What do Sophie Calle, Rineke Dijkstra, Susan Meiselas, and Hannah Starkey all have in common? They’re all on the list of 100 contemporary women photographers picked out by the UK’s Royal Photographic Society, after an open call for nominations. Over 1300 photographers were recommended to the organisation by the general public, which was slimmed down by a judging panel headed up by photographer Rut Blees Luxemburg.
The final list includes well-known names but also less recognised image-makers such as Native American artist Wendy Red Star, Moscow-based photographer Oksana Yushko, and Paola Paredes from Ecuador. Each Heroine will be awarded a Margaret Harper medal, named after the first female president of The Royal Photographic Society, and the first female professor of photography in the UK. An exhibition and accompanying publication will follow, all part of a bid to highlight women working in what is still a male-dominated industry.
“Although it was a truly challenging exercise having to consider 1300 women, being a part of the jury for Hundred Heroines was ultimately an incredibly stimulating and inspirational process,” says Luxemburg. “This final list reflects both the global expanse of female practice and the intergenerational input into contemporary photography. It reflects the wide range of methodologies, practices and diverse approaches of women working with the photographic medium. This is a moment of change and this list of heroines pays heed to it.”
“I became interested in photography in the late 1940s and began to look at magazines such as Life, Look, and Picture Post,” David Goldblatt told Colin Pantall, writing for BJP in 2013. “In the early 1950s, I tried to become a magazine photographer. I sent my pictures to Picture Post and got rejected. Then, when the African National Congress became active in their struggle against apartheid, Tom Hopkinson, the editor of Picture Post, contacted me and asked if I could make something. So I went to an ANC meeting and photographed everything I saw. That was in 1952.
“I shot and I shot and I shot and then I realised that I was using a long roll of film – film that had failed to engage on the sprocket of the Leica I was using. It was an incredibly basic mistake. But the other thing I realised was that I wasn’t really interested in what was happening around me.
“After the ANC meeting, I discovered I had to understand what I was competent in and what I was interested in. That took some years to probe, until I could get to the underbelly of the society that underlay South Africa. And to understand it visually, I also had to get a grasp on the history of the country. So I did a degree, which included courses in English and economic history. This taught me how to think and understand what was happening around me.
“My father died in 1963. I was 32 with three children and a family, but I sold the shop [the family business] and, with a couple of Leicas and the capital to keep on going for a year, I became a full-time photographer.”