10 Ways Social Media Destroyed Photography

10 Ways Social Media Destroyed Photography

Photography once demanded patience, skill, and genuine artistic vision, but social media platforms have systematically dismantled these foundations in favor of instant gratification and algorithmic manipulation. What was once a revered art form requiring years of technical mastery and creative development has too often been reduced to a quick-hit dopamine delivery system where engagement metrics matter more than artistic merit.

1. Instant Filters Replaced Technical Mastery

The emergence of one-tap filters has fundamentally undermined decades of photographic education and skill development. Where photographers once spent years learning to understand natural light, mastering exposure triangles, and developing an intuitive grasp of color theory, modern social media users can now achieve superficially impressive results with a single finger tap. This technological shortcut has created a generation of "photographers" who have never learned the basic principles that separate amateur snapshots from professional imagery.

Traditional photography education emphasized understanding how aperture, shutter speed, and ISO work together to create properly exposed images. Photographers learned to read light conditions, anticipate how different settings would affect their final image, and make split-second technical decisions that demonstrated their mastery of the medium. They understood concepts like depth of field, hyperfocal distance, and the relationship between focal length and perspective. These skills required practice, experimentation, and often expensive mistakes that taught valuable lessons about the craft.

Social media filters have eliminated this learning curve entirely, creating an artificial ceiling for photographic development. Users become dependent on preset algorithms to enhance their images, never developing the critical eye necessary to recognize good light, composition, or color balance in their original captures. The result is a homogenized aesthetic where technical proficiency is replaced by algorithmic processing, and the photographer's role is reduced from artist to content curator. This shift has devalued the expertise that professional photographers spent years developing and has created unrealistic expectations among clients who believe that professional results should be achievable with minimal effort or investment.

2. Likes Became More Important Than Artistic Merit

The quantification of artistic appreciation through likes, hearts, and engagement metrics has fundamentally corrupted the relationship between photographer and audience. Photography, traditionally judged by its emotional impact, technical excellence, and artistic vision, is now evaluated primarily through algorithmic popularity contests that have no correlation to artistic quality. This shift has created a feedback loop where photographers modify their artistic choices based on what generates the most engagement rather than what best expresses their creative vision.

The psychological impact of this metrics-driven evaluation system cannot be overstated. Photographers find themselves checking their phones obsessively, refreshing feeds to see if their latest post has gained traction, and feeling genuine disappointment when a technically excellent or emotionally powerful image receives fewer likes than a hastily shot selfie or trending meme. This constant external validation seeking fundamentally changes the creative process from an internal artistic journey to an external performance designed to maximize social approval.

Likes and follower counts.
Perhaps most damaging is how this system teaches photographers to prioritize immediate visual impact over depth, meaning, or technical excellence. Images that perform well on social media tend to be high-contrast, oversaturated, and immediately readable on small screens while scrolling quickly through feeds. Subtle compositions, complex narratives, and technically challenging shots that reward careful viewing are systematically punished by algorithms that prioritize engagement rates over artistic merit. The result is a photography landscape dominated by shallow, immediately consumable content that lacks the depth and complexity that defines great art. Photographers who refuse to adapt to these metrics-driven demands often find their work buried by algorithms, creating a survival-of-the-most-engaging environment that actively discourages artistic risk-taking and experimentation.

3. Vertical Format Dominated Traditional Composition

The rise of Instagram Stories, TikTok, and mobile-first content consumption has forced photographers to abandon centuries of compositional wisdom in favor of vertical formats that feel fundamentally unnatural to human vision. Our eyes evolved to see horizontally, with a field of view that is significantly wider than it is tall, making horizontal compositions feel intuitive and comfortable. The golden ratio, rule of thirds, and other fundamental compositional principles were developed around horizontal formats that complement human visual perception and create more balanced, harmonious images.

Vertical photography presents unique compositional challenges that many social media photographers simply ignore rather than master. Filling a vertical frame effectively requires different approaches to leading lines, subject placement, and background management. The compressed vertical space makes it difficult to create depth through traditional perspective techniques, and the narrow field of view can make landscapes and architectural photography feel cramped and claustrophobic. Professional photographers who understood these limitations worked to overcome them, but social media culture has normalized awkwardly cropped or poorly composed vertical images that would have been rejected by any serious photography publication.

