TIME portfolio

Documenting Immigration From Both Sides of the Border

For the past eight years, Kirsten Luce has been documenting immigration issues between the U.S. and Mexico

On Nov. 20, 2014, U.S. President Barack Obama announced a series of executive actions to reform immigration laws in the United States. These new actions will protect up to five million illegal immigrants from deportation, expand border security, and create new programs to promote citizenship and legal immigration.

Photographer Kirsten Luce has been documenting both sides of the U.S.–Mexico border since 2006, when she became a staff photographer at The Monitor in the border town of McAllen, Texas. After moving to New York City in 2008, Luce had a shift in perspective and started to look at immigration issues from a national point of view, she says.

Earlier this year, immigration came back at the forefront of the national debate when a massive influx of unaccompanied minors and families crossed the border. “When I first started seeing the news in May and June,” Luce says, “I thought I was aware of how busy the border has been for a couple of years [and that] reports might be exaggerating things. I was wrong.”

Luce immediately went to Texas, embedding herself with local law enforcement. They encountered two groups of 12 women and children within an hour, and then another group several minutes later. “Normally, you go on a ride along, [and] you don’t see anything for a couple of hours,” says Luce. “You might see one group the whole time… [This time] it was surreal.”

And while news organizations usually had little interest for Luce’s work on immigration, suddenly “people wanted whatever pictures they could get from the Rio Grande Valley to try to understand this space that has become the focal point of the national debate on immigration,” she says. Since this summer, Luce has been able to publish every story that she has produced, with other journalists also reaching out to her for advice on how to work in the area.

Luce’s comprehensive body of work covers diverse aspects of immigration on both sides of the border – from illegal border crossing to border patrol agents, stash houses where migrants are kept on arrival in the US. She is well aware that, as a journalist, such access is hard to come by. Over the years, Luce has maintained good relations with several local law enforcement agencies and they have grown to trust her. And while she is not always allowed to ask migrants about their stories, Luce appreciates the law enforcement officers that give her a chance to document the situation while they do their jobs.

“My intention is to contribute to a dialogue on the current immigration system,” Luce says. She has seen the complex narrative of immigration evolve for years, and stresses the importance of understanding this fluid situation and the people it affects on both sides of the border.

Kirsten Luce is a freelance photographer based in New York City.

Marisa Schwartz is an Associate Photo Editor at TIME.com. Follow her on Twitter and Instagram.



See Haunting Photos of NYPD Surveillance Helicopters Above the Eric Garner Protests

Police presence is evident in the air, as well as on the ground

On Thursday, photographer Kevin Kunstadt joined the New York City protests against the grand jury decision not to charge a white NYPD officer in the death of Eric Garner.

While most photographers focused their lenses on the protesters themselves, Kunstadt turned his towards the sky. He used his experience photographing airplane trails, using 20-30 second exposures, to capture the abundance of police and news helicopters above the protests — illuminating the constant surveillance.

“There was a sense of almost joyous rebellion,” Kunstadt tells TIME, “and irreverence for authority, police, and the status quo. I didn’t feel the same sadness as last week’s protests [for Michael Brown], but it was still quite emotional and beautiful to see everyone coming together.”

Protests against the police killings of Eric Garner in Staten Island, NY and Michael Brown in Ferguson, Mo. continue throughout the country. Kunstadt understands that the act of protesting often requires a police presence, but he finds “something especially ominous” about the aerial surveillance.

“Nevertheless,” he says, “there is an inherent power in turning the gaze of the surveiller back on them, enacting surveillance of the surveillance.”

TIME Crime

Darren Wilson Evidence Photos: What He Looked Like After Killing Michael Brown

These four images offer the clearest view of Wilson's wounds

The images below show Ferguson, Mo. police officer Darren Wilson shortly after he fatally shot Michael Brown on Aug. 9, 2014. In grand jury testimony, Wilson described Brown as a violent aggressor who made the officer fear for his life. “When I grabbed him,” Wilson said in testimony, “the only way I can describe it is I felt like a five-year-old holding onto Hulk Hogan.”

On Monday, the St. Louis County prosecuting attorney released 38 pictures of Wilson taken after the deadly encounter. The four below offer the clearest view of his injuries.


Darren Wilson Ferguson Police Officer
St. Louis County
Darren Wilson Ferguson Police Officer
St. Louis County
Darren Wilson Ferguson Police Officer
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Darren Wilson Ferguson Police Officer
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TIME Crime

See 20 Key Moments From Ferguson

A deadly shooting. Months of protests. An anxiously awaited grand jury decision. These images chronicle the pivotal moments in the fatal encounter between a white police officer and an unarmed African-American teenager that ignited a national debate about race.

Should Ferguson Protestors be Person of the Year? Vote below for #TIMEPOY

TIME Behind the Photos

Two Radically Different Photos Embody Tensions in St. Louis

Laurie Skrivan, a staff photographer at the St. Louis Post-Dispatch, has been documenting the unrest in Ferguson, Mo. and the greater St. Louis area since protests erupted in August over the fatal shooting of unarmed black teenager Michael Brown by police officer Darren Wilson. On Oct. 8, 2014, amid new protests following the fatal shooting of Vonderrit Myers, Jr. who allegedly opened fire during a chase with an off-duty police officer, Skrivan captured two very different images that embody the current tensions in St. Louis.

TIME spoke with Skrivan about her experience photographing the protests and what these two photos represent.

Despite the abundant coverage of the continuing protests in Ferguson and St. Louis, Mo., Laurie Skrivan’s photographs of protesters burning American flags and of a police officer pepper-spraying two women stand out; highlighting the fragile and tense atmosphere in St. Louis.

