Photography is becoming increasingly gentrified.
It is a bitter reflection. A progressive standardization of aesthetics, where risk and error are sacrificed at the altar of a formal perfection that is often soulless.
This phenomenon can be observed on several fronts:
1. The Dictatorship of "Clean & Minimal"
There was a time when minimalism was a radical choice, a brutal subtraction. Today, it has become the reassuring default. Much of contemporary photography seems produced not to disturb the gaze, fitting perfectly into social media algorithms and high-end interior design catalogs. It is an "educated" aesthetic that is afraid of dirt, violent contrast, and ambiguity.
2. Technological Obsession vs. the Soul of the Medium
The market pushes toward increasingly clinical sensors, resolutions that exceed the capacity of the human eye, and a dynamic range that flattens every shadow. When technology eliminates the unexpected (grain, motion blur, optical defects), photography ceases to be an interpretation of reality and becomes an aseptic scan of it. Photos are taken to prove how good the lens is, not how powerful the idea is.
3. The Loss of the "Off-Camera"
Bourgeoisification also happens through an excess of explanation. "Bourgeois" photography is often didactic, where everything is correctly lit and the message is unambiguous. It lacks that sense of unease or mystery typical of those—like certain masters of noir cinema or avant-garde photography—who used shadow not to hide, but to suggest an underlying tension.
4. The Conformism of Subjects
Even in the fields of still life or fashion, there is a trend toward a reassuring narrative of luxury. We have lost the ability to ennoble common objects or to make a design object "brutal." Everything must appear expensive, polished, and aspirational in the flattest sense of the term.
The transition from vision to mannerism.
The quirk or "vezzo" is not an expressive necessity, but an accessory used to signal belonging to a niche without actually taking any of the risks. When aesthetics become a preemptive filter rather than the result of a visceral clash with reality, photography stops being an act of discovery and becomes pure decoration.
This flattening manifests in very specific ways:
Programmed Unpredictability: One seeks out the error (blur, blown-out highlights, grain) not because the moment demanded it, but as if it were a filter applied after the fact. It is a "polite" imperfection that never truly disturbs the composition.
Trend-driven Objects: The choice of subjects no longer follows a personal obsession, but an invisible catalog of what is considered "cool" or "sophisticated" at the moment. The object isn't there for its form or materiality, but for its ability to generate an aesthetic association.
Even when attempting to be asymmetrical or brutal, one often perceives an underlying rigidity. The frames are filtered through second-hand visual culture: people copy the atmosphere of certain cinema or auteur photography without having internalized the rigor or the desperation behind it. It is a constant citation that hollows out the subject.
The gravity of the situation lies precisely in this "filter." If the eye is no longer connected to the gut, photography becomes an aseptic stylistic exercise.
Visceral vision is brutal, sometimes unpleasant, and certainly unconcerned with looking "right."
Filtered vision, instead, is always aware of how it will appear on a screen. It is photography born already designed to be looked at by others, losing that solitary, almost autistic dimension that characterizes true visual research.
We have moved from "What am I seeing?" to "How can I make this thing look interesting?". In the first case, there is discovery; in the second, only superficial manipulation.
This lack of material authenticity and real "dirt" makes everything extremely tedious, almost interchangeable. When the way of framing becomes a "personal brand" instead of a necessity of the gaze, photography has officially become an interior design product.
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