The traditional Aussie backyard meets David Lynch in a sports science lab, it’s safe to say cricket has never appeared as ethereal and visually rich as it does in the stunning trailer for the much-anticipated new work by the husband and wife team of Trent Parke and Narelle Autio.

It is said that death at the hands of a woman deters a martyr from entering paradise. One third of all Kurdish fighters in Western Kurdistan are women. Unafraid of death and fulfilled by their passion for their homeland and their love for their families and people, these women muster up the courage to face the heavily armed IS in Syria. One of their most recent victories includes the recapturing of the City of Kobane in northern Syria from the IS. These women refuse to succumb to the patriarchal view of the role of women that regards women as objects, trapped in their homes, and upholding the family’s honor. It is without exaggeration to say that one could describe the current Kurdish feminist movement viewed from a military, ideological, and organizational perspective as the world’s strongest movement on behalf of the rights of women. This series by Sonja Hamad entitled Jin – Jiyan – Azadi (Women, Life, Freedom) pays them homage.

As a kid, Kirill Golovchenko spent a lot of time on the beach and most of the summer in a seaside holiday home. He took a swimming tyre and shot photos through it. The circular image this created reminded him of a ship’s porthole.

Luis Carle sees himself, and his work, as a bridge — between the gay and straight communities, between the younger and older generations of the L.G.B.T. community, and between past and the present. The Puerto Rican photographer was 17 when came out in San Juan in 1980, and in subsequent years witnessed the AIDS crisis, the culture wars, and the march toward broader L.G.B.T. rights. All along, he made pictures of his community and the seismic waves that were reshaping it.

This year, I spent most of the month of January in northeastern Nigeria on a reporting trip for The Times Magazine with the writer Sarah Topol to tell the story of boys abducted by Boko Haram and forced to become child soldiers. During this time, I was also able to photograph parts of the conflict that are rarely seen, including a night patrol with Nigerian soldiers and a road that was attacked by Boko Haram the day before.

Eugene Richards’s photographs speak to the most profound aspects of human experience: birth, death, and the grinding effects of systemic poverty. His style is unflinching yet poetic, and his photographs are deeply rooted in the texture of lived experience. Through his photographs, writings, and moving image works, Richards confronts challenging subjects with an impassioned honesty that can be simultaneously controversial, lyrical, beautiful, and melancholy. Ultimately, Richards’s photographs illuminate aspects of American society that might otherwise remain hidden in plain sight.

In the landscape of photographers’ agencies, Modds, founded in 2011, is unique. It is run by an unusual team of two young women activists who fiercely defend their artists—eighteen portraitists with strong personalities who continuously sweep the front pages of the most prestigious magazines, such as Vanity Fair, Figaro Madame, as well as Libération and the Inrocks

During the years 1960/70, Stephen Shames was the loyal chronicler of the “Black Panther Party”, the African-American emancipation movement that invented some radical forms of opposition. Faithful fellow traveler of the movement, during seven years Stephen Shames produced images that retraced the daily lives of a people on the move: debates, clothing and food distributions, protest demonstrations, confrontations, funerals… After that, for twenty years, Stephen Shames documented life in the Bronx

Master of camouflage, Liu Bolin uses his body to literally melt into his chosen background and produce some amazing photos. For more than ten years, this artist who seems to pass through walls has used the same modus operandi. With the help of his assistants who paint him from head to toe, he hides in supermarket shelves, the door of a safe, a pile of coal, a newspaper kiosk display. This rare retrospective of his work enables the public to discover his spectacular images, which are also works of resistance. In becoming this “invisible man” who shows up where he is not expected, Liu Bolin affirms his stubborn and insubordinate presence in a world that tends to deny the uniqueness of everyone’s destiny.

“Had it not been for the chrome, here the crows would have sung” said the old man by the side of the dusty road. He spoke of Bulqizë, and of its people who work in the mines. Bulqizë is a small town in North-East Albania known as the town of the miners . Following the discovery of chrome there in 1939 and the opening of the first mines in 1948, Bulqizë has now become the world’s third largest producer of this mineral.The

Ayesha Malik had a pretty idyllic childhood. She spent her days biking down tree-lined streets past green lawns and modest houses, going to softball practice and writing fan letters to Leonardo DiCaprio. It would have been fairly standard Norman Rockwell Americana — if it hadn’t taken place in an enclosed compound in Saudi Arabia operated by the world’s largest oil company.

“Mehr Licht” — more light — were Goethe’s famous last words. That deathbed declaration was also the title of Fred Stein’s only book, featuring images taken along Fifth Avenue, which was published posthumously. What could be more fitting?

Close to 75,000 refugees are still living in a state of limbo between the Balkans and Greece, unable to enter the EU due to reinforced border control. Their living conditions are often deplorable, their prospects bleak. “Around 1000 on these refugees are sleeping rough in abandoned warehouses, train wagons and shacks in the central station of Belgrade, the capital of Serbia” reveal Danish photographers Ulrik Hasemann and Mathias Svold, discussing the focus of their project The Lost Boys of Belgrade.

As a young photographer growing up in Brownsville, Brooklyn, Laylah Amatullah Barrayn was deeply influenced by Jeanne Moutoussamy-Ashe’s book “Viewfinders: Black Women Photographers.” The 1986 book took a historical look at female photographers from the 1800s to the present day and left her eager to see more.

North England as presented by Manx photographer and Harvard professor Chris Killip is bleak not only for the lack of colour, but for the immediacy at which it hits the viewer that the subjects reside in a world where there are no prospects. Work, for those who work hard, is often intrinsically entangled with one’s identity. When an industry ceases to exist, for its former workers it’s literally like being lost in the fog that so often hangs like a weight behind the protagonists of Chris’ photographs.

Feng Liu is a Chinese photographer who lives in Chicago. He is one of the oldest readers of the Eye of Photography. Taking pictures is his reason for living. He makes dozens of photos per day. A year ago, he created his blog. Here is the story of a passion.

“On a late afternoon with the light low in the west I’d regularly find my spot on the corner of Victory Blvd. and Coldwater Canyon Ave,” Mike Mandel said. “in Van Nuys (ironically, so close to home I could easily walk there). It was a busy intersection with a wealth of cars pulling my way to make a right turn. In contrast to how this project might play out today, it seemed then that people enjoyed being recognized by the camera and readily participated in the playfulness of the moment. It was warm outside, the car windows were open. It was the window that framed and instilled these portraits with the language of the automobile environment.”

More than half a century after they met, the two are still the closest of friends. Mr. Stewart went on to join Kamoinge, an influential collective of black photographers, and is now the senior photographer for Jazz at Lincoln Center. Mr. Simmons is an Emmy-winning cinematographer who has continued to photograph wherever his work takes him.

When, in 2006, Igor Posner went back to Saint Petersburg, which he had left as a teenager to emigrate with his family to the United States, his position was clear: “I was not looking for the past and never went back to the places where I grew up. I wanted to be like a stranger there, and confront myself to people I would not otherwise meet people who almost scared me at times.”

“You need to have goods to trade,” then-Vice President Richard M. Nixon told Soviet leader Nikita S. Khrushchev as the two walked through a model home on opening day of the American exhibition in Moscow on July 24, 1959, the Associated Press reported.