Past Square Print Sale

Hidden: The Magnum Square Print Sale in Partnership with Aperture

Varied interpretations of the theme, hidden, are explored by 129 leading lens-based artists, with signed or estate-stamped 6x6" inch prints available for $100, for 5 days only

Stuart Franklin Øtroya, Møre og Romsdal, Norway. 2013. “I’d finished a book, Narcissus, then saw this picture while out walking. Something was lurking in the ‘barfrost.’ That’s Norwegian for hard frost without s (...)

“I’m sure there are hidden treasures in any analog archive one might never have the chance to discover,” writes Thomas Hoepker, in the text that accompanies his submission for the Autumn 2019 Magnum Square Print Sale in Partnership with Aperture. Hoepker is one of 129 photographers and estates who have delved into their respective archives over recent months in order to select images which convey the sale’s chosen theme: Hidden.

For the third time, a roster of 41 artists published by Aperture has been invited to participate in exploring this theme alongside Magnum’s 88 photographers, resulting in a vast and diverse curation that encompasses both classic and contemporary artistic practices.

For the first time, Square Print orders shipped to Europe will be posted from Magnum Paris.

The 129 prints, all signed or estate-stamped, are available for $100 each until 11.59 p.m. EST on Friday, November 1. You can see the full selection in the slideshow below, and on the Magnum Shop, here.

Abbas A little girl holds skulls over her eyes. Skulls are part of the ephemera associated with the Day of the Dead rituals. Mexico City, Mexico. November 1, 1984. "A mask is an ideal face – even in th (...)
Antoine d’Agata Nuevo Laredo, Mexico. 1998. “Financial rationale, cruel rituals of humiliation and extermination. Slow disappearance of all perspectives in oblivion and anonymity. Subjected to the violence o (...)
Peter van Agtmael Washington Square Park. New York City, New York, USA. 2018. “The creative process is a strange thing. When to move on, and how? I wasn't happy with my work at the time I took this photograph. I k (...)
Micha Bar Am Family Portrait with Cat, Gulf War. Ramat Gan, Israel. 1991. “In 1991, Iraq attacked Israel with Scud missiles over the course of six weeks. Israel, for the first time ever, refrained from retali (...)
Christopher Anderson Men shake dust from rugs that were used for a wedding party. Kabul, Afghanistan. 2004. “In the years following September 11, 2001, I made many trips to Afghanistan. It is a place where much seems (...)
Gail Albert Halaban | Gail Albert Halaban (Aperture) Scooter and Headphones. Via Angelo Tittoni, Rome, Italy. June 2017. “Living in the city, with our apartments stacked so close to one another: our lives are intertwined yet, in some ways, hidden f (...)
Bill Armstrong | Bill Armstrong (Aperture) Portrait #302. 2000. "Portrait #302 is from a portfolio in my ‘Infinity’ series from the early 2000s. It is made from a collage of found images rephotographed out of focus. The series reworks the (...)
Eve Arnold Marlene Dietrich at the recording studios of Columbia Records. New York, USA. 1952. “A lot of Eve's work was about making the unseen, visible. Getting to the person behind the persona or the hidde (...)
Olivia Arthur A girl sunbathes in the private beach town of Durrat Al-Arous, where the rules of Saudi society are not enforced. Durrat Al-Arous, Saudi Arabia. 2009. “The notion of being hidden is pretty well es (...)
Bruno Barbey The foot of the Leshan Giant Buddha, built in the 8th century from a rock cliff. Sichuan province, China. “This photograph is the cover of my latest book, The Colors of China (Beijing United Publi (...)
Jonas Bendiksen A fisherman walks through the town’s iced-up harbor. Illulisat, Greenland. 2018. “The beauty of photography is that it wakes me up. It makes me really look. Like, really look. I suspect I wouldn’ (...)
Harry Benson | Harry Benson (Aperture) John and Paul, George V Hotel. Paris. January 1964. “One night, The Beatles were sitting around their hotel suite after a performance at the Olympia in Paris, as they would be mobbed by their fan (...)
Ian Berry Khaliajuri village, Bangladesh. 2000. “During the monsoon season in Bangladesh, the village of Khaliajuri is reduced to small islands hidden and cut off one from one aother by the flood waters and (...)
Werner Bischof Edinburgh, Scotland. 1950. “This photograph is very special to me! My dad gave this picture to my mum when I was born. Sadly, my dad died when I was 4-years-old. So I always had it in my bedroom (...)
Matt Black Downtown Laredo, Texas, USA. 2018. “To be hidden is to be overlooked, betrayed, sold out. I've photographed hidden communities all over the United States, believing that this work can question inj (...)
Iñaki Bonillas | Iñaki Bonillas (Aperture) Bye Bye Photography. 2018. “For this image, and the other seven belonging to the series ‘Bye Bye Photography,’ I asked an actress to portray, using nothing but her hands, a photographer in action (...)
Miguel Rio Branco Cubatão, Brazil. 1992. “Hidden shadows of a hiding ghost behind hanging colors in the dusk: There was a strange feeling of abandonment in this atmosphere. … This place was one of the most pollut (...)
Kwame Brathwaite | Kwame Brathwaite (Aperture) Stevie Wonder, Human Kindness Day. Washington, D.C. 1975. “Stevie Wonder is not only an artist, composer, and producer of superior talent, but also a great, kind, and beautiful individual who gen (...)
Rene Burri Pablo Picasso. Cannes, France. 1957. “Every Picture has a story behind; interesting, a long one, a short one. You can not change the world, but you can bring back some images that will inspire som (...)
Enri Canaj A day before the referendum. Gaziantep, Turkey. 2017.

"Faces that hide everything being visible more than ever."

