From Shaolin wall-runners to caged birds and S&M clubs, these images have all inspired their own Granta magazine stories – and now is your chance to buy one

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Taken over several years, the British photographer’s latest series shows her world narrowing as loss, and lockdown, strike

Lydia Goldblatt describes her book Fugue as a “story about mothering and losing a mother, intimacy and distance, told through photographs and writing”. It is a companion volume, in some ways, to an earlier project, Still Here , about the unsettled, intense landscape of love and loss generated by her father’s death. “The cultural silence around these emotions,” Goldblatt writes, by way of introduction, “the difficulty of navigating and giving voice to them, has made me want to suffuse them with colour and light.”

The pictures in Fugue were made over four years, beginning in 2020. The world of some of them is circumscribed by lockdown, life narrowing to the bubble of family. The photographer’s young daughters are insistently present in the pictures, climbing and clinging and needing notice. “Abundant” is her word for them. Her mother is already an absence; the words in the book chart not only her loss but also the responsibility of clearing and decanting her London home.

Fugue is published by Gost (£45) in June. An exhibition of the photographs, with Robert Morat Galerie, will be on display at Photo London 2024 , Somerset House, 16-19 May

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From a young Paul Kelly and bop dancing in the streets to legends like Ray Charles, music fan and photographer Brian Carr has spent 50 years documenting the notable and not so well-known musos who make up Melbourne’s vibrant live music scene. He has now published a book, Music City , from his extensive archive

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The celebrated US photographer’s haunting new series, documenting the locations where people have died in encounters with police, is a quietly devastating commemoration and a critique of modern American culture

In their monochrome starkness, Diana Matar’s images of modern America possess a melancholic undertow that is both familiar and unsettling. Whether a deserted backroad fringed with sun-burnished grass in rural Texas or a single-storey liquor store in a sprawling Californian suburb, there is the sense that these often nondescript places are not where locals tend to linger, never mind gather to mourn and to remember.

And yet the 110 photographs in her new book, My America , are of sites where civilians were killed by law enforcement officers across Texas, California, Oklahoma and New Mexico in 2015 and 2016. “I chose those four states because Texas and California are where most people die in encounters with law enforcement,” she says, “while Oklahoma and New Mexico have the highest per capita deaths. I would have liked to have photographed in other places like Chicago and Georgia, but I simply ran out of money.”

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The photographer documents daily life at Sunda Kelapa harbour in North Jakarta, Indonesia, including the schoolchildren who turn it into their playground

After school, many of the children local to the Sunda Kelapa harbour, in North Jakarta, Indonesia, go down to the water to swim and play. Jelly Febrian enjoys shooting the daily activities there whenever the weather is good. Always prepared for the right moment, he carries his phone with him to capture crews loading their boats, people fishing, and boys and girls jumping from the boats, as pictured.

“In the maritime villages near here there aren’t many fields, so the children mostly play around the pier. Every boat that docks here has a different owner and purpose, they load and unload basic necessities, and every week they sail to other Indonesian islands, such as Papua, Sumatra and Sulawesi.

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War in Gaza, the election in India, clouds of dust in Athens and the London Marathon: the last seven days as captured by the world’s leading photojournalists

Warning: this gallery contains images that some readers may find distressing

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In the Wes Anderson-produced documentary Uncropped, the acclaimed culture photographer discusses his career and a changing landscape

Former Village Voice and New York Observer photographer James Hamilton lives in a small Manhattan apartment on University Place that also doubles as his studio. There’s a dark room in the corner, where Hamilton develops his images, using chemical ingredients plucked from a wine cooler. His walls are lined with books and stacks of photos, a treasure trove of portraits and reportage he’s shot over the decades, among them BB King in concert, Liza Minelli at home and Muhammed Ali out in the streets.

“This is James Stewart in Rear Window,” says director Wes Anderson, when recalling his first impression of Hamilton, and his apartment, in Uncropped, the documentary he executive produces. Hamilton wouldn’t argue against the comparison. Rear Window – Hitchcock’s classic about an adventurous newspaper photographer taken off the job by a broken leg, abandoned to spy on his neighbours – is a formative film for the cinephile cameraman.

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The Guardian’s picture editors select photographs from around the world

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The Renaissance master dazzles, Rasheed Araeen goes for drinks and Peppi Botrop really mixes media – all in your weekly dispatch

Michelangelo: The Last Decades
Passionate and confessional drawings by one of the greatest artists of all time.
• British Museum, London, from 2 May until 28 July

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