We sent 20 photographers to 65 parties across the city to capture New Yorkers eating, dancing and playing in the streets.

He cleverly combined social documentation with psychological intensity: exploring the work of Ian Berry

Long before the UK skinhead scene was co-opted by right-wing movements it was a culture created by the working class looking to forge a connection across the races. If first emerged on the streets of London in 1969 in response to the self-indulgent pretensions of bourgeois hippiedom. Forged in the council estates and East End slums, skinhead culture combined the style and sound of the Windrush generation with the back-to-basics aesthetics of post-war Britain. It was reborn again in the late 1970s and 80s, just as photographer Gavin Watson came of age.

The photographer revisits his deeply funny and idiosyncratic images of suburbs, celebrities, and California in the 1970s.

Adam Jahiel is an internationally recognized photographer who lives and works in the American West. Mostly known for his photography of the American Cowboy, his photography has taken him all over the world. His poetic and dynamic images have been exhibited and published across the globe. In 1996, he became the first living photographer to have a one-man show at the Buffalo Bill Historical Center, in Cody, Wyoming. His photographs are in the collections of the Nevada Art Museum in Reno, the Art Institute of Chicago, the Museum of Fine Arts in Boston, as well as private and corporate collections. Adam has had a varied professional career. He has worked for the motion picture industry, and adventure projects, most notably as the photographer for the landmark French-American 1987 Titanic expedition. His work has appeared in most major U.S. publications, including Time, Newsweek, The New York Times, National Geographic, Smithsonian and countless others.

“From there it is all ticker tape and pumpkin pie. From the position in front of its double, it’s the smell of Baltimore’s burning brownstone wires and antiseptic hand sanitizer ironically left on the church pew”.

In his latest project and soon-to-be book, George Georgiou finds anonymity and intimacy along the roadside of American parades

Nanna Heitmann wins the 2019 Leica Oskar Barnack Newcomer Award with her series “Hiding from Baba Yaga”

The majority of those born in the cities resulting from rural emigration in the 60s and 70s have a common place that unites us: our parents’ village. Deleitosa is my village.It is located in the province of Cáceres, in the region of Extremadura in Spain. Here my parents, grandparents, great grandparents and other ancestors were, going back through centuries of family genealogy. Deleitosa was the village that Eugene Smith chose to realize his photographic essay “Spanish Village” that was published in the American magazine Life on April 9, 1951.

Danny North’s series, As I Found Her, explores one of the most isolated communities in the UK

100 large-scale newsprints in Rotterdam will present the work of 70 photographers who find inspiration in urban form

For three generations the Fukase family ran a photography studio in Bifuka, a small provincial town in the northern Japanese province of Hokkaido. In August 1971, at the age of 35, Masahisa Fukase returned home from Tokyo, where he had moved in the 1950s. He realised that the Fukase Photographic Studio, which his younger brother managed, combined with the growing family members, constituted the perfect subject for a series of portraits.

Shannon Davis is a photographer, design director and has been an adjunct professor at the Savannah College or Art and Design since 2008. She currently has an exhibition, I’ve Got Somethin’ to Show You, Images from The Old First Ward, at the Buffalo History Museum, in Buffalo, NY, running since June 19th and will close September 15th.

This summer has been a difficult one for me personally. In the past month, both my mother and my father passed away. I will miss them immensely, and will be remembering their lives among family and friends, but here, on these pages, I’d like to honor them with a collection of images showcasing the place on Earth they loved and called home: Washington. When I was young, we lived on the east side of the state, on a big farm outside Spokane. We spent countless hours driving the highways and back roads connecting the farms to the towns and the city. Our family split up, and over time, some of us moved west to Bellingham, Longview, and Seattle. These were the green lands I dreamed of as a boy, and we spent years exploring the mountains, shorelines, rain forests, and cities up and down the coast. These are for you, Mom, and for you, Dad.

As summer draws to an end, it’s a great time to consider how we spend our free time and explore the idea of what connotes a vacation.  South Korean artist Seunggu Kim has done just that with his project Better Days, currently on exhibition at the Filter Space running through September 14th with a Closing Reception this Friday, September 6 | 6 – 9 pm.

Margaret Bourke-White was born in New York City in 1904, and grew up in rural New Jersey. She went on to study science and art at multiple universities in the United States from 1921 to 1927, then began a successful run as an industrial photographer, making notable images of factories and skyscrapers in the late 1920s. By 1929, she began working for magazine publishers, joining both Fortune and, later, LIFE. She spent years traveling the world, covering major events from World War II to the partition of India and Pakistan, the Korean War, and much more. Bourke-White held numerous “firsts” in her professional life—she was the first foreign photographer allowed to take pictures of Soviet industry, she was the first female staff photographer for LIFE magazine and made its first cover photo, and she was the first woman allowed to work in combat zones in World War II. Gathered here, a small collection of the thousands of remarkable images she made over a lifetime—Margaret Bourke-White passed away in 1971, at age 67, from Parkinson’s disease.

Pro skater Mason Silva is entering a new phase of his career. In an industry famed for chewing up talent and spitting them out, he has embraced film photography as a way to stay grounded in the present – preserving moments of magic in the process.

In September 2017, Ivor Prickett met Nadhira Aziz, sat in a plastic chair 15 feet from where an excavator was digging through the ruins of her home in Mosul, Iraq. “At times, she was engulfed in dust as the driver dumped mounds of stone and parts of her house beside her,” Prickett writes in his remarkable new book, End of the Caliphate, published by Steidl. “But she refused to move.” He stayed there with her, until eventually they found the remains of two women – Mrs Aziz’s sister and niece, who had been killed by an airstrike that hit the home in June, three months prior.

Growing up in the San Fernando Valley of Southern California during the 1950s and ‘60s, American photographer Rick McCloskey spent his youth cruising Van Nuys Boulevard every Wednesday night. His family home, just one city block from “The Boulevard” was located a few blocks from the famed Bob’s Big Boy Restaurant, home of the All-American meal: burgers and milkshakes.