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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.

New York Times Magazine Withdraws Altered Photo Essay UPDATE, 5:57 p.m. ET: The New York Times has published a new editors' note about the altered photo essay that was published in Sunday's Times Magazine. The newspaper says "most of the images did not wholly reflect the reality they purported to show." The note does not address which photos were altered, or whether the photographer misrepresented them to the editors. PDN has tried to reach Edgar Martins, the photographer, but has not heard from him. Here's the Times' note: "A picture essay in The Times Magazine on Sunday and an expanded slide show on NYTimes.com entitled 'Ruins of the Second Gilded Age' showed large housing construction projects across the United States that came to a halt, often half-finished, when the housing market collapsed. The introduction said that the photographer, a freelancer based in Bedford, England, 'creates his images with long exposures but without digital manipulation.' "A reader, however, discovered on close examination that one of the pictures was digitally altered, apparently for aesthetic reasons. Editors later confronted the photographer and determined that most of the images did not wholly reflect the reality they purported to show. Had the editors known that the photographs had been digitally manipulated, they would not have published the picture essay, which has been removed from NYTimes.com."

"The documentary "Restrepo," directed by Mr. Hetherington and Sebastian Junger, will open Friday. Last week, Mr. Hetherington sat down with Mr. Kamber in Midtown Manhattan to talk about the film - and much else besides. Their remarks have been edited for brevity and clarity."

"Stanley Greene, 61, is a founding member of Noor Images, a photography collective, agency and foundation in Amsterdam. His books include the autobiographical "Black Passport" and "Open Wound: Chechnya 1994-2003." He won the W. Eugene Smith Grant in 2003. Michael Kamber spoke with him in Paris in May. Their remarks have been condensed."

As almost everyone knows by now, various major daily newspaper published, on July 10, a photograph of four Iranian missiles streaking heavenward; then Little Green Footballs (significantly, a blog and not a daily newspaper) provided evidence that the photograph had been faked. Later, many of those same papers published a Whitman's sampler of retractions and apologies. For me it raised a series of questions about images.[1] Do they provide illustration of a text or an idea of evidence of some underlying reality or both? And if they are evidence, don't we have to know that the evidence is reliable, that it can be trusted?

In his second month as a professor at Arizona State University, Tim McGuire was standing in front of 13 students teaching "The Business of Journalism" when his inner voice interrupted. "You dummy," he recalls thinking, "you are teaching a history course." It was fall 2006, and he was talking about the production of a daily newspaper, but not about the parallel production of a 24-hour-a-day Web site. He was explaining the collapse of the print classified advertising market, but not the striking success of Google search advertisements. Skip to next paragraph Education Life Go to Special Section » The course, new to the curriculum, was in desperate need of a revision already. Mr. McGuire, a 23-year veteran of The Star Tribune in Minneapolis, was in need of a re-­education himself. "I knew what I knew until I realized there was an earthquake underfoot," he says. He immersed himself in Internet business models. He started a blog. The course was renamed "The Business and Future of Journalism." He quickly learned that today's journalism students don't enroll to hear, in Mr. McGuire's words, "old newspaper farts telling them that the business is doomed." "They know the model is broken," he says. "They think, We'll just have to fix it." And so he started this semester by outlining an intimidating theme for the course: "How do we pay for journalism?"

ERROL MORRIS\nPublished: July 13, 2008\n\nNEWSPAPERS and blogs are once again filled with a story about a digitally altered photograph. A picture of missiles launched by Iran. A picture that purports to show four missiles being fired rather than the three shown in other photographs of the launching. Are we to infer that no missiles were launched? Or just three? Or maybe only two? Take several steps back. Are we being tricked into thinking that Iran is a bigger threat than it is?

CARACAS, Venezuela - Murders in this hardened city have grown so widespread that looking at the homicide statistics alone can seem banal. In one 60-hour span in July, for instance, the Bello Monte morgue overflowed with the corpses of 49 murder victims. Homicides nationwide surged almost 31 percent in the first quarter to 4,659, according to the Interior Ministry. No wonder Caraqueños grimly joke about studies of violence that rank their city as deadlier than Baghdad. "Capitolio," the new book on Venezuela by Magnum photographer Christopher Anderson, offers a stunning view into Caracas's descent from its perch as one of Latin America's most economically advanced, if unequal, cities into a place gripped by low-intensity chaos and fear.

Update | Thursday, 3:03 p.m. Edgar Martins, the photographer at the heart of the current controversy, has told Lens and at least one other blog, Jain, that he will be telling his side of the story soon. The text of his e-mail response to requests for interviews, identical to both blogs, is shown below in italics. Original post | There's probably no more troubling issue facing photojournalism than the digital manipulation of images that are supposed to faithfully represent what's in front of the camera. Digital technology permits so many interventions - some acutely obvious, others so subtle that only computers can detect them - that the line has blurred between manipulation and the kind of enhancement and editing that viewers customarily expect; like cropping, color correction, burning and dodging.

ART; Travels With Walker, Robert and Andy

Interview with and gallery featuring images by Mongolian photographer A Yin, in NY Times Lens blog 20/12/10