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In the summer of 1973, photographer Stephen Shore set out on that quintessential American adventure - the cross-country road trip. Starting in New York City, he made a long loop around the nation, going through Michigan, North Dakota and Idaho, off to the West Coast, and then followed a southern route all the way back to New York. During his month-long trip, he kept extensive records, noting where he stayed, what he ate and what television programs he watched. He collected postcards of the places he visited, kept all of his receipts and, not unexpectedly, took hundreds of pictures. Now, 35 years later, his entire journal has been reproduced and published in a book fittingly titled A Road Trip Journal.

December 14, 2008 On the Road Robert Frank discusses his book, "The Americans," with Philip Gefter. The book is an intimate visual chronicle of common people in ordinary situations drawn from several trips he made through his adopted country in the mid-1950s.

Snapshots From the American Road Rober Frank interview in the nyt dec 2008 WHILE his dark, penetrating eyes still radiate intensity, Robert Frank, at 84, is not as mobile as he used to be, shuffling in slow motion around a modern one-bedroom apartment in a high-rise on the Lower East Side of Manhattan. His wife, the artist June Leaf, explained that they rent the apartment because it is harder for him these days to navigate the nondescript three-story house where they have lived, a few blocks away, since the 1970s.

"Lars Tunbjörk Represented by Gallery VU' Swedish. Born in 1956 in Boras. Lives in Stockholm. Whether creating an acid portrait of Sweden, representing the nightmarish world of business offices, tapping into the desolate uniformity of petrified, petit-bourgeois neighbourhoods, examining the state of marginalised peoples in a nation praised for its system of social protection, or exploring the strangeness of a town on the cusp of the Arctic Circle, Lars Tunbjörk has totally forgotten his black and white beginnings. All his energy is now devoted to the exploration of colour, which he approaches in the style of 1970's American photographers. This is his starting point for questioning the world, a series of interrogations more than observations, which he develops without pessimism but with an undeniable affliction softened by a biting humour. Over time, his approach has become radicalised and purified by being less and less anecdotal. Consequentially, his series no longer represents characters but rather the often absurd track of their presence and their actions."

"Lessons from Perpignan: What We Learned at Video Camp For most of July we taught a videojournalism workshop in Perpignan, France, for eighteen American students. It was part of a study-abroad program co-sponsored by the Institute for Education in International Media (ieiMedia) and San Francisco State University. Here are a few tips we can pass along, based on common student errors and problems we encountered. "

" It's been very fashionable to focus on the weakness and the banality of America, but what I wanted to say is that it's also a very exciting and fascinating place. - Joel Sternfeld, 1987 Joel Sternfeld's projects can perhaps be divided into two general groups: site-specific landscapes somehow connected to human presence (though people are rarely present in them) and shot during distinct periods of time, and a more ranging, long-term examination of the United States accomplished largely by photographing Americans contextualized by their environments. "

"Nick Kristof has one answer: Focus on the individuals in the story, leaving the aid bureaucracies just outside the frame. Make readers care about places and people they will probably never see by bringing them stories of hope and inspiration: the American woman who leaves behind her family to help rape survivors in the Congo; the orphan boy in Zimbabwe who dreams of and gets a bicycle."

"We are a community of image experts committed to sharing our experience and knowledge throughout the industry. We provide professional networking and educational opportunities. If you create, edit, research, license, manage or publish pictures, ASPP is the place for you.

By Bruno Chalifour "I would like to see everything, to look at everything." (1) These are Josef Koudelka's words quoted by Robert Delpire, his friend, editor and curator. "My photographs, you know them. You have published them, you have exhibited them, then you can tell whether they mean something or not." (2) The fact is Robert Delpire is far from being a novice in the world of photography. Unbeknownst to many, he was the first publisher of Robert Frank's The Americans in 1958, a year before Grove Press in the U.S., and the first director of the Centre National de la Photographie in Paris.

