The Future Is Now: Why Glenn Batkin Says Photographers Must Learn to Speak AI
"AI is the bridge between the known and the uncharted, where innovation and imagination converge."
Glenn Batkin stands at the crossroads of traditional creativity and the limitless potential of AI imagery. With an illustrious career as an award-winning Creative Director / Art Director in advertising, Glenn has shaped compelling brand narratives. Ignited by a curiosity for each new project, his interest in innovation propels him into the realm of AI, redefining the boundaries of creativity and art in this digital renaissance.
INTERVIEW PART ONE:
HM: Welcome, Glenn! Let’s begin by getting a sense of who you are and how you started out. Where are you from and how did you get into your line of work?
GB: Thanks for having me. I’ve been living and working in New York City for my entire career. I’ve always been in advertising—since the very beginning—and I’ve had the opportunity to work in several sectors within the industry. In the early years, I focused on general consumer accounts, where you help create ads for everyday products. But in the last 15 or so years, I pivoted to healthcare advertising. There’s a lot of need in that realm, and it feels rewarding to be involved in causes that can genuinely improve people’s lives. I also see the good that’s happening, so for me, it struck a nice balance between creativity and contributing to a worthwhile mission.
HM: That makes a lot of sense. You have a diverse background—advertising in both consumer and healthcare. But you’re also involved in photography, right? Tell me how that happened.
GB: I’d describe myself primarily as an art director, but photography really came into my life around 2009. At the time, I was working for an agency that took on a pro bono project helping women with AIDS in Africa. NewYork–Presbyterian Hospital was sending medication to this organization, and my agency wanted to help by creating a campaign.
When I was sitting in a meeting with the client, they remarked, half-jokingly, that it was too bad I couldn’t join them in Africa. Without thinking, I asked, “Well, why can’t I come?” My idea was: if I take photos for their website, brochures, and other materials at no cost, maybe they’d let me tag along. Believe it or not, it worked. The only catch was I didn’t own the right equipment at the time—I rented cameras and lenses specifically for the trip.
That experience was pivotal. Seeing the power of photography in documenting people, places, and moments—especially in such an important humanitarian context—made me realize how much I loved creating images. From then on, I was hooked. I continued photography on the side for my own enjoyment, traveling whenever I could, just to shoot as an enthusiast.
HM: That must have been an incredible journey. But now, you’re also deeply involved in AI-generated imagery. How did that come about?
GB: AI, in particular AI art generators, showed up on my radar about 3 years ago, and it changed everything for me. I remember telling friends, “This is revolutionary. I don’t know exactly what’s going to happen, but I’m certain everything will change, and nothing will ever be the same.” So I started experimenting extensively with AI platforms.
I have to admit, ever since then, my cameras have been gathering dust. I’m so consumed with the possibilities of AI. It’s almost an addiction, but in a positive sense—there’s no limit to the kinds of visuals I can create. I’ve spent decades forming mental catalogs of images and concepts I’d love to produce. AI makes it possible to bring them to life quickly and in ways I might never have achieved with traditional photography or illustration.
HM: Last week, I had the chance to interview the President of the Royal Photographic Society. We talked about the future of photography, and he felt strongly that AI is going to play a major role in commercial photography. What are your thoughts on that?
GB: Commercial photography has always required retouching and manipulation. Even before the digital era, we were splicing negatives in the darkroom or compositing images through mechanical processes. AI is just a more advanced tool in that lineage. Of course, for editorial or documentary photography—where you want an accurate record of reality—manipulation raises serious ethical questions. But in advertising or fashion, the goal is often to craft a vision or fantasy. AI can streamline that process tremendously.
HM: On that note, there’s been talk about cameras like Leica developing authentication features to verify whether an image has been manipulated. Do you think that will help keep photojournalism “pure”?
GB: It’s a noble effort, but in reality, people have been manipulating images in one way or another for as long as photography has existed. AI certainly makes it easier and more accessible. I do think some sort of standardization or verification system could be helpful—especially for journalists who need to prove their images are untouched. But that’s a bigger conversation about truth, authenticity, and how we evaluate digital media. It’s possible some official systems might emerge, though I’m not sure how foolproof they’ll be.
HM: You mentioned you’ve had art schools reaching out, asking what they should teach. How do you advise them or other photographers who are frightened that AI will replace them?
GB: I tell them to embrace AI rather than resist it. They don’t need to abandon the fundamentals of analog or digital photography—those are still valuable skills. But if you’re graduating students who have no idea how AI works, you’re doing them a disservice. The pace of image creation with AI is staggering. If you’re in commercial work, you’ll need to know these tools to stay relevant.
