Aperture aggregates the best posts from this past week in the photography blogosphere.

• Art Nouveau magazine interviews artist Hank Willis Thomas, of the monograph Pitch Blackness (Aperture 2008) whose transmedia installation Question Bridge: Black Males is still on view at three different locations around the country, on his latest body of work Strange Fruit which makes ”vivid comparisons of black perception between the pre-slavery era and post-Civil Rights Movement.”
• Joerg Colberg posts on Conscientious Extended about “How To Make a Photobook,” though he admits early on, “My headline is slightly disingenuous: There actually is no simple recipe for photobook making.”
• New York Times‘ Lens blog does a Q&A with Mexico City-based photographer Dominic Bracco II about one of his images “showing death with humanity and dignity,” as well as the Eugene Richards’ photograph from the series “Below the Line: Living Poor in America,” which inspired him.
• Jess Dudley, Wonderful Machine Producer, posts a very informative piece on APhotoEditor, “Pricing and Negotiating – Non-Fiction Book Cover,” in an attempt to elucidate the often murky realm of reproduction rights through a real-life annecdote.
• New Yorker‘s Photobooth profiles “Lost & Found: Salvaging Snapshots in Japan,” with a slideshow of the recovered family photographs from the Japanese town of Yamamoto devastated by the tsunami one year ago, featured in Aperture issue 206, and on view at Aperture Gallery April 2, 2012 – April 27, 2012.
• Time’s Lightbox profiles the independent photo project on Afghanistan (Danger and Aftermath, on view at Museum London in Southwestern Ontario through April 1, 2012),  by Magnum photographer Larry Towell, who’s work has appeared in The New York Times Magazine Photographs (Aperture 2011) and Access to Life (Aperture/Magnum Photos/The Global Fund 2009).
• NPR’s The Picture Show takes “A Peak Inside the Copy Cat Building: Where Baltimore Artists Work – And Live.” Alex Wein and Rob Brulinski’s photographs portray the living spaces of over 100 eclectic new tenants of a building which once housed Copy Cat printing, and was the birthplace of the Crown Cork bottle cap, “a worldwide standard for the beer and soda industries.”