Abstract

In artificial-intelligence (AI) and computer-vision research, photographic images are typically referred to as natural images. This means that images used or produced in this context are conceptualized within a binary as either natural or synthetic. Recent advances in creative AI technology, particularly generative adversarial networks and diffusion models, have afforded the ability to create photographic-seeming images, that is, synthetic images that appear natural, based on learnings from vast databases of digital photographs. Contemporary discussions of these images have thus far revolved around the political and social implications of producing convincing fake photographs. However, these images are of theoretical interest for the fields of art history and visual studies for additional reasons. AI-generated photographic images resonate with many of the classic themes in photography: nature and the real, the unconscious and the uncanny, and discourses of power. This article therefore seeks to answer the question: Can photorealistic AI-generated images be defined as photographs? I argue that AI-generated photographs do indeed belong within in the wider discourse of photography, given their form and interpretation.