Sara Josephine Baker, or “Dr. Joe” to her friends, was a groundbreaking physician in the fields of public health and preventative medicine. After working for several years as a medical examiner and private physician in New York City, she became assistant to the commissioner of health in 1907. A year later, she was made director of the Bureau of Child Hygiene, where she implemented a number of programs aimed at reducing mortality rates among infants and children living in poor environments.

And behind the camera is Jessie Tarbox Beals, the country’s first female photojournalist, who kept a studio for many years in New York City. 

Jessie Tarbox Beals. Sara Josephine Baker. undated (circa 1910-1920). New-York Historical Society.

The Gordon Parks Foundation, Steidl, and C/O Berlin worked together to create ‘I AM YOU: Selected Works, 1942–1978’, an extraordinary book about the life and work of photojournalist Gordon Parks. This portrait is from Chicago in #1950, the year Parks revisited the segregated school he once attended and tracked down some of his former classmates.


Insects have themselves a PR problem. No group of animals is more reviled, feared, or distrusted, and that’s not fair. Insects may eat our crops and sting us, but that’s just kind of their thing.

Few photographers bring out their personalities like Pascal Goet, a veteran science photojournalist. For 20 years, he’s been getting up real close to capture the most beautiful species in the insect kingdom, revealing intricacies that escape the naked eye.

Check out more photos and read about Goet’s project.


Isolation- Afghanistan by Martin Middlebrook

“I lived and worked as a freelance photojournalist in Afghanistan for a year, creating a series of portfolios that attempted to represent the true human condition of a population subjected to 30 years of conflict and agitation. The images presented here, ‘Isolation’, are just one of many portfolios I created during that time.”


On August 17, Thaddeus McCarroll protested near Ferguson. Last Friday, he was killed by police. 

On August 17, St. Louis Post-Dispatch photojournalist David Carson recorded 23-year-old Thaddeus McCarroll (sitting on the left) chanting with a group of young men and women during a protest near Ferguson, Missouri. It was eight days after Officer Darren Wilson had killed Michael Brown. The group is holding signs and chanting the phrase, “I got my hands on my head … please don’t shoot me dead.”

The video has taken on chilling new significance in light of what happened over the weekend.


London tattoo convention — a visual tour

The 11th London international tattoo convention played host to more than 300 of the world’s most prestigious tattoo artists, working in a dazzlingly diverse range of styles. When it first launched more than a decade ago, the three-day fair attracted about 3,500 visitors. Now, organizers have to cater to over 20,000 – an indication of how tattoos have risen in popularity in recent years. 

Guardian photojournalist Felix Clay got under the skin of the annual festival, capturing ink in all its forms — from finished masterpieces to buzzing works in progress | See more pictures 


A Long Road to Peace with @mujtabajalali

For more photos of Mujtaba’s journey, follow @mujtabajalali on Instagram.

Generations of refugees, driven by years, and decades of war, are landing on the shores of Europe. Among them is Mujtaba Jalali (@mujtabajalali), a 24-year-old photojournalist, born in Iran to parents who fled Afghanistan 30 years ago. “You hear news, every day, of refugees coming in,” he says, describing a journey that has taken him across three countries so far, “but you will never feel the moments when mothers sleep with their two-year-old kids in freezing weather in the mountains, and when they feel death very close on the sea, with no captain.” Determined to tell the story of hundreds of thousands of displaced people, Mujtaba, along with three Afghan friends, joined an exodus of desperate travelers from the Middle East, Africa and South Asia. Unlike previous generations of refugees, he stays connected to his parents over messaging apps — meanwhile, his sister is following his journey on Instagram. He reflects on his passage across borders, saying, “It’s humans’ right, regardless of their nationality, religion and skin color to choose wherever they want to live, in peace and security.”


Magical Realism in Daily Life with @stephenedwardferry

To see more of Stephen’s striking pictures from Bogota and elsewhere, follow @stephenedwardferry on Instagram.

From a young age, Stephen Ferry (@stephenedwardferry) was well aware not only of photography’s appeal, but of its power.

“I’m pretty lucky because when I was really quite young, 12 or 13 years old, there was a photography store around the corner from my house, and they put up with me,” the 55-year-old photojournalist says. “I went there all the time and they showed me how to develop film and stuff. At the same time, when I was young, the war in Vietnam was a huge issue everywhere. I grew up in Cambridge, Massachusetts, and there were riots and demonstrations against the war all the time. I learned about all of this through the photographs that came to our house in newspapers and in the pages of LIFE magazine. Those are the same extraordinary pictures that really had an influence on American society. I was already very interested in the news, and that was an occasion where photojournalism showed me that photographs can influence the course of things and play a role in informing people and exposing terrible things that were taking place.”

While he has traveled to dozens of countries in his career — covering armed conflicts, human rights and the environment — for the past decade and a half Stephen has been living in Colombia. Electing Bogota as a base for his work was a decision driven, paradoxically enough, by what he did not know: namely, how complex and fascinating his adopted country really is.

“I first came here to give a workshop to Latin American photographers in the late 1990s,” Stephen notes. “As it turns out, through their pictures, my colleagues in the workshop taught me a lot about the war that is taking place in Colombia and the human rights situation here. I didn’t really understand the gravity of it and the scale of it back then. I had always worked on issues of human rights, so at that point I decided I wanted to cover the unrest in this country — particularly because there’s this notion that the violence here stems only from issues around drug trafficking. The easy, simplistic idea that people often have is that this is a drug war, but it’s much, much more involved than that. Like so many places, Colombia’s conflict has long and deep historical roots. I set myself the task of trying to convey that, and it turned out to be far more complicated than I ever imagined.”

For someone who has seen much of the worst that human beings can inflict on one another, a strong streak of optimism (colored by, in Stephen’s words, “a lot of sadness”) remains in his approach to his work.

“One of the things that I really want to pursue as a photographer is to keep covering and communicating around the difficult subjects of conflict and violence, but also explore the many aspects of daily life, a kind of magical realist quality to life, that I find so wonderful here in Colombia,” Stephen says.

His profession, meanwhile, demands a certain amount of sacrifice. “I’m a photojournalist,” he says. “Certainly, I obey all the rules of the profession. Never set things up, don’t make false statements in captions, and so forth. But when you’re looking at awful things taking place in front of you, of course you hope that your pictures will wake people up, or will create a sense of concern. And on a few occasions there’s been the satisfaction of knowing that the work has actually helped to cast a strong light on these conflicts, and maybe even made things a little better.”