Codex Zouche-Nuttall is a pre-Columbian document created between 1200 and 1521 on the territory of today's Mexico. It was discovered in San Marco Monastery in Florence in 1854, from where it was bought five years later by John Temple Leader and sent to his friend Robert Curzon, the 14th Baron of Zouche. A facsimile version with a preface by Zelia Nuttall was published in 1902, by Harvard University. The Baron of Zouche loaned the document to the British Museum in 1876, which later purchased it.

Codex Zouche-Nuttall consists of 47 plates made of deer skin, painted on both sides. It contains two stories: on the obverse side, the history of the most important centers of the Mixtec kingdom is painted, while on the reverse there are stories about the origin, marriages and political and military successes of Mixtec ruler known as Eight Deer Jaguar Claw. Zelia Nuttall (1857-1933) was an American archaeologist and anthropologist, a specialist in pre-Astec cultures and pre-Columbian manuscripts. In the foreword to the facsimile version of Codex Zouche-Nuttall of 1902, she explains how this document came about:

Like the nine other Mexican Codices in existence, which constitute the finest remaining specimens of native pictography, the present one is painted on prepared deer skin, the strips of which are glued together, at intervals, and form a long, folded band. The surfaces of both sides of the skin are covered with a thick layer of white substance which presents a smooth, slightly glazed surface. On this the artist first drew the outlines of his figures in black, and subsequently filled these in with color. A careful study of the original reveals that the artist prepared small quantities of each color at a time, and that he did not always succeed in obtainin exactly the same shade twice. The scheme of color on the obverse is, moreover, different from that on the reverse, which presents a greater profusion of detail. The paints employed were so fine and skilfully prepared, that for nearly four centuries they have preserved, undimmed, their exquisite beauty and delicacy. According to Bustamante, the native artists purposely witheld from their Conquerors the secret of the knowledge they had attained, through centuries of experience, of manufacturing beautiful and lasting colors from vegetable and mineral substances.

"We've seen photos of the journey migrants take through Mexico, and I'd been on the trains with them as they made their way to the border," Pindado said. "But I also knew that something was missing, that there were moments that we were still not capturing."

MigraZoom launched in early 2013, supported by a grant from the United Nations Development Program.

Pindado, collaborating with other Mexico-based photographers, headed to Mexico's southern border with Guatemala. There, Central American youth tend to congregate and regroup to continue their journey north.

The MigraZoom team handed out about 200 Kodak cameras and gave a quick photo workshop. They also told the migrants they would move up the usual migrant path, too, following the railroad lines, and gather the cameras along the way.

In the end, MigraZoom collected about 70 percent of the cameras they gave out. In return, they made prints for the participants to keep.

On the top is a selection of photos taken by migrants, with observations from Pindado. The names of the photographers are omitted to protect their identity, as many have likely crossed the US-Mexico border without documentation.

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Photo credits: MigraZoom participants

The article originally published on www.pri.org.

The official information states that it takes 16 hours to reach the last station, but perhaps it's not surprising that it took us much longer. During the day it would be too hot, but as it was only the beginning of January and there were snowstorms in Europe, I couldn't really complain. After the sunset, the temperature would drop rapidly, making the last stage of the ride uncomfortably cold. However, those drastic changes in temperature inside the train couldn't stop me from enjoying the landscape we were passing by. During those 650 km, the train passes over 36 bridges and through 87 tunnels of beautiful landscapes that include dense forests, cliffs and waterfalls.

The pictures above are from Santa Muerte shrine in Tultitlan, Mexico. Founded in 2007 by Jonathan Legaria Vargas (aka "Comandante Pantera"), the shrine - marked by a 75 foot tall figure of "The Skinny Lady" - consists of a series of small pavilions devoted to Santa Muertes wearing different colored gowns, and thus bearing different powers. Red, for example, is love; gold is money; and black is protection. Each pavilion is stuffed with candles, drawings, flowers, stuffed animals, liquor, cigarettes, incense and other offerings; one pavilion is even devoted to healing broken Santa Muertes. In 2008, "Comandante Pantera" was killed by gunfire. Since then, the shrine has been lovingly run by his mother, Enriqueta Vargas. In a very touching way, this shrine to Saint Death also seems to act as a memorial for her lost son.

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Originally published on the Morbid Anatomy website, where you can read the full article.

Known and beloved for his insightful snapshots of New Yorkers alongside their responses to philosophical questions, Stanton has taken his unfiltered approach to the world, and has just wrapped up his world tour with the United Nations, capturing moments of poverty in everyday lives everywhere. Stanton was asked to take a global tour to promote the UN's Millennium Development Goals for 2015, a plan to eradicate extreme poverty and preventable disease. It's a big, ambitious plan, but progress is being made every day – and Stanton is using his influence to inspire action and awareness, traveling a span of 25,000 miles to share the stories of the impoverished people he's met along the way.

Some of our favorite photos and interviews with photographer Stanton below:

What would help solve poverty at home?

A chess player in Juba, South Sudan, tells photographer Brandon Stanton: "The thing we need most is security. Without security, nothing works. We are only out here playing chess because right now, in this place, we have a little bit of security. But that's just for right now—just this moment. In this country, things have never been secure for long. In America, there is always security. And that's why America works."

What's the most important thing your mother has taught you?

A member of this family in Kampala, the capital of Uganda, responded: "If you buy food, you should always eat it with someone else."

Tell us about your soccer team.

These players in South Sudan told Stanton: "Our team is called the Young Boys. We grew up in this neighborhood, so we wanted to give the local kids something to do after school. We bought them balls and shoes with our own money, and for game days, we go around and beg local churches for a place to play. We want to keep them very busy so they don't have time for bad things. We don't want to see anyone on our team wandering the streets. We practice every other day. The girls have their practice on our days off."

Tell us about yourself.

In Kinshasa, Democratic Republic of Congo, this man told Stanton: "I'm studying to be a civil engineer. Congo needs everything: bridges, roads, buildings, wells. The country is like a workshop."

Tell us about your dreams.

This woman in New Delhi, India, told Stanton: "I don't have any dreams. What's the point? I'm poor. I don't have any skills. I wash the utensils in the kitchen—that's what I do. But I like the girls I work with. We make fun together. I tell jokes. They tell jokes. I'm happy—it's in my nature."

What's your greatest hope as a mother?

Stanton asked this Mexico City boy's mom this question, she responded: "That the values I teach him will overcome the influence of the street we live on."

Tell us about your kids.

A Kenyan mom in Nairobi told Stanton that her two kids are always dancing together, and they love to "do the funniest things" like "pretending to cook." When Stanton asked what she worries about, she said: "Their health. They're always getting sick from the cold and the dust. Sometimes the dust gets so bad, they lose their voices."

What do you want to do in life?

In Jammu, India, this woman tells Stanton: "I'm going to be an astronaut. There's another world out there. And I want to go there."

What is your biggest goal in life?

This woman in Chi Linh, Vietnam, responded: "To afford to live."

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See more of Brandon's work on this project on his Facebook page, Humans of New York.

The article originally published on www.one.org.