›› Throw out your SLR? App-maker Hipstamatic announced its plans to launch the Hipstamatic Foundation for Photojournalism to educate and support ”the next generation of photographic storytellers using smartphones with Hipstamatic.” Photojournalist Brad Mangin posted “How I Made Instagram Images That Were Good Enough for Sports Illustrated,” an essay about how he got a portfolio of iPhone Instagrams published, and how you can too. Traditional photojournalists everywhere are groaning, but check out Benjamin Lowy’s blog featuring his reports from Libya via Instagram (supported in part by a Magnum Foundation Emergency Fund grant) and judge for yourself.

›› The Associated Press has announced that it will be using robotic cameras (in addition to its team of photographers) to photograph the 2012 Summer Olympics in London. These cameras, which have been mounted on ceilings and the bottom of pools, will provide an otherwise impossible perspective on the games. On the heels of the highly controversial Olympics Portraits that made the rounds on the web earlier this month, LightBox tells the story of The Best Magazine Assignment Ever, photographer’s Neil Leifer’s 1984 “Olympic Odyssey Around the World” during which he traveled to 13 different countries to create a collection of images that would appear in TIME’s preview of the 1984 Los Angeles Olympics.

›› The New York Times Lens Blog published a collection of color slides taken by groundbreaking American photographer, musician, writer and film director Gordon Parks in 1956, images from his “Segregation Series” that had been thought lost until they were found at the bottom of a box this spring. The Schomburg Center for Research in Black Culture opened Gordon Parks: 100 Moments, a retrospective focusing on the photographer’s work in Harlem and Washington D.C. in the 1940s. The International Center of Photography opened an exhibition of Parks’ photographs in May, and they’ll be on view until January 2013. Parks, who died in 2006, would have been 100 this year.

›› What does the future hold for photography publishing? The British Journal of Photography reported on the growing body of work being printed on newsprint, profiling publications by Jason Larkin, Guy Martin, Alec Soth, and Rob Hornstra, who are enthusiastic about the medium’s affordability and impermanence. Joerg Colberg discussed how serious photography might best use the internet as a means of dissemination.

›› The Guardian’s Geoff Dyer profiles StreetViewer photographer Michael Wolf, as well as Doug Rickard whose forthcoming monograph A New American Picture sparked lively debate on our Facebook page last week, some condemning his practice as lazy appropriation, and others praising its conceptual ingenuity. In discussing Rickard, Dyer links “this new way of working” to the candid photography traditions of Paul Strand, Robert Frank, and Walker Evans: “The shifting spirit of Robert Frank seems also to be lurking, as if the Google vehicle were an updated incarnation of the car in which he made his famous mid-50s road trip to produce his photographic series, The Americans.” In other virtual reality news, StreetView now includes images from the Antarctic huts of explorers Shackleton and Scott, providing yet more digital space for such artists to explore.

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

• Forty years after AP photographer Nick Ut took the iconic ‘napalm girl‘ photograph in Vietnam, photographer David Burnett writing for the Washington Post reflects on an exposure that could have been his. He was standing mere feet away from the scene, surrounded by journalists, re-loading film into his Leica when he missed what became a most emblematic moment. The entry seems like it might have been a good fit for Will Steacy’s collection Photographs Not Taken, which features similar essays from photographers on moments that never became their pictures.
• “Radical change in the photography industry during the past five years has ignited an explosion of photo collectives,” writes James Estrin for the New York Times’ LENS Blog. He explores this recent trend after witnessing an impressive presentation by the newly formed Grain collective at the Look3 Festival in  Charlottesville, VA last month. The post offers a good bit of context for this May, 2012 Wired piece: “7 Budding Photo Collectives You Need To Know.”
• New Yorker’s PhotoBooth profiles Underage, an exhibition of work from six emerging photographers in their late teens and early twenties on view at Photoville, an exciting, week-and-a-half-long photography happening which kicks off in Brooklyn this Friday, June 22,  and features 60,000 square feet of exhibitions, hands-on workshops, nighttime projections, a “photo dog run,” and a “camera garden.” Find daily programming here.
• Time‘s LightBox goes “Behind the Cover: Capturing the American Dream,” exploring the process of the photo shoot for the birds-eye-view cover image by Jeff Minton that illustrates Jon Meacham’s article, “The History of the American Dream,” for this week’s magazine. They also profile Mike Sinclair, whose photographs accompany the same article inside the magazine. His current exhibition, Public Assembly, is on view at Jen Bekman Projects in New York City until June 23, 2012.
• A few things on street photography this week. Blogger and photographer Blake Andrews, who is interviewed by LPV Magazine here, reviews Cedar Pasori’s recently published “50 Greatest Street Photographers Right Now,” with an extensive selection of images. PetaPixel posts the highly informative video by Portland-based photographer Jimmy Hickey, “How to Photograph Complete Strangers” and the free 31-day “program” and e-book by street photographer Eric Kim, “Overcoming Your Fear of Street Photography in 31 Days.” This fall, we’re very excited to be publishing a monograph by Doug Rickard, “A New American Picture,” which offers a radical rethinking of street photography–photographs re-taken in Google’s Street View.
• Fototazo does another Book Discussion Group Recap on Gerry Badger’s collection of essays, The Pleasure of Good Photographs, this time focusing on “Without Author or Art: The Quiet Photograph,” exploring the restrained work of Stephen Shore, among others.
• The Fotojatka festival that traveled to cinemas around the Czech Republic last week screening audiovisual photography slideshows is now offering them free on their website featuring work by Kristoffer Axén, Nikos Economopoulos, Erwin Olaf, and Reiner Riedler.

