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

• Life shares a slideshow of black-and-white, mid-century images, “Orange Crush: In Praise of the Golden Gate Bridge,” to celebrate the  iconic bridge’s 75-year anniversary this Sunday, May 27, 2012. Coming soon: Aperture commemorates with a beautiful, oversized reissue of Richard Misrach’s monograph Golden Gate, in which the photographer shot the bridge in large format from his front porch at all times of the day for three years.
• New Yorker‘s PhotoBooth and Time’s LightBox both share selections from the recently released 870,000-image archive of historical New York City photographs by the department of records. Both feature work by Eugene de Salignac of the Aperture monograph New York Rises (2007). A limited edition print of “Brooklyn Bridge, showing painters on suspenders, October 7, 1914” is featured on the cover of the monograph and in Time’s selection.
• More on Gordon Parks this week, who was featured in David Campany’s essay in Aperture issue 206 and currently has a retrospective at the International Center of Photography, celebrating the centennial of his birth. PDN shares a 10-image gallery of his work, while La Lettre de la Photographie publishes a 1993 interview with Parks conducted by John Leongard, on what it was like photographing Black Muslims for Life magazine in the 60s.
• Fototazo posts a lengthy recap of their group book discussion of Walker Evans‘ American Photographs with Flak Photo’s Andy Adams, focusing on essays from Gerry Badger’s The Pleasure of Good Photographs. The discussion, which is hosted on Facebook, continued Monday with the essay ”A Certain Sensibility: John Gossage, the Photographer as Auteur.” Stay tuned for a discussion of the essay ”Without Author or Art: The ‘Quiet’ Photograph” on Monday, June 4, 2012.
• Rebecca Norris Webb, who spoke at Aperture gallery on Friday, March 23, 2012 during a co-lecture with Alex Webb, writes on the process of putting together her monograph My Dakota, launched on May 24, 2012 at the International Center of Photography, for Time’s LightBox. Work from the book will be exhibited at the Dahl Arts Center in Rapid City, South Dakota, June 1 – October 13, 2012.
• Photoshelter Blog interviews a multitude of industry professionals and posts “7 Myths About Portfolio Reviews Debunked,” which could be similarly useful to emerging photographers as their May 10 piece “Photography Through the Eyes of Art Directors,” featuring work from Alex Prager.
• Appropriately timed, American Photo Magazine posts their annual list of Top 10 Photographers who shoot weddings, which is where most our staff here seems to have taken off for the long weekend. A companion piece at PopPhoto takes a closer look at these photographers’ gear and process.

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

• Find May Day photos from around the world at Boston’s The Big Picture Show, New York Times‘ LensBlog, and LA Times‘ Framework. Time‘s LightBox also offers “Resources for Photographers Covering Protests,” a bit of a distillation of what the ACLU has up on their website. In addition this week, the National Press Photographers Association and other press groups “call on Justice Department to protect right to record,” pointing out that more than 70 people have been arrested documenting Occupy protests since last September.
• The New Yorker‘s PhotoBooth shares brilliant photos from the eight night performance run of electronic music and Krautrock pioneers Kraftwerk at MoMA last week– those shows that sold out in a blink of an eye, crashing ticket servers. The featured photos were taken not by concert photographers, but audience members with their cell phones who shared on Instagram, Facebook and Flickr, including one by their pop music critic Sasha Frere-Jones, who wrote for the magazine this week on the band’s legacy.
• Daidō Moriyama, who is interviewed by Ivan Vartanian in Aperture issue 203, was awarded the Lifetime Achievement award during ICP’s Infinity Award 2012 ceremony this past Wednesday, La Lettre De La Photographie reports, posting a gallery of his images. Be sure to check out the Daidō Moriyama pop-up library, on display at the ICP Library until May 23, 2012, and watch videos from Moriyama’s 2011 PRINTING SHOW–TKY at Aperture, a recreation of his 1974 ad hoc photobook-making performance of the same title. Moriyama also has his first solo museum exhibition, Fracture: Daido Moriyama, on view at LACMA through July 31, 2012, LA Times‘ Framework reports.
• Ben Lowy, the “Hipstamatic Journalist,” an ardent defender of cell phone photography according to a New York Times profile and Q&A on LensBlog, also won an Infinity Award this week for his work in photojournalism. Soon, the Times reports, Hipstamatic will release a Ben Lowy Lens filter. This week, software developer jag.gr also released the 645 Pro camera app for the iPhone, Rob Galbraith reports, which appeals to advanced photographers and can capture TIFF images, features real-time shutter speed and aperture readouts, a live histogram, a choice of spot or multi-zone metering, as well as focus, exposure, and white balance lock. PhotoShelter Blog shares a lengthy post on “Why Instagram is Terrible for Photographers, and Why You Should Use It,” while APhotoEditor explores some of the many licensing issues with the social media sites through which these images are shared.
• Read about the long strange saga of student photojournalist Andy Duann’s ‘bear falling out of a tree‘ photo which was went viral last week according to Poytner, eventually being picked up by the Associated Press (we first noticed it on WSJ‘s Photo Journal).  Duann had been considering legal action against his school, the University of Colorado, for distributing the photo without compensating him, until they acknowledged that he retained the copyright and announced they would no longer demand copyright from their students in the future.
• MediaStorm share two videos this week that live up to their column titled, “Worth Watching.” First, watch Ian Ruhter’s SILVER & LIGHT clip about his–literally–truck-sized traveling camera. Then watch Jeff Harris’ sometimes-heart-wrenching video on his project collecting 4,748 daily self-portraits–and counting. MediaStorm also draws our attention to Aday, “a unique photographic event,” scheduled for May 15, 2012, in which countless people from all different backgrounds use any camera they can get access to and submit photos to create a massive historical document–”A Day in the World,” which will be published as a book in October 2012. Sign up today.
• Andy Adam’s Flak Photo is teaming up with Tom Griggs’ fototazo next week to host an online community conversation focused on essays from Gerry Badger’s recently published The Pleasures of Good Photographs (Aperture 2010). We’re looking forward to Monday, May 7, 2012, which is when the discussion kicks off with the essay, “Literate, Authoritative, Transcendent: Walker Evans’s American Photographs.”

