Newsha Tavakolian Tehran, Iran. From the project ‘For the Sake of Calmness’. 2019–2020.
“To daydream is to go into absence, into another world controlled only by the mind. Daydreaming is an attempt to enter a diffe (...)
rent reality: your own private world. There, everything is as light as the clouds, and time moves very slowly.“
– Newsha Tavakolian © Newsha Tavakolian | Magnum Photos
Sim Chi Yin Flying over Bulgan province, Mongolia. March 2019.
“The liminal time and space of being on a flight can be a place for escape. This other reality, of being in-between places and above the clouds, (...)
often affords space for reflection and other-worldly emotions.”
– Sim Chi Yin © Sim Chi Yin | Magnum Photos
Trent Parke | Parke, Trent1 Bathurst, New South Wales, Australia. 1999.
“When I think of escape, one thought comes straight to mind. The road trip.
The great vast land that is Australia, the freedom of the open road, and t (...)
he excitement and anticipation of the unknown and the unexpected.”
– Trent Parke © Trent Parke | Magnum Photos
Rafal Milach Rummu, Estonia. August 2016.
“After the seizure of the Baltic states by the USSR, a maximum security prison was established in the Rummu quarry in Estonia. The area was surrounded with a wall and (...)
made into a forced labour camp. Following the collapse of the Soviet Union, the prison was closed down, the quarry was shut, and the abandoned pit was flooded with groundwater. Currently, the entire reservoir and the adjacent land has a private owner (a former prison manager). Despite the fact that swimming is officially forbidden, on hot days the location is hugely popular among the locals. One of Tallinn’s tourist agencies organises diving trips under the advertising slogan: Underwater prison – divers’ paradise!”
– Rafal Milach © Rafal Milach | Magnum Photos
Ernst Haas New Mexico. USA. 1952.
“Ernst Haas loved the American desert landscape of the West. When he finally was able to leave Austria after the war, his dream was to go there and explore all the landscape (...)
s he had seen in books and films. This picture symbolizes not only Ernst’s own escape and the journey towards a new beginning: it also shows the loneliness of freedom, where only nature’s light guides the way.
One of Ernst's favorite places to photograph was among these white sand dunes. The desert embodied not only his, but also mankind's quiet reflection and search for restored meaning. There, Ernst felt he could heal his life and restore his position within nature. After the chaos of war, the desert offered the reflective purity of nature and an escape from mankind’s disorder.”
– Estate of Ernst Haas © Ernst Haas | Magnum Photos
Jim Goldberg ‘Harmonica Boys’. Athens, Greece. 2003.
“In the 1990s and early 2000s, tens of thousands of Albanians migrated to Greece due to the Kosovo War, economic hardships, and political unrest. When I vis (...)
ited, the ongoing influx of people seeking refuge in Europe meant that the city had a large number of homeless residents and mounting social tensions.
This image was taken at a restaurant in Athens, Greece, as I sat at an outside patio table in the city. Two boys approached me clutching harmonicas. They had been wandering from restaurant to restaurant asking for money in exchange for a tune. I snapped a Polaroid of the boys, and as the photograph developed, I listened to their story. The brothers were orphans in family and country and had recently escaped from Albania, arriving in Greece in search of a better life.”
– Jim Goldberg © Jim Goldberg | Magnum Photos
Cristina Garcia Rodero Holi festival. India. 2007.
“Holi is the festival of color that is celebrated in India. It commemorates the arrival of spring, the end of the harvest and the victory of good over evil. Men and wom (...)
en throw colored powders to wish each other love, fertility, fortune, health and vitality as they dance and sing through the streets and temples.”
– Cristina Garcia Rodero © Cristina Garcia Rodero | Magnum Photos
Jonas Bendiksen Apartment building. Veles, North Macedonia. 2020.
“The murmurations swirled and tossed up in the sky, seemingly free of gravity and friction. I didn’t let myself enjoy the sight. Instead, I was ti (...)
ghtly gripping a 400mm lens, barely breathing, frenetically trying to keep my framing on the building tight, finger on the button, ready to capture and freeze, eager for the poor birds to fall into my trap.”
– Jonas Bendiksen © Jonas Bendiksen | Magnum Photos
Lindokuhle Sobekwa ‘Hamba Hashi Lam’. Qumbu, South Africa. 2018.
“This image is part of a series called Ezilalini - The Country, which explores the area around Tsomo, a community in the Eastern Cape in South Africa. (...)
My family considers the Eastern Cape our ancestral home, but many of us live in urban centers. My grandmother, who still lives in Tsomo, curses Johannesburg as a place that has swallowed her children. This project is an exploration of a place I am deeply connected to but feel like I only know a little bit about.
This image was taken in Qumbu, where my father is from. The community holds horse races and this was the fastest animal that day. The horse broke its leg during the competition and had to be euthanized: this was the moment before that act. For me this image combines the idea of speed — in this case the animal escaping the pack and winning — with the very sudden end of life. The ultimate escape.”
– Lindokuhle Sobekwa © Lindokuhle Sobekwa | Magnum Photos
Alex Webb Comitan, Mexico. 2007. From La Calle: Photographs from Mexico.
“que busca? Tal vez busca su destino. Tal vez su destino es buscar.”
…what is he searching for? Perhaps he searches for his dest (...)
Comitan, Mexico. 2007. From La Calle: Photographs from Mexico.
“...que busca? Tal vez busca su destino. Tal vez su destino es buscar.”
…what is he searching for? Perhaps he searches for his destiny. Perhaps his destiny is to search.
― Octavio Paz, El Laberinto de la Soledad. Quote selected by Alex Webb. © Alex Webb | Magnum Photos
Hannah Price Brooklyn, New York. 2012. From the series, Cursed By Night.
