The United Nations Refugee Agency now reports that more than 420,000 people have fled Burma (also known as Myanmar) since August 24. The refugees, mostly Rohingya Muslims, crossed into Bangladesh to escape the violence in Burma’s western Rakhine state—a situation the U.N. now describes as ethnic cleansing. Bangladeshi authorities are being overwhelmed by the new arrivals, and those crammed into the rain-soaked official and makeshift refugee camps are becoming desperate for food, water, and other basic needs. The refugees fled their homes in Burma after a series of Rohingya insurgent attacks on Burmese police last month were met with a strong government response and the burning of thousands of Rohingya homes. The Rohingya are a stateless Muslim minority living in parts of a hostile and overwhelmingly Buddhist Burma.

Photoville, the temporary community of duplexes made by four-ton steel shipping containers underneath the Brooklyn Bridge, is featuring the work of 11 up-and-coming photographers from Africa, Asia, Latin America and the United States, displayed on four-foot wooden cubes. The photographers were chosen from participants in this year’s New York Portfolio Review — a free event sponsored by The New York Times Lens blog and The City University of New York Graduate School of Journalism.

Damon Sauer and Julie Anand are collaborative artists based in Phoenix, Arizona who began working together in 2005. In their most recent project, entitled Ground Truth: Corona Landmarks, photographs of the Sonoran desert are digitally blended and juxtaposed with white lines arching through the sky that represent the paths of existing satellites.

“The climate change story I want to tell is about the tidal flooding in Chittagong, a city I’m deeply connected to,” says photojournalist Jashim Salam. Chittagong is the second largest city in Bangladesh, with more than 2.5 million people. It’s also Jashim’s hometown.

Julie Dermansky is a photojournalist and multimedia reporter based in the New Orleans area. She made her way to the city just a year after Katrina hit.

On September 19, 2017, a magnitude 7.1 earthquake shook Mexico City, rattling skyscrapers and sending millions into the streets. Reuters was reporting at least 60 deaths across several Mexican states. Coincidentally, Tuesday was the 32nd anniversary of the devastating 1985 Mexico City earthquake, an occasion that led to many first responders and volunteers already being gathered outside, taking part in earthquake-preparedness drills. Below, some early images of the still-unfolding disaster in Mexico City.

After the Fondation Henri Cartier-Bresson in Paris, Aperture, in New York, is featuring an exhibition of the 2015 HCB Award winner: an oeuvre spanning twenty years of a dune wanderer.

As Joana Choumali learned when she began documenting the women in 2013, men are happy to sell wood, San Pedro’s largest export, and let women keep the filthy, back-breaking work of making charcoal. Ms. Choumali, a freelance documentary and fine art photographer from Abidjan, the nation’s capital, was on an assignment in San Pedro when she first spotted the phenomenon.

But Abkhazia — which, in the local language, means “land of the soul”— is more than its decay and its disputed political status, said the Russian photographer Ksenia Kuleshova. She began photographing there in 2015 as an undergraduate at the University of Applied Sciences and Arts in Hanover, Germany, and has returned three times since to work on an ongoing project.