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

• “MediaStorm broke new ground in digital publishing on Tuesday,” writes Jonathan D. Woods for Time‘s Lightbox, “with the launch of a pay-per-story video player, one of the industry’s most exciting attempts to capitalize on the strength of multimedia productions.” The company’s founder Brian Storm explains the decision to start charging viewers $1.99 for their latest premium multimedia content.  Maggie Steber, whose piece “Rite of Passage,” is one of the first offered under this arrangement, responds to early critics of the new publishing model.
• Kathy Ryan, for The New York Times‘ 6th Floor blog, covers the Alex Webb interview with Geoff Dyer at last weekend’s Look3 Festival, offers some choice quotes and a selection of images that appeared in the photographer’s retrospective monograph The Suffering of Light (Aperture 2011). PhotoShelter Blog offers a more extensive “Look3 Festival Round-Up,” in journal format with images of some of the exhibition spaces.
• Joerg Colberg publishes a piece on Conscientious called “Photography After Photography (A Provocation)” which addresses the question, “Now that we’ve done all that stuff that you can see in history-of-photography books, now that we’ve become obsessed with re-creating that past over and over again – how can we turn around, to look at and move into the future?” It garnered a bit of attention and a response from Fototazo titled “What Is Progress in Photography Today?“
• PetaPixel posts this video of a talk that Lytro founder Ren Ng gave at TEDxSanJoseCA last month on the future of photography, exploring how his company’s revolutionary camera which allows users to “shoot now, focus later,” will change the art form.  They also shared a nice info-graphic this week, “A Shapshot of the Photography Industry” which illustrates just how rapidly technology has revolutionized the field. In 2000, 99% of photography was analog. Today, that number is more like 1%.
• LIFE publishes “Father’s Day Special: Life with Famous Dads,” featuring a slideshow of images from their archive, NYTimes’ LENS Blog takes a look at work by Zun Lee, “Exploring African American Fatherhood,” and NPR’s The Picture Show profiles the highly compelling photographs by Timothy Archibald–”Frustrated By Autism, A Father Turns To Photos“–which explore not his son’s diagnosis, but their ensuing relationship.

For Fall 2012 Aperture presents a list of new and re-issued publications, from the startling and fresh, to new editions and long-awaited anthologies. Read more about our upcoming releases, and view a slideshow of Fall 2012 cover art below.

Upcoming titles include:

• A New American Picture by Doug Rickard
• 101 Tragedies of Enrique Metinides
• Petrochemical America by Richard Misrach and Kate Orff
• The Ballad of Sexual Dependency by Nan Goldin
• Life’s a Beach by Martin Parr
• Labyrinth: Daido Moriyama
• Aperture Magazine Anthology: The Minor White Years, 1952–1976
• The Garden at Orgeval by Paul Strand
• Unbuilt: Louis I. Kahn at Roosevelt Island, Photographs by Barney Kulok, Essay by Steven Holl

September 2012

A New American Picture by Doug Rickard

Doug Rickard’s A New American Picture offers a startling and fresh perspective on American street photography. While on first glance the work looks reassuringly familiar and well within the traditional bounds of the genre, his methodology is anything but conventional. All of the images are appropriated from Google Street View; over a period of two years, Rickard took advantage of the technology platform’s comprehensive image archive to virtually drive the unseen and overlooked roads of America, bleak places that are forgotten, economically devastated, and abandoned. With an informed and deliberate eye, Rickard finds and decodes these previously photographed scenes of urban and rural decay. He rephotographs the machine-made images as they appear on his computer screen, framing and freeing them from their technological origins.

