Mark Power’s “Fashion” lavishes formal attention on industrial machinery and, by extension, on the human effort behind it.

In Paul Graham’s book “A1: The Great North Road,” life along a major British thoroughfare reveals fissures in the nation’s identity.

A retrospective of Martha Cooper’s work shows the ramshackle toys and improvised games from a bygone era of growing up.

The photographer doesn’t sentimentalize her subjects; she pays attention to them.

The photographer, who died last month, at the age of eighty-three, spent his life chronicling the highs and lows of the country’s post-colonial evolution.

In “People of the 20th Century,” the photographer set out to document every type and profession in the fading epoch of prewar Germany.

Brian Finke’s photographs document riders breaking through the constraints of the city’s crowded landscape—and showing off while they do.

In “Mawmaw,” the photographer Anthony Wilson pays tribute to West Virginia women who, after one tragedy or another, care for their children’s children.

In “Snow,” the photographer evokes the paralysis of a region defined at once by beauty and bloodshed.

Hurst captured the country’s culture—from public rituals of the cult of Santa Muerte to scenes from everyday life—with no small amount of homoeroticism.

In 1983, the photographer Tom Arndt heard about something interesting happening in the parking lot of a Holiday Inn: a casting call for Prince’s new movie.

The photographer has said, of his images of his wife Edith’s extended clan, “I wanted to pay attention to the body and personality that had agreed out of love to reveal itself.”

The artist bent the medium of photography to suit his creations.

In a new exhibit, the Norwegian photographer finds divergent ways to break through and touch an audience numbed by visual glut.

Catherine Hyland’s images show what happened after the giant migration to the cities.

Atsushi Nishijima, known as Jima, has photographed some of the biggest films of the last decade, capturing actors in between takes, sometimes at sensitive, stressful moments.

Virginia Oldoini helped conceptualize and starred in more than four hundred portraits so experimental and expressive that they have drawn comparisons to works by Claude Cahun and Cindy Sherman.

The British photographer spent his career examining appetites and the contradictions they engender.

Arthur Tress’s new book, “The Ramble, NYC 1969,” provides a view into a world otherwise all but invisible to passersby.

At the Brooklyn Museum, the Malian photographer’s elaborately patterned studio portraits picture a society in flux.