“The car is a good place to get away from noise and family or to take a trip to visit a friend. During the pandemic, a quick drive would (...)
help one feel like they were actually going somewhere. The title of this photo is ‘Brothers Waiting in Car’. The man in the driver seat had recently got home and they were waiting for family together.
Cursed by Night is a series that reflects society’s engrained racial profiling. The blackness of the images represents the darkness projected onto black men. Every black man’s life is threatened by this misperception.”
– Hannah Price © Hannah Price | Magnum Photos
Emin Özmen Hamit and his white pigeon. Mardin, Turkey. September 2020.
“In Turkey, pigeons have a great significance in the lives of many. They are held in high esteem and their owners have been known to che (...)
rish them like their own children. It is common to see men and children going up on their roofs and opening the door of their coops to feed their pigeons, talk to them and give them a few minutes of freedom. It is this moment, when the pigeon takes flight, that intrigues me the most. The birds finally have a way to escape, to regain their freedom — but they don't. They always return to the hand that is held out to them.”
– Emin Özmen © Emin Özmen | Magnum Photos
The day before the US presidential election. Mexico. November 2, 2020.
“This present invites us to reflect, to become aware, to dig deep into ourselves to touch this overwhelming reality. We stan (...)
d on the shoulders of our parents, grandparents, of all those who burned in the struggle to form an ideal image, a voice that is also seen.”
– Yael Martinez
Harry Gruyaert Picnic. Extremadura, Spain. 1998.
“I was travelling by car in Extremadura, in Spain, when I was attracted by something that sounded like a big party going on. I parked the car and climbed up onto (...)
a little hill. From there, I had a perfect vantage-point on what was going on: a large gathering of people having a picnic.
The atmosphere, the colors, the mottled light falling on the people sitting around tables: it was like looking at an impressionist painting. I shot a few pictures and drove on. Looking back at this image, I feel it represents everything we have missed during this Covid-19 period: the pleasure of being outside, sharing food and happy moments with others.”
– Harry Gruyaert © Harry Gruyaert | Magnum Photos
Carolyn Drake Friday, July 10, 2020. Vallejo, California
“During the months of the past year when physical escape from the house wasn’t possible, I worked in my backyard to find a creative escape, arranging ob (...)
jects from the garden and from piles of yard debris into temporary sculptures. I kept stepping on the poop from our foster dog as I worked, so eventually I decided I should just add some to a picture, candy-coating it with a bit of spray paint and garnishing with some flowers.”
– Carolyn Drake © Carolyn Drake | Magnum Photos
Enri Canaj Sunset in the city. Athens, Greece. 2008.
“While embarking on a photographic journey, every camera-holder can become compelled by a transcendental feeling. Being on the road has the power not only (...)
to elevate the spirit, but also to widen the mind, enabling oneself to break free from the mundane and providing countless possibilities in the creative process.“
– Enri Canaj © Enri Canaj | Magnum Photos
Heathrow, London, UK. September 24, 2003.
A Concorde takes off for New York in the days prior to retiring from service on 24th October, 2003. The fastest flight it made to New York was completed i (...)
n 2 hours 52 minutes and 59 seconds on February 7th 1996, at a speed of 2,010 km/hr.
– Estate of Peter Marlow
Lúa Ribeira Grass and sky. Cordoba, Spain. 2019.
Those known as honourable in town,
stole from me my every brightness,
cast muck on my finery in a single day,
and threw me an old smock in tatters.
They le (...)
ft not a stone where I’d lived;
homeless, without abode, I lived amid potatoes;
slept rough in the meadows with hares;
my children... my angels!! whom I so loved,
they died, died for hunger killed them!
[...]
—Save me, oh judges! I yelled... Crazy hope:
they mocked me, and justice sold me out.
—God, help me God! I cried, and yelled again...
but from on high, no deity heárd me.
That’s why, like any hurt or wounded she-wolf,
in a raging lunge I grabbed the sickle,
swung slowly... Not even grass felt it!
And the moon hid, and the wild beast slept
with her companions in a feather bed.
I watched them calmly, and raised my hands,
with a whack, just one! I left them lifeless.
And satisfied, I sat beside the victims,
quiet, waiting for day to dawn.
And so..., so justice prevailed:
I, on them; and the laws, on the hand that smote them.
– Rosalía de Castro, extract from “The Hand of Justice,” in New Leaves, 1880. Translation © Erín Moure and Small Stations Press, 2016. © Lúa Ribeira | Magnum Photos
Sohrab Hura From the project Life is Elsewhere. 2008.
“I was never interested in photography. In my last year of high school, 1999, my mother fell sick. I’d be locked up in my room and sometimes beaten for re (...)
asons I could not understand. Because I was the only other person at home, I could also not leave. At that time I felt like I had lost everything. My mum was diagnosed with schizophrenia and, after she was hospitalised, an extremely kind photographer took me along with him on his trip to the mountains and taught me the basics of how to use a camera. I’d make photos of sunsets and sunrises and mountains and the large blue sky, photos that I’d feel quite embarrassed to look at today. But it distracted me away from everything that had unfolded at home. Later, when I went to collect my prints, the person behind the counter took me aside and told me that he found the photographs very beautiful. For the first time in a long time at that moment I felt like I was worth something: not because he had found my photographs beautiful, but because a complete stranger had felt touched by me. For a moment I felt like I existed.”
– Sohrab Hura © Sohrab Hura | Magnum Photos
Erich Hartmann Train station. Narbonne, France. October 3, 1979,
"Erich and I were in Paris in the autumn of 1979 and we realized that Erich had two weeks free between long assignments. We decided to buy train (...)
passes and take a journey around France with no set destination, free to change routes as we wished. We each carried a small suitcase, Erich a small camera and a supply of film, thus able to run for a departing train.