In the evening of Oct. 8, a peaceful vigil was held to remember Vonderrit Myers, Jr., an 18-year-old man killed by an off-duty police officer. The vigil lasted well into the night, with some members of the crowd deciding to protest in a nearby upscale neighborhood on Flora Place in St. Louis. “They wanted to bring their voice to that street,” says Skrivan, who photographed the protest for the St. Louis Post-Dispatch. “They were marching down that street thinking: ‘Hey, this is going to get people mad. Let them know what it feels like to have unrest in their neighborhood’.”

As the protesters were marching down the street, a few removed flags from houses, Skrivan says. “Out of nowhere this kid just took a lighter and lit one of the flags on fire. And then, like clockwork, the crowd gathered around and people just kept giving more flags to burn. You could hear some people chanting: ‘Burn, baby, burn.’ Others were making comments like: ‘Black men live in a different country,’ or ‘We don’t feel a part of our country.’ [It] was pretty intense.”

Friends and colleagues with whom she discussed the photo, which was published inside the next morning’s edition of the St. Louis Post-Dispatch, told Skrivan that the protesters wouldn’t get any sympathy if they were seen burning flags. “I don’t know if they want sympathy,” Skrivan says. “They want a voice. They want people to see how they feel and that they’re tired of their friends and their sons getting shot.”

After warning protesters to disperse for unlawfully gathering, police dressed in riot gear pepper spray protesters in St. Louis on Oct. 8, 2014. Laurie Skrivan—St. Louis Post-Dispatch/Polaris

That same evening, Skrivan followed the protesters to an area where an “officer in need of aid” call resulted in a barricade formed of riot gear-clad police officers. The protesters were clearly agitated, exchanging insults with officers, Skrivan says. Police eventually informed protesters that they would be arrested for unlawfully gathering if they did not disperse.

“There was a group of two or three women who went up close to the police and started yelling,” Skrivan says. “Then there was a physical altercation, they [the police] put their hands on [one of the women], and then you saw the direct stream of mace.”

Viewing both photographs together, “you get a more realistic sense of the scene, how [everyone is] being treated,” Skrivan says. “Some people will look at that photo and say ‘I can’t believe the police are doing that!’ And then other folks will say ‘Of course they’re doing that! What are [these protesters] doing out at night… and they burnt the flag earlier!’ They’re connecting dots in very individualistic ways. It’s surprising to me.”

“Reporting on this story just takes me back to the basics,” Skrivan says. “Sometimes it makes me question how much we really hear each other when we’re talking. I think about that a lot. How are we going to get better? How are we going to grow? There’s just so much distrust out there.”

Laurie Skrivan is a staff photographer at the St. Louis Post-Dispatch

Marisa Schwartz is an Associate Photo Editor at TIME.com

TIME Ghana

How 2 Gay Men Live in a Country Where Homosexuality Is Illegal

Two young men bravely share their experience as homosexuals in Ghana

Some 37 African countries criminalize homosexual relationships, with penalties ranging from misdemeanors to death sentences, according to a Human Rights Campaign Foundation and Human Rights First report released Tuesday. The report, which analyzed LGBT rights in 54 African countries in total, paints a picture of a continent in crisis.

In Ghana, a country often regarded as among the most progressively democratic nations in Africa, homosexuality remains illegal, punishable by up to three years imprisonment. A recent Pew survey of various countries, not all African, reveals that 98 percent of Ghanaians feel that homosexuality is “morally unacceptable,” the highest percentage of any country surveyed.

“In Ghana, everybody is culturally and religiously blinded,” says Fred K., an openly gay man living in the Ghanaian capital of Accra who didn’t want to share his last name for fear of criminal and social repercussions. “They think that it’s demonic … so I just pray that a time comes that they decide to change and be like the Western countries.”

The HRC/HRF report is out just a week before U.S. President Barack Obama is slated to hold the first U.S.-Africa Leaders Summit in Washington, D.C.. Advocates from the U.S. and Africa are jumping on that opportunity to bring the the continent’s controversial LGBT rights record to the world’s attention.

“My fellow gays don’t want anything to be legalized,” Nana Yaw, a human rights activist and openly gay man, says. “All they want is for their rights to be respected and protected.”

TIME World Cup

Watch Every World Cup Goal in 1 Minute

With a total of 171 goals after the final match, the 2014 World Cup in Brazil tied the record for most goals scored, which was previously held by the 1998 World Cup in France

TIME Fine Art

Google Project Aims to Make Street Art Immortal

Google Cultural Institute is taking street art off the walls and into your computer.

From murals in Atlanta to graffiti in Tunisia, Google’s Street Art Project, which launches Tuesday, preserves and gives Internet access to more than 5,000 photographic records of otherwise impermanent artwork.

Google Cultural Institute‘s director Amit Sood says the project’s mission is to turn the world into “one huge open-air gallery for everyone to enjoy.”

“These works of art that decorate our streets do not always hang about for long, which is why we’re delighted to work with partners around the globe to help them tell a story of street art around the globe,” Sood said, referring to environmental and societal elements that threaten to destroy works of art created in public space.

Street art is at once a celebrated and reviled pastime. From humble beginnings as a vandal’s crime in New York City, street art has evolved to become globally accepted. Artists like Shepard Fairey and JR have seen their work attract attention in political campaigns and high society. However, street art can still be considered vandalism in many cases in the U.S. and around the world. This was proven in last year’s destruction of the iconic 5 Pointz in Queens. The street art initiative by Google provides a safe haven for these masterfully creative works.

One of the most important features is that the images are shown in their natural habitat, so the viewer can truly understand the space the art creates (quite an improvement over putting a Banksy piece in an auction). Not only does Google’s street art project preserve street art for time immemorial, but it provides a window into another world of art spanning the entire globe.

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