- Enri Canaj © Enri Canaj | Magnum Photos
Cornell Capa © International Center of Photography The Savoy Ballroom photographed by Cornell Capa. Harlem, New York, USA. 1939. “[The Savoy Ballroom] was a catalyst for innovation where dancers and musicians blended influences to forge new, wide- (...)
Robert Capa © International Center of Photography Carnival celebration. Zürs, Austria. February 1950. “None of [the hotels] had rooms, but every one of them had a gala night, and to enter you had to dress in costume. … I rolled up my trousers, t (...)
Elinor Carucci | Elinor Carucci (Aperture) Kiss. 2017. “Kiss was shot for The New Yorker to accompany the short story ‘Cat Person’ by Kristen Roupenian. When I first read ‘Cat Person,’ I knew the photograph that corresponded would have to (...)
Chien-Chi Chang Beijing, China. 2008. “How can anything be hidden under all-seeing eyes? You’d be surprised. How many secrets are kept by the thousands who flow through train stations every day. Some disc (...)
Jeff Chien-Hsing Liao | Jeff Chien-Hsing Liao (Aperture) Glass Bottle Beach, Brooklyn, New York, USA. 2019. “Glass Bottle Beach provided me with a new experience of New York visually and mentally. A self-protective shield automatically engages, and vis (...)
Ernest Cole Miners during a group medical examination. South Africa. Circa 1965. “According to legend, Ernest Cole concealed a camera under his packed lunch in order to capture this image. No one has ever bee (...)
Sharon Core | Sharon Core (Aperture) Understory – Untitled #7. 2015. “In 2012, I created a biosphere in an enclosed geodesic dome on my property in upstate New York. I landscaped the space and filled it with plants and small creatur (...)
Gregory Crewdson | Gregory Crewdson (Aperture) Untitled production still from “An Eclipse of Moths.” 2018. “Two boys are framed by the open door of a mechanic’s garage. They are hidden among cinematic lights and haze, awaiting their moment on (...)
Imogen Cunningham | Imogen Cunningham (Aperture) Colletia Cruciata 2. 1929. “I think everything you do is something of a contribution, unless it's no good. Then you better hide it. What I like to see about a photograph, is everything smoothly i (...)
Bruce Davidson Subway. New York City, USA. 1980. “This photograph was taken as part of an ongoing series of color subway portraits in the early 1980s. I used to explore different subway lines, taking them to the (...)
Tim Davis | Tim Davis (Aperture) Wet Sunset. Los Angeles, California. 2017. “This picture is from a large body of work called ‘I’m Looking Through You,’ about the beautiful, complicated, glamorous surface of Southern California— (...)
Bieke Depoorter Sète, France. 2014. “I have always been interested in photographing scenes where no one seems to be looking. I photographed this old lady for my project ‘Sète#15’; it was the first time I began to (...)
Carolyn Drake Dushanbe, Tajikistan. 2008. “All these years later, I still remember lying on the floor in the yellow-wallpapered room–the shaman, the resting patient, and me. Despite seeing a knife hovering ov (...)
Thomas Dworzak Afghanistan, Kabul. December 2001. “For months and months after 9/11, I was traveling around Afghanistan. Regardless of which side of the conflict they were on, there were women behind burkas. I (...)
Nikos Economopoulos Odessa, Ukraine. 2012.

“A little girl sitting alone in a vast hotel. Staring at what is kept outside the frame: her mother behind the bar, and the big wide world.”

- Nikos Economopoulos © Nikos Economopoulos | Magnum Photos
Mary Ellen Mark | Mary Ellen Mark (Aperture) Crissy, Jesse, Linda, and Dean Damm in their car. Los Angeles. 1987. “While I was working with the Damm family, I thought about making a strong portrait of them in their car. It was impossible to (...)
Elliott Erwitt Paris, France. 1989.

“Why is our mysterious jumper jumping?

Well…

Because I asked him to!”

- Elliott Erwitt © Elliott Erwitt | Magnum Photos
Larry Fink | Larry Fink (Aperture) Harlem Youth. September 1964. “Hidden, hiding in full sight, as the flag presently is being used to cover up our national infamy. On the other hand, within this picture, under the flag, are child (...)
Stuart Franklin Øtroya, Møre og Romsdal, Norway. 2013. “I’d finished a book, Narcissus, then saw this picture while out walking. Something was lurking in the ‘barfrost.’ That’s Norwegian for hard frost without s (...)
Leonard Freed New York City, New York, USA. 1963. “Basically there are informational photographs and emotional photographs. I don’t take informational photographs. I am not a journalist. I am an author. I am no (...)
Paul Fusco Zapatista uprising. Chiapas, Mexico. 1994. “By the simple act of making tortillas, Feliciana is feeding her family who will in turn resist the forces that are trying to destroy her culture. … (...)
Phyllis Galembo | Phyllis Galembo (Aperture) Two Alligators Talking. 1997. “Two Alligators Talking is part of a large body of work on masquerade costumes from Jacmel Kanaval, Haiti 1994–2014, part of which is included in Maske (Aperture, 20 (...)
Cristina Garcia Rodero La Maya, folkloric tradition. Spain. 2016. “La Maya represents the goddess of spring. Sitting on top of an altar, decorated with flowers and jewelry in her hair, dressed with an embroidered shawl (...)
Jean Gaumy Samoëns, France. September 1978. "Everything lies in the relationship between photographer and subject. It's about being present and being certain not to reduce people’s lives to a show. And fin (...)
Bruce Gilden New York, USA. 2015. “I was on a fashion assignment for The New York Times Magazine and we were almost finished with the shoot. The model was very tall (6' 2" if I’m not mistaken). We were walking (...)
Jim Goldberg Ron E. Milwaukee, Wisconsin, USA. 2014. “I’ve spent most of my life looking for people and things hidden in plain sight­–whether rifling through other people’s medicine cabinets or photographing (...)
Nan Goldin | Nan Goldin (Aperture) Sunny at the spa, distortion. L’Hotel, Paris. 2010. “Sunny and I were at L’Hotel doing a fashion shoot for Vogue Paris. Sunny was more beautiful than the model. This picture was taken long before (...)
Burt Glinn Sammy Davis Jr. Las Vegas, Nevada, USA. 1959. “Burt spent a significant amount of time with Sammy, before, during and after performances, on time, as well as downtime. He and Burt really hit it of (...)
David Godlis | David Godlis (Aperture) Patti Smith. Bowery, New York. 1976. “Because the night is when the city’s night creatures can go about their business, hidden under the cover of darkness, Patti Smith and the burgeoning punk sce (...)
Bob Gruen | Bob Gruen (Aperture) Joe Strummer & Gaby. New York City, USA. 1981. “Sometimes people create their own private place with each other and let the world go by. We see them, but they only see each other. Joe Strummer fo (...)
Harry Gruyaert Marrakech, Morocco. 1986. “I was in Marrakech in 1986 during the Folklore Festival. Sitting on a dirt wall, there was a group of girls waiting to perform. As soon as they saw me taking pictures, t (...)
Gregory Halpern From the project, "A." USA. 2008-2011.

“Lately what I love about photographs is that there is a hyper-reality to them, such that they can become surreal.”

- Gregory Halpern © Gregory Halpern | Magnum Photos
Philippe Halsman ‘Aquacade.’ Florida, USA. 1953. “I was on assignment for LIFE [magazine] to shoot an international meet of underwater ballet swimmers. For three days I photographed the girls doing the most compl (...)
Erich Hartmann Hurrying travelers in Grand Central Station. New York City, USA. 1976. "This image, dating from 1976, was part of Erich Hartmann’s experimental efforts to incorporate into his pictures another dim (...)
David Alan Harvey Christina. Akumal, Mexico. 2000.