We went eastward from Paris, south from Annecy, arriving at Narbonne near the Spanish border on October 3. Such a location is always exciting and full of drama - arrivals and departures, greetings and farewells, destinations known and unknown. As we watched the personal dramas unfold, departures were announced for numerous stations: including Bordeaux and ‘Toulouse via Latour-de-Carol’. We decided on the latter, so with train passes in our pockets, we picked up our little suitcases and ran for the Toulouse line which would connect with ‘The Little Yellow Train’ for its journey through the foothills of the Pyrenees and onward to the Atlantic.”
– Ruth Bains Hartmann, Estate of Erich Hartmann © Erich Hartmann | Magnum Photos
Eli Reed Montgomery, Alabama, USA. 1995.
“It was a Montgomery, Alabama weekend; a hot Friday afternoon. It was ‘Miller Time’, in the words of the popular beer brand: time to zone out somewhere and relax in (...)
a cool breeze. Everyone around me seemed ready to welcome the evening’s hours of relaxation and the restoration of the body. Some young people were well ahead in the act of imbibing liquid spirits.
I was a passenger in the front seat of a friend’s car waiting for a traffic light to change. A group of young men pulled up beside us. I glanced over to see one of the boys hanging out of the window, taking a bow to the street god of hot asphalt — the result of one beer too many. I had to smile to myself, remembering some of my own friends as a teenager, thinking of those rites of passage to adulthood that don’t change very much. The beat goes on as we grow a little bit older and hopefully smarter.”
– Eli Reed © Eli Reed | Magnum Photos
Chris Steele-Perkins Harbour looking out to the Japan Sea towards China. Obama City. Japan. 2008.
“I took this image on a trip to document a city that shared its name with the former American president. Residents of t (...)
he city, whose name means ‘small beach’ in Japanese, revived their tourism industry as a result of the then-senator, following his visit in 2006.
I feel there is a certain mystery here that invites a ‘what happened next?’ response. A nostalgia, not English, not American, that inhabits this photo. Very prosaic in some ways: an empty seaside car park after rain.”
– Chris Steele Perkins © Chris Steele-Perkins | Magnum Photos
Olivia Arthur Tbilisi, Georgia. 2006.
“Recently, I have been avidly reading prison memoirs by women from different parts of the world. The stories are varied and in many cases extreme, but there is also an ove (...)
rriding feeling of the pointlessness of it all, of life on hold, of little to be gained. Locked up, she is treated without respect or dignity, yet at the end of it all, she is expected to emerge a better person. When we think of prisons and escape, we might think of drama. Yet so much of what I read was about trying to escape the monotony of it all, the relentless waiting game.
Fifteen years ago I had the chance to go into and photograph the women’s prison in Tbilisi, and I was surprised by what I saw. It was crowded but there were no uniforms and, in many directions, I saw groups of women laughing together, making fun. And then there were others, trying to get away from all of this, to find some space alone or in a book. It made me think that people have very different ways to cope with something like a prison sentence. They’ll either escape the outside world and immerse themselves in what they are going through, or keep their distance from it, and try to escape from the experience itself.”
– Olivia Arthur © Olivia Arthur | Magnum Photos
Constantine Manos Fort Lauderdale, Florida, USA. 2001.
“This picture was made in Florida, on a hot summer’s day. I had the blazing yellow wall before me, and was waiting for something to happen. The red area of the (...)
image is the hood of a car. I saw the boy approaching on the right and pushed the button.”
– Constantine Manos © Constantine Manos | Magnum Photos
David Hurn Ringo Starr on the train during the filming of ‘A Hard Day’s Night’. England, Great Britain. 1964.
“I was asked by director Dick Lester to be a ‘Special’ photographer on the Beatles film, ‘A Hard (...)
Day’s Night’. I accepted on the condition that I would not have to set up pictures and could concentrate on the relationship between the fans and their idols.
The experience was an eye-opener. I had no idea of the fear within oneself that can be evoked by a swarm of excited followers. I was always frightened — what it must have been like for the four! So much time was spent trying to hide, and trying to escape. The pressure was relentless.”
– David Hurn © David Hurn | Magnum Photos
Guy Le Querrec Roy Hargrove. Chemin de Ronde, Gers, France. Saturday August 9, 1997.
“On August 9, 1997, for its 20th anniversary, the Jazz in Marciac festival saluted the
memory of one of the founders of bebop (...)
: the great trumpet player Dizzy Gillespie (1917-
1993). On the program of this tribute to the ‘man with the bent trumpet’, two trumpeters
succeeded each other: Roy Hargrove with his all-stars, Crisol, and Jon Faddis, at the head of his Carnegie Hall Jazz Band. After his concert, the former stayed behind to listen to the latter
outside the tent, doing a solo choreography evocative of the facetious dance steps that Dizzy himself liked to offer to his audience.”
– Guy Le Querrec © Guy Le Querrec | Magnum Photos
Bieke Depoorter Sete, France. 2014.
“I have always preferred photographing at night.
Maybe we all experience night-time as the moments when it’s easier to hide. Yet, at the same time, I feel that night is when (...)
our masks begin to fall. The night can be more honest than the day.
Sometimes it seems like the less light there is, the more we see.”
– Bieke Depoorter © Bieke Depoorter | Magnum Photos
Nanna Heitmann Tuva Republic. Russia. 2018. From ‘Hiding from Baba Yaga’.
“For time immemorial, people have sought protection and freedom on the banks of the Yenisei River and in the adjacent wild taiga. For a l (...)
ong time, the banks of the Yenisei have been pervaded by nomadic people. The Russians, coming from the west, chased by their greed for valuable fur, did not reach the river until 1607. Criminals, escaped serfs, apostates or simply adventurers, joined together in wild rider associations and expanded ever deeper into the vast wild forest. The life of the settlers in Siberia was free and self-determined.
Another community to occupy the lonely banks of the Yenisei River were the Old Believers. A small ferry boat is the only connection to Erzhey, the village of Old Believers. This group turned against the reforms of the Patriarch Nikon, who revised the texts and rites of Russian Orthodox worship in 1652. Many of them had to flee to the most remote areas of Russia: first from the Tsar, later from the Soviets. Along the upper reaches of the small Yenisei, there are many small villages of Old Believers, which try to live self-sufficiently, and maintain the old liturgical and ritual practices of the Russian Church."
