Portraits that find Manhattan’s Lower East Side in 1980 and 2010 showing different faces—blight, renewal, and the pursuit of hipsterdom—and also many things that (thankfully) never change.
Using a darkened home, precisely placed mirrors, and the occasional judicious cut in a wall, light becomes sculpture.
Portraits of young men in Panama showing off their bikes—strikingly decorated, variously macho, and altogether priti.
Pictures where the eye lingers not only on the image, but in it, as if something is waiting still deeper inside.
Photographs of people at war by the co-director of Restrepo, from an upcoming show at New York’s Yossi Milo Gallery.
Three series where the photographer waits until his subject finds a moment of perfect lighting.
Elegance found inside an Arizona parking lot of retired B-52 bombers, where function and form can be equally disturbing.
Imagine the people you see on your morning commute—sleepy, bored, stoic. Now picture them jammed together in the bed of a truck, speeding down the highway to work. Photographs of Mexico’s hidden (literally) class of workers.
In Laura Plageman’s “Response” photographs, nature pictures are ripped, folded, and turned into sculptures, then re-photographed to become unusual new landscapes.
In Jeroen Hofman’s new monograph Playground, the training facilities for Holland’s soldiers, firefighters, rescue workers, and police officers are photographed from a cherry-picker, turning dangerous scenarios into LEGO sets.
The pictures in Susan Lipper’s series may come from West Virginia, but they could be found off dozens of American byways.
In his series “Lost Along the Way,” photographer Alex Catt’s carefully composed landscapes from Europe offer a contemporary, oddly romantic update to the tradition of the continental tour.