“An image that at once seems so vibrant and clear, and yet hints at hidden lives, both above and below the surface.”

- David Alan Harvey © David Alan Harvey | Magnum Photos
Nanna Heitmann A traditional horse race in the steppe. Yenisei River, Kyzyl. Russia. 2018. From the series, “Hiding from Baba Yaga.” “From time immemorial people have sought protection and freedom on the banks (...)
Tim Hetherington/IWM Bo, Sierra Leone. October 1999. “Through a pair of round glasses, we see children waiting at an eye clinic during a ceasefire. Many people developed eye problems during the civil war in Sierra Leo (...)
Todd Hido | Todd Hido (Aperture) #7851. 2008. “I drive, I drive a lot. People ask me how I find my pictures. I tell them I drive around. I drive and drive and I mostly don’t find anything that is interesting to me. But then, s (...)
Thomas Hoepker Muhammad Ali. London, England. 1966. “I’m sure there are hidden treasures in any analog archive one might never have the chance to discover. During my time as an active photo-reporter there was ra (...)
Sohrab Hura Self-portrait. India. 2014. “Self-portrait after joining Magnum as a nominee in 2014: Self-portraits are always a great way to mark time and to put out into the world what has been left unsaid, in (...)
David Hurn Salt River, Arizona, USA.1980. “The idea of an ordered and elegant world is a wonderful one. One we should cherish. Photographically we discover this hidden order every day. The unstated is a pow (...)
Philip Jones Griffiths Oxford Street, London, England. 1960. “I discovered photography among various youthful distractions. As I immersed myself in the subject, I came across a statement by Henri Cartier-Bresson, expla (...)
Richard Kalvar Woman sunbathing on a tar roof. New York City, New York, USA. 1976.

"On the tar-paper beach, next to the black wall or water, a woman lies hidden from everyone. Except me…”

- Richard Kalvar © Richard Kalvar | Magnum Photos
Carl De Keyzer Former Gulag camp turned into a prison. From the project, ‘Zona.’ Krasnoyarsk, Siberia, Russia. 2000. “Camp #27 is one of the former Gulag camps dating from the 30s, part of the Kraslag prison cam (...)
Nico Krijno | Nico Krijno (Aperture) Mignonne with Iris. Illovo, Johannesburg, South Africa. From the book, Synonym Study. 2014. “I was in Johannesburg on a three-month residency during the winter, and my wife, Mignonne, came to sta (...)
Hiroji Kubota Kayan Lahwi tribes. Burma. 1997. “The Kayan Lahwi people live in the state of Kayah in Myanmar. They are farmers and Buddhists. The Kayan Lahwi women traditionally wear brass rings around their n (...)
Justine Kurland | Justine Kurland (Aperture) Dairy Queen. 2000. “I wanted to make the invisible communion between girls visible, foregrounding their experience as primary and irrefutable. I imagined a world in which acts of solidarity betwe (...)
Gillian Laub | Gillian Laub (Aperture) Noam in her yard with some neighbors, Tel Aviv. May 2002. “During the Second Intifada, I began the project ‘Testimony,’ because I wanted to go deeper than the news, to the innocent bystanders of (...)
Herbert List Lake Lucerne (Lac des Quatre-Cantons), Switzerland. 1936. “Sometimes we hide behind sunglasses. But they do not make us invisible. We hide our eyes behind them, like we could hide our soul, emotio (...)
Danny Lyon The Dominoes Players. Walls Unit, Huntsville, Texas, USA. 1968. The Walls is the oldest unit in the Texas prison, opened in 1849. Beginning in 1982, 562 men have died in its execution chambers. I (...)
Constantine Manos Boston, USA. 1974. “This picture of a girl with a dog was made in Boston Common, one Saturday afternoon many years ago, back when I lived there. The girl did not know I took the picture, but we (...)
Peter Marlow Japan. Shimane Prefecture. Near Yokota. “Peter traveled and photographed widely in Japan and was fascinated by the secretive, private and discreet aspects of Japanese society. His work sought the (...)
Steve McCurry Near Zhengzhou, China. 2004. “The world-renowned Shaolin Monastery is known to many for its association with martial arts, specifically Shaolin Kung Fu. The physical strength and dexterity displa (...)
Don McCullin (Aperture) Protester, Cuban Missile Crisis. Whitehall, London. 1962. “In 1962, when the world nearly went to war again over the Cuban Missile Crisis, there were massive demonstrations in London’s Trafalgar S (...)
Mark McKnight | Mark McKnight (Aperture) Untitled (Diver). 2019. “In ‘Untitled (Diver),’ a hirsute figure appears, at once emergent from and on the cusp of descending into the dark, marbled surface of water that swirls—chaotic, indiscri (...)
Susan Meiselas Traditional Indian dance mask from the town of Monimbó, adopted by the rebels during the fight against Somoza to conceal identity. Nicaragua. 1978. The Mask “A mask, not to hide but to disguise (...)
Lorenzo Meloni A YPJ (Women’s Protection Units) sniper on the southern frontline. Kobanî (Ayn al-Arab), Syria. December 2014. “This photo was taken during the siege of Kobanî. During the time I was there, I spen (...)
Joel Meyerowitz | Joel Meyerowitz (Aperture) Provincetown, Massachusetts. 1976. “This photograph could be the opening line of a joke: ’So, a girl rides up to a bar on a horse …’ But really what happened was that I was there getting some ice (...)
Cristina de Middel Changsha, Hunan province, China. July 2013. "In 2013 I went back to China to complete the images needed to finish my book, PARTY. I was looking for symbols of communism that I could put in context (...)
Rafal Milach Backstage of the Polish National Opera. Warsaw, Poland. 2019. “I’ve been fascinated with curtains since I watched David Lynch’s Twin Peaks, as a teenager. They are a conspicuous symbol of what is (...)
Wayne Miller Two men playing pool. USA. 1962. “Part of a story my father did on ‘Wasted Youth,’ these young men, absorbed in their game, show us their silhouettes but not themselves.” - Jeanette Miller, daugh (...)
Inge Morath Linda, the llama with its trainer, Mrs. Lorraine D'Essen. New York, USA. 1957. “This image is an outtake from Inge’s iconic story, ‘A Llama in Times Square’ published in the December 2, 1957 issue (...)
Abelardo Morell (Aperture) Man, and Phone Booth. 1979. “I began making pictures in 1969. For a decade or so afterward, influenced heavily by Henri Cartier-Bresson, Robert Frank, Diane Arbus, Garry Winogrand, and Helen Levi (...)
Daido Moriyama | Daido Moriyama (Aperture) Farewell Photography. 1972. “This self-portrait is from my photobook from 1972, Farewell Photography. I wouldn't be able to take this kind of photo nowadays, because it is a photo that represents (...)
Rebecca Norris Webb | Rebecca Norris Webb (Aperture) Mute Swan. From the book, Brooklyn: The City Within (with Alex Webb). 2016. “For the past two months, I have felt a curious need to be in the company of swans. Mute swans that, it just so happens (...)
Emin Özmen | Emin Ozmen Samsun, Turkey, 2018. “Being a woman in Turkey is hard, I know this from my mother. Both on a daily basis and throughout their lives, they face discrimination and violence in all forms: psycholo (...)
Adam Pape | Adam Pape (Aperture) Untitled. From the book Dyckman Haze. 2017. “New York City is such a difficult place to make pictures, so many images from photographs and films of times past are lodged in our subconscious. When (...)
Trent Parke Australia. 2019. “For six months, every single morning, rain, hail, or shine, I watched in the dark, as the sun rose. Hoping for a clear horizon. I had no real idea for what, or whom I was wa (...)
Martin Parr The Ancient Order of Henpecked Husbands Annual General Meeting. Hebden Bridge, West Yorkshire, England. Easter Monday, 1977. “This is the Ancient Order of Henpecked Husbands, a secret society meet (...)
Paolo Pellegrin British actress Kate Winslet. New York City, New York, USA. November 2008. “A good interview succeeds not only because of its answers, but also because of the quality of the questions. A good port (...)
Gilles Peress Republican National Convention. Kansas City, Missouri. 1976.

