In the 19th century, Baudelaire wrote that photography is not art. Its place is to humbly serve the sciences, as printing and stenography serve them.
You can see his point: at the time, many artists made a living by accurately transferring faces and landscapes onto canvas. It took many hours of work, while the daguerreotype was faster and cheaper. With the arrival of photography, many of them were left without commissions.
In 1862, Ingres and other artists signed a protest: photography is a mechanical process, not art. Today, similar words are said about AI in design: its work has no individuality, and it devalues our labor.
But history judged otherwise: photography did not kill art but became a distinct form of it. Today anyone can take pictures, but there are bad photos and good ones. And the good ones are not that many.
The difference between photos depends not on the perfection of the tool, but on the person's choice: what exactly to keep in the frame, and in what form.
The same goes for AI: a person decides what to keep, what to discard, and what to accept as the final form. In essence, AI is a new way of taking photographs, but every frame is ours to answer for.