The Journal is a collective, global project begun in March by more than 400 Women Photograph members in response to the COVID-19 pandemic, and the resulting lockdowns and quarantines.

Thirteen photographers from around the world re-photograph a scene from their archive, juxtaposing images from the past with the tumultuous year of 2020. They explore the visual imprint left on us by COVID-19, systemic racism, and social upheaval worldwide.

Thesis, Interrupted explores the evolution of the School of Visual Arts Masters in Digital Photography class of 2020’s thesis projects, during the pandemic and subsequent quarantine.

From Bangladeshi garment factories to Portland’s Black Lives Matter protests, from Algeria’s streets to Hong Kong’s universities, Frontlines in Focus highlights the uprisings shaking our world this year, and the independent image makers whose roles are especially vital, during this time of collective isolation.

We Are Present is an excerpt of portraits taken in New York and Minneapolis that documents the lived experiences of Black Americans during the double crisis of the pandemic, and the uprisings against injustice.

When it is the photojournalist’s job to document the world’s news events? What happens when a new, deadly disease spreads across the world and threatens nearly everyone and everything—including the photographer? Chris Hondros Fund posed these two questions to three photojournalists: In 2020, what did you see, and where do we go from here?

With a higher proportion of the Dutch population finding co-living as a solution to the rising cost of living, providing elder-care, living sustainably, and coping with loneliness, these alternative options have become more available, and diverse.

Portraits of people and scenes of social distancing on the NYC Ferry during the summer.

Picking Up NYC offers a glimpse into the New York City Department of Sanitation’s rich history of heroism, inviting viewers to recognize the Sanitation workforce for their ceaseless efforts to keep New York City alive.

Wayne Lawrence’s collaborative portraits of loss remove abstraction and remind us that every life lost during this pandemic is profound, and deeply personal.

In early June, The New York Times asked more than two dozen Black photographers to create self-portraits, whatever that phrase meant to them. This collection of those photos presents an intimate perspective from artists who are motivated by their own reality.

The world faces an unprecedented threat from COVID-19. It is more than a global health crisis–it is a socio-economic crisis which has exacerbated existing inequalities and created new inequalities that are hitting the most vulnerable people the hardest.

Over the course of a few days in March, The New York Times sent out dozens of photographers around the world to capture images of once-bustling public plazas, beaches, fairgrounds, and more. The photographs tell a similar story: emptiness proliferates like the virus.

ABC(orona) is a family’s anecdotal and thoroughly un-researched guide to surviving the corona virus lockdown.