Many who are making cellphone images are advocates with a stake in the outcome of what they are depicting. In some ways this makes their work more honest and easier to read - they can also manipulate, although the work of professionals can be quite manipulative as well.

There are very few instances where writers have also been effective image makers - different skill sets are required.

Many who are making cellphone images are advocates with a stake in the outcome of what they are depicting. In some ways this makes their work more honest and easier to read - they can also manipulate, although the work of professionals can be quite manipulative as well.

We have to tell people how images are made. And, the first step is to abandon the idea we're looking at photographs. We're looking at entry points to information and to the world in which the image was made.

The slideshow "is a very primitive form that quickly becomes predictable and repetitive."

We have faith in the photograph not only because it works on a physically descriptive level, but in a broader sense because it confirms our sense of omnipresence as well as the validity of the material world.

Photojournalism has become a hybrid enterprise of amateurs and professionals, along with surveillance cameras, Google Street Views, and other sources. What is underrepresented are those "metaphotographers" who can make sense of the billions of images being made and can provide context and authenticate them. We need curators to filter this overabundance more than we need new legions of photographers.