– Nanna Heitmann © Nanna Heitmann | Magnum Photos
Susan Meiselas ‘Returning home from Manhattan Beach’. Little Italy, New York, USA. 1978.
“In this image, three old friends huddle together having escaped on a long, hot, summer day at the beach, with no other pu (...)
rpose than to spend time away from home on a small adventure.”
– Susan Meiselas © Susan Meiselas | Magnum Photos
Sergio Larrain ‘Entrada’. Valparaíso, Chile. 1963.
“Valparaíso was the first port reached by ships that made the crossing from the Atlantic to the Pacific via Cape Horn. It was like arriving at a space station o (...)
n Mars, after having confronted months of turbulent winds and seas, never knowing if you would reach the end of the voyage or not.”
– Sergio Larrain, in Sergio Larrain: Vagabond Photographer, London: Thames and Hudson, 2013. © Sergio Larrain | Magnum Photos
Elliott Landy Bob Dylan at his home. Byrdcliffe, Woodstock, New York, USA. 1968.
“In 1968 I was asked to photograph Dylan for the cover of The Saturday Evening Post. At that time, he was living in Woodstock, s (...)
ecluded with his family, and had avoided any publicity or photographers since his motorcycle accident a year earlier. Many people thought he had died in the accident.
I drove up to Woodstock where he was living and a friend introduced us. Bob told me how much he liked the photos I had taken of The Band and then casually grabbed his guitar, leaned against an old tire and began to sing and play. I was aware how special it was to be ten feet away from the most important musician of the time, but I was only focused on getting a good photograph and making him look good. We got along really well, and the next week, when I returned to show him the photos, he invited me to stay overnight. In the morning, he asked me to take pictures of him with his wife and children. They were a beautiful, happy family. It was clear to me that they were living in the quiet hills of Woodstock to escape the pressures of being world-famous.”
– Elliott Landy © Elliott Landy | Magnum Photos
Carl De Keyzer "Krasnoyarsk, Siberia, Russia. 2002.
“While working on my Zona project, visiting former gulags that had been repurposed as ordinary prison camps, I decided to go back for a second trip, in winter. (...)
Siberia is always associated with cold and ice. My Siberian friends advised me against it: 'Nobody works here in winter'.
The average temperature was -30°C, sometimes rising to -5°C, which prompted people to bathe in swimsuits along the Yenisei river like it was +25°C in summer. For 3 weeks, a record-breaking -57°C was reached. All transport in the region usually stops at -40°C. For the prisoners, life was extra hard. Many of them would die during the winter. Here a prisoner is forced to create an ice sculpture to embellish the camp, at a temperature of -40°C.
Although I would certainly not want to compare my situation with that of the prisoners, working as a photographer over there in the analogue days — shooting film — was not easy. My master eye is my left eye, so I would always press my camera to my nose, causing my snot to freeze and block the back of the camera. To change a film at -40°C, I needed a screwdriver to open my camera while trying to load and unload it with 3 pairs of gloves on. Many times the film broke during the process, resulting in the loss of all of the exposures on the 10 image roll.”
– Carl De Keyzer © Carl De Keyzer | Magnum Photos
Eve Arnold On the set of 'The Magus', directed by Guy Green. 1967.
“How do we escape from boredom? We play. Eve commented on her photograph of Anthony Quinn and his screen-mate Anna Karina:
‘By now it is (...)
common knowledge that film-making is a boring process, and the more boring, the more fooling around takes place to lighten the atmosphere.’”
– Estate of Eve Arnold © Eve Arnold | Magnum Photos
Raghu Rai Darjeeling Himalayan Railway (the Toy Train). India. 1995.
“The very thought of boarding the Toy Train begins to bring joy of an escape into the rolling heights of the mountains. Small towns on (...)
the way, and even smaller and intimate railway stations, are sources of joyful discoveries. Even when the train is moving, you can get off anywhere and board it again as it runs at a delightful, chaseble speed. Every passenger carries emotions and expressions related to the purpose of their respective journeys. Every journey may not be made only for escape, but any purposeful meeting can yield a respite from worries. All journeys made in hope, happiness or uncertainty — all ingredients of varied emotions — eventually offer meaning to the traveller."
– Raghu Rai © Raghu Rai | Magnum Photos
Moises Saman Giza, Greater Cairo, Egypt. 2013.
“There is no respite for the energy that surrounds you in Cairo, truly one of the greatest cities in the world. The closest thing to a resting place that I found (...)
during the time I lived there was amid the ruins of the magnificent Pyramids of Giza.”
– Moises Saman © Moises Saman | Magnum Photos
Stuart Franklin | KENYA. 2016. Iten. Runners preparing for the Olympic Games. "Runners preparing for the Olympic Games. Iten, Kenya. 2016.
“I took up running after 10 years, during the pandemic. Long-distance running has always been a way of escape for me. I ran the maratho (...)
n representing Oxford University in 1997. I have done a lot of work on the subject in Kenya. Shortly after I met Vivian Cheruiyot for the first time in 2008, she won two Olympic medals in Rio. For some Kenyans, running is a way to escape from poverty. I met Vivian’s mother in a small adobe hut near Iten. Her husband is her trainer. I made many images of Kenyans running near Eldoret and Iten, the centre of Kenyan running.”
– Stuart Franklin" © Stuart Franklin | Magnum Photos
Paolo Pellegrin A plume of fireworks surrounds a reveler at the Parrandas, a December festival in the colonial town of Remedios, near Cuba's north coast. Each year, two barrios compete to stage the most impressive (...)
display. Remedios, Cuba. 2011.
