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Edward S. Curtis is well known documentary Photographer born on October 19, 1952 in Los Angeles, California.  He is well known for his images of the native American and also his images of landscape.

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This image was taken of three tribal leaders dressed in their traditional garb. It took Edward S. Curtis three days to find a perfect setting of sky, riders, and land to capture this image.

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This image was taken of Native American Riders in the Navajo region. This image is so significant because its surrounding landscape, in which Edward Curtis tried to include in his images of the native Americans. It documented the Native Americans in their daily lives.

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Frank S. Matsura came to the  United States from Japan in 1905 and in 1907 he opened a photography studio. He then became an important documentary photographer, in specific documenting Native American and his community.

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a Methow Indian from Malott (nine miles to the southwest of the city of Okanogan), was a medicine man and prosperous rancher.

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A Young Family Pose for Their Portrait, 1910

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A Young Family Pose for Their Portrait, 1910

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A couple and their toddler son and daughter pose for a portrait at Matsura's studio. The man, seated in a chair, holds his young son on his lap. His wife holds their baby daughter by the waist as the girl stands on the arm of the wooden chair. The wife is wearing a long sweater over her dress, an untied scarf and a cowboy hat.

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Dorothea Lange was an American documentary photographer and photojournalist, best known for her Depression-era work for the Farm Security Administration. Lange's photographs influenced the development of documentary photography and humanized the consequences of the Great Depression

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In  Dorothea Lange's  image, one of the most iconic of all documentary photographs, it shows a woman in a migrant pea-pickers camp. The children's faces turned away from the camera as they cling to her, as she holds an infant, and looks somberly, her face lined with worry, into the distance.

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The title Lange chose shows her sensitivity to America’s colonial past and the persistent struggle of former slaves, felt long after freedom had been granted. This image highlights her subject’s wrinkled face and gnarled hands—features she regularly emphasized to communicate human strife, as well as endurance, resilience, and strength.

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Lange’s images, Taylor’s words, field notes, and quotes from subjects to form a nuanced, affecting portrait of the Great Depression’s imprint on American life. Lange included this striking image in the book.

A rare published landscape in her oeuvre, it depicts a seemingly endless tract of U.S. 54, the road many Americans used as an escape route from the East to West Coasts during the Depression.

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Pledge of Allegiance, Raphael Weill Elementary School, San Francisco 1942

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Pledge of Allegiance, Raphael Weill Elementary School, San Francisco 1942

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Her task was fraught: to photograph Japanese Americans as they were marshalled into internment camps. The government intended these images to be purely documentary—not for publication—and locked away.

Lange brought her empathetic eye to the subject, focusing on the patriotism, emotions, and resilience of her subjects rather than any baseless wrongdoing.

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Walker Evans was an American photographer and photojournalist best known for his work for the Farm Security Administration documenting the effects of the Great Depression

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Evans selected for his seminal publication, American Photographs, the negative that shows Allie Mae at her most content, welcoming, and accessible. But in Let Us Now Praise Famous Men, Evans presented a more closed and irritated Allie Mae, a troubled victim of both the Depression and the camera's burrowing eye.

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During the winter months between 1938 and 1941, Evans strapped a camera to his midsection, cloaked it with his overcoat, and snaked a cable release down his suit sleeve to photograph New York City subway passengers unawares

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in the summer, as the U.S. began arming itself for war, Evans is commissioned by Fortune to photograph the munitions plants in Bridgeport, resulting in his first major portfolio for Fortune: “Bridgeport’s War Factories.” While there he also photographed patriotic marches and New England city scenes.

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Sent to the mid west by Fortune, Evans produces “Chicago: A Camera Exploration.” In Detroit, he shoots “The Rebirth of Ford” and again resorts to surreptitious portraiture for the Fortune portfolio, “Labor Anonymous.”

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Danny Lyon is an American photographer and filmmaker known for his journalistic interest in socioeconomic, counter-cultural, and civil rights issues. Lyon’s images of protesters being arrested, outlaw biker gangs as seen in his photobook The Bikeriders (1968), and the destruction of historic neighborhoods, fits into the term New Journalism coined by the author Tom Wolfe. Wolfe’s term referred to a purposefully subjective journalistic attitude, as seen in the writings of Hunter S. Thompson and Truman Capote

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Danny lyon- 1967 Beekman Street, Sunday morning; Ginco, Tonto, Frankie, John Jr., and Nelson, after exploring the buildings

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Danny lyon- 1967 Beekman Street, Sunday morning; Ginco, Tonto, Frankie, John Jr., and Nelson, after exploring the buildings

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`When Lyon moved back to New York from Chicago, he settled in Lower Manhattan because of the cheap rent and his friendship with sculptor Mark di Suvero, who had a studio close to the Brooklyn Bridge. These young boys lived in a nearby housing project and scavenged the demolition areas for old industrial building materials for di Suvero’s sculptures.

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Lyon spent many days with the demolition men, watching them level Beekman Street. “My respect for them grew tremendously,” he recalls. “They do a difficult and dangerous job very well and it’s a mistake to think that they feel anything but pride for their work.”

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Danny lyon Bus stop, Tehuantepec, Oaxaca 1975 

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Danny lyon Bus stop, Tehuantepec, Oaxaca 1975 

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Lyon has called himself a journalist and his work “advocacy journalism.” Unlike most photojournalists, he usually chooses his own subjects, most often focusing on outsiders or people enduring arduous environments or living situations.

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Lyon’s favored approach is a photographic equivalent of the 1960s New Journalism, a movement that advocated a subjective, rather than objective, viewpoint. Already an enthusiastic bikerider (the term Lyon says was used in Chicago in that era), he joined the Chicago Outlaws Motorcycle Club in 1965 with the idea of making a book about them from an insider’s view. He was a participant, not just a spectator.

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By the 1970s, the South Bronx in New York was an exemplar of urban decay. Forty percent of its buildings were burned or abandoned between 1970 and 1980. Lyon chose to document the people who remained, whether by choice or desperation. The grim, challenging environment gave birth to hip-hop in that same decade. The South Bronx is now experiencing gentrification.

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James Nachtwey  is an American photojournalist and war photographer from New York City. He is will known for his moving images of war, conflicts, and social upheaval.

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the American photographer went on his own to Somalia, where he received support from the International Committee of the Red Cross. Nachtwey brought back a cache of haunting images, including this scene of a woman waiting to be taken to a feeding center in a wheelbarrow.

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During the civil war in Yugoslavia the city of Mostar became the scene of a bitter conflict between ethnic Croats and Bosnians. The fighting took place at close quarters—from house-to-house, room-to-room, neighbor against neighbor.

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A man who had been held prisoner in a Hutu concentration camp had just been liberated by the advancing Tutsi guerrilla army. His face bore the scars of extreme mistreatment

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During the Afghan Civil War one-third of Kabul was totally destroyed by artillery and rocket fire. This picture of the central business district was made as the capital was being besieged by the Taliban.