Photographers used to be witnesses… now they’re just influencers
Shooting for publication was a lot more fun than shooting for the algorithm

Once upon a time, the photographer was the first person to see something happen. Not second-hand through a feed or retold in the comfort of a digital edit suite, but right there – in the thick of it.
Whether it was a goal, a glance, a grief-stricken moment or a burst of joy, the photographer’s job was to document it as it happened; to hold the moment still and offer it up for others to interpret.
There were no hashtags, no brand tags, just the image and the hope that it might connect. We weren’t there to influence; we were there to witness.
But something has shifted. Photography, in the modern age, has become as much about the person behind the camera as the pictures they produce. To survive the dry spells – the off-season shoots and the empty inboxes – photographers have morphed into online personalities.
We do unboxings, we write glowing captions about cameras we’ve been lent, and we partner with bag brands, filter brands, tripods and apps.
It’s the reality of the world we live in, and I understand it. I really do. Most photographers – myself included – love gear. And if someone sends you a lens in exchange for a post, you’re going to say yes. Why wouldn’t you?
Still, I think we’ve gone a bit too far. The balance has shifted. What was once a craft about voice, composition, patience and empathy has become an exercise in visibility and clicks. There’s pressure to be loud, to sell, to join affiliate programs, to edit with presets that “match the grid.”
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Somewhere along the way, the act of bearing witness has been replaced by the need to stay relevant. Photography is no longer just what you do. It’s a brand you must manage.
I’ve started pulling back. Slowly, quietly. I've taken a slower approach – stepping back from the promotions, the screen time and the constant pressure to perform. I just want to be a photographer again.
Not a content creator. Not a gear reviewer. Just someone who takes images because it feels good to do so. I don’t need a dopamine spike from likes. I need that feeling of clicking the shutter at just the right moment and knowing, instinctively, that something real has been captured.
I’m not blind to the irony. I’ll still post the occasional camera review. I still get excited about new kit and I’ll always have time for beautifully made tools.
But I’m also old enough – and maybe stubborn enough – to know that not every photo has to be monetized. Not every image needs to be shared, optimized or explained. Some photos are just for you. And that’s reason enough to keep taking them.
So yes, in today’s world, you have to be a promoter as well as a photographer. But now and then, it’s worth reminding yourself that being present – really present – with your subject is worth more than any number of views.
You don’t have to perform for the algorithm. Sometimes, it’s enough to just look, compose and press the shutter. Like it used to be.
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For nearly two decades Sebastian's work has been published internationally. Originally specializing in Equestrianism, his visuals have been used by the leading names in the equestrian industry such as The Fédération Equestre Internationale (FEI), The Jockey Club, Horse & Hound, and many more for various advertising campaigns, books, and pre/post-event highlights.
He is a Fellow of the Royal Society of Arts, holds a Foundation Degree in Equitation Science, and holds a Master of Arts in Publishing. He is a member of Nikon NPS and has been a Nikon user since his film days using a Nikon F5. He saw the digital transition with Nikon's D series cameras and is still, to this day, the youngest member to be elected into BEWA, the British Equestrian Writers' Association.
He is familiar with and shows great interest in 35mm, medium, and large-format photography, using products by Leica, Phase One, Hasselblad, Alpa, and Sinar. Sebastian has also used many cinema cameras from Sony, RED, ARRI, and everything in between. He now spends his spare time using his trusted Leica M-E or Leica M2, shooting Street/Documentary photography as he sees it, usually in Black and White.
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