Once you get me talking . . .

I suppose sometimes there's no other route to lead them to their eyes than through their ears. 

When I said I love seeing photographs of artists in their studios ssurrounded by their work:
Someone said artists should only be happy to their work on the walls of museums and galleries. 
I said that I like seeing my own work on the walls around me. It seems to be the natural environment for it. 
One of the sterling moments of my life was once when I was invited to Harvey Dinnerstein's studio. To be surrounded by his work as he must be for him too while working . . . That was so much better than a museum or gallery exhibition.
These things LIVE with us. They are not just product we put out for sale.

For an excellent fine art painter who is forced to leave his studio to find a job.
(Only temorarily, I hope) 
I said, "It feels like cutting out your beating heart, doesn’t it? Been there, done that. But it is just the pain you feel. Your heart, a little scarred now, is still in place. It still beats and you haven’t lost any of your hard won skills. Something will happen and you’ll be back at the easel in the future, though it may take a while. Take care of yourself. Look for opportunities. Like fishing, keep your hook in the water and be patient."

The dreaded Camera argument! It never dies . . . I like a good painting and I don't care how it was made. Even by Artificial Intelligence, if it moves me, it grooves me. If I hear some music and I want to dance I don't care if it's Frank Sinatra or a tape being played backwards. 
Now . . . if you want to compare the skills involved, that's a different matter. One is DIFFERENT than the other. That's about as far as I go. Except of course that I DO still like the human touch even when such lengths have been traveled to hide it.