Pictures that defined the year in arts

Bad Bunny in New York, Dec. 27, 2024. Bad Bunny, Addison Rae, Audra McDonald, a cotillion class, Bing the dog and many more were subjects of the photographs commissioned by our photo editors this year. (Dana Scruggs/The New York Times)

By MARIDELIS MORALES ROSADO, LAURA O’NEILL, JOLIE RUBEN and AMANDA WEBSTER

Erykah Badu, Bad Bunny, George Clooney and Audra McDonald were among the many subjects of the images in culture that New York Times photo editors commissioned in 2025. Some of the photographers offered comments on their impressions of the shoots.

“He was tremendously warm, present and generous in conversation, though it was clear he had no interest in performing or posing for the camera. That restraint shaped the photograph: stripped back, quiet and inward.” — Geordie Wood on photographing Daniel Day-Lewis

“I really like how he has arguably become equally, if not more, famous for his joie de vivre alongside his legendary acting career. He’s one of those people who you’re hoping just shows up as ‘himself’ in everything. I knew that I wanted to show him as a light in the middle of the daily grind.” — Chris Maggio on photographing Jeff Goldblum

“He arrived without an agenda. He was open, kind and more camera-shy than one might expect. He wasn’t interested in moving past the moment so much as settling into it. That is often when the best images are made.” — Ryan James Caruthers on photographing Benicio Del Toro

“After buying everybody’s lunch on a disruptive — but welcome — impromptu stop at Roberto’s Freehold Grill in New Jersey, he ordered a milkshake, turned his back and took a sip. He asked, ‘You mind if we go one more place?’ I told him, ‘Bruce, I will do this for the rest of your life if you want me to.’” — Daniel Arnold on photographing Bruce Springsteen

“After finishing inside a cafe, I took the musicians outside. I wanted the moment to feel incidental, almost accidental, as if they were just passing through, not posing, not performing.” — Kristine Madjare on photographing Ic3speak on the outskirts of Riga, Latvia

“If you’ve ever squeezed into a Broadway seat and marveled at the tight fit, imagine doing it with two giant telephoto lenses weighing 6.5 pounds each. I had exactly one chance to capture her pivotal rendition of ‘Rose’s Turn.’ My goal was to fill the frame with her whirlwind of emotions.” — Graham Dickie on photographing Audra McDonald during a matinee performance of “Gypsy”

“I told him that my dream was to photograph him on his chopper, as I knew he loved old bikes and I happen to love old choppers too. I jumped in the back of a truck, did a few hot laps on my little film camera, and we got an awesome moment in time that allowed us to create art together.” — Magdalena Wosinska on photographing Jason Momoa at an abandoned military base in Hawaii

“Seeing a massive printed backdrop, not a wall of LED panels or green screen, even if it’s a banal Albuquerque cul-de-sac, was an instant reminder of all the practical magic that goes into a production, and the reason it’s interesting to pull back the curtain in the first place.” — Peter Fisher on photographing the set of “Pluribus”

“There is this childlike element of play and experimentation in Kunié’s work that I admire and try to embrace in my own photographic practice. Her eye and way of seeing are unique, and perhaps that is how this image subconsciously came to be.” — Sara Messinger on photographing Kunié Sugiura

“In a way, I felt as though I was dancing with the performers, catching their body movements, watching their subtly changing expressions.” — Marcus Maddox on photographing a wrestling match

“Her professionalism is well known, but witnessing that level of precision and emotional clarity up close was incredibly special. It was striking to see an actor of her caliber at work.” — Hannah Edelman on watching Sadie Sink rehearse “John Proctor Is the Villain”

“She walked me through each painting and told me which woman each is. What their name is and what moment of his life they were a part of. Some were his mistresses, some were herself. All in the same room. She reminded me that I had forgotten those weren’t just characters in paintings but were also real people.” — Sam Hellmann on photographing Paloma Picasso at an exhibit featuring her father’s works