In its heyday, horse racing had it all. It was the speed and danger sport before NASCAR came along; movie stars and gangsters rubbed glamorous elbows; and a couple sawbucks on a winning long-shot could put you on Easy Street. Jehad Nga's photographs show that, as with all nostalgia, the reality could never match the legend.
Honored with the ICP Infinity Award for Young Photographer 2013, Kitra Cahana makes poignant photographs of relationships that are personal and intertwined with her own nomadic history.
While Chechnya emerges from a decade of conflict, Maria Turchenkova photographs the hidden guerrilla war in the republic of Dagestan – the largest, most heterogeneous and, today, the most violent republic in the North Caucasus region.
TIME's guide to the best books, exhibitions and ways to experience photography beyond the web in May 2013.
From funerals and prayer vigils in Boston and a deadly garment factory collapse in Bangladesh to the legalization of gay marriage in France and a giant inflatable pig in China, TIME presents the best pictures of the week.
Eric Draper's official White House photographs, chronicled in a new book, capture the president in action against the implicitly powerful backdrop of the West Wing or Air Force One. They also bring the titan back down to earth, showing the man behind the podium as a regular guy who likes to play with dogs and goof around.
Happy Administrative Professionals Day! To observe the occasion, LightBox presents a curated selection of images by 10 photographers taken over the past quarter-century on the subject of modern office life — its quirks, arcane customs and distinctive fashions.
Since 1948, the Overseas Press Club of America has recognized photojournalists for exceptional photographic reportage. Fabio Bucciarelli, Samuel James, Bernat Armangue and Oded Balilty were recognized as the winners of this year's OPC prizes.
Iranian photographer Newsha Tavakolian is a strong mentor to a new crop of Iranian photographers. 'Look', a show of her work at the Thomas Erben Gallery in New York, is a picture of a declining Iranian middle-class.
Marc Garanger’s portraits of Algerian women in 1960s regroupment villages are strong reminders of the power of the photograph as historical record.
