"In the late 1970s, however, the concept of fiction in photography reared its little postmodern head. 'The big change in attitude from realist photography,' says Lawrence Miller, who owns a prominent photography gallery in New York, 'was when Metro Pictures [one of the hippest galleries in SoHo] showed Cindy Sherman in 1980.' Sherman's fictional self-portraits—fake 'film stills' with the artist posed as a negligeed blonde on a bed, or a dark-haired femme fatale in a chic apartment—weren't photography's first turn away from the straight, nonfiction reportage most people think of as great photography. But her pictures represented something new in the way that photography was considered as art. It wasn't just for reportage anymore. The Talbotian esthetic door was now fully opened for photographers to make photographs just as well as to take them. The advent of digital technology only exacerbated photography's flight into fable."
Peter Plagens in Newsweek traces the transformation of the medium.
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