Lewis Hine was a teacher and photographer who, in the early 20th century, used his camera as a tool for social reform. Working for the National Child Labor Committee (NCLC) between 1908 and 1924, Hine traveled across the United States to document the harsh conditions of child labor. One of his most powerful series of photographs focused on “breaker boys” in coal mines, particularly in Pennsylvania.

In the early 1900s, thousands of children, some as young as eight or nine, worked in the coal industry. While the law often prohibited young children from working underground, they were frequently employed in the “breakers.” Their task was to sit on wooden boards over a conveyor belt or chute filled with rushing coal. As the coal moved past, the boys had to pick out pieces of slate, rock, and other impurities by hand.

The boys worked ten to twelve hours a day in cramped, hunched-over positions. The dust was so thick they could barely see, and many developed chronic coughs or “black lung” early in life. The work was incredibly dangerous. Boys often lost fingers to the fast-moving machinery, and some were even crushed to death if they fell into the chutes. Their hands were often covered in “red coal,” cuts and abrasions from the sharp slate.

Hine often had to use deception to gain access to these sites. He would disguise himself as a fire inspector, a postcard vendor, or a machinery salesman to get past foremen who didn’t want the public to see the children. Once inside, he would quickly take photos and scribble notes on pieces of paper hidden in his pockets. He recorded the children’s ages (often lied about by parents or employers), their heights, and how long they had been working.

Hine called his work “photo-interpretation.” He believed that if the American public could see the faces of the children whose childhoods were being traded for cheap coal and textiles, they would demand change. His photographs became the visual evidence needed to sway public opinion and were instrumental in the eventual passage of the Keating-Owen Act of 1916 and, later, the Fair Labor Standards Act of 1938, which effectively ended child labor in the United States.

A student of the famous Charles Gleyre, Toulmouche became a sensation during the Second French Empire, earning the patronage of Emperor Napoleon III and Empress Eugénie. His work is characterized by a meticulous attention to detail, particularly in the rendering of opulent fabrics like silk, satin, and lace, which earned his subjects the nickname “Toulmouche’s delicious dolls” from critics like Émile Zola.

While his paintings often depicted quiet, domestic moments, such as a woman reading a letter or admiring herself in a mirror, they captured the sophisticated psychological state of the 19th-century bourgeoisie.

Signoret became the first French person to win an Academy Award for her heart-wrenching performance in the 1959 British film Room at the Top. Throughout her career, she portrayed complex, resilient women, often burdened by life’s hardships but possessing an unbreakable dignity.

Beyond her artistic achievements, Signoret was a prominent social activist and intellectual, forming one half of France’s most famous power couple with her husband, Yves Montand. With her smoky voice and penetrating gaze, she remains an enduring icon of “la maturité,” proving that a woman’s true beauty lies in her experiences, her intelligence, and her unwavering authenticity.

The win itself was dramatic. Fittipaldi, a two-time Formula One champion, was battling with Al Unser Jr. for the lead in the final laps. On lap 199, the two drivers made wheel contact while navigating slower traffic, causing Unser Jr. to spin out and crash into the wall. Fittipaldi completed the final lap under caution to secure his first Indy 500 victory.

However, these portraits were far from casual; due to the long exposure times required by early photographic plates, subjects still had to remain perfectly still for several seconds, often leaning against trees or stone benches for support. These images frequently featured families in their “Sunday best,” posed amidst lush foliage or architectural ruins to signify status and a connection to the pastoral ideal.

For ten years, Schatzberg is a highly sought-after photographer and forms friendships with famous models. One such model is Anne St. Marie, who was experiencing a painful depression, rejected in favor of younger girls, though she herself is barely 30. Jerry Schatzberg decided to tell this touching story. In 1969, he chose actress Faye Dunaway, then 29 years old, with a career in full-swing, to portray the fallen model. The result will be the critically acclaimed Puzzle of a Downfall Child (1970), whose reissue at the 2011 Lumière festival was a revelation.

Under the reign of Sultan Omar Ali Saifuddien III, often hailed as the “Architect of Modern Brunei,” the landscape of the capital, Brunei Town (now Bandar Seri Begawan), underwent a dramatic transformation. This era was characterized by a massive influx of oil wealth, which was strategically channeled into grand national projects, most notably the stunning Sultan Omar Ali Saifuddien Mosque, which dominated the skyline with its golden dome.

While the traditional lifestyle of the Kampong Ayer (Water Village) remained the heart of the community, new schools, hospitals, and infrastructure began to sprout, signaling a shift toward a modern welfare state. These vintage photos, provided by David Pirmann, offer a fascinating look at Brunei in 1965.