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.

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

• NPR’s The Picture Show publishes a five-part series called “The Visual South,” profiling five photographers from Oxford American magazine’s “100 Under 100” list of “the most talented and thrilling up-and-coming artists in the South.” Christopher Sims shoots Guantanamo Bay, Frank Hamrick shoots, develops, prints, and book-binds by hand, Tammy Mercure finds “wryly humorous scenes” in the Great Smokey Mountains, Brandon Thibodeaux wanders around documenting Mound Bayou. Stay tuned for the fifth.
• Time‘s LightBox sits down with Matthias Fiegl, “one of the original founders of the 20-year-old, pinhole- and fisheye-loving, Vienna-based company,” Lomography, to talk about their “prophecies of the analogue future,” countering much of the incessant Instagram talk over the last few weeks. In somewhat related news, Leica Camera announced the launch of the first-ever monochrome digital camera with a black-and-white sensor and no color filter. Hands-on previews from PDN and Digital Photography Review, commentary from The Online Photographer, The Travel Photographer, Steve Huff Photo, Luminous Landscape, and many more, probably.
• Photos from the 67th anniversary of Victory Day in Europe from Ukraine, Russia, Kyrgyzstan, Moldova, Belarus and more at Boston’s Big Picture, LA Times’ Framework, and WSJ’s Photo Journal. Jonathan Alpeyrie‘s exhibition World War II Veterans is currently on view at Anastasia Photo in New York (through May 31, 2012).
• LPV Magazine shares some thoughts on “Narrative and the Serialization of Photography Online,” on “plotting” your Tumblr, and what he thinks might have gone wrong with Magnum’s Postcards From America feed.
• In copyright news, David Hoffman writes extensively on the “unprecedented exploitation of photographs” in the digital age, David Walker explores the “Liability-Proof World of Pinterest” on PDN, and Tumblr lands a lawsuit from publisher Perfect 10 alleging infringement, according to Econsultancy.
• Major controversy this week over CNN’s edit of Stacy Kranitz series on Appalachia, “Regression to the Mean,” which was intended by the photographer to complicate and debunk common stereotypes of the region, Conscientious’ Joerg Colberg points out. Roger May, along with several hundred disgruntled commenters on the CNN page found that the edit–a set of 16 images which claimed to be the “everyday lives of people in Appalachia” and featured two of KKK-related content (culled from Kranitz series totaling 77 images, only 3 of which were KKK-related)–perpetuated and reinforced that visual myth. In response, photographer Kranitz is quoted as feeling shocked, ashamed, humiliated, stunned, and disgusted. Read about her thought on the matter in a interview conducted with The Revivalist.
• No reviews out just yet, but New Yorker’s PhotoBooth, Time’s LightBox, and La Lettre de la Photographie all profile Delpire & Co., a five-venue retrospective celebrating the career of visionary French publisher Robert Delpire all across New York, on view now at Aperture Gallery, The Gallery at Hermès/Fondation d’entreprise Hermès, Cultural Services of the French Embassy, La Maison Française of New York University, Howard Greenberg Gallery, and Pace/MacGill Gallery. Join the conversation on Instagram and Twitter with #Delpire.