- Gilles Peress © Gilles Peress | Magnum Photos
Gueorgui Pinkhassov Tallinn, Estonia. Circa 1980. “This is one of the pictures I took in my early days as a photographer. At the time, I was deeply impressed by Andrei Tarkovsky’s film Solaris, which filled me with (...)
Matthew Porter | Matthew Porter (Aperture) Rest Your Head on Me. 2019. “This is a picture of Los Angeles, washed in a bright yellow haze, fringed in red. One figure rests her head on another. The moment seems tender, but we can’t say with (...)
Mark Power Moscow, Russia. July 2019. “It's said that Moscow never sleeps, yet my experience of the city belies this. During a recent ‘Magnum LiveLab’ I worked for 12 consecutive nights, from sunset to sunr (...)
Guy Le Querrec Poto-Poto, Brazzaville, Congo. Sunday, October 27, 1985. “My life as a photographer has consisted of many travels across the African continent, a land impregnated with unusual, peculiar things, wh (...)
Raghu Rai Local commuters at Churchgate railway station. Mumbai, India. 1995. “I was shooting in Mumbai city for a book project in 1996. I had heard of local trains arriving into the city with a human delu (...)
Eli Reed Barbershop. Beaufort, South Carolina, USA. 1984. “I made this photograph in the 1980s while on assignment in South Carolina for People magazine. While my subject was being taken care of in the bar (...)
Richard Renaldi | Richard Renaldi (Aperture) 05:51, 2011–16. “In the mornings outside nightclubs, the city frames an ongoing narrative: weeks of Fridays bleeding into Saturdays; Saturdays into Sundays; staying out until well past dawn. It w (...)
Lua Ribeira Hortensia flowers. Galicia, Spain. 2016. “This image is part of a wider series titled ‘Aristocrats.’ In 2016, I started working with a group of women with intellectual disabilities in my hometown. (...)
Mick Rock | Mick Rock (Aperture) David Bowie, Beverly Hills Hotel. 1972. “It was David’s first tour of the U.S. in autumn of 1972, and we were staying at The Beverly Hills Hotel. It was an afternoon, and I was taking a few snap (...)
George Rodger Observatory in the Empire State Building. New York City, New York, USA. 1950. “Panoramic views of New York as seen from the observation balcony: A place where one could be unseen from below, and (...)
Zied Ben Romdhane A boy back-flips off wall by a soccer field, Umm Al Arais, Tunisia.2015. “In Gafsa, a phosphate mining region in the southwest of Tunisia, a state-controlled company called CPG extracts phosphates (...)
Moises Saman Kandahar, Afghanistan. March 2005.

"Hidden are the psychological scars that afflict a new generation of Afghans living through war."

- Moises Saman © Moises Saman | Magnum Photos
Alessandra Sanguinetti Buenos Aires, Argentina. 1997. “In every picture I make I’m trying to bring out something that’s hidden in plain sight. That’s what it’s all about. It’s an obstinate sort of effort and most of th (...)
Robin Schwartz | Robin Schwartz (Aperture) Amelia and Ricky. 2002. “The world that my daughter and I explore is not a hidden one, but one where the line between human and animal overlaps or is blurred, where animals are part of our world (...)
Jérôme Sessini Abyei, Sudan. January 16, 2011. “Preparations for Sunday Mass in a church in Abyei: Many people have returned from the North to this district, which both South and North Sudan lay claim to. I hav (...)
David Seymour Richard Avedon advising Fred Astaire on his role as a photographer. Tuileries Gardens, Paris, France. 1956. “This charming photo shows legendary fashion photographer Richard Avedon and Hollywood s (...)
Jamel Shabazz | Jamel Shabazz (Aperture) A perfect match. 1980. “Hidden are the invisible faces and graffiti tags frozen in time, one-sixtieth of a second. Endless backstories within one frame open for all forms of interpretation. Time (...)
David Benjamin Sherry | David Benjamin Sherry (Aperture) Cottonwood Tree II (Orange), Summer. Bears Ears National Monument, Utah. 2018. “Like many others, I watched in horror as the Trump Administration set out to lift the protected status of designate (...)
Stephen Shore | Stephen Shore (Aperture) Studio City, California. November 10, 2018.

© Stephen Shore. Courtesy 303 Gallery, New York. © Stephen Shore | Magnum Photos
Sim Chi Yin Nevada, USA. November 2017. In 2017, while working on an exhibition commission on nuclear weapons for the Nobel Peace Prize, I applied for permission to visit the vast Nevada Air Force Base Comp (...)
Pacifico Silano | Pacifico Silano (Aperture) In the Garden. 2019. “Sourced from magazines published between the 1969 Stonewall Riots up until the height of the AIDS crisis, I reveal, conceal, and fragment the bodies of centerfolds from vint (...)
Marilyn Silverstone Delhi, India. 1960. "A photograph is a subjective impression. It is what the photographer sees. No matter how hard we try to get into the skin, into the feeling of the subject or situation, howeve (...)
W. Eugene Smith Dream Street. Pittsburgh, Pennsylvania, USA. 1955. “This is the most serene image that emerged from W. Eugene Smith’s exhaustive photo-essay ‘Pittsburgh,’ undertaken for Magnum from 1955–57, short (...)
Lindokuhle Sobekwa Mzwandile at home after coming back from a local rehab center. Katlehong, Johannesburg, South Africa. September 2018. From the series, “Nyaope Chapter II.” “The road to recovery is not an easy on (...)
Jacob Aue Sobol Sabine. Eastern Greenland. 2000. “I'm in love with Sabine but I can't talk to her about it. The locals don't want us to be together. When I said I couldn't visit her she became sad. It rained that (...)
Alec Soth New Orleans. 2018. “When I was a boy, I used to pretend my little bed was a one-man spaceship. It was a place to simultaneously explore my dreams and hide from the world. In some ways that’s how (...)
Chris Steele-Perkins From The Pleasure Principle. Blackpool, England. 1982. “It can be argued that, like the sculptor's stone whose final shape always lies hidden until the sculptor reveals it to us, in a quantum uni (...)
Dennis Stock Audrey Hepburn during the filming of Sabrina (1954). New York City, New York, USA. 1954.

