In reality, AI has long existed in photography through software used for editing and restoration. According to a survey by American magazine PetaPixel, over 65% of commercial photographers have used at least one AI tool in their editing process. However, the emergence of generative AI tools which can produce near-instant images with perfect composition, refined lighting, and deep expression from just a short text prompt — has made it possible to create visuals without the use of any photographic equipment.

While such images can be created and used for various purposes, many photographers agree that they should not be considered art.

Photographer Le Viet Khanh (Ha Noi) argues that photography is not merely the creation of visual imagery on a surface, but that each photograph carries emotional depth, thought, lived experience, and the presence of specific people and places that the photographer wishes to share.

Photographer Huynh Van Truyen (Da Nang) further emphasised that if images are intended to serve abstract, surrealistic concepts or advertising graphics, AI can be a highly effective tool — but authors must clearly state the involvement of AI when presenting their work.

Beyond the cultural aspect, questions of copyright and the use of AI are also being raised. To generate images, AI “learns” from vast datasets containing millions of photos found online — the majority of which belong to photographers or copyright-holding organisations. This leads to the risk of copyright infringement, as original works are used as input without the owner’s permission.

Global lawsuits and debates surrounding AI-generated works and secondary copyright show the urgent need to revise legal frameworks in light of AI’s growing influence in the arts, including photography. In Viet Nam, the Law on Intellectual Property does not yet contain any specific provisions regarding AI-generated works.

As AI-generated images become widespread and indistinguishable from real photographs, the question of transparency in authorship and professional ethics continues to pose challenges to both creators and the public.

As the legal framework has yet to keep pace with technological developments, some photography organisations and communities in Viet Nam have proactively changed and adapted. At the 2024 Viet Nam Art Photography Exhibition, the organisers announced that works involving AI would not be accepted.

Machines can help humans create faster and with better quality, but they cannot replace the artist’s emotions and heart.

Deputy Minister of Culture, Sports and Tourism Ta Quang Dong

Tran Thi Thu Dong, Chairwoman of the Viet Nam Association of Photographic Artists, frankly admitted that even among jury members and experienced practitioners many still lack a deep understanding of AI, making the evaluation process particularly challenging.

Visual artist and lecturer Nguyen The Son remarked: “Images generated or modified by AI tools are becoming increasingly refined and will inevitably form a part of photography. Some countries have already accepted this and are holding exhibitions exclusively for AI photography.” Incorporating AI into art lectures, he suggested, could help emerging photographers understand, master, and use technology appropriately.

Deputy Minister of Culture, Sports and Tourism Ta Quang Dong has affirmed: “Machines can help humans create faster and with better quality, but they cannot replace the artist’s emotions and heart.”

In photography, beauty lies not only in the image itself but also in the photographer’s journey to seek out and capture the moment. Preserving transparency in artistic photography in the AI era is not an act of conservatism, but a necessary effort to safeguard fundamental values: fairness in creation, audience trust, and the standing of art as a language deeply rooted in humanistic ideals.