Photographs

A collaborative work by a photographer, a poet, and an artist, “The Harlem Book of the Dead,” newly reissued, tells stories through funerary portraits.

Cig Harvey’s “Emerald Drifters” is a rallying cry to exist in our bodies.

The images of a burning Los Angeles won’t last, simply because our ways of seeing are inadequate to our predicament.

The bloodied former President, his fist raised, flanked by an American flag, is already an indelible portrait of our era of political crisis and conflict.

He might be angry in the mug shot; he might even be scared. But he damn sure doesn’t look surprised. Nobody is.

In 1964, on the band’s first world tour, Paul McCartney took pictures that have only recently been discovered. What do they show us?

An antique dealer in Minnesota believed that he had found rare photographic evidence documenting the Nanjing Massacre.

For as long as the celebrated photojournalist has been doing his best work, he has been grappling with the threat of blindness.

Destruction, brutality, and terrible loss in Bucha, Kharkiv, Irpin, and elsewhere in Ukraine.

Three years ago, Mark Peckmezian made vibrant portraits of youths on the streets of Kyiv and Odesa. “Now there’s nothing in the future,” one says.

On arriving in Poland, people fleeing the Russian invasion weigh where to go next.

A Magnum photographer captures civilians dodging mortars as they try to escape the Russian advance on the city of Irpin.

Susan Meiselas’s intimate view of a sex-industry subculture remains a remarkable document of its time.

In 2016, the photographer Alejandro Cartagena decided to document the people and places he encountered on his daily bus route.

The feminist writer and activist bell hooks as the photographer Eli Reed saw her, in his contact sheets from a 1996 shoot.

A photographer attunes herself to gentrification, spiritual seeking, and a holiness in the ordinary.

A new book compiled by Jeffrey Ladd uses material from the Historic American Buildings Survey to capture something of the national character.

“The New Woman Behind the Camera,” at the Met, is dizzying in its scope, acting as an index of female photographers between the nineteen-twenties and the fifties.

Matthew Pillsbury’s long-exposure photographs capture the return of crowds after COVID lockdown. As communal city life comes back, can we find one another?

I needed to make portraits that were heartbreaking and collages that would blow everyone’s mind. I needed to be great, worthy of the Western canon, of Dad.