But I've seen many, many people try to do similar things, and very few people have had this level of success. They're like great DJs playing exactly the songs people want, but for photographs on Twitter.
To put it bluntly: Their work in building audiences from nothing might be unparalleled in media today.
No less a curator than Xeni Jardin, a co-founder of BoingBoing, recently tweeted, "I love ’ taste in material, but" she continued, "would it kill them to include credit for the great photographers who shot these iconic images?"
Which brings us to the problems.
The audiences that Di Petta and Cameron have built are created with the work of photographers who they don't pay or even credit. They don't provide sources for the photographs or the captions that accompany them. Sometimes they get stuff wrong and/or post copyrighted photographs.
They are playing by rules that "old media" and most new media do not. To one way of thinking, they are cheating at the media game, and that's why they're winning. (Which they are.)
I interviewed Di Petta on Skype and got him to walk me through the details of building this little empire of Twitter accounts. As he openly talked through how he and Cameron had built the accounts, I asked him how he felt about criticism that they didn't source or pay for images.
"The majority of the images are public domain haha," he responded.
So I said, great, let's look through the last five together. And not all of them were in the public domain. So, I said, "How do you think about the use of these images?"
"Photographers are welcome to file a complaint with Twitter, as long as they provide proof. Twitter contacts me and I'd be happy to remove it," he said. "I'm sure the majority of photographers would be glad to have their work seen by the massives."
I pressed him on this point. Shouldn't the onus be on him and Cameron to get those rights from the photographers they assume would be grateful?
"It would not be practical," he said. "The majority of the photographers are deceased. Or hard to find who took the images."
Then he said, "Look at Buzzfeed. Their business model is more or less using copyright images."
I said most people in the media don't appreciate Buzzfeed's interpretation of the fair use exemption from copyright law. "The photographers I know would want me to ask you if you see anything wrong with profiting from their work?" I asked him.
"That's an interesting point," Di Petta responded. "I feel like we're monetizing our traffic, but they would see it as we're monetizing their images."
"They would say, 'Without our images, you have no traffic,'" I said.
"They do have a point," he conceded. "But whether we use images X or Y, there will be traffic to the site. But I can see their point of view."
In this logic, Di Petta echoes the logic of all social media networks.