A machine assembles powder, cartridges and bullets tips together to make 300 AAC Blackouts at Barnes Bullets in Mona, Utah, January 6, 2015. (Photo by George Frey/Reuters)

A hint of Spring Fever is evidenced by this passerby tipping his hat to a store fixture mannequin on a State St. sidewalk in downtown Chicago on March 23, 1978. The mannequin was awaiting pickup to be transported. (Photo by AP Photo)

Nina Leen, one of the first female photographers to work for Life, took pictures for the magazine from 1940 to 1972. In the mid-1940s, her essay, “City Dogs”, featured actors and artists with their pets on the streets of New York City. In late-March, Daniel Cooney Fine Art in New York City, is opening a solo exhibition of Leen’s work that features images from that essay and others. Here: author Fannie Hurst clad in mink coat, enjoying the jumping antics of her Yorkshire terrier Orphan Annie on the street. (Photo by Nina Leen/Pix Inc./The LIFE Picture Collection/Getty Images)

“After the death of a teenager (14-year-old Elijah Doughty), hundreds of Indigenous locals took to the streets of Kalgoorlie to vent their anger. Danella Bevis captures the grief and outrage of a family and a community. There is raw aggression in an eruption of racial tensions and violence, and in stark contrast she concludes the narrative with a moment of quiet beauty at a dusk vigil”. (Photo by Danella Bevis/The Walkley Foundation)

Bouwe Brouwer: Postcards from Fryslân (series finalist). “People from Fryslân are looked upon by the rest of the Netherlands as stubborn people. Going back as far as the Spanish occupation, they have a history of resisting authority. Postcards from Fryslân is still an ongoing project – hopefully a lifelong one. When it started, it represented only a collection of places that seemed interesting. Currently, the hope is to cover most of the province, as you never know in advance where the best narratives are. But still, it is all candid, unposed and in the public realm”. (Photo by Bouwe Brouwer/Street Photographers Awards 2021)

From a height of three meters, porcelain figurines are dropped on the ground, and the sound they make when they hit trips the shutter release. The result: razor-sharp images of disturbing beauty—temporary sculptures made visible to the human eye by high-speed photography technology. The porcelain statuette bursting into pieces isn't what really captures the attention; the fascination lies in the genesis of a dynamic figure that replaces the static pose. In contrast to the inertness of the intact kitsch figurines Klimas started out with, the photographs of their destruction possess a powerfully narrative character.

For France, the trauma of the Algerian War (1954-1962) was not unlike the experience of the Vietnam War for the United States. But, unlike the conflict in Vietnam, few photographic documents exist from that period in Algeria: it is as if the French responded with collective amnesia. Marc Garanger’s Algerian Women is one of the few photographic essays dedicated to that painful period... Photo: A 1960 photograph of an Algerian woman in a French regroupment village. (Photo by Marc Garanger)