The Illusionist and the Conjurer

Instead, the art moved from capturing images to choosing them. From the shutter finger to the editing eye. From “can I get the shot?” to “can I find the shot, in all of this, and do I know it when I see it?” The technical act got cheap. The judgment got more valuable. And an entire universe of new things that nobody predicted, things that couldn’t have existed in the era of 36 exposures, grew in the space that opened up.

I think that’s what’s happening now. With slides, with code, with writing, with design, with whatever domain you’re generating abundance in. The raw material is becoming infinite. The craft is migrating somewhere else.