"I was in Cuba four years into Raúl Castro’s presidency – after nearly half a century under the rule of his brother, Fidel – when the country seemed to be entering a new phase of openness and entrepreneurship. Traditional activities – cockfights, religious processions, explosive festivals – persisted even as a wave of changes came over the country.”
– Paolo Pellegrin © Paolo Pellegrin | Magnum Photos
Mikhael Subotzky Prisoners I, Voorberg Prison, 2004
From the project Die Vier Hoeke (The Four Corners)
“I started my career in 2004, making a series of photographs in South African prisons. At the time I thought (...)
of the project as a documentary response to social conditions in South Africa. In many ways, I now think it was an attempt to escape the walls of my comfortable, middle-class upbringing. Those walls reinforced a sense of separation from reality in post-apartheid South Africa.
In retrospect, the irony of this ‘escape’ into the heart of a maximum security prison says a lot about how much I had to learn as a 23-year old, finding my way in the world. As the project developed, I came to understand it as an erosion of the boundaries between inside and outside, of the line between representation and subject, and of the expectations I had of the socio-political structures of the world around me. This picture, taken on the grounds of the smaller Voorberg Prison, speaks to my state of mind at the time, out in the world, trying to integrate these contradictions.”
– Mikhael Subotzky © Mikhael Subotzky | Magnum Photos
Mark Power Kirishima National Park, Miyazaki, Japan. April 2000.
“Photography is in itself a means of escape. Whether we travel to distant lands, or simply step out from our own front door, to photograph is (...)
to enter another world — another way of thinking, another way of looking, another way of seeing.
Absolute concentration is required if one is to be present in mind as well as in body. Then, the very act of making a photograph creates a memory rarely forgotten. Beyond the print — the physical reminder of a fraction of a second that we can literally hold in our hands — are those moments recalled before and after pushing the shutter. These are often the most precious of all.
Conversely, we can also lose ourselves in a photograph made by someone else. In those cases, without knowledge of what might otherwise have happened, we are left with only the moment: with what we can see. The best photographs are, for me, open-ended. They suggest, rather than tell. They exercise our imagination and take us on a journey, usually to a place with a memory all of our own.”
– Mark Power © Mark Power | Magnum Photos
Chien-Chi Chang Elephant Hospital, Lampang, Thailand. 1997.
“Do you dream of flying? Escaping the bonds of gravity and everyday life to soar free?
This elephant toiled for years, carrying logs in the forests (...)
of the border between Thailand and Burma. It finally escaped a life of labor after it stepped on a landmine and was transported to an elephant hospital for treatment. There, it was able to wander the woods or slide down a riverbank, but only as far as was allowed by its new, longer chain.
Does it dream of escaping? And for what, we might ask? Perhaps this elephant is capable of weighing the merits of freedom and safety.”
– Chien-Chi Chang © Chien-Chi Chang | Magnum Photos
Ian Berry Port Erin, Isle of Man, Great Britain. 1974.
“In this image, nifty footwork by a small girl is required to escape a drenching at high tide, when winter waves come roaring in from the Irish Sea to (...)
the bay at Port Erin. Situated between Ireland and the UK mainland, the island’s west coast takes the brunt of the Atlantic weather and ferocious seas.”
– Ian Berry © Ian Berry | Magnum Photos
Hong Kong. 2013.
“Bang in the centre of Hong Kong is the famous 'Happy Valley' racecourse. Usually, the events are held in the evening, but this time when I went, it was in daylight, in the aftern (...)
oon. Betting is taken seriously in Hong Kong, in contrast with Europe, where attending the races is as much a social event as it is an activity for devoted enthusiasts. As a result, it was easier for me to capture people fully immersed in concentration.”
– Martin Parr
Christopher Anderson Onboard an airplane. 2017.
“I made this photograph on a flight over the Mediterranean Sea. It was summer. Everyone had the ‘holiday’ tan. I guess we were all escaping something.
Many of my pic (...)
tures are of moments ‘found’ while going about my daily life. This image found me. Buckled in my seat, I didn’t have much choice of subject matter or angle or composition: it was just there. I photographed it in an attempt to ensure the instant would not escape.”
– Christopher Anderson © Christopher Anderson | Magnum Photos
Patrick Zachmann Ilha do Mel, Paraná, Brazil. 2003.
“For many people, escape may evoke travelling far away in order to forget their daily lives for a while. I never thought that way.
To me, going abroad means dis (...)
covering a country, a different culture: being curious about people. I have always thought that if you try to escape your reality and problems, they will
reappear in any time or location you are in.”
– Patrick Zachmann © Patrick Zachmann | Magnum Photos
Werner Bischof Southern part of the country. USA. 1954.
“1954 — Werner Bischof was able to embark on his major tour of the American South. His wife Rosellina, who was travelling with him, noted: ‘It's the beginn (...)
ing of February and we are ready: tomorrow morning we leave New York fully laden and full of plans. Werner has a movie camera and a tape recorder with him. It's going to be a fantastic trip! We'll learn Spanish in the car, and can't wait to reach the Mexican border."
– Estate of Werner Bischof © Werner Bischof | Magnum Photos
Jacob Aue Sobol Tokyo, Japan. 2007.
“Though Tokyo and its people seemed unreachable, I felt drawn to the tight and confined reality of the metropolis. My feeling of isolation and loneliness was overwhelming – it (...)
was something I had to find a way to change. And so I began taking my pocket camera out with me on the streets and in the parks. Rather than focusing on the impressively tall buildings and the eternal swarm of people, I began searching for the narrow paths and the individual human presence in a city that felt both attractive and repulsive at the same time. I wanted to meet the people, to get involved in the city, to make Tokyo mine.”
– Jacob Aue Sobol; in I, Tokyo; 2008. © Jacob Aue Sobol | Magnum Photos
Cornell Capa © International Center of Photography London, England. 1952.
