mau mau maria

2010-03-21T12:43:00.001-07:00

três

2010-03-18T10:05:00.000-07:00

Katarina Grip Höök

2010-03-18T07:30:00.000-07:00

dois

2010-03-18T03:44:00.000-07:00

luís tobias

2010-03-17T17:40:00.001-07:00

2010-03-17T15:07:00.000-07:00

alexey titarenko

2010-03-17T12:28:00.000-07:00

jonas bendiksen

de tão bom que é até giro fica.

2010-03-17T09:47:00.000-07:00

jan saudek

2010-03-17T04:26:00.000-07:00

yann layma

2010-03-08T04:12:00.000-08:00

Rena Effendi

2010-01-27T06:01:00.001-08:00

Peter Callesen

ponte de lima

2010-01-18T05:47:00.001-08:00

ponte de lima

2010-01-18T05:46:00.002-08:00

ponte de lima

2010-01-18T05:46:00.001-08:00

ponte de lima

2010-01-18T05:45:00.002-08:00

ponte de lima

2010-01-18T05:45:00.001-08:00

ponte de lima

2010-01-18T05:44:00.000-08:00

2009-12-28T08:23:00.000-08:00

Family, 2008

Sára Saudková

Justin Quinnell

2009-11-24T05:54:00.000-08:00

o mundo a partir da boca. aqui.

