Photo of overturned car
'Volkswagen Volcado, 1975' by Enrique Metinides
(Image credit: TBC)

This year's Les Rencontres d'Arles photography festival in the South of France has a strong Mexican theme, with many of the major exhibition spaces within the town given over to the work of Mexican photographers. One of the strongest of these is the retrospective of cinematographer Gabriel Figueroa's powerful and ground-breaking work with directors such as Luis Bunuel and John Huston. Showing simultaneous loops of iconic scenes from his oeuvre on huge screens in a dark, deconsecrated church, the exhibition can't fail to draw viewers into Figueroa's world.

Another powerful show from Mexico was an overview of Enrique Metinides' work, in tandem with a new book of his photographs, titled 'Series', published by Kominek. For years a staff photographer on the Mexican tabloid La Prensa, Metinedes often rode to crime scenes with fire and ambulance crews and created strikingly composed images of car crashes, suicides and accident victims before the blood had stopped running. Whilst his work has been exhibited and lauded for many years now, it still doesn't diminish the power of some of his images, however grisly the subject matter, and the image of the skewered body of actress Adela Legarreta Rivas is one of the most powerful, haunting images on show in the whole festival.

There's a wealth of fascinating vintage photographs from the Mexican Revolution, one of the most comprehensive exhibitions ever compiled of this key moment in Mexican history. The show's curator, Miguel Angel Berumen attempts to shed fresh light on the assumed history conveyed through iconic images from that time, and it's interesting to see lesser-known photographs from the era. The work of Ponciano Flores Perez from 1914, with text painted on each image describing the scene and the subjects, is fascinating, as is that of Hugo Brehme, an acclaimed landscape photographer who also documented the revolution with formal, studied compositions of the soldiers.

Outside of the Mexican theme, The New York Times Magazine show, on display over two exhibition spaces, is a fascinating insight into how the photo stories are created at this most influential of publications. Various case studies of iconic stories from the last 25 years of the magazine are on show - tearsheets of the final printed story, the prints themselves, and documentation showing the often labyrinthine process to get to the final story, including contact sheets, story boards, emails, and faxes to subjects. Co-curated by the magazine's photo director, Kathy Ryan, and Leslie Martin of Aperture, there is much to admire here, not least the magazine's continued ability to surprise and inspire with its bold and prescient commissions.

One of the most interesting areas of the Rencontres D'Arles is the annual Discoveries competition, where various luminaries in the photographic world are invited to show three emerging talents who they think are worthy of wider recognition. One of these photographers who is judged to have the strongest body of work is awarded a €20,000 prize, courtesy of the Luma Foundation, who support the festival in myriad ways (the remit appears to have loosened in recent years though, with well-known names appearing in competition and Taryn Simon, hardly a discovery, winning last year's prize).

Particularly strong in this year's selection was the work of

http://www.frieze.com/issue/article/jo_ractliffe/" target="_blank" >Jo Ractliffe, a South African photographer who shoots enigmatic and allusive black and white landscapes showing the traces and scars of war and loss. The images are mysterious and not immediately apparent, but closer study reveals a strange sense of memory in the landscapes and spaces she documents.

African photographer Jacob Nzudie also had a striking but more light-hearted body of work on show with his Yaoundé Supermarket Series. Nzudie is the in-house photographer at the Yaoundé Supermarket in Cameroon, where the city's upwardly mobile are photographed in their favourite aisle wearing their finest outfits, signalling that they have achieved material wealth so no longer need to shop in the many traditional markets. Shot by an outsider, these portraits could be somewhat crass and exploitative, but Cameroonian Nzudie takes frank, candid images that are honest and non-judgemental.

This year's winners though, were Mikhael Subotzky and Patrick Waterhouse, with their powerhouse series on the fifty-four story Ponte City tower in Johannesburg. The tower, built in the Seventies and once a symbol of a prosperous future for the country, suffered years of neglect and became emblematic of Jo'burg's woes in the mid-Nineties. Tales of brazen drug dealing and prostitution rings in the tower were in legion, and it's still a dangerous and unpredictable place. Subotzky and Waterhouse have been photographing there for the past three years, gaining the trust of the inhabitants and the clean-up crews who attempt to deal with the four-storey-high mountain of rubbish in the building's hollow core. The duo have photographed every single apartment on every single floor of the tower - inside and out - and these images, displayed in sequence on giant 9ft-high lightboxes (mini towerblocks in themselves), are a triumphant and original marriage of documentary and display.

Meanwhile, the From Here On exhibition attempts to take stock of the internet's inexorable influence on photography, with five different curators presenting their pick of the interesting and relevant. No mean feat given the sea of images sloshing around the globe now. Much of the work is gimmicky and shallow. One exhibition even has crude comic photos being displayed to live chickens, and its hard to tell who is more baffled - the wandering viewer or the cooped up birds.