“My two years in England were a grand adventure. I loved hearing people speak “the King’s English.” I loved the dry English sense of humor and the sporting attitude of fair (...)
play. I loved the English theater, English literature, English culture, and English ritual. It was one of the most wonderful periods of my life. There, at last, I found the magic key to translate good ideas into good photographic essays.”
– Cornell Capa, in Cornell Capa, 1992. © Cornell Capa © International Center of Photography | Magnum Photos
Paul Fusco | USA. California. 1968. California Grape Strike. California Grape Strike. California. USA. 1968.
“Perhaps we can bring the day when children will learn from their earliest days that being fully man and fully woman means to give one’s life to th (...)
e liberation of the brother who suffers. It is up to each one of us. It won’t happen unless we decide to use our lives to show the way.”
– Cesar Chavez. Quote selected by the Estate of Paul Fusco. © Paul Fusco | Magnum Photos
Hiroji Kubota Kinkaku-Ji. Kyoto, Japan. November 2009.
“Kinkaku-ji temple is popularly known as ‘Temple of the Golden Pavilion’ for obvious reasons, but its official name is ‘Deer Garden Temple’. It is one of (...)
the most popular Zen Buddhist temples in the ancient city of Kyoto. On July 2, 1950, it was burned down by a young novice monk. The current temple was rebuilt in 1955. Countless people, Japanese and foreign, have visited there every year. Due to the coronavirus pandemic however, very few people have been there recently. I took this photograph from a 2-seat helicopter. As far as I know, I am the only person who has made aerial photography of it.”
– Hiroji Kubota © Hiroji Kubota | Magnum Photos
Thomas Hoepker Roy Lichtenstein, pop artist, with painting and dot template at his studio. Southampton, New York, USA. 1982.
“Like many artists, Roy Lichtenstein saw Pop Art as a way to escape traditional art f (...)
orms. I had seen his startling icons at the Museum of Modern Art in New York, most of them large-scale replicas of popular comic strips — just plain pop art. I then visited Lichtenstein in 1982 in his house on the beach of Southampton on Long Island.
I looked around the studio in peace, looking at the tools, foils, and half-finished canvases. I was particularly intrigued by one picture, showing nothing but the back of a yellow painted stretcher, the canvas stretched and dabbed with black and white grid dots — the picture of a picture, but only on the back. I understood the grinning irony of this cool depiction — Lichtenstein had brought the idea of painting to the grid point, so to speak — the pure essence of Pop Art.
Then I found, in a corner, several rolls of red plastic foil with punched holes. I understood that Roy used these stencils to apply his accurate raster structures on screens. I asked him to sit down for a moment in front of his stretcher frame and look directly through the red foil in my lens. He agreed with a smile and gave away a small trade secret: the trick with which he painted his grid. I later named the photo ‘Double Pop’.”
– Thomas Hoepker © Thomas Hoepker | Magnum Photos
Steve McCurry Rajasthan, India. 1983.
"I was driving down a road between Jodhpur and Jaisalmer in Rajasthan, India. It was sunny and sweltering hot at about 110°F (43°C), when the sky suddenly went dark and a p (...)
re-monsoon dust storm began. As the storm got stronger and more dramatic, the air became thick with dust. Through the haze, I could see these women huddled together off the side of the road protecting themselves from the driving wind. This region had been suffering from a drought for more than a decade and the women were singing a prayer for rain. I got out of the car, ran across a field and photographed them moments before the storm disappeared. Then the sun immediately came out, as if nothing had ever happened."
– Steve McCurry © Steve McCurry | Magnum Photos
Philippe Halsman Edward Villella. Teterboro Airport, New Jersey, New York, USA. 1961.
“In November 1961, Halsman and Edward Villella took a drive from New York City to Teterboro Airport. Villella had become the pr (...)
incipal dancer of George Balanchine's New York City Ballet one year earlier, and Halsman was photographing him for the Saturday Evening Post. Villella had a reputation as a superb jumper, and Halsman, whose Jump Book had come out a few years earlier, had the idea of having Villella leap over an airplane. Villella was able to position his body so that it perfectly echoed the shape of the plane as he soared above it, escaping gravity in the most elegant way.”
— Oliver Halsman Rosenberg, Estate of Philippe Halsman © Philippe Halsman | Magnum Photos
Alessandra Sanguinetti Hadil. Aida Refugee Camp, West Bank, Palestine, 2003.
“I met Hadil on my first visit to Palestine, one year after Israel ended its ‘Defensive Shield’ operation, a two-month incursion wherein the I (...)
sraeli Defense Forces invaded villages, towns and refugee camps, blew holes through homes, assassinated suspected activists, and illegally detained men, women and children in raids in the middle of the night.
Hadil had one recurring nightmare she told me about: ‘We were all out in the garden having lunch, and a fox came to the door. I was hiding behind my mother. He wanted to eat me, but my mother offered a chicken instead, and he ate it. But then he came back to get me anyway. He was attacking me when I woke up.’
All proceeds from my share of this sale will go to two organizations. Lajee Center is a community-based cultural center providing Aida camp’s children and teens with a safe and supportive space. 3for1 is a community-based organization working towards sustainability and countering the challenges of water being diverted from the West Bank to Israel.”
– Alessandra Sanguinetti © Alessandra Sanguinetti | Magnum Photos
Danny Lyon Memorial Day Run. Milwaukee, Wisconsin, USA. 1966.
It was a long time ago. Parked down in a Hyde Park alley was my motorcycle – a 1956 Triumph with a single carburetor which other University of Ch (...)
icago students had put together out of parts that had been stored in five-pound coffee cans. It had a black gas tank, a knobby tire on the front, no front fender, and no headlight or muffler. The explosions of the 650cc engine went straight out the exhaust pipe that ran along its side. From the first-floor apartment I rented on Woodlawn Avenue, I could step out the back door of the kitchen, down the gray wooden steps, and walk across the alley to where I parked it. It was heavy, over four hundred pounds, and I held it upright as I threw my leg across the long black seat, then jumped into the air, coming down with all my weight onto the kick-start. As it started, with a deafening roar, I twisted the throttle, pushing down the gearshift with the toes of my left foot and releasing the clutch with my left hand. The motorcycle leapt to life, and I rolled out of the alley and into the streets of history.
