„AI-generated images are not photography” – Interview with Boris Eldagsen

B.L.

When and why did you start experimenting with AI-generated images? What inspired you to do so?

B.E.

I started experimenting with AI-generated images in 2022 because of my ongoing project TRAUMA PORN. It addresses trauma as a long-term consequence of war and uses vintage photography from Nazi Germany and World War II as source material for AI-generated and experimentally altered imagery. I also wanted to see if AI-generated images could become a part of this project. This is why “THE ELECTRICIAN” has a 1940s vibe. Additionally, my philosophical interest in the 'human condition' and my past collaborations with fellow artists played a big role in shaping my approach to AI.

B.L.

What message did you intend to convey by submitting an AI-generated image to the competition? Was your goal to challenge the photography community?

B.E.

By submitting an AI-generated image to the Sony World Photography Awards, my goal was to spark a critical discussion about the impact of AI on photography. I wanted to test whether photography competitions were prepared to handle AI-generated content and to highlight the urgent need for clear distinctions between photography and AI imagery. I wanted to help the photo community, to kick-off a conversation that was desperately needed. When I refused the award, I wanted to make a strong statement: AI-generated images and traditional photography are fundamentally different and should not compete in the same categories.

B.L.

How has your life and career changed since *PSEUDOMNESIA: The Electrician* won the award?

B.E.

Winning—and then rejecting—the Sony World Photography Award in 2023 completely changed my life and career. I’ve become a central voice in global discussions about AI’s impact on photography, and my actions have sparked a massive debate about the boundaries between AI-generated art and traditional photography.
Now, I focus on the future of creativity and help to define the remaining strengths of photography, those that AI will not be able to replace. I just curated the exhibition “RIVALS – Photography vs Promptography” for European Month of Photography Berlin. The exhibition works as a toolbox that the photography and promptography community can use and develop - to further differentiate what the strengths of each media is.

B.L.

Do you think AI-generated images can become part of photography, or should they be considered a completely separate art form?

B.E.

AI-generated images should be considered a completely separate art form. That’s why I coined the term *promptography*—to distinguish AI-generated works from traditional photography. The two processes are fundamentally different. Photography is about capturing light and engaging with the external world, being present, while promptography exists entirely in a digital realm, driven by algorithms and text prompts. It’s strength is to express an inner journey, a psychological approach. Each medium has its own merits and applications, and blending them under the same category only creates confusion.

B.L.

What ethical or controversial issues do you see in the relationship between AI art and photography?

B.E.

There are several major ethical and controversial issues that AI brings into photography:

1. Blurred Boundaries

AI-generated images and traditional photography are not the same thing. AI doesn’t engage with light or reality the way a camera does, which is why I argue for a clear separation between photography and “promptography”.

2. Copyright and Ethics

Many AI platforms are trained on copyrighted material without proper consent, which raises serious ethical questions. Artists’ work is being used without their permission or compensation, and that’s a major issue.

3. Transparency

AI-generated images need to be clearly labeled to prevent deception. We need quality control to determine whether an image has been AI-processed to ensure authenticity in photography.

My goal is to push for these discussions and advocate for ethical standards as AI continues to evolve.

B.L.

Are there any AI tools or technologies that you find particularly exciting? How do you see this field evolving?

B.E.

I find AI tools like Flux, MidJourney, and Magnific incredibly exciting.
Looking ahead, AI will define what is left of photography. Many non-documentary forms of photography will likely be replaced by AI-generated visuals. AI will become an essential part of creative workflows, making production faster and more cost-effective.

B.L.

What kind of reactions have you received from the photography community and the general public? Were there any opinions that particularly surprised or made you think?

B.E.

The reactions have mostly been positive. Around 90% of the feedback I’ve received has been supportive. People appreciate that I sparked this debate and pushed for clearer distinctions between AI-generated images and traditional photography. It showed me just how much people were already thinking about these issues, and it encouraged me to keep pushing for deeper discussions around AI in art.

B.L.

What advice would you give to artists and photographers who want to experiment with AI-generated images?

B.E.

If you’re an artist or photographer interested in AI, approach it with curiosity and creativity.

Experiment Freely: Even if most people generate pictures with reference images - play with text prompts and different parameters to see what’s possible. The more people outsource text prompts to AI, the more their work will look the same. Those who really know how to text prompt will be able to stick out.
Use Your Expertise: AI isn’t a replacement for artistic skill. It amplifies what you already know, so bring your artistic background into this new space.
Be Playful: I recommend using absurd, surreal prompts to generate unexpected results. Embrace randomness and surprise.
Adapt AI Into Your Workflow: AI can save time and costs, so integrate it into your creative process in a way that enhances your work.
Most importantly, understand that AI-generated images are not photography. They deserve their own space, their own terminology, and their own debate. That’s why I continue advocating for *promptography* as a distinct category—so that we can appreciate AI’s creative potential while respecting photography’s unique role.

„AI-generated images are not photography” – Interview with Boris Eldagsen

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