12 1/2 x 9 3/4 in. (31.8 x 24.8 cm); 
144 pages, 90 four-color images; 
Hardcover with jacket; 
ISBN 978-1-59711-219-2
; $60.00; 
September 2012; 
Rights: North America

101 Tragedies of Enrique
 Metinides

101 Tragedies of Enrique Metinides is Enrique Metinides’ choice of the 101 key images from his life photographing crime scenes and accidents in Mexico for local newspapers and the nota roja (or “red pages,” for their bloody content) crime press. Accompanying each image, extended captions give his account of the situation depicted, describing the characters and life of the streets, the sadness of families, the criminals, and the heroism of emergency workers—revealing much about himself in the process. Having received his first camera at the age of ten, Metinides became a capable street photographer by the time he was twelve, already working with police and firefighters to get his best shots. Now also found in museum collections around the world, his images are compelling, immediate, sometimes shocking, and always authentic. Selected photographs are also paired with their original newsprint tearsheets, collected by Metinides, the typography of which have inspired the design of this book. The photographs have been compiled by Trisha Ziff, a filmmaker and curator who knows Metinides well, and who also contributes an essay about his life, work, and personality.

8 1/2 x 10 3/8 in. (21.6 x 26.4 cm); 
192 pages, 
150 four-color images; 
Hardcover with jacket; 
ISBN 978-1-59711-211-6
; $50.00/£35.00
; September 2012; 
Rights: World

Petrochemical America by Richard Misrach and Kate Orff

Petrochemical America features Richard Misrach’s haunting photographic record of Louisiana’s Chemical Corridor, accompanied by landscape architect Kate Orff’s Ecological Atlas—a series of “speculative drawings” developed through research and mapping of data from the region. Their joint effort depicts and unpacks the complex cultural, physical, and economic ecologies along 150 miles of the Mississippi River, from Baton Rouge to New Orleans, an area of intense chemical production that first garnered public attention as “Cancer Alley” when unusual occurrences of cancer were discovered in the region.

This collaboration has resulted in an unprecedented, multilayered document presenting a unique narrative of visual information. Petrochemical America offers in-depth analysis of the causes of decades of environmental abuse along the largest river system in North America. Even more critically, the project offers an extensively researched guidebook to the way in which the petrochemical industry has permeated every facet of contemporary life.

 An exhibition coinciding with the release of the book will take place at Aperture Gallery in fall 2012.

13 1/2 x 10 1/2 in. (34.3 x 26.7 cm); 216 pages (plus 24-page insert), 
150 four-color images; Hardcover; ISBN 978-1-59711-191-1; $80.00/£50.00; September 2012; 
Rights: World

The Ballad of Sexual 
Dependency by Nan Goldin

The Ballad of Sexual Dependency is a visual diary chronicling the struggle for intimacy and understanding between friends, family, and lovers—collectively described by Nan Goldin as her “tribe.” Her work describes a world that is visceral, charged, and seething with life. First published in 1986, this reissue recognizes the persistent relevance and freshness of Nan Goldin’s cutting-edge photography.

Over the past twenty-five years, the influence of Ballad on photography and other aesthetic realms has continually grown, making the work a contemporary classic. Nan Goldin’s story of urban life on the fringe was the swan song of an era that reached its peak in the early eighties. Yet it has captured an important element of humanity that is transcendent: a need to connect.

This new edition of The Ballad of Sexual Dependency has been printed using new scans and separations created by master-separator Robert Hennessey from Goldin’s original slides and transparencies, rendering them with unparalleled sumptuousness and impact.

10 x 9 in. (25.4 x 22.9 cm); 
148 pages, 
126 four-color images; 
Clothbound with jacket
; ISBN 978-1-59711-208-6; 
$50.00/£35.00; 
September 2012; 
Rights: World (excluding France)

Life’s a Beach by Martin Parr

In the United Kingdom, one is never more than seventy-five miles away from the coast. With this much shoreline, it’s not surprising that there is a strong British tradition of photography by the seaside. American photographers may have given birth to street photography, but according to photographer Martin Parr, “in the UK, we have the beach!” Here, he asserts, people can relax, be themselves, and show off all those traces of mildly eccentric British behavior.

