Tomas Munita, Cuba on the Edge of Change.
A crowd gathered to watch a cockfight in the countryside near Viñales, Cuba. The country can feel like a nation abandoned. The aching disrepair of its cities, the untamed foliage of its countryside, the orphaned coastlines — a half-century of isolation has wrapped the country in decay.
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Tomas Munita, Cuba on the Edge of Change.
A weathered barber shop in Old Havana. Visitors love the museum-like quality of the streets, the disrepair of Old Havana, the strafed paint of colonial homes, each surface bearing its own exceptional history.
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Tomas Munita, Cuba on the Edge of Change.
From the outside, the destruction is palpable. Paint molts from walls. Structures list to one side. Facades torn from the edges of homes leave dollhouse interiors exposed to the elements. Look closer, though, at knickknacks arranged just so on splintered shelves. Cracked floors swept clean. Plastic flowers perfectly arranged. Quiet pride in every detail.
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Ivor Prickett, End of the Caliphate.
Civilians — exhausted, hungry and thirsty — lining up for food and water in the Mamun neighborhood of Mosul, Iraq. The photographer Ivor Prickett, on assignment for The New York Times, made four prolonged trips in 2017 to the front lines of Mosul, where the battle that lasted nearly nine months killed thousands of civilians, sent many thousands more fleeing their homes and reduced Iraq’s second-largest city to rubble.
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Newsha Tavakolian, Stress and Hope in Tehran.
"My father is losing his eyesight. His medicine from the U.S. is not under sanctions, but importers can't purchase it because of sanctions on international banking against us. Will he be able to see in the future?" — Mitra Hajjar, 38, Actress
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Newsha Tavakolian, Stress and Hope in Tehran.
“As the sanctions became more and more intense, our money gradually lost its value. I can find everything that I need, but the prices have skyrocketed, so I can’t buy them.” —Taraneh, 29, Architect
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Newsha Tavakolian, Stress and Hope in Tehran.
"Iranian youths have international mind-sets, from computer gadgets to smartphone applications. We need to pay in dollars but are paid in local money. It’s so hard to keep up." — Mohammad, 26, Advertising Executive
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Meridith Kohut, Venezuela's Collapse.
Protesters waved the flag of the Venezuelan state of Táchira after seizing control of the main highway through Caracas.
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Meridith Kohut, Venezuela's Collapse.
A Molotov cocktail thrown by protesters exploded at the feet of National Guard soldiers.
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Daniel Berehulak, They’re slaughtering us like animals.
The basketball court at the Quezon City Jail became a sleeping area.
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Daniel Berehulak, They’re slaughtering us like animals.
Inmates at a Manila police station watched as more drug suspects were processed after their arrests.
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Works by five prize-winning photographers will go on display at Sotheby's in London on 16 March. The New York Times publishes hundreds of images every day, but rarely hangs them on the walls of a gallery. Although the truth can be hard to look at, the searing work of these five photojournalists make it hard to turn away. These women and men made these images as part of journalism’s highest calling: bearing witness. Sometimes, they took great personal risk. Always, they produced work that required courage, artistry, intelligence and perseverance. Now, for the first time, The New York Times has partnered with the Foundation for the Exhibition of Photography to present these works not as ephemeral parts of a fast-changing news report, but as lasting pieces of art. — The New York Times International Photo Editor, David Furst, Associate Managing Editor, Jodi Rudoren, and photographer and curator Arthur Ollman.
Hard Truths: Prize-Winning Photography from The New York Times
16–18 March | London