Life magazine was fundamental to the concept of promoting journalism in a photographic way, covering major stories with more space diverted to pictures than to words
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In the fall of 2010, photographer Pete Pin devised a makeshift portrait studio in his grandmother’s garage in Stockton, California. As he photographed her, she recounted the details of her family’s experience in Cambodia during the regime of the Khmer Rouge.
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The Magnum Foundation participated in Photoville, a seven-day photography festival on the Brooklyn Waterfront.
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I mean we will be restructured but I don’t know whether the restructure is radical enough. I think we need to have less people, we need to be more independent, I think the days where photographers say ‘this is what I want to do, I come to the Magnum office and I try and get people to help me’ are gone.
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Sim Chi Yin’s photography series, Rat Tribe, examines the underground dwellings of low-income workers in Beijing, China.
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I met several photographers and they all gave me advice as to how Magnum worked and what I should do, but the one piece of advice I always remember was from Elliott Erwitt.
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Magnum is a historial phenomenon, I mean very rarely things like this happen and therefore they are worth studying.
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For the next week, EF 2012 photographer Ben Lowy will be providing Storyboard with exclusive images from his hipstamatic lens from his project iLibya.
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Introducing “Projects We Love,” an ongoing feature of exceptional projects in the human rights and photography field.
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In July 2012, 2011 EF photographer Zalmai and Human Rights Watch partnered to produce “Hate on the Streets, Xenophobic Violence in Greece.”
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Magnum photographer John Vink has just released new iPad app for his decade long documentary of Cambodian land issues. This app beautifully integrates reports, articles, and 700 images to create a comprehensive history of the complex Cambodian struggle for land.
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The Magnum Foundation presented two exhibitions examining the meaning of home, featuring EF grantee Bruce Gilden and HR fellow Sim Chi Yin.
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South Sudan came into being a year ago but remains fragile today: It is rife with violent conflict and corruption, and sorely lacks infrastructure.
I don’t think anybody at Magnum sort of thinks ‘oh because my photography is great it’s gonna change the world per se”; but I think everybody believes that their photography is worth something and you know that it might affect individuals in certain ways and I think we probably all got experiences of it doing that to some extent.
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Isadora Kosofsky (US) is the recipient of the 2012 IM Award for her proposal Selections from “The Three” and “This Existence.” The finalists for the IM Award were Maria Pleshkova (RU), for her project Days of War: A Pillowbook, and Carlotta Zarattini (IT), for her project The White Building.
In support of Van Houtryve’s upcoming book of same name, VII Gallery presents “Behind the Curtain of Twenty-First Century Communism,” a body of work resulting from seven years spent documenting the world’s existing communist states.
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“Tanya, her sister Olga, and I at the abandoned TV antenna just a little outside of the town. This is a very cold and quiet night, so quiet that our crunchy steps on the snow feel like an intervention.”
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MotherJones published in print images from Emily Schiffer’s Securing Food in Chicagoland in their July/August 2012 issue.
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One of the fundamental reasons for Magnum is the ownership of the work that we do: the copyright. That is to say that we only license what we do to people but we retain the rights to exploit our work in whichever way we see fit.
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Picture Beijing, and a skyline of fancy steel architecture and clouds of smog likely come to mind. But the most fitting metaphor for the city’s growing pains may lie beneath its streets: In the past two decades, underground storage basements, parking lots, and air-raid shelters have found new life as apartments, partitioned into untold thousands of cramped, windowless rooms.
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