The photographer Johis Alarcón documented not just the indelible influence of African culture in Ecuador, but also how the descendants of enslaved women maintained their culture.
NYT > Lens
A look at a century of New York photographs by The Times’s staff photographers.
Having documented Sami herders and the civil rights movement, and having just published a memoir, the photographer says his life’s work is far from complete.
Three journalists present a complicated exploration of the effects of remittances in the Central American town of Intipucá.
It takes a crew of eight to maintain the 500 acres at Storm King Art Center, where art lives in the landscape.
Meet the Santas and Mrs. Clauses who live every day like it’s Christmas — even in July.
Photographers and astronomers were strung out across the Atacama Desert waiting for the sun to spread its coronal wings on their examining table.
A new award aims to shine a light on a gender imbalance in photography.
Nearly 30 years after the seminal documentary on ballroom culture, underground queer dance competitions are an international phenomenon.
The internet has become synonymous with stress itself. Is slime, that substance between liquid and solid, an antidote?
Peggy Noland has given a Toyota Corolla a pelt and slapped “buff Powerpuff Girls” on a pickup truck. Objects in mirror are as bitchin’ as they appear.
At a new cabaret, queens and L.G.B.T.Q. Arabs can party freely.
Before cellphones, Turkish “bird language” allowed farmers to communicate across long distances in the Pontic Mountains.
Rarámuri women in Chihuahua, Mexico, have made an indigenous style of dress a means of fighting assimilation.
A look at how the photographer translated his humanistic view of urban crime to the silver screen.
Our mixtape continues with more photos and videos that have appeared in The New York Times Lens column over the past decade.
A look back at a decade of The New York Times Lens column.
Maksymilian and Magdalena Rigamonti provide an overdue memorial for those who perished in the Volhynia massacre during World War II.
Returning to venues where he attended metal shows years ago, Matthew DeFeo captures the vulnerability behind these artists’ angsty facades.
Between violent flash points in history, Liu Heung Shing saw tenderness and subversive humor in societies saturated with propaganda.