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Opened in 1887, the Jerissa iron mine once provided work for nearly 4000 people. During the early 20th century, it was known to contain rich and pure minerals, most notably hematite. Legend says the mine was the source of the iron used for constucting the Eiffel Tower and making rails of Paris' first subways. Today, however, due to a decline in production, only a few hundred people work at this gaping open-air mine, and the disused sheds and equipment are serve as tourist attractions. One by one the shops and bars of the city have closed. Faced with unemployment, young people continue to leave the area, often to find work in nearby cactus fields, which yield the only viable crop in this arid region.

Zied Ben Rhomdane traveled to Jerissa and documented its last inhabitants and the fading mine.

The Fading Mines of Jerissa

British-Australian singer and actress Olivia Newton-John has passed away at the age of 73.
One of the best-selling musical artists of the 1970s and 80's, she received four Grammy awards, and reached a new height of popularity when she co-starred in the 1978 film adaptation of "Grease."
Newton-John dedicated much of her energies to environmental and animal rights activism.

Olivia Newton-John: 1948 - 2022...

Michael Mann

At the beginning of March 2022, a week after the invasion of Ukraine by the Russian army, Jerome Sessini returned to Ukraine for the New Yorker. He witnessed the bombardments on Kyiv, families fleeing Irpin under fire from the Russian army, the systematic destruction of residential areas in Borodyanka, several towns all around Kyiv, and the mass graves in Bucha. “Even in my most pessimistic forecasts, I never imagined that the Russian President and his army would show such brutality. » Says Sessini.
Together with journalist Joshua Jaffa, Jerome also traveled to Novyi Bykiv, a village sixty miles east of Kyiv, where they collected testimonies from women and men who had lived under the occupation of Russian troops for several weeks.
<a href="https://www.newyorker.com/news/dispatch/the-prisoners-in-a-cellar-in-the-ukrainian-village-of-novyi-bykiv" target="_blank">https://www.newyorker.com/news/dispatch/the-prisoners-in-a-cellar-in-the-ukrainian-village-of-novyi-bykiv</a>"

First Days of the Invasion of Ukraine...

Bieke Depoorter

It's been half a century since we lost Marilyn Monroe, but her presence in popular culture has never faded - due in part to the incredible abundance of photographs that were taken by members of the Magnum photographic cooperative, and appear in this stunning collection that expresses every aspect of Marilyn's multifaceted persona. Henri Cartier-Bresson, Elliott Erwitt, Eve Arnold, Inge Morath, Philippe Halsman, Bruce Davidson, Dennis Stock, Bob Henriques, Erich Hartmann, and others capture Marilyn on and off the set.<br> The images range from glamorous portraits to candid scenes of delicate intimacy. Marilyn is pictured filming movies such as Some Like it Hot and Gentlemen Prefer Blondes. In richly toned black and white as well as lustrous color, these photographes reveal Marilyn's uncanny ease in front of the camera. Whether acting or exercising, putting on make-up or gracefully posing, Marilyn was a photographer's dream. This celebration of her life will be a treasured keepsake for her millions of fans. <br> <br>
Format: Hardcover<br>
Size: 22,5 x 26cm / 9 x 10 in<br>
Pages: 160<br>
Publisher: Prestel, 2012.

Marilyn by Magnum

As of late July, British and US intelligence agencies have estimated that as many as 15,000 members of the Russian military have been killed fighting in Ukraine. Though most members of the military are Russian, some come from Russia's satellite republics.
In June, Nanna Heitmann traveled to Dagestan, where she photographed families mourning the deaths of their loved ones who had fallen during the Russo-Ukrainian war.

Dagestani Casualties in Ukraine...

Fragile Wonder. A Journey in Changing...

Magnum photographer Erich Hartmann was born 100 years ago, on July 29th, 1922.

Born in Munich, Erich Hartmann was 16 years old when he went with his family in 1938 to Albany, New York, as a refugee from Nazi Germany. The only English speaker in the family, he worked in a textile mill, attending evening high school and later taking night courses at Siena College. He enlisted in the US Army, serving in England, France, Belgium and Germany. At the end of the war he moved to New York City, where he worked as an assistant to a portrait photographer and then as a freelancer.

Hartmann first became known to the wider public through his work for Fortune magazine in the 1950s. His poetic approach to science, industry and architecture shone through the photo essays 'Shapes of Sound', 'The Building of Saint Lawrence Seaway' and 'The Deep North'. He later did similar essays on the poetics of science and technology for French, German and American Geo and other magazines. Invited to join Magnum in 1952, he was for many years on the board of directors, becoming president in 1985.

Throughout his career, he pursued many long-term personal projects, and photographic interpretations with literary echoes: Shakespeare's England, Joyce's Dublin, Thomas Hardy's Wessex. He also explored abstract representations of ink-drops in water, patterns of laser light, and the beauty of tiny components of technology. In his later years he photographed the remains of the Nazi concentration camps, resulting in a book and exhibition, In the Camps. At the time of his death he was engaged in a photo project he called 'Music Everywhere.'

Erich Hartmann died in New York City on February 4th, 1999.

100 Years Since the Birth of Erich...

$"Somos el sueño de alguien que estuvo antes que nosotros." (We are the dream of someone who were before us.) Since 2013 I been exploring the tangible and spiritual impact of violence on families including my own. My work focuses on communities fractured by the state and organized crime, in a physical and psychological sense. I am trying to create a testimony through which I can discuss all these layers of reality that shape my country and the region of Latin America. I am interested in talking about Mexico and Latin America as a symbolic space, a land that become an image and a symbol of resistance. In this work I been collaborating with indigenous communities that work producing poppy flowers, with mothers of missing people in Sinaloa, with indigenous families in the U.S; with people that flee their territories due violence and with my own family. For the last two years I’m weaving together a complex tapestry of family, religion, ritual, poverty, longing, loss, violence, death, migration and what it means to live in this region of Latin America. I been working in Central America, in the U.S. and in Mexico: in Tamaulipas, Sinaloa, Veracruz and Guerrero. I was born and live in Guerrero Mexico, where some of these photographs were taken, while this is the story of Mexican and Latin American families impacted by these events, it is also mine. -Yael Martinez, 2022$