First released in a signed and numbered limited-edition run, Life’s a Beach shows Parr at its best, startling us with the moments of captured absurdity and immersing us in the rituals and traditions associated with beach life all over the world. A trade edition will follow in spring 2013.

11 x 9 in. (27.9 x 22.9 cm); 
98 four-color images;
 Slipcased hardcover; 
Signed and numbered limited-edition;
 ISBN 978-1-59711-224-6; 
$150.00/£95.00;
 September 2012;
 Rights: World (excluding France)

October 2012

Labyrinth: Daido Moriyama

Throughout Daido Moriyama’s extensive career, he has continually sought new ways of presenting and recontextualizing his work, frequently recasting his images through the use of different printing techniques, installation, or re-editing and re-formatting. In each iteration, images both old and new take on changed and newly charged significance. This volume, created during preparations for several international survey exhibitions, offers both the photographer and the viewer the opportunity to consider the photographer’s life work in a fresh light.

Moriyama has always sought meaning in the raw accumulation and gestalt of sequences of images. Labyrinth makes public an exercise in reconsideration that the photographer has assigned to himself. In opening up this private process of re-examination to a wider public, Moriyama continues to challenge the viewer and his own practice, as well as the larger mechanisms by which photography functions and creates meaning.

11 3/4 x 13 3/4 in. (30 x 35 cm); 
304 pages, 
300 duotone images; 
Paperback with flaps; 
ISBN 978-1-59711-217-8
; $80.00/£50.00; 
October 2012
 Rights: World (excluding Japan)

Aperture Magazine
 Anthology: The Minor White Years, 1952–1976

Published on the occasion of Aperture magazine’s sixtieth anniversary, this is the first anthology of Aperture magazine ever published. This long-awaited volume will provide a selection of the best critical writing from the first twenty-five years of the magazine—the period spanning the tenure of cofounder and editor Minor White.

The texts and visuals in this anthology were selected by Peter C. Bunnell, White’s protégé and an early member of the Aperture staff, who went on to become a major force in photography as an influential writer, curator, and professor. Several documents from Aperture’s founders and individual articles are reproduced in facsimile, and the book is enlivened by other distinctive elements, including a portfolio of each cover, and a selection of epigrams and editorials that appeared at the front of each issue. An extensive index of every contributor to the first twenty-five years of the magazine makes this an indispensible resource.

6 1/2 x 9 3/8 in. (16.5 x 23.8 cm); 
448 pages
, 150 four-color images;
 Hardcover with jacket; 
ISBN 978-1-59711-196-6;
$39.95/£25.00;
 October 2012
 Rights: World

The Garden at Orgeval by Paul Strand

After a lifetime of working on a series of “collective portraits” in far-flung places such as Mexico; Ghana; Italy; Tir a’Mhurain, Scotland; and his adoptive country, France, an aging Paul Strand decided to concentrate on still lifes and the stony beauty of his own garden at Orgeval, France, as a site in which to distill his discoveries as a photographer. The work that constitutes The Garden at Orgeval is marked by close and careful study of the forms and patterns within nature—of tiny button-shaped flowers, cascading winter branches, and fierce snarls of twigs. While the images bear the same directness and precise vision that is quintessentially Strand, the work also reflects a growing metaphorical turn.

Renowned photographer Joel Meyerowitz—whose own affinity toward Strand’s Orgeval series stems from a lifetime of photographing in different genres and ultimately returning to nature as an enduring subject—has selected the photographs in the book, and he responds to them in an accompanying personal essay, reflecting on issues, including the contemplation of one’s garden, and growing old. Beautifully produced in a modest size, in the manner of a volume of poems, this book’s task is to do credit to Strand’s final work, both as an individual and as a key figure in Modernist photography.

8 x 10 3/8 in. (20.3 x 26.4 cm); 
96 pages, 
42 duotone images 
Clothbound; 
ISBN 978-1-59711-124-9; 
$45.00/£30.00; 
October 2012, Rights: World

Unbuilt: Louis I. Kahn at Roosevelt Island (Photographs by Barney Kulok, Essay by Steven Holl)

In October 2012, Four Freedoms Park—the last design Louis I. Kahn completed before his untimely death in 1974—will open on Roosevelt Island in New York City, over forty years after its commission as a memorial to Franklin D. Roosevelt.

