( CNN ) Selma , it seems , is everywhere . The Ava DuVernay film of that name continues to draw audiences and plaudits , while this month marks the 50th anniversary of three pivotal civil rights marches from the Alabama city -- the first two stopped by brute force , the third a triumphant procession to the state capital of Montgomery led by Martin Luther King Jr. , Ralph Bunche , Maurice Davis and other activists . Now , the events that seared those marches into the American consciousness are the subject of a photography show at the Steven Kasher Gallery in New York . `` Selma March 1965 '' brings together -- for the first time , anywhere -- pictures by three essential witnesses of the civil rights era : James Barker , Spider Martin and the man Kasher calls `` the single greatest civil rights photographer '' -- Charles Moore . The pictures in the gallery above include Moore 's work in Selma and from other parts of the South , including some of the riveting , award-winning photos he made in Birmingham , Alabama , in 1963 . ( Two weeks after his Birmingham pictures appeared in a landmark issue of Life magazine , a letter to the editor succinctly captured the elemental power of Moore 's work . The Birmingham pictures , wrote a reader from Indiana , were `` superb and bone-chilling . '' ) `` The quality , the depth , the sense of reality that he brings to the work is unparalleled , '' Kasher said of Moore 's civil rights shots . Kasher 's own bona fides on the topic , meanwhile , are well-established : He 's mounted photography shows on the civil rights movement in 30 different public venues since the mid-1990s . `` It 's important to remember that Charles was a white Alabaman , '' Kasher said . `` He was the photographer at the Montgomery Advertiser -- hardly a bastion of integration -- who became very sympathetic to the movement . I knew Charles pretty well , and he had many sides to him -- sides he was able to reconcile and that allowed him to shoot with a deep understanding of so many different points of view . He was not parachuting into these marches and protests in the South . He had roots there and was fully engaged . `` Of course , there are lots of really good pictures of the era by , say , Bruce Davidson , Bob Adelman and others , but they 're Northerners -- and I think that shows . There 's a sense in many of the photos made in the South by Northern photographers that what they were capturing was somehow exotic . For Charles , this was home . '' At his very best , Moore invested his pictures with an unsettling intimacy . Whether he was chronicling the overt , graphic suppression of human rights or framing a profoundly human moment -- as in his unforgettable shot of bloodied poet Galway Kinnell in Selma -- Moore 's photographs often feel as if he was shooting with Robert Capa 's famous dictum ringing in his ears : `` If your photographs are n't good enough , you 're not close enough . '' Moore was always , always close enough . John Loengard , who was a staff photographer at Life and later the founding picture editor for People magazine and for Life , the monthly , in the late '70s and '80s , calls Selma `` a not particularly dramatic event , photographically . '' He does , however , have high praise for Moore 's Birmingham work , specifically , and his legacy in general . `` There 's no question that Charlie made some phenomenal pictures , '' said Loengard -- who , incidentally , took one of the most memorable photos of the civil rights era : a Life cover of Medgar Evers ' weeping widow and son at the slain activist 's funeral in June 1963 . `` And he did a terrific job , for example , on a cover story on ( Alabama Gov . ) George Wallace in the first few months of People . '' Social media . Follow @ CNNPhotos on Twitter to join the conversation about photography . Whatever else Moore might have shot , and however routinely excellent his output over the course of his long career , there 's little doubt he 'll always be remembered and honored for his work during those fraught years of the early and mid-1960s . `` What 's especially significant to me about Charles ' civil rights work , '' Kasher said , `` is his clear affinity with nonviolence at the same time that he 's depicting the irrationality and brutality of the segregationists . `` In his famous picture of a police dog attacking a black man in Birmingham in '63 , for example , the figure in the photo is a perfect symbol of nonviolence . You know , the man is standing there , taking it , not fighting back , amid this incredible rush of hatred and violence and as another dog is charging right at Moore 's -- at the viewer 's -- face . It 's a terribly complex image , swirling with information , but in the middle of it is this unmistakable emblem of the movement -- an emblem of the power and bravery of civil disobedience . '' Charles Moore was an American photographer known for his images documenting the civil rights movement in the 1960s . Some of his photos are included in `` Selma March 1965 , '' a photography show taking place at New York 's Steven Kasher Gallery from March 5 to April 18 .
Selma will be showing powerful photos from the 1965 The Steven Kasher Gallery marches . Included are images from the late Charles Moore , whose civil rights work is legendary .