I hear you but the camera can be very unforgiving in the way it freezes a moment and at high resolution, allowing the viewer to see things they wouldn't normally notice. This is especially true of very high resolution cameras we have now.
The tool also nicely lets you adjust the level of enhancement.
Such manipulations have been around for decades. Ansel Adams famously said, "the negative is comparable to the composer's score and the print to its performance." He hugely valued post processing in the dark room. We are doing the same here.
Traditionally, it took an expert in Photoshop to be able to perform such optimizations. AI is allowing everyone to be able to do that.
Amir, be careful about using Adams in this context. His assumption was maintaining an indexical relationship between the subject and the image, and his "performances" changed tone, boundaries, and occasionally the removal of small details, but it never involved adding components to the image that were not in the original scene (or in some other original scene, even of his own making). It had nothing to do with "truth" in the photojournalistic sense, though that is also a thing. He was always a proponent of being unapologetic about the process of photography, primarily that it renders what is there sharply on the film, as opposed to painting, where the artist had control over what subject elements were included and how they were placed and represented. That implies maintaining an indexical link from subject to image, and was one of the principles of Group f/64 which he founded.
What AI does is more akin to what Jerry Uelsmann did by surrealistically merging images from several sources into a single image. Uelsmann's work has always straddled boundaries, but attempts to identify the boundary it straddles usually lead nowhere. In any case, however, the elements of subject details that he composited together were still his own works, and that seems to me a key point.
(source: Uelsmann.net)
I think it's safe to say that when Photoshop is using material created by someone other than the photographer, and even unknown to the photographer, then the photographer can no longer claim that the work is their own intention. Painters didn't like photography in art museums because they though it was just a tool for people who couldn't draw, but that's an argument of technique, not intentional content. Here, though, when AI puts a "random" face on a photograph--that is, imagery created by someone else with no indexical relationship to subjects the photographer's camera pointed at--it has become a part owner of the art creation process. For utility photography, that may be useful, but the photographer loses some of his rights to claim the work, it seems to me.
If I make a photo of, say, Delicate Arch, which has been photographed 4.895 bazillion times, and then ask AI to spruce it up, the AI engine might well go appropriate a photograph taken from the same location (and all the locations have been used) made on a day when the lighting was better and the clouds prettier, and just replace mine altogether. It would certainly be an improvement. But that would not be a matter of technique, and the indexical relationship between my camera and the scene would be broken.
In this photo (originally made on film), I used Photoshop to remove a couple of tourists that had entered the frame. I could have asked AI to do the same these days. If it did what I did, which is blend the surrounding detail into the images of the tourists, then it maintains the indexical relationship between the subject and the image, even if it is altered. The healing brush in Photoshop does exactly that, and that would fit Adams's concept. But if it went out and found some other photograph to overlay over mine, then that connection is lost.
(Paul Raphaelson used to participate in this forum--he is much more of an expert on this topic than I am.)
Rick "lots of debate in the photography world" Denney