"Much of the fun of photographing is the excitement revealed through the optics of a lens."

- Dennis Stock © Dennis Stock | Magnum Photos
Mikhael Subotzky Contestants in the fancy dress competition at the Beaufort West agricultural show. Beaufort West, South Africa. 2006. “I think it was on my sixth or seventh trip to Beaufort West that I went to th (...)
Newsha Tavakolian Pier-Cary village on the way to Shushtar city. Khuzestan, Iran. 2018. “Iran had been struck by 14 years of drought. The costs of this disaster remained hidden for a long time, masked by extensive (...)
Dustin Thierry | Dustin Thierry (Aperture) Thaynah Vineyard at the “We Are The Future – And The Future Is Fluid” ball organised by Legendary Marina 007 and Mother Amber Vineyard. Body painting by visual artist Airich. Amsterdam. 2018. “My (...)
Larry Towell Young Mennonite women. Durango, Mexico. 1994. “I was staying in a Mennonite colony in Durango, in 1994, with Bill Thiessen’s family. It was a Sunday afternoon when, after church, teenagers walked (...)
Arthur Tress | Arthur Tress (Aperture) Hand a Train. Staten Island, New York. 1971. “‘Hand on Train’ was originally shot as part of a series, which I began working on in 1970, illustrating children’s dreams. Dismembered parts of the h (...)
Penelope Umbrico | Penelope Umbrico (Aperture) Adams with SplitScreen LightLeaks PopArt RedPlastic Vivid and GrungeScratch Camera App Filters (IMG_9879 of IMG_64331). From “Range: of Masters of Photography.” 2016-2019. “‘Adams with SplitScree (...)
Paolo Ventura | Paolo Ventura (Aperture) Domenica Pomeriggio. 2019. “In the neighborhood where I grew up as a kid, I remember a lot of things that I would have liked to photograph now. But maybe it's better that I’m not able to. The hou (...)
Alex Webb Coney Island. Brooklyn, New York, USA. 2016. From the book, Brooklyn: The City Within (with Rebecca Norris Webb). “For some 40 years, I’ve explored the streets of Haiti, Mexico, and more than 60 o (...)
William Wegman | William Wegman (Aperture) False Eyes. 2019. “If there are aliens, what might they look like? To address that question, I collected a selection of props and my dog, Flo. Among the props was a package of false eyelashes, an (...)
Patrick Zachmann Flooding of the Seine. Paris, France. February 1978. “I almost never use telephoto lenses to shoot because I don’t like the idea of ‘stealing’ images from a distance. I want to be seen so that if (...)

The Autumn 2019 theme explores the idea of what the photographer sees that might be otherwise hidden. Since its beginnings, photography has functioned in part as a vehicle for showing what is neither accessible nor visible to the majority of us, as well as shedding light on the things around us that might otherwise be overlooked. From remote societies to elite fraternities, isolated places to objects so common we don’t stop to look at them, photographs reveal hidden things, places and lives. Artists, too, often describe their own private spaces and inner lives as integral to their work.

Each participating photographer offers their own interpretation of this theme, opening up rich avenues of exploration, and a wide-spanning visual dialogue between the visual artists involved.

Gregory Crewdson | Gregory Crewdson (Aperture) Untitled production still from “An Eclipse of Moths.” 2018. “Two boys are framed by the open door of a mechanic’s garage. They are hidden among cinematic lights and haze, awaiting their moment on (...)

It is within the photographer’s hands to use light to hide or reveal their subject’s identity.  In Bruce Davidson’s image from Subway the subject’s face is rendered obscure by shadow, yet his image remains brilliant: “His glowing skin tone seemed to match the chains around his neck …’” Meanwhile, the two boys in Gregory Crewdson’s picture are framed by a stream of light that leaves them “hidden among cinematic lights and haze, awaiting their moment on set.”

For Alex Webb, his image of a boy in Brooklyn, “half-hidden in the shadows”, reflects his discovery that “the unexpected, the unknown, or the secret heart of the known may sometimes lie just around the corner in our home borough…”

Bruce Davidson Subway. New York City, USA. 1980. “This photograph was taken as part of an ongoing series of color subway portraits in the early 1980s. I used to explore different subway lines, taking them to the (...)
Alex Webb Coney Island. Brooklyn, New York, USA. 2016. From the book, Brooklyn: The City Within (with Rebecca Norris Webb). “For some 40 years, I’ve explored the streets of Haiti, Mexico, and more than 60 o (...)
Burt Glinn Sammy Davis Jr. Las Vegas, Nevada, USA. 1959. “Burt spent a significant amount of time with Sammy, before, during and after performances, on time, as well as downtime. He and Burt really hit it of (...)
Bill Armstrong | Bill Armstrong (Aperture) Portrait #302. 2000. "Portrait #302 is from a portfolio in my ‘Infinity’ series from the early 2000s. It is made from a collage of found images rephotographed out of focus. The series reworks the (...)
Susan Meiselas Traditional Indian dance mask from the town of Monimbó, adopted by the rebels during the fight against Somoza to conceal identity. Nicaragua. 1978. The Mask “A mask, not to hide but to disguise (...)

Elsewhere, we see the purposeful concealment of identity by the subjects, such as the masked Nicaraguan rebel in Susan Meiselas’ image: “A mask, not to hide / but to disguise / to draw on a past / to create a future..”

Masks–perhaps the most pervasive token of anonymity–are to be seen elsewhere in the selection too: Micha bar-Am’s own family, clad in gas masks during an Iraqi Scud missile attack; the masquerades in images by Robert Capa and Phyllis Galembo; and Mikhael Subotzky’s image of masked horsemen at an agricultural show in an Afrikaner township.

Perspective also plays a role, as in Don McCullin’s 1962 image of an unknown demonstrator. “What slogan was he brandishing on that banner? Who was he? What happened to him? His statement may have made headlines, but he remains forever anonymous, caught up entirely in his own activism,” writes McCullin.