The dominance of vertical format has also led to the widespread practice of shooting horizontally and then cropping to vertical for social media, resulting in significant loss of image quality and compositional integrity. Photographers find themselves constantly second-guessing their natural compositional instincts, wondering whether their carefully composed horizontal image will work when brutally cropped for vertical platforms. This dual-format thinking creates a mental split that prevents photographers from fully committing to either format, resulting in compromised images that serve neither traditional artistic vision nor social media requirements effectively. The pressure to create content that works across multiple aspect ratios has led to safer, more centered compositions that avoid the edges of the frame, ultimately producing less dynamic and visually interesting photography.

4. Speed of Consumption Killed Contemplative Viewing

Social media platforms have engineered their interfaces to maximize scroll-through rates, creating an environment where photographs are consumed in fractions of a second rather than contemplated and appreciated. This fundamental shift in viewing behavior has transformed photography from a medium that invited deep engagement and reflection into a fast-consumption product designed to deliver instant gratification. The average user spends less than two seconds viewing each image in their feed, barely enough time to register basic subject matter, let alone appreciate compositional nuances, technical excellence, or emotional depth.

Traditional photography appreciation required time and attention. Gallery visitors would stand before prints for minutes, discovering new details, appreciating subtle tonal gradations, and allowing the emotional impact of the image to develop gradually. Photography books were designed for slow, deliberate viewing, with careful sequencing that built narrative and emotional momentum across multiple images. This contemplative approach allowed viewers to develop visual literacy, learning to recognize technical mastery, artistic innovation, and emotional authenticity through repeated exposure to high-quality work.

The speed-optimized consumption model of social media has effectively trained viewers to expect immediate visual gratification, creating a generation that lacks the patience and skills necessary for deep photographic appreciation. Complex compositions that reward careful examination are overlooked in favor of images that deliver their entire impact within the first second of viewing. This has created a feedback loop where photographers simplify their work to accommodate shortened attention spans, further degrading the overall quality and depth of photographic content. The loss of contemplative viewing has also eliminated the educational aspect of photography consumption, where viewers once learned to appreciate technical and artistic excellence through extended engagement with superior work. Instead, social media creates an environment where mediocre but immediately accessible content often receives more attention than technically superior or artistically challenging photography.

Social media algorithms, designed to maximize engagement and platform retention, have created a homogenizing effect that rewards conformity over creativity and punishes artistic risk-taking. These algorithmic systems analyze successful content and promote similar material, creating feedback loops that gradually narrow the range of photographic styles deemed "successful" on each platform. Photographers quickly learn which aesthetics generate the most engagement and begin modifying their work to match these algorithmic preferences, resulting in a landscape dominated by visually similar content that lacks individual artistic voice.

The algorithmic preference for certain color palettes, composition styles, and subject matter has created distinct "Instagram aesthetics" and "TikTok styles" that are immediately recognizable across millions of posts. Orange and teal color grading, centered compositions, oversaturated landscapes, and specific portrait lighting setups became ubiquitous because the algorithm identified them as engagement drivers. Photographers who develop unique artistic voices that don't align with these algorithmic preferences find their work systematically deprioritized, creating economic pressure to conform to platform-preferred aesthetics even when doing so contradicts their artistic vision.

This homogenization has stifled the diversity and experimentation that historically drove photographic innovation. Great photographers of the past developed distinctive styles through years of experimentation, often initially receiving criticism before their innovative approaches gained recognition. Social media algorithms eliminate this natural artistic evolution by providing immediate feedback that discourages deviation from proven formulas. The result is a photography landscape that increasingly looks similar across different photographers, with individual artistic development sacrificed for algorithmic optimization. Young photographers entering the field learn to mimic successful styles rather than developing their own vision, creating a generation of technically capable but artistically homogeneous content creators who prioritize platform performance over personal artistic growth.

6. Influencer Culture Prioritized Subjects Over Photography

The rise of influencer culture has fundamentally shifted photography's focus from the photographer's skill and artistic vision to the subject's marketability and lifestyle appeal. This transformation has reduced photography to a supporting role in personal branding exercises, where the quality of the image becomes secondary to the attractiveness, lifestyle, or social status of the person being photographed. Professional photographers find themselves competing not with other skilled professionals, but with attractive individuals who can generate engagement regardless of their technical or artistic abilities.