When I’ve spoken to groups of professional photographers, many are terrified or even resentful. But by the end of our discussions, they often see that AI is just another medium. If you’ve spent years developing an artistic style, you can integrate AI to expand your creative range and capture real people and real places in real time. Sitting in a dark room generating a faux version of that experience might produce a cool image, but it’s not a life experience. There’s no replacement for being there at the moment.
HM: So you think photographers can make that transition. Is it really that simple, or is it more natural for an art director—someone who might already have the “finished product” in mind—to embrace AI?
GB: It’s true that art directors often work conceptually, envisioning the final product before it’s made. That mindset lends itself easily to AI, because you’re used to imagining something from scratch. However, I’ve seen photographers embrace it wholeheartedly. One example is a friend of mine who when he discovered AI, it was a revelation. He could shoot real models in Miami, then generate an Art Deco bar setting using AI, and blend those elements together. The AI-generated background saved him a small fortune in set construction or location scouting and was practically indistinguishable from a real place. In other words, if your craft already involves compositing or retouching, you’re well-positioned to use AI. Even if you’re a pure photojournalist, there might be creative applications—so long as you’re clear about what’s real and what’s been generated.
HM: How can photographers leverage AI to enhance their creativity and stay competitive in the industry?
GB: If you are looking to stay competitive and push your creativity, AI is a game-changer. For starters, it lets you explore styles and scenarios that might be too expensive or impractical to set up in a traditional shoot—think of it like having an unlimited sandbox for experimentation.
On top of that, you can train AI on your own photos, so the images it generates still feel like ‘you.’ It’s a shortcut to expanding your portfolio without having to reinvent the wheel every time.
AI also makes it a lot easier to enhance treatments and presentations for clients. Instead of struggling to convey your vision, you can offer crystal-clear previews of what the final work might look like. If you’re partnering with an art director who’s already using AI, your deep understanding of how to capture emotion and tell a story through images becomes even more valuable.
And let’s not forget that the industry itself is evolving—clients are starting to expect AI know-how as part of a modern photographer’s skill set. The good news is, AI doesn’t have to be a threat; it’s just another tool in your creative arsenal. Embrace it, and you’ll be able to keep innovating and producing work that really stands out in a crowded market.
HM: That’s a fascinating perspective. Where do you see your own creative endeavors heading next?
GB: I’m a big believer in balancing personal passion projects with client work. In the short term, I’ll keep exploring AI to express concepts that have been in my head for years. I’ll also continue to travel—nothing compared to real-life experiences and in-person shoots. The AI side is more conceptual and less about capturing the sensory reality of a place or moment. I think the two mediums can live side by side.
Moving forward, I’d love to collaborate with other artists—photographers, designers, illustrators—because AI can be a phenomenal complement to traditional skill sets. I see a future where entire production pipelines are reimagined, from storyboard to final deliverables, merging photography, AI, and everything in between.
HM: Glenn, I want to dig deeper into the challenges photographers face—especially around fear, change, and learning new skills. So let’s start with a simple question: How are you seeing photographers react to AI?
GB: The reactions vary widely. Some photographers are really curious, excited to see how AI might help them. Others feel intimidated, even fearful. It’s human nature—when something radically new shows up, it’s natural to worry, “Am I too old to learn this?” or “Is this going to replace me?” But I’ve also met people in their eighties who are crushing it with AI, creating some of the most incredible work I’ve ever seen. That definitely challenges the notion that AI is only for the young or tech-savvy.
HM: Let’s talk about that fear factor. People resist change for all sorts of reasons, right? Lack of confidence, feeling left behind, or simply the worry that learning a new skill is too big an undertaking.
GB: Absolutely. In some talks I’ve given—for instance, to groups like the APA and ASMP—photographers have come up to me expressing that exact concern: “I’m 65; I’m too old for this,” or “I don’t want to spend time learning something that might not work.” My response is always the same: Just give it a try. Worst-case scenario, you decide it’s not your thing. Best-case scenario, you discover something that ignites your creativity in ways you never expected.
HM: Let’s compare AI-generated images with traditional photography. You’ve said before that it’s not just pushing a button and magically getting the perfect image. Can you elaborate?
GB: Sure. People often say, “Isn’t AI just typing a few words and getting an image?” But that’s a huge oversimplification. It’s no different than how someone might dismiss traditional photography: “What’s the big deal? You push a button, and the camera does all the work.” We know that’s not true. You have to set up lights, choose angles, manage the cast, pick the right lens, and so on.
