Jean-Philippe Delhomme has a little fun with one of photography’s most decisive moments in his sketch from this week’s The New Yorker.

Things like this set my mind spiraling out to alternate histories. I begin to wonder what was happening behind the great photographers as they were making their iconic images.

This “Ansel Adams’ Theme Song” stands out as the most absurd, uh, “interpretation” of Adams’ “historic” legacy. More than legendary photographer, Adams attains super-heroic status. Sample lyrics:

“Who at the age of 10 built Cincinatti … [ READ MORE ... ]

A piece of photographic history is up for auction if anyone has a a few hundred thousand euro they’ve been saving for a rainy day (starting bid is €200,000; it is expected to fetch [ READ MORE ... ]

Ah, the internet. Home to all sorts of wild speculation and misinformation. Photography history rarely has a part to play in the crazier claims, but I happened upon this doozy (see screen capture at left) [ READ MORE ... ]

Blake Andrews recently executed a perfect “Triple Lindy” over at his blog B (Rumblings from the Photographic Hinterlands …) with this post on the current New Topographics (reunion?) (anniversary?) [ READ MORE ... ]

The backs of some photographs are just as fascinating (if not more so) than the front!

George Eastman House has launched Notes on Photographs, a very cool website / archive / scholar’s meeting place / photohistory [ READ MORE ... ]

“The Open Door” by William Henry Fox Talbot and “Untitled” from the series Morals of Vision by William Eggleston.