This subject-prioritized approach has created a market distortion where photographic skill becomes less valuable than access to appealing models or lifestyles. Photographers with years of technical training and artistic development find their work overlooked in favor of selfies taken by individuals with large followings, regardless of composition, lighting, or post-processing quality. The result is a photography economy where social media clout matters more than photographic competence, creating perverse incentives that reward personal branding over artistic excellence.

The influencer model has also transformed the photographer-subject relationship from a collaborative artistic partnership into a service provider dynamic where photographers become invisible facilitators of someone else's personal brand. The photographer's creative input, artistic vision, and technical expertise are subordinated to the influencer's marketing needs and personal aesthetic preferences. This shift has devalued photography as an independent art form, reducing it to a tool for lifestyle documentation and product promotion. The emphasis on influencer-driven content has created unrealistic beauty standards and lifestyle expectations that prioritize superficial appeal over authentic human experience, further distancing photography from its historical role as a medium for exploring the full range of human condition and artistic expression.

7. Trend-Chasing Replaced Personal Development

Social media's trend-driven culture has created an environment where photographers abandon long-term artistic development in favor of constantly adapting to viral aesthetics and popular styles. The pressure to remain relevant and maintain engagement leads photographers to constantly reinvent their approach based on whatever style is currently generating the most likes and shares. This trend-chasing behavior prevents the deep, sustained exploration necessary for developing a unique artistic voice and mature photographic vision.

Traditional photographic education emphasized the importance of developing a personal style through years of experimentation, failure, and gradual refinement. Master photographers were recognized for their distinctive approaches that evolved over decades of dedicated practice. They understood that artistic development required commitment to a particular vision or technique, even when that approach wasn't immediately popular or commercially successful. This long-term perspective allowed for the development of sophisticated artistic voices that contributed unique perspectives to the medium.

Social media's reward system actively discourages this type of sustained artistic development by constantly presenting new trends that promise immediate engagement benefits. Photographers feel pressure to abandon techniques or styles they've been developing in favor of whatever aesthetic is currently viral. This constant pivoting prevents the deep exploration necessary to truly master any particular approach and creates a superficial relationship with photographic techniques. The result is a generation of photographers who can competently execute multiple trending styles but lack the depth of knowledge and personal investment that creates truly distinctive work.

The trend-chasing mentality also creates a disposable approach to photographic education, where photographers consume tutorials and presets related to current trends rather than building fundamental skills that transcend stylistic fads. This approach produces technically competent but artistically shallow work that lacks the personal investment and unique perspective that separates great photography from merely adequate content. The constant pressure to stay current with trends ultimately prevents photographers from developing the patience and persistence necessary for significant artistic achievement.

8. Screen Viewing Replaced Print Appreciation

The transition from physical prints to screen-based viewing has fundamentally altered how photography is experienced and valued, eliminating many of the qualities that made photography a compelling artistic medium. Prints offer tactile experiences, subtle tonal gradations, and physical presence that cannot be replicated on digital screens. The scale, texture, and materiality of photographic prints created emotional and aesthetic experiences that engaged viewers in ways that screen viewing simply cannot match.

Traditional photographic appreciation was built around the print as the final, definitive version of the photographer's vision. Master photographers spent enormous amounts of time and energy perfecting their printing techniques, understanding that the print was where their artistic vision would be ultimately realized. The choice of paper, printing process, and presentation method were considered integral parts of the artistic statement. Galleries and museums invested in proper lighting and presentation because they understood that the viewing environment significantly impacted how photography was experienced and appreciated.

Screen viewing has reduced photography to compressed digital files optimized for specific display technologies rather than artistic vision. The dynamic range, color accuracy, and tonal subtlety that photographers carefully crafted in their images are lost when viewed on devices with limited color gamuts and compressed file formats. The intimate, contemplative experience of examining a carefully crafted print has been replaced by the distracted, multitasking environment of screen-based media consumption.

The loss of print appreciation has also eliminated an important educational component of photographic development. Examining high-quality prints taught viewers to appreciate technical excellence, tonal subtlety, and artistic craftsmanship in ways that screen viewing cannot replicate. The physicality of prints created a different relationship between viewer and image, encouraging longer engagement and deeper appreciation. This hands-on experience with exceptional prints was crucial for developing the visual literacy necessary to distinguish between technically competent and artistically excellent photography. Without this tactile, high-quality reference point, many contemporary viewers lack the experiential knowledge necessary to fully appreciate photographic excellence when they encounter it.

