“I’ve been constantly surprised over the last two years,” says ‘promptographer’, AI imaging expert, photographer, and videographer Boris Eldagsen. Eagle-eyed readers of our publication might recognize this name from our coverage of Boris’ entry into the 2023 Sony World Photography Awards. Boris was adjudged the winner of the Creative category for his image Pseudomnesia | The Electrician. I say image because soon after winning this, Boris boldly announced to the world that this wasn’t a photograph he snapped but an AI-generated creation. We caught up with Boris recently to understand what turns his life took after that controversy and what he sees in the future of photography.
All images by Boris Eldagsen; used with permission. Check out his website to see more of his photography. The lead image used is a portrait of Boris by Jan Sobottka
The Image That Shook The Photography World
Image by Alex Schwander
Soon after Eldagsen’s declaration last year, the announcement set off a firestorm, questioning the role of AI in photography and exposing the unpreparedness of traditional photo contests to handle this new technology. Our coverage of the incident was picked up by none other than the BBC and referenced in their article on the topic.
Photographer and blogger Feroz Khan took a particular interest in how the events of the past week unfolded. And he said he did not blame the artist for showing “there is a problem here in the photography industry”.
“For starters, most people have a tough time distinguishing AI-generated images from photographs (at least at first glance),” he wrote. “In a few months, it will probably become even harder to determine critical differences unless scrutinised.
“With this intention, Boris has stated that he wants photography contest organisers to have separate categories for AI images.
“I appreciate him for wanting this distinction in photo contests. Yes, he entered an AI image into the competition, but it doesn’t seem he was out to defraud anyone. He wanted to highlight an issue that certainly needs a lot more attention from everyone.”
He concluded that Eldagsen had “clearly shown that even experienced photographers and art experts can be fooled.”
We made no secret of the fact that the Sony WPA judges should have done far better in picking up on the fact that Boris Eldagsen’s entry was AI-generated. I certainly hope that this year’s edition of the contest doesn’t end up in similar fiascos. Boris was quite clear about his intention with his entry last year, and we were curious to know what he had been up to in the months since then.
What Was Boris’ Intention?
For Boris Eldagsen, the goal wasn’t to deceive; it was to start a conversation about AI’s place in photography and how unprepared many in the industry are for its rapid evolution. “Several things spurred me to do it,” Boris explains. “The unwillingness of the organizers to address the ‘elephant in the room’ and discuss the problems the photo community faces—or to disqualify me. And my wife’s cancer treatment. At some point, there comes a time when you don’t go along with every bullshit. How could I have been less courageous than my wife during her chemotherapy?”
Yet despite the global reaction, Boris says he received very little negative feedback directly. “There was virtually no backlash aimed at me personally,” he recalls, relatively unfazed. “I got one email that simply said, ‘You are a terrifying person.’ This email was one of two that remained unanswered. I took the effort to reply to all emails I received because of my refusal.”
For Boris, the incident did little to change his creative trajectory. “My art has always come from myself, relatively independent of whether it receives attention, praise, or criticism from outside. Creating images is a source of energy for me that I cannot do without. And so one project leads to the next.” His work remains deeply connected to exploring the human condition, delving into the psychological aspects that drive human behavior rather than current conflicts around the world.
What Has Kept Boris Eldagsen Busy Since Last Year?
Since the Sony WPA incident, Boris has shifted his focus toward even more provocative work. One of his most significant projects, Traumaporn, delves into the long-lasting effects of war. A collaboration with Tanvir Taolad, the project combines vintage photos from World War II with AI-generated images to explore the trauma passed down through generations. “The work tries to recreate the traumatic flashbacks of my father, who went to war when he was 16,” Boris shares. Traumaporn uses imagery from Nazi Germany and other historical contexts, blending it with AI to evoke the feeling of being trapped in a traumatic memory.
“Everyone in Europe has ancestors who were traumatized by war and never spoke about it,” Boris says, explaining the impact that silence has had on generations. “That has done something to us, unconsciously—no matter which side of the war a country was on. From a German perspective, there is also the guilt for all this suffering, which has made it even more difficult to come to terms with the trauma.” The project was one of the most positively received works of Boris Eldagsen’s career, resonating deeply with audiences.
Alongside Traumaporn, Boris Eldagsen has also worked on Neverending Stories, a series of AI-generated video loops that feel like something out of a psychological horror film. The videos create unsettling, dreamlike spaces, pulsing between memory and nightmare. “It’s as if Tarkovsky’s Stalker got hijacked by Camus,” Boris describes, laughing. The work plays with the idea of being stuck between waking and sleeping, where everything is familiar yet disturbingly off-kilter. According to Boris, it’s meant to feel like “you’ve wandered into a Hammer horror film on the brink of total existential collapse.”
Where Will AI Take Photography In The Future?
When asked about the ongoing debate surrounding AI in photography, Boris Eldagsen believes we’re only scratching the surface of what’s to come. “The digitalization of the 90s was the prerequisite for the AI-isation we’re seeing today,” he says. “AI will permeate all areas of life that we have digitized so far. It is one of the greatest technological revolutions of mankind, comparable to the invention of electricity. I still remember the collapse of the new economy very well—has the internet become less important as a result? No. It will be the same with AI. As far as image generation is concerned, anyone who knows their way around can now generate images that look like photography.”
He emphasizes that while documentary photography will always have a place, many other types of photography are already being replaced by AI-generated visuals. Universities, he points out, are even replacing traditional photography courses with broader digital imaging programs that incorporate CGI, 3D, and AI.
But despite his predictions about AI’s dominance in the future of photography, Eldagsen remains open to being surprised. “I’ve been constantly surprised over the last two years,” he admits. “My only prediction is that I will continue to be surprised in the future.”
Whether you agree with his methods or not, it’s clear that Boris Eldagsen’s work is shaking up the photography world. As AI technology continues to evolve, so too will Eldagsen’s art. Whether celebrated or criticized, his bold approach has made him a defining voice in the conversation about the future of visual storytelling.