Don McCullin (Aperture) Protester, Cuban Missile Crisis. Whitehall, London. 1962. “In 1962, when the world nearly went to war again over the Cuban Missile Crisis, there were massive demonstrations in London’s Trafalgar S (...)
Robert Capa © International Center of Photography Carnival celebration. Zürs, Austria. February 1950. “None of [the hotels] had rooms, but every one of them had a gala night, and to enter you had to dress in costume. … I rolled up my trousers, t (...)
Phyllis Galembo | Phyllis Galembo (Aperture) Two Alligators Talking. 1997. “Two Alligators Talking is part of a large body of work on masquerade costumes from Jacmel Kanaval, Haiti 1994–2014, part of which is included in Maske (Aperture, 20 (...)
Mikhael Subotzky Contestants in the fancy dress competition at the Beaufort West agricultural show. Beaufort West, South Africa. 2006. “I think it was on my sixth or seventh trip to Beaufort West that I went to th (...)

On the other hand there are the immediately recognizable faces of celebrities such as David Bowie, Audrey Hepburn and Patti Smith, some choosing to hide from the limelight. “One night, The Beatles were sitting around their hotel suite after a performance at the Olympia in Paris, as they would be mobbed by their fans if they tried to leave the hotel,” says Harry Benson. “They were as far from the fans as they could be, in one of the most luxurious hotels in the world. To me, this is the ultimate hiding place.”

Harry Benson | Harry Benson (Aperture) John and Paul, George V Hotel. Paris. January 1964. “One night, The Beatles were sitting around their hotel suite after a performance at the Olympia in Paris, as they would be mobbed by their fan (...)
Eve Arnold Marlene Dietrich at the recording studios of Columbia Records. New York, USA. 1952. “A lot of Eve's work was about making the unseen, visible. Getting to the person behind the persona or the hidde (...)
Mick Rock | Mick Rock (Aperture) David Bowie, Beverly Hills Hotel. 1972. “It was David’s first tour of the U.S. in autumn of 1972, and we were staying at The Beverly Hills Hotel. It was an afternoon, and I was taking a few snap (...)
Thomas Hoepker Muhammad Ali. London, England. 1966. “I’m sure there are hidden treasures in any analog archive one might never have the chance to discover. During my time as an active photo-reporter there was ra (...)
Hiroji Kubota Kayan Lahwi tribes. Burma. 1997. “The Kayan Lahwi people live in the state of Kayah in Myanmar. They are farmers and Buddhists. The Kayan Lahwi women traditionally wear brass rings around their n (...)
Dennis Stock Audrey Hepburn during the filming of Sabrina (1954). New York City, New York, USA. 1954.

"Much of the fun of photographing is the excitement revealed through the optics of a lens."

- Dennis Stock © Dennis Stock | Magnum Photos

Yet, even the most recognizable of figures have hidden aspects of their characters. Eve Arnold’s portrait of Marlene Dietrich is–according to her grandson’s text–typical of her wider work on famous figures, “A lot of Eve’s work was about making the unseen, visible. Getting to the person behind the persona.” Paolo Pellegrin writes of his portrait of actress Kate Winslet that, “A good portrait is not only a testament to the photographer, but also to the person who sits… She permitted me to access something that was moving her, that would have otherwise perhaps remained hidden. There was something exquisite in this unspoken exchange…” This interaction between subject and photographer, which can reveal either party’s secretive motives or thoughts, is at the heart of portraiture’s allure.

Paolo Pellegrin British actress Kate Winslet. New York City, New York, USA. November 2008. “A good interview succeeds not only because of its answers, but also because of the quality of the questions. A good port (...)
Lorenzo Meloni A YPJ (Women’s Protection Units) sniper on the southern frontline. Kobanî (Ayn al-Arab), Syria. December 2014. “This photo was taken during the siege of Kobanî. During the time I was there, I spen (...)
Jonas Bendiksen A fisherman walks through the town’s iced-up harbor. Illulisat, Greenland. 2018. “The beauty of photography is that it wakes me up. It makes me really look. Like, really look. I suspect I wouldn’ (...)
Jim Goldberg Ron E. Milwaukee, Wisconsin, USA. 2014. “I’ve spent most of my life looking for people and things hidden in plain sight­–whether rifling through other people’s medicine cabinets or photographing (...)

Then there are those who are identifiable, yet often invisible or ignored. “I’ve spent most of my life looking for people and things hidden in plain sight­–whether rifling through other people’s medicine cabinets or photographing a subset of a population or culture,” explains Jim Goldberg, alongside his portrait of self-pronounced ‘loner’ Ron. Mary Ellen Mark’s 1987 documentation of the Damm family, who were living out of their car in Los Angeles, shone a crucial light on a hidden crisis in America, that of the thousands of faceless families living with children below the poverty line.

Mary Ellen Mark | Mary Ellen Mark (Aperture) Crissy, Jesse, Linda, and Dean Damm in their car. Los Angeles. 1987. “While I was working with the Damm family, I thought about making a strong portrait of them in their car. It was impossible to (...)
Wayne Miller Two men playing pool. USA. 1962. “Part of a story my father did on ‘Wasted Youth,’ these young men, absorbed in their game, show us their silhouettes but not themselves.” - Jeanette Miller, daugh (...)
Larry Fink | Larry Fink (Aperture) Harlem Youth. September 1964. “Hidden, hiding in full sight, as the flag presently is being used to cover up our national infamy. On the other hand, within this picture, under the flag, are child (...)

“To be hidden is to be overlooked, betrayed, sold out. I’ve photographed hidden communities all over the United States, believing that this work can question injustice and confront the powerful,” writes Matt Black, whose ongoing documentation of poverty in contemporary America features in the selection.

Ernest Cole’s work revealed the brutal, hidden realities of Apartheid South Africa to the world at large. His selected image required him to “conceal a camera under his packed lunch” in order to expose the reality at the heart of a national industry at the time closed to curious eyes. Carl de Keyzer’s image, taken within a Siberian prison, allows the viewer insight to a similarly policed space, albeit one of an altogether different nature.

Matt Black Downtown Laredo, Texas, USA. 2018. “To be hidden is to be overlooked, betrayed, sold out. I've photographed hidden communities all over the United States, believing that this work can question inj (...)
Ernest Cole Miners during a group medical examination. South Africa. Circa 1965. “According to legend, Ernest Cole concealed a camera under his packed lunch in order to capture this image. No one has ever bee (...)
Carl De Keyzer Former Gulag camp turned into a prison. From the project, ‘Zona.’ Krasnoyarsk, Siberia, Russia. 2000. “Camp #27 is one of the former Gulag camps dating from the 30s, part of the Kraslag prison cam (...)
Danny Lyon The Dominoes Players. Walls Unit, Huntsville, Texas, USA. 1968. The Walls is the oldest unit in the Texas prison, opened in 1849. Beginning in 1982, 562 men have died in its execution chambers. I (...)
Martin Parr The Ancient Order of Henpecked Husbands Annual General Meeting. Hebden Bridge, West Yorkshire, England. Easter Monday, 1977. “This is the Ancient Order of Henpecked Husbands, a secret society meet (...)