– Danny Lyon
Adapted from The Bikeriders, Twin Palms, 1997
NB Danny doesn’t use quotemarks.
NBB He adapted this from the Twin Palms edition of The Bikeriders. I added one word here - “my” left hand © Danny Lyon | Magnum Photos
Zied Ben Romdhane Chemical waste evacuated into the sea. Chott-Essalam, Gabes, Tunisia. 2014.
“Fossil landscape: The sea is withdrawn, the land is bare. Phosphate took over. Humans seed further humans. Their roots (...)
have remained elsewhere…
This is the exodus of the stone, which becomes exogenous.
Hostile landscape: The sediment is resistant to that which is sedentary. The newest arrival takes over. The human is an encrusted layer. The fault is underground…”
– Zied Ben Romdhane © Zied Ben Romdhane | Magnum Photos
Khalik Allah Harlem, New York City, USA. 2017. From the "125th & Lexington" series.
“The only way of escaping a problem is by facing it. Averting our gaze is often how problems are deepened. The more you loo (...)
k at fear, the less you see it.
Shooting at nighttime in the streets, without a flash, my photography is predicated on available light, proximity and time; but I’m trying to escape those limits by focusing on what’s eternal in a person. By documenting the light in the eyes of what people in the streets see, the result is emotion written on emulsion.
The way the system is built — some of my subjects are locked-up on the outside. They’re not contained by barbed wire and prison gates, but a vicious cycle that’s hard to escape.”
– Khalik Allah © Khalik Allah | Magnum Photos
Bruce Gilden A family walks along the crowded boardwalk. Coney Island, New York, USA. 1986.
“It was a busy Sunday afternoon in Coney Island in the summer, and I had been walking in front of Nathan's, the famou (...)
s hot dog vendor and Coney Island landmark. When I saw the little girl in a baby carriage with a carton of beer underneath, I waited there for something to happen, to complement her in the image. Then, this family of 4 showed up. They instantly filled the scene with energy, so I snapped the shutter, and here it is.”
– Bruce Gilden © Bruce Gilden | Magnum Photos
Bruno Barbey Moulay Ismael Mausoleum, Meknes, Morocco. 1985.
"The photographer must learn to merge into the walls. Photos must either be taken swiftly, with all the attendant risks, or only after long periods (...)
of infinite patience. Such was the price of these images… The memory of Morocco can only be captured with respect.”
– Bruno Barbey © Bruno Barbey | Magnum Photos
Robert Capa © International Center of Photography Biarritz, France. August, 1951.
“The most professional American tourists call themselves foreign correspondents. For years I have been talking with and taking pictures of kings, peasants and com (...)
missars, and I have ended up believing that curiosity, plus freedom to travel and low fares, is the closest thing to democracy in our time—so maybe democracy is tourism.”
– Robert Capa, in Holiday magazine. Quoted in Richard Whelan, Robert Capa, 1985. © Robert Capa © International Center of Photography | Magnum Photos
David Seymour Young boy fleeing from advancing tanks. Port Said, Egypt. October 1956.
“This photo was among the last ones taken by David ‘Chim’ Seymour before he was killed by Egyptian machine gunners at the S (...)
uez Canal during the 1956 Suez Crisis. It shows a young boy, whose long shadow seems eager to escape from the menacing tank.
Maybe it should have been a warning to Chim that he too should escape from this dangerous place, but Chim and a fellow photographer — working for the magazine Paris Match — continued driving their borrowed jeep through the streets of Port Said. With typical Magnum irreverence, they made a cardboard license plate for their jeep using the phone number of Magnum’s Paris office.
It should have been safe, as it was four days after the armistice was signed, Chim sought out the stories of how ordinary people behaved in the threatening atmosphere of the tanks and soldiers in the streets. Then, in a burst of machine gun fire, they were killed, falling with their jeep into the Sweetwater Canal. The boy may have escaped, but Chim did not.”
– Ben Shneiderman, nephew of David Seymour © David Seymour | Magnum Photos
George Rodger The wool souk. Tunis, Tunisia 1958
“One year after the declaration of the Republic of Tunisia, George was photographing the state’s jubilant first birthday celebrations in the capital city, Tunis. (...)
Suffering from the extreme North African heat, George made his way to the cooler alleyways of the wool souk. With the gently flowing wool drying above and the narrow passages muffling the noise of the city, George found this a very peaceful way to escape.”
– Estate of George Rodger © George Rodger | Magnum Photos
W. Eugene Smith ‘Guardia Civil'. Spanish Village. 1951. © 2021 The Heirs of W. Eugene Smith
“LIFE magazine staff photographer W. Eugene Smith traveled to Spain in 1950 to document repression and poverty under th (...)
e harsh regime of its dictator, Francisco Franco. Smith embedded himself in the small town of Deleitosa, where he spent a month gaining the trust of the villagers, along with the suspicion of Franco’s brutal military police, the Guardia Civil.
Acclaimed for containing several of Smith’s most iconic photographs, the ‘Spanish Village’ photo essay appeared in the April 9, 1951, issue of LIFE. The most searing image was of three members of the Guardia Civil, who kept the townspeople of Deleitosa in line through fear and intimidation. The original caption simply read: ‘These stern men, enforcers of national law, are Franco’s rural police. They patrol [the] countryside, [and] are feared by people in villages, which also have local police.’
