World Press Photo excludes AI-generated images from its photography contest

World Press Photo Modifies Rules to Exclude AI-Generated Images

In a recent development in the ongoing debate surrounding artificial intelligence (AI) in photography, the renowned World Press Photo contest has made changes to its rules. The contest, which has been selecting the best journalistic photo of the year since 1955 in Amsterdam, has decided to exclude AI-generated images from all its categories for the 2024 edition. The submission period for the contest will open on December 1. The decision aims to address the issue of AI-generated images that can deceive viewers by appearing real. However, the contest’s Open Format category, which promotes new visual narratives, allows for the inclusion of elements as long as traditional lens-film/sensor technology is used. While the organization is committed to maintaining source reliability and avoiding deception, this decision has reignited the controversy surrounding image manipulation in journalism.

World Press Photo: A Prestigious Competition with Strict Criteria

World Press Photo is widely regarded as the most prestigious competition in its field. However, it is important to note that it is not a photography agency and only accepts work from professional photographers. While a press card is not required, photographers must provide a detailed description of their work when submitting images. Andrew Davies, the head of communications for World Press Photo, emphasizes that the first line of protection is the detailed description provided by the photographers. The second barrier consists of a jury, independent researchers, and forensic analysis of each image. According to Davies, a photo should capture something that has actually happened, and AI-generated images do not fall under this definition. Therefore, AI-generated images are excluded from the contest, while innovative techniques, montages, collages, and alternative procedures are allowed in the Open Format category.

AI-Generated Images and the Gray Area

While World Press Photo aims to ensure transparency and authenticity, Davies acknowledges that there may be individuals who attempt to break the rules using unexpected techniques. He refers to this as a «gray area.» Although the contest primarily focuses on journalistic and documentary images, it recognizes the impact of AI. As long as AI does not violate ethics or the trust of the jury and audience, it can be showcased in the Open Format category. However, it is important to note that the photograph taken with a lens remains the central and original source of the project.

A Controversial Case: AI-Generated Sepia Image

Boris Eldagsen, a German photographer, won the annual Sony World Photography Awards competition earlier this year with an AI-generated black and white and sepia-toned image of two women. Despite winning in the creative category, Eldagsen decided to decline the award and initiate a debate. He firmly believes that AI-generated images are fundamentally different from classical photography and should not be considered as such. Eldagsen’s decision highlights the ongoing discussion surrounding the distinction between AI-generated images and traditional photography.

Instances of AI-generated images mistakenly making their way into media outlets have also raised concerns. Last August, a Dutch public television program unintentionally included an AI-generated photo of penguins in Antarctica. The photo appeared real, but it was not. Wilma Haan, the deputy director of the program, admitted that they had failed to properly verify the image. Vincent Mentzel, an acclaimed photographer in the Netherlands, emphasizes the importance of trusting the sources of photos and warns about the potential manipulation of viewers through AI-generated images.

Photography, Manipulation, and the Role of AI

Mirjam Kooiman, the curator of the Foam Museum of Photography in Amsterdam, highlights the historical association between photography and manipulation. However, she emphasizes the need to understand the social implications of AI and encourages a critical approach towards technology. Kooiman believes that basic knowledge about the workings of technology should be mandatory in schools. She acknowledges that while fake news is not a new phenomenon, the ease with which AI can generate visually deceptive content is unprecedented. Kooiman argues that AI challenges our relationship with reality through images. Although she does not consider AI-generated images as traditional photographs, she believes they can be considered «photographic» due to their reliance on the historical archive of photography. Kooiman suggests that the notion of photography itself needs to be reevaluated in light of AI’s influence.

The Dutch Photo Museum in Rotterdam organized a discussion on AI and its impact on photography. The question of whether a machine can be a photographer was raised. The response from ChatGPT, an AI application specialized in dialogue, emphasized the importance of human creativity and perspective in photography. While AI has made photography more accessible and versatile, it cannot replace the creative vision and intuition of human photographers.

Vincent Mentzel recalls an incident where he colored tulips red in a black-and-white newspaper photo of an artist at the piano, which sparked anger among editors due to the modification of reality. Mirjam Kooiman agrees that the emergence of AI underscores the need for increased scrutiny of photo sources in the media. She believes that photography museums have a significant educational responsibility in fostering critical thinking towards photorealistic images. World Press Photo emphasizes the importance of ethics and ensuring that the jury is aware of the authenticity of a photo and any additions made to it.

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