Pavel-Maria Smejkal's Fatescapes series, however, is a notable exception. He explores the unexpected iconography of place in classic documentary photographs of the last 150 years. Carefully removing all trace of the people - the focus of these canonical shots - leaving only the setting, Smejkal captures eerily empty, bland landscapes. The viewer can almost instantly insert the people and protagonists from memory and picture the original knockout image, but it's surprising how powerful and poignant these empty retakes remain. Look at our image gallery and see for yourself.

Photograph of woman who has been in an accident

'Adella Legaratta Rivas, 1979' by Enrique Metinides

(Image credit: Enrique Metinides)

Black and white photograph of car crash scene

'Accidente de automovil en llamas, 1971' by Enrique Metindies

(Image credit: Enrique Metinides)

Black and white photograph of man electrocuted on a post

Untitled by Enrique Metinides

(Image credit: Enrique Metinides)

Black and white photograph of car crash

'Accidente Automovilistico, 1974' by Enrique Metinides

(Image credit: Enrique Metinides)

Photograph of car crash

'Pick up accidentada 1971' by Enrique Metinides

(Image credit: Enrique Metinides)

Mikhael Subotzky and Patrick Waterhouse won this year's Discoveries competition with their powerhouse series on the fifty-four story Ponte City tower in Johannesburg. The tower, built in the Seventies and once a symbol of a prosperous future for the country, suffered years of neglect and became emblematic of Jo'burg's woes in the mid-Nineties. Tales of brazen drug dealing and prostitution rings in the tower were in legion, and it's still a dangerous and unpredictable place. Subotzky and Waterhouse have been photographing there for the past three years, gaining the trust of the inhabitants and the clean-up crews who attempt to deal with the four-storey-high mountain of rubbish in the building's hollow core. The duo have photographed every single apartment on every single floor of the tower - inside and out - and these images, displayed in sequence on giant 9ft-high lightboxes (mini towerblocks in themselves), are a triumphant and original marriage of documentary and display.

Three males praying on knees on top of hill

'Ponte City from Yeoville Ridge, 2008', from the Ponte City series by Mikhael Subotzky and Patrick Waterhouse

(Image credit: Mikhael Subotzky and Patrick Waterhouse)

Photograph of individuals standing on top of rubbish dump

'Cleaning the core 2008', from the Ponte City series by Mikhael Subotzky and Patrick Waterhouse

(Image credit: Mikhael Subotzky and Patrick Waterhouse)

Birds eye photograph of man standing on top of rubble

'Untitled II, Ponte City, Johannesburg, 2008', from the Ponte City series by Mikhael Subotzky and Patrick Waterhouse

(Image credit: Mikhael Subotzky and Patrick Waterhouse)

Boy sitting down with white specs on photograph

'Reception Area, 2008', from the Ponte City series by Mikhael Subotzky and Patrick Waterhouse

(Image credit: Mikhael Subotzky and Patrick Waterhouse)

African womans portrait wearing pink dress and necklace

'Lift Portrait 3, 2009', from the Ponte City series by Mikhael Subotzky and Patrick Waterhouse

(Image credit: Mikhael Subotzky and Patrick Waterhouse)

Black writing on wall

'Door 42 Level 15, From Doors, 2008-2010', from the Ponte City series by Mikhael Subotzky and Patrick Waterhouse

(Image credit: Mikhael Subotzky and Patrick Waterhouse)

Text on screen with black background

'Windows, (Light Box), 2008-2010', from the Ponte City series by Mikhael Subotzky and Patrick Waterhouse

(Image credit: Mikhael Subotzky and Patrick Waterhouse)

Unreadable text / images on black background

'Doors, (Light Box), 2008-2010', from the Ponte City series by Mikhael Subotzky and Patrick Waterhouse

(Image credit: Mikhael Subotzky and Patrick Waterhouse)

Another strong Mexican show at the festival is the retrospective of cinematographer Gabriel Figueroa's powerful and ground-breaking work with directors such as Luis Bunuel and John Huston. Showing simultaneous loops of iconic scenes from his oeuvre on huge screens in a dark, deconsecrated church, the exhibition can't fail to draw visitors into Figueroa's world.

Black and white image of woman holding baggage by the sea shore

Untitled by Gabriel Figueroa

(Image credit: Gabriel Figueroa)

Topless man with hands tied up and woman holding him

Pedro Armendáriz and María Félix as Felipe and Gabriela, in the film La escondida (The Hidden One), directed by Roberto Gavaldón, 1955, photographed by Gabriel Figueroa

(Image credit: Gabriel Figueroa)

Collage of black and white images

Gabriel Figueroa montage

(Image credit: TBC)

The New York Times Magazine show, on display over two exhibition spaces, is a fascinating insight into how the photo stories are created at this most influential of publications. Various case studies of iconic stories from the last 25 years of the magazine are on show - tearsheets of the final printed story, the prints themselves, and documentation showing the often labyrinthine process to get to the final story, including contact sheets, story boards, emails, and faxes to subjects. Co-curated by the magazine's photo director, Kathy Ryan, and Leslie Martin of Aperture, there is much to admire here, not least the magazine's continued ability to surprise and inspire with its bold and prescient commissions.

