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Photographer Outs Herself as Mystery Donor of $5.5M to Female Artists

In 1996, a mysterious program called Anonymous Was a Woman began giving $25,000 with no questions asked to 10 underrecognized female artists over the age of 40. Now, 22 years and $5.5 million later, the anonymous benefactor behind the program has finally stepped forward: she’s 77-year-old photographer Susan Unterberg.

Think All the Photos on Instagram Look the Same? So Does She. – PhotoShelter Blog

In reaction to the trend, the @insta_repeat account was created. The account is the brainchild of a 27-year old female filmmaker and an artist living in Anchorage, Alaska who has opted to remain anonymous. Her account has featured some of the biggest influencer names and her stated purpose is to “critique originality in media creation.”

92-Year-Old Photographer Loses 65-Year-Old Photo Business to Tornado

An EF-3 tornado ripped through Marshalltown, Iowa, last Thursday, and one of the victims of the disaster was a 92-year-old photographer named Harold Cline. After seeking shelter from the storm, Cline returned to his work to find that his 65-year-old business had been destroyed.

Is photography stuck in a constantly repeating loop?

The ability to create photographic images has never been more available to the global population; its acceptance as an art form never more obvious in our museums, galleries, magazines and homes. Where once battles were held to place photographs on gallery walls, today blockbuster exhibitions featuring the work of Andreas Gursky, Richard Avedon and William Klein amongst so many others fill the gallery spaces and coffers. Things have changed, that’s for sure, in how we are shown and sold photography.

Is National Geographic Fine Art a Ripoff for Photographers?

I was surprised to learn the photographer only gets 5% of the total sale price. Artists in galleries commonly receive 40% to 50% of the sale price. Most US states where the prints are sold will earn more than the photographer in sales tax.

Take a Photo Here – The New York Times

We carry the cameras built into our phones around all the time, and the resulting flood of images says something about what people, in the aggregate, like to photograph. There are sunsets, meals, selfies, babies, dogs from dog people, cats by cat persons. There are distinctly contemporary ways of taking pictures at a party or of photographing landscapes. Originality, always hard to come by, is getting harder.

Walking the Streets with Geoff Dyer & Garry Winogrand | by Richard B. Woodward | NYR Daily | The New York Review of Books

In Geoff Dyer’s first book about photography, The Ongoing Moment (2005), the English critic and novelist looked at images by a group of his favorite photographers through a prism of motifs that he believed had reoccurred like Jungian archetypes across decades and continents. How and why these mundane subjects or objects (blind people, hats, roads, clouds, benches, doors, gas stations, barber shops) had been successively reinterpreted by Paul Strand, Walker Evans, André Kertész, Eugène Atget, Dorothea Lange, Robert Frank, Diane Arbus, William Eggleston, and thirty-four others formed the basis for a series of uncommonly original and engaging, if at times wayward, observations and reflections. Emulating Roland Barthes, Dyer oscillated between close readings of individual pictures and free associations. A photograph by Kertész from 1914, of an old man walking at night in Hungary, say, reminds him of a Cavafy poem because he reads both as nostalgic documents.

From 14 million photos in the Library of Congress, she chose 440 to tell the story of America

In her four decades as a celebrated curator of photography, Anne Wilkes Tucker has combed through the archives of such masters as Dorothea Lange, Robert Frank and Diane Arbus. But none of that was on the scale of what she took on for the Annenberg Space for Photography in L.A.: diving into the 14 million photographs at the Library of Congress.

Christopher Anderson Photographs With An Unashamedly Subjective Eye | iGNANT.com

Though American photographer Christopher Anderson’s images cover a breathtakingly wide range of subjects, they are linked in their unique ability to position the viewer as part of the scene — allowing them to fully feel and “experience” how Anderson felt at the time of photographing.