The subjects of Martin Parr’s photograph are captured in a secretive social space–a private men’s club–a place “where husbands could chat amongst themselves, without being interrupted by their wives.” Parr notes that this group, The Ancient Order of Henpecked Husbands, “only survived for a few more years after this photo was taken” before being lost to time. These sorts of secretive locations and spaces proliferate, on varying scales, in the curation.

For Todd Hido, the hidden world of a stranger’s garage is the focus of his interest: “Something calls out. Something that looks sort of off, or maybe an empty space. Sometimes it’s a sad scene. I like that kind of stuff. I remember this foggy night, wondering about the hidden world behind the frosted glass of the garage door. Did somebody just leave the light on? Or is there a whole world of activity going on in the middle of the night out in the garage under the veil of the fog?”

Todd Hido | Todd Hido (Aperture) #7851. 2008. “I drive, I drive a lot. People ask me how I find my pictures. I tell them I drive around. I drive and drive and I mostly don’t find anything that is interesting to me. But then, s (...)
Steve McCurry Near Zhengzhou, China. 2004. “The world-renowned Shaolin Monastery is known to many for its association with martial arts, specifically Shaolin Kung Fu. The physical strength and dexterity displa (...)

For others, whole towns, cities, or nations seem concealed. Sim Chi Yin’s image of the sprawling, secretive facilities at Nevada Air Force Base Complex had to be made from a great distance, such are the efforts of the U.S. Government in hiding its interior workings.

Christopher Anderson, Thomas Dworzak and Moises Saman select images made in Afghanistan, a nation where “much seems hidden,” according to Anderson. Moises Saman reflects on the invisible impact of conflict on life in the country: “Hidden are the psychological scars that afflict a new generation of Afghans living through war.”

Christopher Anderson Men shake dust from rugs that were used for a wedding party. Kabul, Afghanistan. 2004. “In the years following September 11, 2001, I made many trips to Afghanistan. It is a place where much seems (...)
Moises Saman Kandahar, Afghanistan. March 2005.

"Hidden are the psychological scars that afflict a new generation of Afghans living through war."

- Moises Saman © Moises Saman | Magnum Photos
Carolyn Drake Dushanbe, Tajikistan. 2008. “All these years later, I still remember lying on the floor in the yellow-wallpapered room–the shaman, the resting patient, and me. Despite seeing a knife hovering ov (...)
Sim Chi Yin Nevada, USA. November 2017. In 2017, while working on an exhibition commission on nuclear weapons for the Nobel Peace Prize, I applied for permission to visit the vast Nevada Air Force Base Comp (...)
Harry Gruyaert Marrakech, Morocco. 1986. “I was in Marrakech in 1986 during the Folklore Festival. Sitting on a dirt wall, there was a group of girls waiting to perform. As soon as they saw me taking pictures, t (...)

Elsewhere the curation, people hide from one another. “Being hidden from one’s family or from the religious police might also mean being hidden from the rules, and subsequently enjoying the chance to be more liberal,” says Olivia Arthur. Harry Gruyaert’s caption nods to the age-old social protocols of hiding, “As soon as they saw me taking pictures, they started hiding, covering their faces with their hands, then uncovering them slightly to look at me… It was like a game of seduction… they already seemed to know that to hide and to show were the basic rules of the game.”

Other photographs are taken from within personal spaces. “All these years later, I still remember lying on the floor in the yellow-wallpapered room–the shaman, the resting patient, and me,” says Carolyn Drake of the intimate scene captured in her image.

Private relationships and the spaces they occupy are explored in Justine Kurland’s image, a result of her exploration of the personal relationships that young women and girls have with one another, “I wanted to make the invisible communion between girls visible, foregrounding their experience as primary and irrefutable.”

Olivia Arthur A girl sunbathes in the private beach town of Durrat Al-Arous, where the rules of Saudi society are not enforced. Durrat Al-Arous, Saudi Arabia. 2009. “The notion of being hidden is pretty well es (...)
Justine Kurland | Justine Kurland (Aperture) Dairy Queen. 2000. “I wanted to make the invisible communion between girls visible, foregrounding their experience as primary and irrefutable. I imagined a world in which acts of solidarity betwe (...)
Bruno Barbey The foot of the Leshan Giant Buddha, built in the 8th century from a rock cliff. Sichuan province, China. “This photograph is the cover of my latest book, The Colors of China (Beijing United Publi (...)
Peter van Agtmael Washington Square Park. New York City, New York, USA. 2018. “The creative process is a strange thing. When to move on, and how? I wasn't happy with my work at the time I took this photograph. I k (...)

Sometimes it is the photographer’s viewpoint, or creative aproach that is obscured, rather than their subject matter that is hidden…

Peter van Agtmael’s image was made at a point of creative difficulty, “I wasn’t happy with my work at the time I took this photograph. I knew there was a path forward, but it was largely hidden from view. I bought a cheap camera, hoping its limitations could help challenge me to see things differently. It didn’t seem to be working, until I saw this scene in Washington Square Park that felt right and somehow different. The path was still largely hidden, but at least I knew I was on it.”

Alec Soth’s photograph of a sunlit bed causes the photographer reflection on memories of childhood, as well as upon his current working practice: “When I was a boy, I used to pretend my little bed was a one-man spaceship. It was a place to simultaneously explore my dreams and hide from the world. In some ways that’s how I now think of my camera.”

Jamel Shabbaz reflects on his image being the result of “one-sixtieth of a second, his camera being a tool for creating a view of “a period and space that no longer exists; a hidden mystery that has now become part of a visual history.”

Alec Soth USA. New Orleans, Louisiana. 2018. "When I was a boy, I used to pretend my little bed was a one-man spaceship. It was a place to simultaneously explore my dreams and hide from the world. In some wa (...)
Jamel Shabazz | Jamel Shabazz (Aperture) A perfect match. 1980. “Hidden are the invisible faces and graffiti tags frozen in time, one-sixtieth of a second. Endless backstories within one frame open for all forms of interpretation. Time (...)
Sohrab Hura Self-portrait. India. 2014. “Self-portrait after joining Magnum as a nominee in 2014: Self-portraits are always a great way to mark time and to put out into the world what has been left unsaid, in (...)
Inge Morath Linda, the llama with its trainer, Mrs. Lorraine D'Essen. New York, USA. 1957. “This image is an outtake from Inge’s iconic story, ‘A Llama in Times Square’ published in the December 2, 1957 issue (...)

