Artificial intelligence entered my life not as a gadget, but as a second mind to talk to: it helps me organise plans, keep track of things, and arrange the world I photograph. It began five hundred years ago with Leonardo — and today it leads to a workshop made of silicon.
There is nothing frightening in it for me: the camera, too, was once supposed to replace painters. Technology takes only what was mechanical; what is human — the eye, curiosity, taste — remains, and grows in value.
For a photographer, AI is like good weather: it will not take the picture for him, but it can help foresee the light, tidy the archive, and remind him of everything that slips away. The rest belongs to the man with the camera.