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Organizing photos takes time. Choosing the right words to describe a moment, a subject, or a mood can be both delightful and tedious. Metadata is the scaffolding that gives structure to your archive, but building it is rarely the part photographers enjoy most. Today we’re launching a feature designed to remove that friction — one that helps you move faster without giving up control.

AI Suggested Tags are available immediately as part of Exposera Pro. They provide quick, contextually relevant keyword suggestions for individual photos so you can tag, search, and share your work with less effort.

Photography has always been shaped by technology. Every generation of photographers has faced new tools, from faster film to digital sensors to computational imaging. Each advance changes what it means to make a picture — and how we understand the relationship between the tool, the maker, and the final image.

Today, generative AI sits at the frontier of that conversation. Its influence is expanding quickly, and with it comes a simple but important question: what does it mean for a community built around photography?

Photography has always existed in dialogue with its systems of distribution. The darkroom, the magazine spread, the gallery wall — each framed what was visible, what was valued, and what was remembered. Today that system is no longer physical but algorithmic: a lattice of opaque calculations and engagement models that mediate nearly everything we see. Photographers, consciously or not, now compose within this system’s logic. The question is not only what we choose to photograph, but what the network chooses to show.

Photography has always balanced between documentation and invention. Every photograph is both a record of something that happened and a product of interpretation—shaped by framing, timing, exposure, and intent. The medium has never been purely objective, but it has long held an implicit contract with truth: that something, at some point, stood before the lens.

In the age of AI-generated imagery, that contract is being rewritten. The camera is no longer the only instrument capable of producing photographic realism. We can now synthesize scenes that appear every bit as credible as those captured in light, yet owe their existence to no physical world. The question is no longer what happened here? but what does it mean to call something a photograph at all?