dos nossos segredos 7

2009-11-17T07:49:00.001-08:00

dos nossos segredos 6

2009-11-17T07:48:00.001-08:00

dos nossos segredos 5

2009-11-17T07:47:00.002-08:00

dos nossos segredos 4

2009-11-17T07:47:00.001-08:00

dos nossos segredos 3

2009-11-17T07:46:00.000-08:00

dos nossos segredos 2

2009-11-17T07:45:00.000-08:00

dos nossos segredos 1

2009-11-17T07:44:00.000-08:00

dia de praia 18

2009-11-17T07:43:00.002-08:00

dia de praia 17

2009-11-17T07:43:00.001-08:00

dia de praia 16

2009-11-17T07:42:00.001-08:00

dia de praia 15

2009-11-17T07:41:00.000-08:00

esses dias inalcançáveis 27

2009-11-11T07:12:00.002-08:00

esses dias inalcançáveis 26

2009-11-11T07:12:00.001-08:00

esses dias inalcançáveis 25

2009-11-11T07:05:00.000-08:00

esses dias inalcançáveis 24

2009-11-11T07:04:00.000-08:00

esses dias inalcançáveis 23

2009-10-21T04:48:00.002-07:00

esses dias inalcançáveis 22

2009-10-21T04:48:00.001-07:00

esses dias inalcançáveis 21

2009-10-21T04:47:00.000-07:00

meia-noite de verão

2009-10-16T07:12:00.000-07:00

esses dias inalcançáveis 20

2009-10-16T07:11:00.000-07:00

esses dias inalcançáveis 19

2009-10-16T07:10:00.000-07:00

esses dias inalcançáveis 18

2009-10-16T07:09:00.000-07:00

esses dias inalcançáveis 17

2009-10-16T07:07:00.000-07:00

2009-09-29T09:17:00.000-07:00

Peter Funch

dos pedidos 11

2009-09-29T08:22:00.001-07:00

dos pedidos 10

2009-09-29T08:21:00.000-07:00

dos pedidos 9

2009-09-29T08:20:00.002-07:00

dos pedidos 8

2009-09-29T08:20:00.001-07:00

dos pedidos 7

2009-09-29T08:19:00.002-07:00

dos pedidos 6

2009-09-29T08:19:00.001-07:00

dos pedidos 5

2009-09-29T08:18:00.000-07:00

dos pedidos 4

2009-09-29T08:17:00.002-07:00

dos pedidos 3

2009-09-29T08:17:00.001-07:00

dos pedidos 2

2009-09-29T08:16:00.000-07:00

dos pedidos 1

2009-09-29T08:15:00.000-07:00

warum nicht 7

2009-09-25T03:19:00.001-07:00

warum nicht 6

2009-09-25T03:18:00.000-07:00

warum nicht 5

2009-09-25T03:17:00.000-07:00

warum nicht 4

2009-09-25T03:16:00.002-07:00

warum nicht 3

2009-09-25T03:16:00.001-07:00

warum nicht 2

2009-09-25T03:15:00.000-07:00

warum nicht 1

2009-09-25T03:14:00.000-07:00

esses dias inalcançáveis 16

2009-09-22T04:52:00.000-07:00

esses dias inalcançáveis 15

2009-09-22T04:51:00.000-07:00

esses dias inalcançáveis 14

2009-09-22T04:50:00.000-07:00

esses dias inalcançáveis 13

2009-09-22T04:49:00.002-07:00

esses dias inalcançáveis 12

2009-09-22T04:49:00.001-07:00

esses dias inalcançáveis 11

2009-09-22T04:48:00.000-07:00

esses dias inalcançáveis 10

2009-09-22T04:47:00.002-07:00

esses dias inalcançáveis 9

2009-09-22T04:47:00.001-07:00

esses dias inalcançáveis 8

2009-09-22T04:46:00.000-07:00

esses dias inalcançáveis 7

2009-09-22T04:45:00.000-07:00

esses dias inalcançáveis 6

2009-09-22T04:44:00.000-07:00

esses dias inalcançáveis 5

2009-09-22T04:43:00.000-07:00

esses dias inalcançáveis 4

2009-09-22T04:41:00.002-07:00

esses dias inalcançáveis 3

2009-09-22T04:41:00.001-07:00

esses dias inalcançáveis 2

2009-09-22T04:40:00.000-07:00

esses dias inalcançáveis 1

2009-09-22T04:39:00.000-07:00

boneca 3

2009-09-18T17:11:00.000-07:00

boneca 2

2009-09-18T17:09:00.000-07:00

boneca 1

2009-09-18T17:08:00.000-07:00

2009-09-18T09:05:00.000-07:00

Peter Zetner

2009-09-18T08:19:00.000-07:00

Jiri Turek

2009-09-17T08:39:00.000-07:00

Beaumont Matheson

2009-09-17T08:17:00.000-07:00

Clark Gordon

2009-09-17T08:11:00.000-07:00

Levinthal David

2009-09-04T04:00:00.000-07:00

Zeke Berman

H. H. Bennett

2009-09-03T05:57:00.000-07:00

Image showing Bennett's son, Ashley, leaping across Stand Rock in Wisconsin Dells, Wisconsin. The image was used as proof that Bennett's advanced shutter technology worked.

Roger Ballen's best shot

2009-08-20T07:29:00.000-07:00

"This man is dead. He killed himself on his bed. This is a picture of his feet and the plate of food that was left sitting below them. It was one of the many extraordinary things I witnessed in the "boarding house" outside Johannesburg where I took the shot.

The building was a giant old warehouse, built 70 or 80 years ago, that had previously stored mining equipment. I don't know at what point people started to live there, but when I first came across the place, in 2000, they were using blankets, sheet metal, cardboard, whatever they could find, to divide the main floor into rooms. That's why I called it the boarding house.

I got to know this man, although I never found out his name. He was a shy person, who didn't go outside much; he helped other people in the building, bringing them water or food, and tended anyone who was sick. He felt very comfortable with some of the animals around the place, and had a few dogs and cats himself.

One day, I walked in and saw that he was lying on his stomach on the bed, dead. Someone told me he had killed himself because there was talk that the authorities were going to tear the building down. He would have been forced to leave. The figure and the plate spoke to me about the essence of that person.

I did not really have an emotional reaction at the time. I just saw that there was a dead person there. You get to see how brutal life can be, for people who've been in places like this for decades. Tomorrow it could be you. That's the important thing to understand."

Nadav Kander's best shot

2009-08-20T07:25:00.000-07:00

"More people live along the Yangtze river than live in the US. So, on my first trip to China, I wanted to get a sense of this by visiting Shanghai and Chongqing, a massive city of 27 million people, where this image was taken.

I was in a dirty part of town. There was this little toxic stream flowing past a steel plant into the Yangtze. It was literally popping with chemicals - it actually looked like it was raining. And right next to it was this picnic area. For most of the people of Chongqing, it is a picturesque place to go and visit; some were even swimming and fishing. The sight made me uncomfortable, then I realised they were all just having a wonderful time - proving that relationships and family are what really matters.

So I approached this group and set the camera down. I made it look like I was photographing to the left, then I turned it to the right, paused, and took their picture. Had I asked permission, they would have turned towards me and it would all have been different. I did check with them afterwards, to make sure it was OK. I was already excited. I knew the image would work.

I became interested in the whole migrant aspect of life in China, where around 150 million people move around, constantly working, hardly seeing their families, sometimes from year to year. So I started photographing individuals in one place and then transferring them into other pictures, in a sort of "photographic migration".

The blurred person at the head of this table was actually shot on a building site in Shanghai. I put him in over the man who was there originally. The fact that the guy on the right is sitting in a very similar chair is just a coincidence. It is one of the happiest, most pleasant pictures I've ever taken."

Sirkka-Liisa Konttinen's best shot

2009-08-20T07:21:00.000-07:00

"I came from Finland to study film in London in the 1960s, at the polytechnic in Regent Street. That's where we began the Amber collective. We decided to move to Newcastle in 1969, to live and work in an industrial, working-class community. I came upon this area – Byker – by chance, and fell in love with it. In 1983, I published a book, Byker, and put together an exhibition that toured the world. I didn't think I'd ever go back, but in 2004 I got talking to someone who ran an education project there; she said I should come back with my camera.

This new project took a very different approach. It's no longer OK to walk the streets with a camera and photograph anyone – especially children – without permission. So I got to know people, and asked them: if you were to put your life into just one picture, what would be in it? I was inspired by Renaissance paintings, where you have a carefully constructed frame and the subject is surrounded by symbols that describe their position in society. I wanted to give the people living in these flats a photograph they would be proud to present to the world, something to introduce themselves to their neighbours. People don't often know the people who live next door. It's my little fantasy: creating a virtual community through these portraits.