Photograph of woman in white night gown sitting on the edge of bed

Julianne Moore by Gregory Crewdson for The New York Times Magazine

(Image credit: Gregory Crewdson)

Fenced off area with buildings behind

Lars Tunbjork for The New York Times

(Image credit: TBC)

Pavel-Maria Smejkal's Fatescapes series explores the unexpected iconography of place in classic documentary photographs of the last 150 years. Carefully removing all trace of the people - the focus of these canonical shots - leaving only the setting, Smejkal captures eerily empty, bland landscapes. The viewer can almost instantly insert the people and protagonists from memory and picture the original knockout image, but it's surprising how powerful and poignant these empty retakes remain.

Black and white image of hill and sky

'1936, Spain' by Pavel-Maria Smejkal

(Image credit: Pavel-Maria Smejkal)

Black and white image of wood bark and sky

'1945v Iwo Jima' by Pavel-Maria Smejkal

(Image credit: Pavel-Maria Smejkal)

Black and white photograph of quiet street

'1968, Saigon' by Pavel-Maria Smejkal

(Image credit: Pavel-Maria Smejkal)

Black and white photo of curb, fence and grassy area

'1970, Kent USA' by Pavel-Maria Smejkal

(Image credit: Pavel-Maria Smejkal)

Black and white image of empty road

'1972, Vietnam' by Pavel-Maria Smejkal

(Image credit: Pavel-Maria Smejkal)

Photograph of multi lane road with arrow markings

'1989 Peking' by Pavel-Maria Smejkal

(Image credit: Pavel-Maria Smejkal)

South African photographer Jo Ractliffe shoots enigmatic and allusive, black and white landscapes showing the traces and scars of war and loss. The images are mysterious and not immediately apparent, but closer study reveals a strange sense of memory in the landscapes and spaces she documents.

Black and white image of broken concrete object with painting of woman on the side

'Comfort Station, FAPLA Base, Lobito, 2010' by Jo Ractliffe

(Image credit: Jo Ractliffe)

Aftermath photo of an ambush on grassy land

'Ambush Site Near Mupa, 2009' by Jo Ractliffe

(Image credit: Jo Ractliffe)

Black and white image of covered graves

'Hillside graves near Domber Grande, 2010' by Jo Ractliffe

(Image credit: Jo Ractliffe)

Black and white image of hillside grave between the trees

'Hillside graves near Domber Grande, 2010' by Jo Ractliffe

(Image credit: Jo Ractliffe)

Cracked and peeling concrete wall

'Mural in abandoned schoolhouse, Ompapa, 2010' by Jo Ractliffe

(Image credit: Jo Ractliffe)

Black and white object made from branches

'On the Road to Cuito Cuanavale I, 2009' by Jo Ractliffe

(Image credit: Jo Ractliffe)

African photographer Jacob Nzudie has a striking but light-hearted body of work on show with his Yaoundé Supermarket Series. Nzudie is the in-house photographer at the Yaoundé Supermarket in Cameroon, where the city's upwardly mobile are photographed in their favourite aisle wearing their finest outfits, signalling that they have achieved material wealth so no longer need to shop in the many traditional markets. Shot by an outsider, these portraits could be somewhat crass and exploitative, but Cameroonian Nzudie takes frank, candid images that are honest and non-judgemental.

African man wearing suit holding a bottle

Yaoundé Supermarket Series by Jacob Nzudie

(Image credit: Jacob Nzudie)

African woman standing posing in a supermarket

Yaoundé Supermarket Series by Jacob Nzudie

(Image credit: Jacob Nzudie)

African woman wearing traditional clothes in supermarket

Yaoundé Supermarket Series by Jacob Nzudie

(Image credit: Jacob Nzudie)

African male wearing shiny blue track suit in supermarket

Yaoundé Supermarket Series by Jacob Nzudie

(Image credit: Jacob Nzudie)

African woman wearing white shirt standing near meat counter

Yaoundé Supermarket Series by Jacob Nzudie

(Image credit: Jacob Nzudie)

Well dressed African male standing in supermarket

Yaoundé Supermarket Series by Jacob Nzudie

(Image credit: Jacob Nzudie)

African male wearing patterned clothes in supermarket

Yaoundé Supermarket Series by Jacob Nzudie

(Image credit: Jacob Nzudie)

African woman wearing traditional clothes near fridges in supermarket

Yaoundé Supermarket Series by Jacob Nzudie

(Image credit: Jacob Nzudie)

African male standing holding a bottle of wine in supermarket

Yaoundé Supermarket Series by Jacob Nzudie

(Image credit: Jacob Nzudie)