Social media platforms have created a culture where image theft and unauthorized reposting have become so commonplace that many users consider it normal behavior rather than copyright infringement. The ease of saving and reposting images, combined with platforms' inadequate enforcement mechanisms, has created an environment where photographers routinely see their work used without permission, credit, or compensation. This normalization of copyright infringement has devalued photography as intellectual property and made it increasingly difficult for photographers to maintain control over their artistic output.

The "repost culture" that dominates platforms like Instagram treats photography as free content available for anyone to use in their own social media presence. Users routinely download images from other accounts and repost them to their own feeds, often removing watermarks or cropping out attribution information. Even when credit is provided, it rarely includes proper licensing arrangements or compensation for the photographer. This behavior has created an expectation that photographic content should be freely available for personal use, regardless of the time, skill, and resources invested in creating it.

The economic impact of normalized copyright infringement extends beyond individual instances of image theft to create a broader devaluation of photographic work. When images can be easily stolen and reposted without consequence, the perceived value of original photography decreases significantly. Potential clients become accustomed to accessing professional-quality imagery for free through social media, making them resistant to paying appropriate rates for commissioned work or licensed images.

Social media platforms bear significant responsibility for this situation through their inadequate content identification systems and weak enforcement of copyright claims. While these platforms profit from user-generated content that often includes stolen imagery, they provide minimal resources for photographers attempting to protect their intellectual property. After all, they're profiting from it. The burden of identifying and reporting copyright infringement falls entirely on individual photographers, who often lack the time and resources to pursue legal remedies against widespread theft of their work. This asymmetric enforcement environment has essentially legalized small-scale copyright infringement, creating a tragedy of the commons where individual acts of theft collectively destroy the economic viability of professional photography.

10. Location Tagging Ruined Pristine Photography Spots

The practice of geotagging photography locations on social media has led to the systematic destruction of pristine natural areas and historic sites that were once accessible only to dedicated photographers willing to research and invest effort in finding them. What began as a way for photographers to share information about beautiful locations has evolved into a mass tourism phenomenon that transforms quiet, unspoiled places into overcrowded Instagram destinations where authentic photographic opportunities become impossible.

The viral nature of social media amplifies the impact of location sharing far beyond traditional word-of-mouth recommendations. A single popular post featuring a beautiful location can result in thousands of visitors descending on areas that lack the infrastructure to support mass tourism. These locations often become trampled, littered, and permanently altered by the influx of visitors seeking to recreate the original photograph. The delicate ecosystems and fragile geological features that made these locations photographically compelling are often irreversibly damaged by the crowds they attract.

Nowhere is a secret.
The transformation of photography locations into tourist destinations fundamentally changes the character of these places and the type of photography possible there. Locations that once offered solitude and authentic natural experiences become crowded with visitors waiting in line to capture the same shot they saw on social media. The spontaneous, contemplative approach to landscape photography becomes impossible when dealing with crowds of people all attempting to photograph the same composition. This crowding effect eliminates the possibility of capturing these locations in their natural state, creating a feedback loop where each new photograph shows a more degraded version of the original pristine location.

The environmental and cultural impact of social media-driven overtourism has forced many sensitive locations to implement restrictions or closures that limit access for all visitors, including serious photographers who approach these places with respect and environmental consciousness. Local communities and land management agencies find themselves overwhelmed by visitors who arrive unprepared for the environmental conditions and lack understanding of Leave No Trace principles. The result is that geotagging has not only destroyed many beautiful photography locations but has also created access restrictions that prevent future photographers from experiencing these places altogether. The shortsighted practice of location sharing for social media engagement has permanently altered the landscape of photography destinations, prioritizing viral content creation over environmental preservation and authentic artistic experience.

Conclusion

The transformation of photography from a respected artistic medium into a social media commodity represents one of the most significant cultural shifts in modern creative history. Each of these ten destructive trends compounds the others, creating a feedback loop that increasingly distances contemporary photography from its artistic roots. The instant gratification culture fostered by social media platforms has systematically dismantled the patience, technical knowledge, and aesthetic appreciation that once defined photographic excellence. However, recognizing these problems represents the first step toward meaningful change for photographers who refuse to accept this degraded creative landscape.

