Ari Shapiro

The building rises — bronze and "brooding," in the words of architect David Adjaye — floating in a sea of white marble and limestone on the sprawling National Mall in Washington, D.C.

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Evelyn and Grattan Betancourt bought their "forever" home in 1986. It's two-stories tall, with a brick front and a wide lawn. Some evenings, deer come out of the woods and linger in their yard.

"This was our first, and it'll be our only home," says Evelyn.

The Betancourts live in Fort Washington, Md., located in one of the wealthiest majority-black counties in the United States: Prince George's, just east of Washington, D.C.

In Baton Rouge, La., people are using whatever tools they have to help their community recover from the flood.

That includes cameras.

Four photographers have been creating portraits of those affected. Their project, "Humans of the Water," focuses not on what people lost, but on what they saved.

One of those photographers is Collin Richie. He says documentary photography isn't typically his style. Most of his work involves snapping photos for weddings, magazines and corporate advertisements.

Out on the wide open plains of West Texas, you can see the horizon for 360 degrees, interrupted only by the nodding up and down of pump jacks pulling oil up out of the earth.

There lies the aptly named town of Midland.

To get the hang of the place, you need to start downtown, on a corner near the Chase Bank, where an electric billboard displays the essentials: the temperature, a message — "God Bless Midland" — and a number. On this day, it's 45.94.

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