Photography is currently undergoing a crisis of distinctiveness. Landscape photography, in particular, falls victim to mediocrity: a convergence toward a homogenized aesthetic. In today’s world, where algorithms reward consistency over unique culture, the cookie-cutter approach to landscape photography has become a currency rather than an art form.
Picture this. It’s an overcast late afternoon at the Kirkjufellsfoss viewpoint. From all across the world, photographers have come to photograph this iconic waterfall and mountain. Some shoot quick snaps, while others pose with their friends. Some get their friends involved by trading their gray jackets for bright orange or red jackets and instructing them to stand at the edge of the foreground and look toward the waterfall while a photographer friend snaps away. A quick edit with their latest Lightroom template, and the photo is uploaded to Instagram within minutes of taking it.
Photography is currently undergoing a crisis of distinctiveness. Landscape photography, in particular, falls victim to mediocrity: a convergence toward a homogenized aesthetic. In today’s world, where algorithms reward consistency over unique culture, the cookie-cutter approach to landscape photography has become a currency rather than an art form.
Thanks to the algorithms on social media platforms, the drive toward homogenization is evident in the number of repeated Instagram posts. Take, for example, the scene I just described: a photographer visiting a popular location photographs a person in a brightly colored jacket standing before a waterfall. It’s one of many examples in which these scenes have garnered high engagement metrics and have become a visual template for what’s considered good photography. Scrolling through Instagram, I see so many photographers not actually interested in saying anything. They’re only pursuing approval disguised as artistry. Surely if it scores thousands of likes, it must be a good photograph, right? Engagement is not a measure of quality.
Then there’s the pressure to conform to these standards of photography. As one photographer publishes a “visual template,” millions see it, measure their own worth and skill against that photo, and try to do the same to get similar results. Often, these attempts fail, exacerbating existing self-doubt. The journey to capture the perfect image is no longer about artistic growth, but about following a trend instead.
When we look at a landscape photograph, 4 main elements distinguish a good one from a bad one. While the cookie-cutter photos I mentioned earlier get most of these right, they still miss one vital element. Firstly, a strong subject, with compositional elements that guide the eye to it. This must be paired with a solid understanding of camera settings and good framing that place the subject in its surroundings, with foreground and background elements that create balance and intrigue. Finally, if the photographer was patient and achieved exceptional lighting that highlights the scene in a painterly way, the result is a stunning photograph. While lighting and weather are perhaps the most complex elements to control and predict, there’s still one more factor that not everyone always discusses.
The missing element (and no, it’s not Lee-Loo) is shooting with intention. While most of the photographers on Instagram know their camera settings by heart, there’s still something that makes the majority of Instagram photos feel empty. The photos are all technically correct, and some have the wow factor because the photographers waited for the right light. But why does it feel like we’ve seen it all before? We’ve all seen a million photos of Kirkjufellsfoss or El Capitan from the same angle. The only variation, aside from the time of day and weather, is small compositional shifts. That’s not shooting with intent.
The defining characteristic of “cookie-cutter” photography is a distinct lack of intention. It’s not merely about choosing a different camera setting or composition. It’s the photographer’s internal state, combined with the external reality of their surroundings. On platforms such as Instagram, the reverse is happening. The external environment dictates the photographer’s internal choices, which they then react to rather than interpret. The photographer shoots the scene not because they have something to say about it, but because they’ve seen what others say about it and want to replicate that engagement.
This is where the vast majority of photographers have lost a critical element in their photos. We all fall victim to it. At popular locations, we arrive with limited time and are surrounded by hundreds of other photographers. We rush. We shoot. We move on. In the process, we forget why we picked up the camera in the first place. What is our intention? Instead of mining the location for content like all the other Insta-tourists, we need to focus on a deeper value or connection with nature, conveyed through our photography.
Instead of taking our time, waiting for the right moment, finding a different composition, or trying a new technique, we rush, take the photo, and tick off the bucket list. Our photos get uploaded to a collection of identical photos and get lost in the algorithm, never to be seen again. This only results in creative burnout, resentment, and a disconnect from the reason we became photographers in the first place. Our photos do not always require a narrative arc or a three-act structure, but to create better photographs, we should pause upon arriving at the location and ask ourselves five questions: Why this location? Why this moment? Why this framing? Why this light? Why now? Once you’ve slowed down, taken a breath, and answered those questions with an answer other than “it was on my bucket list” or “the light is pretty,” you’re already in a better headspace than most other photographers and likely have a clear intention about what you want to convey in the photograph.
So, with the five elements of photography in mind, how can you truly set yourself apart from the vast majority of Instagram photographers, make a difference, and, hopefully, inspire a new generation of photographers? We all know social media’s not going anywhere, so there’s no point in fighting it, but you can start by creating better, more unique work. If more and more people do it, perhaps there will be a shift in photography, and we will connect with what truly matters again: the way we intend to tell our story.
But in the rush to take the photo, you forgot to record behind-the-scenes reels of your setup, your journey, and your location, along with a trending TikTok dance, so only five people will see your photo posted on social media anyway. But at least you did it with intent.
3 Comments
Thank you for sharing this. I'm a hobbyist trying to create images I might hang on my wall. I got started by photographing birds and immediately took to Instagram then almost as quickly left because I felt what you are describing here. I would find myself out shooting for the algorithm and liking what I got but never really loving it. You captured the experience perfectly and I am enjoying myself so much more now that I am shooting for myself.
Hey Christopher, thanks for sharing your thoughts. I agree with the idea of printing and hanging it up on the wall, even if it is just for yourself. There's a lot more satisfaction in seeing your images printed!
As a hobbyist also I have never understood the tours to spots where a lot of followers of Pros try to get the same image or like some of the ones of the pro making big bucks for the tour.
One thing hobbyist have over the pros is we can capture what ever we see that others do not, that is what a real photographer does! And yes i also put poster size prints in frames on the many walls in my home and change out the prints every month!
Exp: How many astro photographers head out west where it is said to have the darkest skies? Where no one tells of the rattlesnakes and only wear snickers and if using tents do they carry moth balls for around the tent. A hobbyist learns from where they are and checking things but learns very fast that their camera will handle all lights close and far away. Meaning that today with the new white lights in cities that no longer need for filters to block that old orange light.
Also landscapes are kinda hard to decide what is and is not. I see many forest captured that have trees close. Then you have the far off wide captures with a ultra wide lens and the photographer yes is getting all his peripheral vision also sees but forgets it is not the ALL that is needed.
Bottom line I believe is for all to just look around and see what is there and not spend the $'s to just go somewhere to just make a copy of an image you have seen.
a 2015 image capture over a roof next door while under bright street lights.
Lights camera action, as long as the sky is dark most every where today the camera and very little editing get the image your trained minds eye sees.
The rule learned when using for the first time a 10mm lens is you have to see two stories one close and the one far. using a 10mm on the A7RM2 while others stood on the very edge doing multiple row panoramas, here in one capture no real post play the full story of a river and a place called Horse Shoe. Also a unknown miracle of clarity close and far
Is the inside a cave using a 10mm a landscape, Captured more than any post card for sale. A7SM1 using camera strap and a bungee cord hooked to the bottom of the camera both sides, tripods not allowed. Have to have handy things also, A introvert is a problem solver, most photographers are while in their little world of seeing what others do not!
You have to know the field of view of a lens but only trying will you know!