Reclaiming photography as a serious artistic pursuit requires conscious resistance to social media's destructive influence and a renewed commitment to the fundamental principles that made photography a compelling art form. While professional photographers must remain pragmatic about using social media as a necessary business tool for client acquisition and portfolio visibility, they can still maintain artistic integrity by creating work that prioritizes technical mastery over algorithmic optimization and personal vision over trend-following. This means developing parallel practices: using social media strategically for business purposes while pursuing serious artistic work through traditional channels like galleries, publications, and print sales. At least part of the future of photography as an art form depends on whether enough practitioners are willing to compartmentalize their commercial social media presence from their authentic artistic development, refusing to let platform demands compromise their creative vision even when market pressures make such resistance financially challenging.

Alex Cooke's picture

Alex Cooke is a Cleveland-based photographer and meteorologist. He teaches music and enjoys time with horses and his rescue dogs.

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19 Comments

Photography still demands patience, skill, and genuine artistic vision. Just because a new medium for photo sharing and communication comes along, doesn't mean that traditional photography skills have become irrelevant. It only means that the masses of people with a phone and Internet connection can more easily share the daily snapshots of life with friends and family. A YouTube channel may or may not provide a source of income, regardless of any photography skills. If Facebook or Instagram get customers for your photography business, great... you probably have a portrait or wedding business that can leverage your target market's network. But for commercial photography or art print sales, I'll never be convinced social media is worth much, and certainly not essential, for building a customer base.

Forget the marketing gurus lecturing on how you have to be on social media to survive in business. Nonsense. I've survived for nearly 50 years in business without Facebook. I'm not even sure what TikTok really is for, nor do I care. I joined a site awhile back called Nextdoor, thinking I'd get some great exposure locally for free. It didn't take long to realize that a terrible picture of a cute puppy was gonna get far more likes than anything truly artistic. So it was a short-lived experiment. If you sell art prints, take them someplace that values and appreciates art, and forget you ever heard of social media.

It has been said before, a guarantee to get a huge following on social media is to be a young attractive woman. That tells you a lot about the true relevance of likes and comments.

I guess I don't know much about that. I neither follow, nor wish to be followed, so I have no idea how it really works or why some individuals become so popular. I'd hope that their quality of content has something to do with it. The word follower sounds like sheep being led off a cliff. I might take a look over my shoulder at a pretty woman, but I wouldn't follow her that far as to walk into a brick wall. At least it hasn't happened yet.

I understand and agree with all ten and the conclusion! But Photography in general as not been destroyed, for Pro business yes somewhat but the Hobbyist not so much! I am a hobbyist always with a job as income where as the Pro needs to be more creative getting work or work for a big company on its payroll. Like software needed to process back when Adobe came to light and had software for the pros that software was too expensive for a hobbyist $800+ for each PS and Lr. Then cameras went from point and shoots to a camera body with removeable lenses. Today things march on.
As one basically on the side lines of the movement what I am seeing is the photographers who gave advise for captures, in my interest of Milky Ways, on their web sites to posting on YouTube and other media did a great job of show and tell as well as selling images to to people as well businesses wanting images.
Today for us who logged into those websites now get emails about tours led by those Photographers to god knows where for big bucks. It is all good and a trip to somewhere not easy for some but to me it is like getting images already captured by many already. All in all a good thing and keeps new cameras and lenses being bought by not only pros but also the unseen market of the hobbyists. One thing you are seeing is the non makers of say Canon, Nikon and Sony lenses but the little heard of companies popping up with less expensive, not cheaper, products getting the hobbyist more into the economics of photography.
For me I started with a Canon T2i back in the late 2000's and had to use Canons image processor program to edit But then Canon made newer cameras and their editor program disappeared hoping that that would drive people to the newer models. But the unseen Sony popped up with its cameras with Capture One for only $30 and was just like Lr but better with it's edits of different parts like todays Lr, a biggie for a hobbyist. All the while for the next couple years you only saw Canon or Nikons in big box stores as also the local camera stores disappeared. It is like this the online or YouTube info gangs started to go Sony if when we saw the silent shutter make its way to Capital Hill and no more flashes used.
Honestly I have no idea how pros who are on their own make it and have a family to boot. More power to them. I am always grateful for the info they bring to light and help with image edits. Ah! the patrons of YouTube and other social medias is other income BUT again where is the time for all as more have brown areas under their eyes from being on the computer so much for all things!