ASMP is the premier resource for community, culture, commerce and publications relating to publication photography. ASMP is the authoritative voice of publication photographers worldwide.

Guidelines for the Evaluation of Ethnographic Visual Media AAA Statement Produced by the Society for Visual Anthropology 2001 Ethnographic visual media (specifically film, video, photography, and digital multimedia) play a significant role in the production and application of anthropological knowledge and form an integral part of the discipline's course offerings. Anthropologists involved in the production of visual works make valuable scholarly contributions to the discipline. In addition, anthropologists increasingly include visual media productions as part of their curricula vitae. Departmental and university Committees for Hiring, Promotion and Tenure are thus charged with judging the scholarly quality of these non-print works. Yet not all anthropologists bring appropriate experience or training to their evaluation of visual media and no standard guidelines exist. Committees tasked with appraising the significance of visual media as academic contributions to the discipline--to teaching, scholarly research, and applied anthropology --can benefit from evaluative criteria. Accordingly, the American Anthropological Association, under the advisement of the Society for Visual Anthropology, offers these guidelines for the evaluation of ethnographic visual media.

THEORY - "The Treacherous Medium: Why Photography Critics Hate Photographs " The Treacherous Medium: Why photography critics hate photographs Boston Review, by Susie Linfield In 1846, Charles Baudelaire wrote a little essay called "What is the Good of Criticism?" This is a question that virtually every critic asks herself at some point, and that some have answered with hopelessness, despair, even self-loathing. Baudelaire didn't think that criticism would save the world, but he didn't think it was a worthless pursuit, either. For Baudelaire, criticism was the synthesis of thought and feeling: in criticism, Baudelaire wrote, "passion … raises reason to new heights." A few years later, he would explain that through criticism he sought "to transform my pleasure into knowledge"-a pithy, excellent description of critical practice. Baudelaire's American contemporary Margaret Fuller held a similar view; as she put it, the critic teaches us "to love wisely what we before loved well."

Another Robert Frank Interview via NPR This story, complete with Frank talking beside a crackling fireplace, aired yesterday.

The Metropolitan Museum's Department of Photographs surveys the history of photography from its invention in the 1830s to the present. The collection of more than 20,000 works is largely European and American, with some representation of other parts of the world, particularly Japan.

Vietnam War - "The Impact of Media" explores in detail the 'media distortions' due to television's misrepresentations during the Vietnam War. It rebuts the view promoted by PBS 's 13-part documentary series, "Vietnam: A Television History". The rebuttal also applies to "The Ten Thousand Day War" series. "The Impact of Media" is a must-see for historians and politicians alike. The late president Ronald Reagan lauded this rebuttal video when he watched it and said that it's "something all Americans should see". Made in 1984.

An Interview with Garry Winogrand from Visions and Images: American Photographers on Photography, Interviews with photographers by Barbara Diamonstein, 1981-1982, Rizoli: New York Garry Winogrand is one of the most important photographers at work in America today. His sophisticated snapshot-aesthetic pictures celebrate ordinary events, and transform them with precise timing and framing into astute visual commentaries on modern life.

War Reporting: the view from the frontline lcc2.gifWar has come to Polis in the shape of a course I teach at the London College of Communications. After the delights of my 90 minute-long 'history and concepts' lecture we got the real thing from journalists who work at the frontline. And our two guests this week have certainly seen conflict up-close. Newspaper foreign correspondent Kim Sengupta and American photojournalist Danfung Dennis are both outstanding war journalists who take their trade seriously. This report from Polis intern Molly Kaplan.

On the eve of the election, a number of Magnum photographers have been venturing into American to capture what they can of this historic moment in time. The project is called InSight America. But rather than publish this work as a book a year after the fact, Magnum is posting the work online and on the fly. I caught up with Alex Webb after his recent journey to Ohio:

Remarks from James Nachtwey, the 2006 recipient of the Heinz Award. The Heinz Awards were created to provide a message of inspiration to each and every one of us regarding the power of the individual in American society.