There are many images in the sale that point toward the more playful associations that come with hiding. “This image is an outtake from Inge’s iconic story, “A Llama in Times Square” published in the December 2, 1957 issue of LIFE magazine,” says Sana Mazoor of the Inge Morath Estate of Morath’s image. “The story showcases the humorous yet insightful story of stage and television animal performers living in New York City. Linda, the llama is accompanied by one of her trainers and foster parent Mrs. Lorraine D’Essen, during a ride back home from a television show at ABC studios.”

Elliott Erwitt Paris, France. 1989.

“Why is our mysterious jumper jumping?

Well…

Because I asked him to!”

- Elliott Erwitt © Elliott Erwitt | Magnum Photos
Rene Burri Pablo Picasso. Cannes, France. 1957. “Every Picture has a story behind; interesting, a long one, a short one. You can not change the world, but you can bring back some images that will inspire som (...)
Jean Gaumy Samoëns, France. September 1978. "Everything lies in the relationship between photographer and subject. It's about being present and being certain not to reduce people’s lives to a show. And fin (...)

The long-obscured motivation of Elliot Erwitt’s leaping figure in front of the Eiffel Tower, is revealed here, in his text: “Why is our mysterious jumper jumping? Well… Because I asked him to!” Sometimes a hidden reality is more straightforward than one expects.

“Photographers often hide behind their cameras, but rarely do they allow themselves to be photographed in their secretive mode of work,” says David ‘Chim’ Seymour’s nephew, Ben Schneiderman, of his uncle’s image. “Chim’s personal engagement with these two fabled stars enabled him to record this delightful encounter, which mocks the idea of hiding behind a camera.”

Rene Burri’s portrait of Pablo Picasso captures the artist revealing himself to the camera, in a both literal and surreal fashion–unveiling a close-up image of his own eyes pasted upon his sketchpad as Burri’s shutter is released.

David Seymour Richard Avedon advising Fred Astaire on his role as a photographer. Tuileries Gardens, Paris, France. 1956. “This charming photo shows legendary fashion photographer Richard Avedon and Hollywood s (...)
Arthur Tress | Arthur Tress (Aperture) Hand a Train. Staten Island, New York. 1971. “‘Hand on Train’ was originally shot as part of a series, which I began working on in 1970, illustrating children’s dreams. Dismembered parts of the h (...)

Arthur Tress’s photo shows a hand–seemingly severed–resting on a bus seat. It skirts the edges of the worlds of comedy and abstraction. Abstract or elusive images are numerous in the sale selection, the means of image-making or the final product itself playing upon the theme. Daido Moriyama’s self-portrait shows him wraith-like, but it is not only his obscure form that hints at the hidden, his text explains that making this sort of image is now also kept distant from him, out of reach in his past, “I wouldn’t be able to take this kind of photo nowadays, because it is a photo that represents the feelings I had at that time.”

Daido Moriyama | Daido Moriyama (Aperture) Farewell Photography. 1972. “This self-portrait is from my photobook from 1972, Farewell Photography. I wouldn't be able to take this kind of photo nowadays, because it is a photo that represents (...)
Larry Towell Young Mennonite women. Durango, Mexico. 1994. “I was staying in a Mennonite colony in Durango, in 1994, with Bill Thiessen’s family. It was a Sunday afternoon when, after church, teenagers walked (...)
Antoine d’Agata Nuevo Laredo, Mexico. 1998. “Financial rationale, cruel rituals of humiliation and extermination. Slow disappearance of all perspectives in oblivion and anonymity. Subjected to the violence o (...)
Nan Goldin | Nan Goldin (Aperture) Sunny at the spa, distortion. L’Hotel, Paris. 2010. “Sunny and I were at L’Hotel doing a fashion shoot for Vogue Paris. Sunny was more beautiful than the model. This picture was taken long before (...)

Nan Goldin also consigns the making of her image to the past, and attributes its creation to a time when the magic of the moment interacted with the tools she was using, “This picture was taken long before I ever held a digital camera. The intimacy between us allowed the camera the freedom to access the magic. My favorite photos of mine are the mistakes.”

The notion of the elusiveness of the moments in which great images can be made is at the fore of Joel Meyerowitz’s text, which accompanies his incongruous image of a little girl on horseback ordering food, “As soon as I saw the girl, the horse, and the ice cream sign, I saw the photograph…”

 

Joel Meyerowitz | Joel Meyerowitz (Aperture) Provincetown, Massachusetts. 1976. “This photograph could be the opening line of a joke: ’So, a girl rides up to a bar on a horse …’ But really what happened was that I was there getting some ice (...)
Cristina de Middel Changsha, Hunan province, China. July 2013. "In 2013 I went back to China to complete the images needed to finish my book, PARTY. I was looking for symbols of communism that I could put in context (...)
Miguel Rio Branco Cubatão, Brazil. 1992. “Hidden shadows of a hiding ghost behind hanging colors in the dusk: There was a strange feeling of abandonment in this atmosphere. … This place was one of the most pollut (...)

Chris Steele-Perkins’ image, made on a British beach in 1982, depicts what may seem a standard, if blustery holiday scene. But the photographer sees it as suggestive of another aspect of photography’s place in capturing time and moments: “In a quantum universe the photograph has always existed, waiting for the photographer to take it and reveal its form, though the meaning still lies hidden.”

Chris Steele-Perkins From The Pleasure Principle. Blackpool, England. 1982. “It can be argued that, like the sculptor's stone whose final shape always lies hidden until the sculptor reveals it to us, in a quantum uni (...)
Tim Hetherington/IWM Bo, Sierra Leone. October 1999. “Through a pair of round glasses, we see children waiting at an eye clinic during a ceasefire. Many people developed eye problems during the civil war in Sierra Leo (...)
Patrick Zachmann Flooding of the Seine. Paris, France. February 1978. “I almost never use telephoto lenses to shoot because I don’t like the idea of ‘stealing’ images from a distance. I want to be seen so that if (...)

As Marilyn Silverstone’s caption suggests, perhaps the one universality in terms of what is laid bare in photography is the view of the image’s creator, and their own feelings:

“A photograph is a subjective impression. It is what the photographer sees. No matter how hard we try to get into the skin, into the feeling of the subject or situation, however much we empathize, it is still what we see that comes out in the images, it is our reaction to the subject and in the end, the whole corpus of our work becomes a portrait of ourselves.”

Marilyn Silverstone Delhi, India. 1960. "A photograph is a subjective impression. It is what the photographer sees. No matter how hard we try to get into the skin, into the feeling of the subject or situation, howeve (...)