Comprehensive and well written, a profound summary of what many of us have been thinking and feeling. I could hardly add a thing, except that in the era of phones, no one sees our photos bigger than 2 inches across.

So here's today's reality, clearly laid out and faced squarely. What's the way forward?

Art and craft shows are a tough scene and not really oriented to photography.

I read the article again this morning, and while I agree that these ten conditions have undoubtedly had a huge impact on photography and the manner in which people communicate and interact, nothing contained there has inherently destroyed anything, as the title of the article and conclusion suggest.

My reasoning is based on my experience growing up in the 1950s and 60s. I had a Kodak Instamatic camera... nothing more than point and shoot. It took no patience, skill, or artistic vision to operate an Instamatic camera. Cameras like it, and the Brownie before, put photography in the hands of virtually everyone with the disposable cash to afford it. But just because I had a camera by about the age of eight, it didn't make me a photographer. Ansel Adams still made beautiful photographic art that ended up in museums, and I made snapshots that ended up in a family photo album. The two types of photography seem to be able to coexist without killing each other, as technology advances and cultural norms evolve.

Great article...photoraphy has simply moved into another dimension...what is really needed is a confirmation etiqutte to confirm a photograph as being authentic...Leica has taken the lead and hopefully many camera systems will follow...btw, I really like viewing the photographs on Fstopers...but there are so many that are AI...my question to Admin, what are you doing and willing to stop ths fraud...

Fstoppers is truly fortunate to have Alex Cooke on staff. His coverage of generative AI imagery has been top notch. This analysis of the impact of social media on photography is SO on target. Also, incredibly well written. As a working photographer who shoots photos for a platform with a Facebook feed of 290K followers and a Insta feed with 190K followers, I can't tell you how many times I hear our social team requesting all these things he mentions above. It's not easy to get a great shot. Do you feed the feed what the feed wants? Or, do you try and nail the great photo? Either way, keep up the great work Alex!

If you want an answer to your questions, I would say that your photographic style and choices are dictated by the nature of your employment. If you're an employee, I would think you have to shoot what your marketing, social media staff, and upper management want you to shoot. After all, it's their decisions which determine the success or failure of the business.

On the other hand, a self-employed photographer can follow whatever course he chooses. Great photography is presumed to be the starting point, but even that is judged by the eye of the beholder. The most important decisions that I make for my business provide a framework for exactly what I'm trying to create, who my potential customers are, and how to reach them in a way that distinguishes me from a gazillion other photographers. Impossible? Not really. Because virtually every other photographer buys into the idea that you have to produce and sell the same way. Gotta do social media, gotta perfect SEO, gotta diversify, etc., etc. When, in reality, it's a rather large planet and there are numerous paths to selling a picture.

And that's the problem I have with the article... Because while Alex does a great job of defining the issues, and does offer a challenge to compartmentalize them, I suspect a lot of people read the obstacles and give up, or say to themselves... there's just too much outside of my control to succeed. After all, there's no way around algorithms. It's too gigantic of a hurdle to overcome. Articles about the problems related to social media are fairly common. What's not common is a conversation dealing with sales and marketing alternatives to social media, for which there are many. Indeed, a photographer going at it alone must take control of his business, and blaming the vagaries of social media is not a solution. Bottom line is that social media only destroys what you allow it to destroy.

Great article.

#10 is by far the one I hate the most. I have seen so many places ruined over the years.

While I agree with some of it, my experience with point 2 and 4 is that if your image is good enough, you will get the likes and the attention. Artistic vision is one thing, and making images that are pleasing to you is great, I would say that creating things that are pleasing to your audience has (at least in my experience) a huge overlap. External validation and feedback is a great way to improve.

Point 3, although frustrating at times, is a mindset shift that you either embrace or you don't. All of my content is made for social media (Instagram) with a very small percentage ending up as a print. I sometimes still create horizontal images, but my models simply don't need/want them anymore because of the way the images will be used. I imagine if I had started with mostly horizontal pictures I would have felt differently.

I wouldn’t say photography is destroyed necessarily. Serious, but stable condition maybe? People who want to make art will do so regardless, and I think/hope these people will still recognize that likes aren’t important, it’s only your personal “like” that matters, and lots of times it’s hard to get that one.