I wanted pictures that weren't just people sitting on the sofa, looking blank. The man in this picture is a lorry driver, and at first he seemed a typical Byker lad, but he had a Lebanese grandmother. They were about to move out, and the whole place was in boxes. I set up the tripod and lights, and framed the picture carefully, but I hoped something spontaneous would happen. Then his dog, a bull terrier, appeared from the kitchen and leapt up onto the seat; the father started blowing soap bubbles. The dog got so excited – snapping, trying to catch the bubbles. I didn't take too many shots, as it was over so quickly, and they had to get back to their packing. But the moment of drama encapsulates things beyond the photograph. There is a lot of fragility in this community, it's very transient: to me, the soap bubble symbolises that."

Tim Walker's best shot

2009-08-20T06:56:00.000-07:00

"A lot of people get confused when they see this image. They think it was done by computer, but we actually took pigment powder, mixed it with talc to get the right ice-cream pastel colours, and brushed it into the cats.

The owners were two proud members of the Persian cat club. I can't remember how I found them, but they turned up in a van, covered in cat fur, and stood breathing down my neck as I took the picture. We were worried about putting all that powder into the animals' fur, but they said: "Oh no, they absolutely love it." The cats were such vain creatures - they adored being touched and pampered.

We didn't really think about which cats, or how many, should be done in which colours. We just did each one, and then they had to go back into their cat beds in the owners' van. I think I lost count of how many were pink and how many were blue, but when we were finished they all came out and looked great together. There wasn't enough light to do the picture indoors - but, by a fluke, all the cats seemed to gravitate to this clematis at the bottom of some steps. I didn't arrange them. This is just what the cats did, and they all pretty much stayed where they were throughout. So it's actually quite a naturalistic portrait - apart from the colour.

At the time, in May 1998, I had no idea how the picture would resonate with people. But it has been the image I've been asked about the most. For some reason, people are just fascinated with it - more than any model, house or celebrity I've ever shot. Everyone wants to know about the pastel cats."

Bert Teunissen's best shot

2009-08-20T06:52:00.000-07:00

"For the past 12 years I've been driving around Europe, building up an archive of houses whose interiors have not changed for decades. It is a project about light, and the era in which natural daylight dictated the architecture of a place, how it was used, and where you'd find the furniture. And, of course, I need the owners in the picture, because they are the people who keep it the way it is.

On this day, in Bulgaria last October, my guide and I had been driving near the Macedonian border for hours without finding anything particularly interesting. We decided to sit down, on a little bridge over a stream, to have our lunch. All of a sudden this guy came up. He had heard us from a nearby field and come to see what we were doing.

He said he was 76, still farming, and agreed to let us go over to see his place. So we packed up our beer and followed him through the field, up the hill, and over to an old building made entirely, including the floor, of wood and clay. And as soon as we went inside, I saw this scene.

It is always exciting to find a new place, but this one was particularly beautiful because of the red peppers he had drying on the ceiling, which was blackened with the smoke from the small stove. I was really excited about it, because I knew this was going to be one of the major pictures. The daylight gives exactly the atmosphere I want to capture. Afterwards I said to my guide: "You know what? We're not going to look any more today. This was such a beautiful moment that I don't want to push my luck."

Jacob Holdt's best shot

2009-08-20T06:46:00.000-07:00

"I usually hitchhiked during my vagabond years in the early 1970s - but in 1975 I actually borrowed a car. So naturally, I picked up a hitchhiker. He looked poor and young, a real mess. But the advantage of those long straight roads in America is that you really have time to talk to people.

After a long time, I found out he was a Ku Klux Klan member. They are used to people running away, because they usually have tattoos and look quite violent. But when you do start talking to them, they open up to you. He had been sexually abused as a child, which I have since learned is a common denominator of many racists.

When I showed him some of my pictures of black people, he said: "I'm on my way to a Klan meeting. You don't have any pictures of the Klan." So I agreed to go with him, first to an open rally in the daytime, and then to the secret one in the woods that night. This was just for members, so I had to wear a sort of white raincoat that resembled a Klan costume. It was dark, so I figured they either wouldn't notice or would think I was a new member who hadn't got his outfit yet.

But I was afraid. There were 30 to 50 people standing in a circle around the burning cross. I didn't know what would happen to me if I was found. I did also think: can I really trust this guy who's going out to meet a bunch of lunatics in the woods? But I've always decided to say yes to people and follow them in these situations. My hitcher friend agreed to hide my completed rolls of film in case they suddenly discovered me taking pictures.

I shot two or three rolls, most showing the big circle of people. But I prefer this image because it shows only two Klan members, standing there worshipping a big cross. In my experience, they are deeply lonesome people."

lagoas 7

2009-08-13T10:24:00.001-07:00

lagoas 6

2009-08-13T10:23:00.000-07:00

lagoas 5

2009-08-13T10:22:00.000-07:00

lagoas 4

2009-08-13T10:21:00.000-07:00

lagoas 3

2009-08-13T10:20:00.000-07:00

lagoas 2

2009-08-13T10:19:00.002-07:00

lagoas

2009-08-13T10:19:00.001-07:00