Aperture aggregates the best posts from this past week in the photography blogosphere.
- The National Press Photographers Association announce “The Best of Photojournalism 2012,” this week. For aspiring hopefuls, the Photo Brigade posts “10 Tips for Photojournalism Students,” and Phototuts+ shares an article on “Building a Narrative Through Photojournalism.” The British Journal of Photography reports that the Carmignac Gestion Foundation is currently calling for entries for its annual Photojournalism Award, which comes with a €50,000 grant.
- New York Times‘ LENS blog profiles Binh Danh who works with a fascinating chemical-free alternative process known as chlorophyl printing–using sunlight to burn in monochrome images onto leaves, grass and other vegetation. His series “Immortality, The Remnants of the Vietnam and American War” features a decade of work printing images of “suffering civilians, soldiers on patrol and the dead,” in an attempt to recapture the experience of that war.
- A wide-ranging conversation about the ethics of conflict photography and how images are sold commercially has sprung up around the use of an image licensed to Lockheed Martin. Read Ron Haviv and VII responses to the initial criticism raised by Benjamin Chesterton of Duckrabbit, who takes issue with the use of a Haviv image commercially licensed by the arms manufacturer. Further commentary and assessment on the thorny issues of how to make, sell, and use — or not — images created during conflict are added by Michael Shaw, Colin Pantall, and Stella Kramer…
- Photo District News posts “Favorite Sources of New Photography” Part 1 and Part 2, a feature in which they ask photo editors from publications like The New York Times Magazine, Newsweek, New York, Time, The New Yorker, and many more including our own publisher Lesley A. Martin, where they find inspiration for new work.
- What effect might increased scrutiny or transparency over digital image manipulation have on our visual culture? Poytner reports that a new software suite is in development by the former Adobe product manager for Photoshop that would detect the alteration of digital images. AdWeek explores what effect these attitudes might have on commercial photography in the wake of the pivotal ruling by the National Advertising Division of the Council of Better Business Bureaus that a certain fashion ad was not “truthful and accurate” and thus a “public health hazard.”
- More on Richard Misrach this week, whose monograph Golden Gate is soon to be reissued by Aperture on the occasion of the anniversary of the bridge, which turned 75 last Sunday. Time’s LightBox profiles “Revisiting the South: Richard Misrach’s Cancer Alley,” on view at the High Museum from June 2, 2012, as does CNN Photos with a slightly different slideshow edit. The series features images from his other upcoming collaborative photobook with Kate Off, Petrochemical America, profiled by the Huffington Post in “Beautiful Ambivalence: The World Through the Lens of Richard Misrach.”
- In exploring the future of photography, Hilde Van Gelder looks at its past in “What Has Photography Done?” on Fotomuseum Winterthur’s blog Still Searching. She outlines two dominant tracks–the “autonomous pictorial art,” that gets absorbed into the museum and the canon, and that which “comments on the social and economic reality in which we live and thus actively take[s] part in transformative social processes,”–and opens up a conversation on the public funding of institutions.