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.

• 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.

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

• Time’s Lightbox profiles ‘Act’: Meditations on the Disabled Body by Denis Darzacq, a two-year project of photographing “people who have had trouble finding a place in society from the beginning of their lives,” he says. The Paris-based photographer known for his high-energy images and dynamic subjects will be giving an artist talk at Aperture this Monday, April 16, 2012 at 6:30 pm, FREE.
• Kathy Ryan, editor of The New York Times Magazine Photographs, shares the fascinating backstory of a photograph of Mohammad Ali with his future wife Lonnie that ran in the Sunday Magazine, taken at “the moment Cassius and I met,”  Lonnie wrote in an email to the photographer, Steve Schapiro.
• The New Yorker‘s photo department shares a collection of reader-submitted, “Hand-Picked Instagrams,” (as Wall Street Journal did last week, and more publications probably will in the future) alongside a thought-provoking essay by Ian Crouch, “Instagram’s Instant Nostalgia.” This, in the same week New York Times’ Bits Blog reports Facebook will buy Instagram for $1 billion.
• The British Journal of Photography reports on a controversial ad campaign for photographers’ rights launched by the French organization Union des Photographes Professionnels – Auteurs. In related news this week, the American Society of Media Photographers has filed a class action lawsuit against Google, PetaPixel reports, for “scanning, indexing, and storing copyright work without permission of the copyright holders” for their ambitions Google Books project.
• DIY gallerists take note: Phototuts+ shares “An Expert Guide to Matting and Framing a Photo,” which should be useful after you’ve watched their video lecture on Ansel Adams–delivered by Allan Ross who was Adams’ darkroom assistant for many years–and printed a bunch of restrained, expertly metered black-and-white landscape photographs of your own.
• American Suburb X shares a number of Nan Goldin readings this week, including an essay by Nan on actress and close friend Cookie Mueller who died of AIDS in 1989, as well as a fascinating in-depth paper by Mihaela Precup, “The Wound Which Speaks of Unremembered Time: Nan Goldin’s Cookie Portfolio and the Autobiographics of Mourning.” All great reads; our only quibble is: where did they come from? [UPDATE: ASX has appended the source of one of the pieces, created originally by Dirck Halstead at the once-pioneering web journal digitaljournalist.org]
• The John Simon Guggenheim Memorial Foundation announce their 2012 Fellowships in photography, PDN Pulse reports. Ten photographers, including Doug Dubois of the monograph All the Days and Nights, and John Gossage, whose exhibition The Pond and a Little Romance opens today in Chicago, join the ranks of past recipients Robert Frank, Diane Arbus, Robert Adams, Richard Mosse, Brian Ulrich, and Penelope Umbrico.

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

• Time magazine’s Lightbox features Manish Swarup’s photograph of a Tibetan exile self-immolating during a demonstration in New Delhi in their Pictures of the Week, reminding of Malcolm Brown’s iconic image of a Buddhist monk who set himself aflame in protest in 1963, and the photojournalistic ethical issues that go with it.
• Conscientious explores the challenges of still portraiture and points to a new study published by the British Psychology Society which finds that “the same people are rated as more attractive in videos than in static images taken from those videos.”
• NPR’s The Picture Show features “A Lifetime of Photos in a Little Email Retrospective,” images by “somewhat hermetic” Dennis Darling who relishes “staying under most radar” and rarely publishes or exhibits his work for other than those on his small email chain.
• The New Yorker‘s Photobooth commemorates Edward Steichen’s would-be 130th birthday with a slideshow of the seminal photographer’s images published in their magazine across the years.  Several limited edition prints from his early work are available at Aperture.
• “Taking a photograph is a response… it’s a pre-rational response, it’s an intuitive emotional response, it’s spontaneous, it’s immediate,” says Alex Webb of The Suffering of Light in Part 4 of 6 of the Q&A  session with Alex Webb and Rebecca Norris Webb by David Chickey of Radius Books at The National Museum Of Singapore on March 9, 2012, now all posted on Invisible Photographer Asia.
• APhotoEditor suggests, “Perhaps Most Photographers Don’t Understand the Value of Usage,” posting a reader-submitted story in which an “ex-student lied about having [her] permission and gave the image to the college, which then used the image on a billboard advertisement that wraps around a 20 story building on a very busy road in the city.” How was this resolved and did she get paid?
• Ansel Adams, Henri Cartier Bresson, Robert Frank, Stephen Shore, Nan Goldin, William Eggleston, Alec Soth, Diane Arbus are all photographers you should… IGNORE? That’s according to Bryan Formhals’ brash OpEd piece on LPV Magazine “10 Oeuvres Aspiring Photographers Should Ignore.”  Wired and the Click got a kick out of the post, which was inspired by “The 10 Most Harmful Novels for Aspiring Writers.” We think self-willed ignorance is more harmful than knowing one’s precedents and counter with this oldie but goodie: those who do not remember the past are condemned to repeat it.

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.”

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

• LensBlog explores why Rodrigo Abd‘s photograph of a young Syrian boy expressing grief over the death of his father landed on the front page of three of the most prominent national papers in the United States.

• Time magazine’s photo blog Lightbox celebrated it’s one year anniversary, revisiting their first post and the continuing saga of War is Personal by legendary photojournalist Eugene Richards, of the controversial 1994 Aperture monograph Cocaine True, Cocaine Blue.

• Conscientious, GalleristNY and LVP Magazine weigh in on Cindy Sherman’s retrospective at MOMA and on the “unanimity” among critics in New York reviewing it.

• One year after a devastating tsunami hit the coast of Japan on March 11, 2011, The New York Times does a “Side-by-Side look at Distruction and Renewal.” The Big Picture at Boston.com, Huffington Post, National Geographic, and The New Yorker ran similar posts, as did Time’s Lightbox, featuring a slideshow of photos by James Nachtwey, whose work is in The New York Times Magazine Photographs (Aperture 2011) edited by Kathy Ryan.

• NPR prompts the question: “You know Ansel, But Who is Robert Adams (And Why Should You Care)?” Bob Adams, of the recently reissued Aperture monographs The New West and Summer Nights, Walking, has a traveling retrospective The Place We Live now on view at the Los Angeles County Museum of Art.

• Sarah Palmer was just announced winner of the Aperture 2011 Portfolio Prize for her series As a Real House. Read her 2009 review of Eirik Johnson’s Sawdust Mountain, Robert Adam’s Summer Nights and Joel Meyerowitz’s Legacy, from when she was editor at Metropolis Magazine.

• Finally, Jonathan Blaustein‘s intensely personal column on APhotoEditor.com reviewing Donald Weber‘s beautifully put together photobook Interrogations is one of the best-written posts we’ve read all week. Interrogations will also be reviewed in the upcoming second issue of The Photobook Review.