When using AI, you’re essentially doing the same thing: you’re “telling” the program what lighting you want, what perspective, what mood, what color palette—right down to the smallest details. If you’re a photographer who already understands composition, lighting, and styling, you have a big advantage because AI “thinks” in that same visual language. It’s another tool, like a new type of camera, but it still requires skill, vision, and technical know-how.
HM: In the 70s, I was involved in a massive cigarette campaign in England—Benson & Hedges Gold Bond —and we traveled all over Europe with huge budgets. Nowadays, that might seem unimaginable. How does AI factor into these shifts in commercial production?
GB: Exactly. Back then, big brands would spend enormous sums on travel, locations, talent, and props to stage an entire fantasy world. Some campaigns still operate that way, but many clients now see the cost-saving potential of AI or stock imagery. You can combine AI-generated scenes with real photography without the logistics of physically traveling somewhere. The same “fantasy land” can be created virtually, cutting down on time, expenses, and environmental impact.
This doesn’t mean there’s no place for real-world shoots—absolutely there is. But for high-concept campaigns where you’d otherwise need multiple locations or sets, AI can dramatically streamline the process.
HM: You’ve mentioned giving yourself “spec” projects in AI—assigning yourself a brief or concept. What role does that play in how you approach your own creativity?
GB: It’s a huge part of my process. For me, AI isn’t about generating random “cool-looking” images. I try to treat every project like I would in advertising: What is the brief? What problem am I trying to solve? Whose story am I telling? By setting parameters, I create images that have depth, meaning, or emotion behind them.
That’s what resonated with people when I spoke at these photo events. They saw ideas in my work—there was a narrative or concept that felt intentional. AI can produce endless visuals, but if you’re not anchoring it in an idea or strategy, it might just look like pretty noise. Photographers are used to having a purpose for their shots—AI can still fit into that same mindset.
HM: Let’s get practical. For the photographer saying, “I don’t know anything about AI, but I’m intrigued. What’s my first step?”
GB: I usually recommend the following steps:
Experiment on a Beginner-Friendly Platform
There are several AI image generators with user-friendly interfaces. Start with something where you can type in prompts and instantly see results. Don’t worry about advanced parameters yet—just play.
Leverage Your Existing Knowledge
If you’re a working photographer, you already know about composition, lighting, subject matter, mood boards, and color theory. Apply that knowledge to your AI prompts. For instance, specify whether you want a low-angle shot at twilight with a certain color temperature. You’ll be surprised how quickly your results improve when you use photographic language.
Learn to Refine
The first image won’t magically nail what’s in your head. Just like on a real shoot, you have to adjust the lights, move the subject, change the lens—except in AI, you modify the prompt. Iteration is key. Compare your outcomes and refine your prompts until the AI “gets it.”
Incorporate Your Own Work
Some AI platforms let you train the model on your own images, so it learns your style, palette, or even how you edit. This is where the magic happens: it’s still “you,” but multiplied by the possibilities of AI.
Stay Curious
This is evolving tech. New updates, new platforms, new methods appear regularly. Embrace continuous learning; that curiosity will keep you ahead.
HM: It sounds like AI can be a powerful ally rather than an enemy of traditional photography.
GB: Absolutely. AI can help photographers visualize concepts before an expensive shoot, add finishing flourishes to images, or even generate entire backgrounds. But it won’t replace the experience of being on location, capturing real moments, or building relationships with clients and subjects. That’s the human side of photography—no algorithm can replicate it.
If you’re a photographer who wants to explore new ideas, AI offers a virtually infinite canvas. And if you prefer sticking to purely analog processes, that’s valid too. But knowing what AI can do, even if you choose not to use it every day, keeps your skill set relevant in a rapidly changing industry.
HM: Glenn, this has been fantastic. Any last piece of advice for photographers who are still on the fence?
GB: My advice is simple: just try it. Don’t let fear be the reason you miss out on a creative revolution. If you try AI and decide it’s not your thing, that’s fine. But often, once people see the possibilities, they find they can’t stop experimenting. It’s like discovering a new lens or a new editing technique—you never know how it might open doors for you. And remember, photography has always been about evolving technology. This is just the next step.
HM: Great points. Thanks again for sharing your insights. I’m sure many photographers will find this conversation both reassuring and inspiring.
GB: My pleasure. It’s an exciting time, and I’m thrilled to see how photographers use AI to push the boundaries of what’s possible.
PART TWO will showcase your work and you will have the opportunity to talk about 4-5 projects