Photo by Zwelethu Mthethwa

Flak Photo has announced the three lucky winners of its Zwelethu Mthethwa Book Giveaway in partnership with Aperture. Congratulations to Barbara Fischer (Australia), Dustyn Allen (USA) and Henry Macario (Brazil) who were selected at random from over 280 Flak Photo facebook entries to win a copy of Zwelethu Mthethwa’s acclaimed monograph published by Aperture. Thank you to Flak Photo for supporting this important book. You can learn more about Flak Photo’s book giveaways and profiles on emerging photographers by visiting the Flak Photo website.

Click here to purchase your copy of Zwelethu Mthethwa’s self-titled monograph

cover photo by Zwelethu Mthethwa

Zwelethu Mthethwa was recently featured on Flak Photo’s (http://www.flakphoto.com) Weekend Series (a weekly feature highlighting new photo essays, book projects and gallery exhibitions) and now Flakphoto has partnered with Aperture to give away three copies of Zwelethu Mthethwa’s new monograph to facebook fans.

Mthethwa’s recent self-titled monograph and exhibition Inner Views at The Studio Museum in Harlem have received widespread critical acclaim. The New York Daily News writes that Mthethwa’s images of domestic life, the landscape and labor issues in urban and rural South Africa demonstrate “The power that homes can have on our souls” and The New York Times writes the work provides “A refreshingly intimate look at South African life.”

To enter Flakphoto’s book give away, browse the Flak Photo Gallery and post a link to one of your favorite photographs in the comments of Flak Photo’s books give away page before August 1st at 11:59pm. Three fans will be randomly selected from the submitted posts to receive their complimentary copies.

Click here to learn more about Zwelethu Mthethwa’s self-titled monograph

Click here for more information on Flakphoto’s book give away

The following contribution is offered as part of the unfolding conversation about the future of photobooks, a crowd-sourced blog initiated by Miki Johnson from RESOLVE and Andy Adams from Flak Photo.

When Adams invited me to partake, I’d just finished writing the usual letter prefacing the Spring 2010 Aperture booklist, which I mention only because I begin the piece by marveling over the extent to which photobooks have been a primary topic of conversation everywhere I’ve been over the the past year — from the Netherlands to Madrid, Frankfurt to Paris, Beijing, and other less exotic places in between. It’s not that this is unexpected in my line of work (publishing, photography, etc.), but the fact that I haven’t been the one to force the topic on other people, and that others have been eager to speak to me about it on their own—that I have been invited to more book awards, shows on books than ever before—is proof to me that the conversation on photobooks is reaching a point of super-saturation. To my knowledge, there are at least four major Books about Books in development (Latin American Photobooks, German Photobooks, Dutch Photobooks, among other general interest) and several related exhibitions underway for release sometime in 2010-11. (In fact, I’m a little bit worried about whether or not the backlash is going to set in before too long). Of course, this newfound attention must be viewed conversley within the larger context of the implosion of the publishing industry at large. This is one of those moments of reconsideration that history loves to give us: the book is dead, long live the book!

From this vantage point, it seems pretty apparent that the photobook market is bifurcating and then some, dividing things into at least two identifiable camps—not to be seen simply as a split between the luxury collectible v. the mainstream affordable, or, as it is more commonly interpreted, between analog and digital. My preferred view of this is of a matrix in which along one axis, you have publications in which the transmission of the idea is tantamount to its material form; and along the other, publications in which the objectness and conceptual rightness of the material form are of utmost importance. In the ideal world, a multiplicity of points plotted between these two axes would be acceptable and supportable; the key factor being a commitment to finding the right form for the material—be it traditional offset printing, hand-pulled gravure, Indigo digital printing, halftone on newsprint, eBook, or online presentation. In other words, even if one sticks to the traditional definition of the book as the word and image brought together in a physical form, there is no single future of the photobook—there are multiple futures.

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This month’s Flak Photo WEEKEND series features work from photographer Doug DuBois’s title All the Days and Nights. A deeply personal body of work, DuBois first started photographing his family in 1984, before his father’s near fatal injury from a commuter train. Coping with the graveness of this hardship, he documents his family members through a tender lens, revealing the subtle complexities of their personalities and the dynamics of their relationships with one another. This poignant memoir engages the viewer in its emotional immediacy and showcases the tribulations of those closest to him.
Aperture and Flak Photo are giving away 5 signed copies of All the Days and Nights! To enter, browse the Flak Photo Gallery and post a link to one of your favorite photographs on Flak Photo’s Facebook wall. Winners will be chosen at random, click here for full details.

Click here to view Doug DuBois on Flak Photo.

Click here to read the 5B4 review of All the Days and Nights.

Click here to purchase your copy of All the Days and Nights.

Aperture Foundation is now on Facebook!