Barney Kulok’s black-and-white photographs of the building site function as a meditation on the materiality and formal underpinnings of Kahn’s architectural thinking. Unbuilt is at once a historical record and a multilayered visual investigation of form and the subtleties of texture—elements of fundamental importance to Kahn’s philosophies. As architect Steven Holl writes, “Kulok’s photographs free the subject matter from a literal interpretation of the site. They stand as ‘Equivalents’ to the words about material, light, and shadow that Louis Kahn often spoke.”

11 x 14 in. (27.9 x 35.5 cm); 80 pages, 40 duotone images; Hardcover with jacket; Signed and numbered limited edition of 1,000 copies; 987-1-59711-TKT-K; $TK.TK/£TK.TK; October 2012, Rights: World

For all press inquiries please contact:

Barbara Escobar
Publicity and Events Manager
212.946.7123
bescobar(at)aperture.org
publicity(at)aperture.org

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

• “It is almost impossible for me to shoot a photo where someone is NOT taking a picture or posing for one,” writes Martin Parr on his blog in a post titled, “Too Much Photography.” Prime examples of this can be found in his series Tourism Inc. which is being published by Reporters Without Borders for the 20th anniversary of their “100 Photos for Press Freedom” collection, accompanied by an exhibition at Galerie Photo Fnac Forum des Halles in Paris, La Lettre de la Photographie reports. His photographs of Atlanta for the High Museum’s “Picturing the South” series are also featured in the upcoming summer issue of Aperture 207.
• In further commentary on CNN’s controversial edit of Stacy Kranitz’ series on Appalachia, Joerg Colberg writes, “If we wanted to know what a place looked like we would need an infinity of photographs, taken from all possible angles excluding nothing, seeing everything at the same time,” a notion he thinks antithetical to the practice of photography, but increasingly possible, not only as Parr points out through the proliferations of cameras, but with the help of the Google Street View car, profiled by the Times here. Check out art made with photos pulled from the Street View service by Aaron Hobson, Jon Rafman, and Michael Wolf of the monograph Transparent City (Aperture 2008). And stay tuned for the upcoming re-issue and expanded edition of A New American Picture by Doug Rickard coming from Aperture in fall 2012.
• Perpetual shooting brings us to the post on APhotoEditor asking, “Is It Time To Eliminate Stills From Your Shoot?” due to the ease and success with which quality still images may be pulled from video footage as a result of the recent proliferation of HDSLR cameras on the market. Now with no need to pick the decisive moment, soon no need to pick where to focus, who’ll need photographers? Have a look through SFMOMA’s page “Is Photography Over?” and read about the dialectical relationship of aesthetics and distribution/media on Fotomuseum Winterthur’s blog Still Searching.
• On a different note, watch this great video from Feature Shoot, “Inside the World’s Only Tintype Photography Studio,” a photo gallery and walk-in commercial tintype portrait studio. Owner/photographer Michael Shindler says, ”I think what people seem to be looking for now is a kind of photography where the process itself is going to impart its own flavor to the finished image, a little bit of uncertainty.”
• American Suburb X  shares Kelly Dennis’ 2005 essay, “Landscape and the West – Irony and Critique in New Topographic Photography,” which explores the work of Robert Adams, Lewis Baltz, Joe Deal, Art Sinsabaugh and more. After reading, check out new-New Topographic photography in Camps & Cabins at G. Gibson Gallery in Seattle, the third solo show by Eirik Johnson, author of the monograph Sawdust Mountain (Aperture 2009), on view through May 26, 2012.
• LENS blog profiles the opening of “Gordon Parks: 100 Years” at the International Center of Photography, celebrating the centennial of the legendary photographer’s birth with an exhibition of his work presented not inside the center, but in their windows, on view to the street. Parks was featured in an essay by David Campany on “Precedented Photography” in Aperture issue 206. His writing also appears in the requisite volume, Photography Speaks: 150 Photographers on Their Art.
• Fototazo posts Part II of their three-part interview with Oregon-based photographer Blake Andrews of the popular blog B. During this exchange, they invite him to create a competition for photographers to rank and sequence famous photographs, and predict the most popular sequence. The results of the contest will be published on Fototazo and Andrews’ blog. Part III of the interview will be published on Fototazo May 24, 2012.