Polish Is the New Bare Minimum
“Can you just run it through one of those enhancers first?”
A $4,200 Phase One XF, a Leica M11-P with a Summicron-M 35mm f/2 ASPH lens, and a Apple Studio Display were not present in the small breakroom where Joana stood, but their ghosts haunted the request: her manager wanted the team photo to look like it had been shot through their glass.
The image in question was a simple, candid capture of seven people laughing over a lukewarm catering tray, slightly blurred by the fluorescent hum of the office lights and the limitations of an aging smartphone sensor. It was a human moment, a documentation of a Tuesday that actually happened, yet the “raw” state of the pixels was now being treated as a draft rather than a finished product.
The request was framed as a kindness, a helpful tip to ensure everyone looked their best, but the subtext was a sharp pivot in the economics of perception: since the cost of fixing the photo had dropped to nearly zero, the cost of leaving it broken had suddenly become astronomical.
We are living through a quiet inflation of the baseline. For most of the history of photography, a “bad” photo was simply a fact of life, an unavoidable consequence of poor