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It turns out that Morris has been instructing us in a method: getting us accustomed, on the benign turf of the past, to "thinking about some of the most vexing issues in photography — about posing, about the intentions of the photographer, about the nature of photographic evidence — about the relationship between photographs and reality".
Even with a photographer about to show up, the bed was not made.
The videotape was taken by an amateur photographer about 30 miles north of Flagstaff, Ariz.
One night last week, in Sulaimaniya, the cultural capital of Iraqi Kurdistan, I was speaking with Kaveh Golestan, an Iranian photographer, about the rootedness of the Kurds.
Soon after meeting Mr. Rorimer, Mr. Ettlinger found himself interviewing Heinrich Hoffmann, who had been Hitler's personal photographer, about where requisitioned art might be found.
He loathes any hint of unprofessionalism: "Just make it clear you know what you're doing," I brief any photographer about to shoot him.
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The BBC's Jane O'Brien talks to curators and photographers about what these photographs tell us about the realities of war and the people who fight in them.
I spoke with most of the included photographers about their projects, and about the transition they made from still photographs to film.
At the back of the book are observations from the photographers about their subjects.
When I contacted photographers about the piece, I kept hearing the same thing.
Hanging around shoots, he would make suggestions to photographers about how they could change their angles or correct their colors.
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Since I tried Ludwig back in 2017, I have been constantly using it in both editing and translation. Ever since, I suggest it to my translators at ProSciEditing.

Justyna Jupowicz-Kozak
CEO of Professional Science Editing for Scientists @ prosciediting.com