And in general if you are making something interesting and different, it won’t be popular and can take a long time for people to catch up to you. I heard Nick Cave say once something like “When we put out a new record, I want people to have to think about if they still like the Bad Seeds.”

I hate to sound like an old man yelling at clouds, but this is just a piece of arts in general being devalued and social media kind of ruining, well everything? It’s people going to the same restaurant they saw a video of and then making the same video themselves to get likes and have a fantasy of getting paid for not doing real work. But for the rest of us, our experience of the restaurant, city (as the article mentioned), or whatever, is polluted with crowds of people chasing likes from total strangers or bots. I often wonder what travel would look like if people couldn’t post pictures of it. Would they take the same trips? Would they be interested to travel at all?

God that was quite a rant. Well lol to throw in a related story on how people take artist work for granted, I was discussing music licensing to someone I know. She was like “So if I have a cafe, I’m supposed to pay to play the music?! But it’s not important, it’s just in the background.” And I said “Well if it’s not important, you don’t need to play anything, so you’re good.” Then she thought about it for a minute and was like “Yeah I guess, music is important…”

Also I’m preaching to the choir, but if you are unfamiliar, worth reading Cory Doctorrow’s pieces on “Enshittification” of social media platforms which ties into this article.

Social media has expanded the consumption of "snapshot" photography and having a cell phone camera in miliions of pockets has lead to a flood of photos being available online. Most of those photos are just okay captures of a moment. But I don't believe social media destroyed good photography. The average pre-cell phone camera owner was mostly interested in snapshots of kids, family, pets, holidays, etc. Some of these snaps were well composed and exposed. Once in a while a snap would be an art photo. But mostly they were just okay captures of the moment. I don't believe there is proportionally less good photography today because of sovial media. In fact, good photography is more easily accessible now than it was when I was learing photography fifty years ago. I lived in a small rural town. To find good photography I has to subscribe to a magazine or travel to a museum, or enroll in a class, or join a club. These days I fine good, sometimes great, photography on several websites. The thing that is missing today is prints and that's a discussion for another day.

I find elements of truth in every one of your ten reasons why you believe social media has destroyed photography. However, I do not believe in the major premise stated in the title. Unfortunately, your perspective largely is based on viewer respnse and neglects the many rewards the accompany the experience of creating photography that serves as a personal expression.

Reflecting the tone ofyour article

If I had not read many of the insightful articles you have published about photography, I would bet you are the old guy chasing the neighbor kids from your yard with a rake.

While I find truth in each of the ten reasons why you believe social media has killed photography, I disagree strongly with your major premise stated in the title. Your viewpoint totally neglects the joy that accompanies the experience of creating an image that is a personal expression of an idea or an image that is curious or just plain fun. I don't think I will be selling my camera gear quite yet!

I believe video and YouTube have done the most damage.

I wouldn't say it's destroyed but I get the click bait title and that's fair enough however one must use it wisely as part of your approach to promoting your work if you are in that professional space. If you're not in the professional space and you're just taking photos to share with the world that's fine. Use social media no problems. But if you're in the professional space it needs to be balanced along with other forms of promotion as well recently I've embarked on going back to face-to-face promotion that is promoting my work to individuals organisations in my area basically like rocking up to buildings and promoting my work. It's proved highly effective. It is almost like applying for a job. I'm saying to these businesses and premises that I've got some amazing work and I want to put it on your wall. In terms of ruining photography I wouldn't say it's ruined photography. It's probably taken it in a different direction and we need to move with that . There's no point in fighting it, it is what it is.. There's no point in fighting it, it is what it is. Lastly I'm still doing really well out of selling photos from social media but just doing it in a strategic way no point in fighting it work with it use it to your advantage.

I'm curious... of the businesses that you call on and show your photos, how many of them say: "Sure, we'd love to have you put your pictures on the wall, and we'll even put your name and maybe a price there too so you'll get lots of sales." In other words, they don't want to pay for them... they want you to decorate the place at your expense with the prospects of getting exposure. I get that invitation a lot, but not sure if it's worth it. Coffee shops are good for that. Or places like mortgage loan offices that have a lot of customer traffic.

On the other hand, I find established business customers few and far between that are willing to shell out a reasonable amount of money for decorative wall art. Unless maybe it's a newly constructed building, and then some of those turn into customers if I work my tail off finding the decision maker. Your thoughts?