Why I gave up on Content Credentials, even though I believe in it (and you should too)

Sebastian Oakley holding a leica M11-D p to his eye
(Image credit: Future)

When Leica first introduced Content Credentials on the Leica M11-P, I was optimistic. As a photographer who’s spent decades in the field and now shares work regularly on social media – both digital images and high-resolution film scans – the idea of embedding a digital signature to verify authenticity was appealing.

I saw it as a potential answer to a growing issue: how to keep track of my images once they’re released into the wild. With AI-generated images muddying the waters of visual truth, a method to say “yes, this is mine” felt not only smart but necessary.

(Image credit: Future / Sebastian Oakley)

So, I gave it a go. Despite not owning a M11-P, and with Nikon rumored to be testing similar capabilities, I decided to do it manually. I began embedding Content Credentials through Adobe Lightroom for each image I wanted to share.

It didn’t take long for the cracks to show. What started as a well-intentioned experiment quickly became a frustrating mess of tick boxes, metadata juggling and export settings that felt more like a compliance exercise than a creative workflow.

The entire process was, frankly, laborious. For every film scan or digital file I prepared, I had to enter or check off data line by line – EXIF, editing steps and rights information – just to get a basic set of credentials onto an image.

There was no batch option and no elegant shortcut. Just repetition. It made sharing a single image feel like preparing a legal document. For a working photographer, that’s simply not sustainable.

Screen shot of a Content Credentials timeline of an image (Image credit: Adobe / Sebastian Oakley)

What disappoints me most is that the core idea behind Content Credentials is important. In a world where manipulated imagery can undermine public trust and photojournalism alike, we need tools that confirm visual integrity.

Authenticity should be the bedrock of documentary and reportage photography. But any system designed to support that integrity has to support the photographer, too – not bog them down with a clunky, bureaucratic interface.

The implementation, at least in my experience, feels like a system designed without the everyday photographer in mind. If it’s going to work, Content Credentials must be streamlined. We need a simple ‘select all and apply’ approach – something that doesn’t interrupt the creative flow or demand extra time we don’t have.

Until that happens, I won’t be using it again. Not because I don’t believe in what it stands for, but because I refuse to let it stand in the way of doing what I do best: making images and getting them out into the world.

(Image credit: Sebastian Oakley / Future)

For now, my images will remain untagged and open, as they always have been. I still believe in honesty, in authorship and in holding the line against fakery.

But we need tools that empower, not obstruct. The moment Content Credentials become invisible in the workflow is the moment they’ll start to matter.

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Sebastian Oakley
Ecommerce Editor

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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