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Born in Hoboken, New Jersey, in 1864, and schooled as an engineer in Germany, Alfred Stieglitz returned to New York in 1890 determined to prove that photography was a medium as capable of artistic expression as painting or sculpture. As the editor of Camera Notes, the journal of the Camera Club of New York—an association of amateur photography enthusiasts—Stieglitz espoused his belief in the aesthetic potential of the medium and published work by photographers who shared his conviction.

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Alfred Steiglitz - The Hand of Man 1902 

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Alfred Steiglitz - The Hand of Man 1902 

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With this image of a lone locomotive chugging through the train yards of Long Island City, Stieglitz showed that a gritty urban landscape could have an atmospheric beauty and a symbolic value as potent as those of an unspoiled natural landscape. The title alludes to this modern transformation of the landscape and also perhaps to photography itself as a mechanical process

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The Steerage is considered Stieglitz's signature work, and was proclaimed by the artist and illustrated in histories of the medium as his first "modernist" photograph. It marks Stieglitz's transition away from painterly prints of Symbolist subjects to a more straightforward depiction of quotidian life.

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Alfred Steiglitz - From the Back Window at 291 1915 

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Alfred Steiglitz - From the Back Window at 291 1915 

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This nighttime scene was taken from the window of Stieglitz's famous avant-garde gallery. The photo is dominated by the geometric lines of New York's cityscape, using the rich range of tone the camera affords to depict the drama of the city by night. The overall darkness is leavened by intermittent beacons of artificial light. Although the picture was taken many years after Stieglitz had turned his back on the rich tonality of Pictorial photography, it could be interpreted almost as a transitional piece - the dramatic light effects recall his early work, but the geometric forms of the roofs in the foreground recall the concerns of his more recent, straight photography.

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Born in New York City in 1915, Arthur Rothstein showed an early interest in photography. While studying at Columbia University, he met economics instructor Roy Stryker, who would later establish the photographic section of the Resettlement Administration (later the Farm Security Administration) in Washington, DC. Appreciating Rothstein's technical proficiency and enthusiasm for photography, Stryker hired him in 1935 as the first staff photographer for the FSA. Praised for the directness and immediacy of his imagery, Rothstein produced notable photographic series on farming communities in the Midwestern Dust Bowl.

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Arthur Rothstein Two Unidentified Men, Wolf Creek Farms, Georgia  1935  

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Arthur Rothstein Two Unidentified Men, Wolf Creek Farms, Georgia  1935  

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Arthur Rothstein Dust Storm, Cimarron County, Oklahoma 1936 

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Arthur Rothstein Dust Storm, Cimarron County, Oklahoma 1936 

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He wanted to capture the impact that these storms had on the land and on the people, and was only truly able to do so at a time when there were low winds and high visibility. He asked the youngest boy pictured on the far right side of the photo to hang back and put his arms over his eyes.

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Another image that is iconic of the Great Depression is Rothstein’s Steer Skull, Badlands, South Dakota, taken in May 1936. Rothstein was 22 when he took this image and he was working for the Resettlement Administration, documenting drought conditions in South Dakota. The truthfulness of this photograph is in question because it was found out that Rothstein moved the skull in order to get this image.

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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.