The Current State of Photography: Why Events Like the Oxford Photomarathon matter

Photography is currently in a fascinating place. Undoubtedly, it is easier than ever to take a technically good photo, but that has not made photography more or less meaningful. Some may argue that it has made the medium more creative, more democratic, and more personal. Others, myself included, believe the opposite is true. We can, however, agree that photography sits at the intersection of art, technology, communication, and memory. Whether someone is shooting on a phone, a mirrorless camera, or a decades-old film body, the big question is no longer just how to make an image look good. It is how to make it feel real, memorable, and worth paying attention to.

One of the biggest shifts in photography is how accessible it has become. Smartphones have turned nearly everyone into a photographer, and that has changed both the culture and the expectations around images. People can now create, edit, and publish photos in minutes, often with an audience already waiting on social platforms. That speed has made photography feel less formal and more woven into everyday life. At the same time, dedicated cameras still matter, especially for professionals and enthusiasts who want more control, better lenses, or a specific visual style. But the old divide between “real camera” photography and casual photography feels much smaller now. Good photography can come from many tools, and viewers increasingly care more about the result than the gear. What is also evident is that the vast proportion of the photographs now taken are of a personal nature - albeit that they might be shared on social media . As a result there is little thought or imagination going into the selection of topics to be photographed or how they might be best captured.

Another major force shaping photography is artificial intelligence. Most modern phone cameras rely heavily background AI to produce acceptable images. Also AI-assisted editing is quickly becoming normal, helping photographers sort images, clean up distractions, adjust exposure, and speed up repetitive tasks. For many people, this is a welcome shift because it reduces the time spent on tedious work and leaves more room for creative choices. Still, AI also raises important questions. When does enhancement become fabrication? How much editing is too much?

Those questions do not have one universal answer, but they matter more now than they did a few years ago. The current moment in photography is not just about what tools can do,but should be about what photographers choose to do with them. That may be one reason authenticity has become such a powerful trend. Across portrait, documentary, wedding, editorial, and even brand photography, there is a growing appetite for images that feel honest rather than overly polished. Viewers often respond more strongly to photographs that show texture, emotion, imperfection, and real atmosphere. A slightly blurred frame, a quiet expression, or a messy environment can feel more alive than a flawless setup. Photography today often rewards storytelling over perfection. People want images that suggest a lived moment, not just a carefully assembled one.

At the same time, there is a renewed appreciation for slower and more tactile forms of photography. Film remains popular not simply because it looks nostalgic, but because it changes the rhythm of seeing. It encourages patience, intention, and surprise. Prints, photo books, and physical archives are also regaining value in a culture saturated with endless scrolling. In that sense, photography is moving in two directions at once: it is becoming faster and more automated, while also inspiring many people to slow down and reconnect with the physical experience of making and keeping images.

Trust is another defining issue. As generative tools become more powerful, the line between photograph, illustration, and synthetic image can become harder to see at a glance. That is pushing conversations about provenance, editing disclosure, and image credibility into the spotlight, especially in journalism, documentary work, and commercial settings where accuracy matters. In other words, the future of photography is not only about aesthetics. It is also about transparency. Knowing where an image came from, how it was made, and whether it represents a real event may become just as important as the image itself.

So why does an event like the Oxford Photomarathon matter? It is an attempt to create an experience which has broad appeal, is fast-moving but encourages both the craft of photography, the use of imagination and the full use of the equipment that a participant has. It aims to move photography on from the rigid strictures of what is considered to be a ‘good club image’ and from the world of selfies and aunty in front of the castle images.

We are determined to prove that Photography is not losing its identity. It is expanding it.

Richard Foyn, June 2026