account of a slipshod experiment on Timothy Floyd’s part, laughably inept in comparison with the strictly controlled tests conducted by Tristan da Cunha, whose protocols and documentation Floyd’s effort doesn’t come close to matching. […] We should hold neither Mark Osterman nor Robert Shanebrook responsible for Floyd’s sly, deceptive elisions and misdirections in this inept effort to validate the “darkroom disaster” myth and rebut our dismantling thereof. Surely they had no say in the matter. […] |
 SPJ Research Award 2014 |