While the villagers could not leave, Smith had to fashion his own way to escape Spain. Shortly after he captured this image, the Guardia Civil paid Smith a visit and questioned him about the film he had shot in Deleitosa. When they left, he told his interpreter: ‘Let us pass up our remaining, rather unimportant pictures, and get the hell out of here while I still have the film.’ He woke up his assistant and they left at 4:00 a.m. to flee across the border into France."
- Kevin Eugene Smith, Estate of W. Eugene Smith © W. Eugene Smith | Magnum Photos
Wayne Miller Joan Miller at Edward Steichen's home, "Umpawaug". Redding, Connecticut. USA. 1942.
“Events were moving quickly. Wayne Miller and his new wife Joan had married and were on honeymoon at E.J. Steic (...)
hen’s home in Connecticut when this photo was taken in June 1942. Wayne had been attached to Steichen’s photography unit in the Navy: over the course of its existence, the unit included his fellow photographers Charles Kerlee, Victor Jorgensen, Horace Bristol, Dwight Long, Fenno Jacobs, and Alfonso Iannelli. This image was made during a period of quiet before Wayne went on a four-year journey, making photographs of the war in the Pacific, followed by Japan and Italy.”
– Estate of Wayne Miller © Wayne Miller | Magnum Photos
Gueorgui Pinkhassov Paris, France. 1997.
“The most important thing is to go out into the street – to see what’s there. This is the greatest commandment of our collective’s founder, Henri Cartier-Bresson.
Your prejud (...)
ice and obsessions are holding you prisoner. As a first step, you must break free from your own self. Freedom is an illusion. All you need to do is open your eyes and step forward.
Every disadvantage has its advantage – make use of it, and your basket will be filled with fruit.”
– Gueorgui Pinkhassov © Gueorgui Pinkhassov | Magnum Photos
Cristina de Middel Mata Atlántica forest, Brazil. 2020. From the project ‘Boa Noite Povo’ © Cristina De Middel and Bruno Morais
“Buy a map, get a car and run away. Throw away the map after you realise you can use th (...)
e car navigator. Stop driving after you realise a satellite is sending your coordinates to a database that will predict your need to stop after 3 hours to fill the tank. Start receiving advertisements about nearby tourist attractions and sodas to calm your thirst. Get out of the car and start walking while you understand that your glorious breakaway is just a performance to fool yourself into believing that you still control your life.
After thousands of years of mythology and philosophy, it turns out that destiny and fate were just a database, and the only real escape is not based on distance (physical or emotional) but in randomness, chaos and oblivion. Now, start believing that these things actually exist and start trying to control them. Go back to the beginning of this text and start over again.”
– Cristina De Middel © Cristina de Middel | Magnum Photos
Ernest Cole "New York City. USA. 1971.
“In 1972, Bobby Womack composed the elegiac 'Across 110th Street', the theme song for the blaxploitation film of the same name. Within weeks, the film was banned in the (...)
Republic of South Africa. Around the same time, Ernest Cole was developing a body of street photographs that concentrated upon the 'cultural revolutionary moment' in New York City. In 1972, the South African photographer Alf Kumalo visited the United States and stayed with his friend Ernest for many weeks teaching photography with him in Harlem.
While visiting Sweden, periodically, between 1968 and 1972, Cole had become interested in film-making. This was perhaps due to the influence of his mentor, Rune Hassner, the Swedish photographer and film director. The extraordinary element of Cole's photography is that, rather than 'choreographing movement', in the style of film critic Andre Bazin's explanation of mise-en-scene, he is 'stealing momentum', in real time, on the street. Sometimes the best way to escape is by stepping outside. As Bobby Womack sang in 1972: 'You can find it all in the street, yes you can, oh look around you, look around you, look around you'.”
– Estate of Ernest Cole" © Ernest Cole | Magnum Photos
Philip Jones Griffiths George Harrison at The Beatles’ first concert. Empire Theatre, Liverpool, England. 1963.
"If you don't know where you're going, any road'll take you there."
– George Harrison. “Any Road”, Parloph (...)
one, 2003. Quote selected by the Estate of Philip Jones Griffiths. © Philip Jones Griffiths | Magnum Photos
Larry Towell Nueva Segovia, Nicaragua. 1985.
“In 1985 I was hitchhiking through the war zone in northern Nicaragua as US-backed contras were trying to reduce newly-formed farming cooperatives to smouldering (...)
ruins, killing civilians and raping the women in their paths. It was the Reagan years. I jumped into the back of a white pickup truck where a mother and her daughter were playing with armadillos they’d caught for dinner. An extremely drunk Sandinista was clicking the safety catch of his machine gun off and on. When we got to Jalapa, I jumped out of the truck. A drunk soldier was standing in the middle of a house with his pistol, shooting holes through the tile roof for no reason that I could figure out.”
– Larry Towell © Larry Towell | Magnum Photos
Inge Morath Reno, Nevada, USA. 1960.
"We arrived in Reno on the evening of the 17th. Into a world so different from the loneliness of the trip, the world of a movie being started. It is difficult to describe (...)
the last extraordinary days, although they are still very much alive. Their colors are still fresh and, when I close my eyes, the road still seems to be passing in front of me, running straight and hot through the desert.”
– Inge Morath; July 19, 1960. In The Road to Reno, Steidl, 2006. © Inge Morath | Magnum Photos
Burt Glinn Monks from Mount Shichimen monastery in early morning contemplation of the mountain. Mount Fuji, Japan. 1961.
“A photographer, whether on assignment, or on a journey, often faces the ultimate fear (...)
of whether the magic of visual discovery will happen. If you get up early enough and climb to the best possible vantage point, you are most likely in a better position to capture the moment.
The monks of Shichimen Monastery spend their lives on the mountain facing Mt. Fuji. Burt Glinn believed that a knowledge of Hiroshige or Hokusai’s woodcut prints would help him with his escape to Japan. Burt’s sage advice was always to turn to the artists and writers of the country you are visiting.”
– Elena Glinn, Estate of Burt Glinn © Burt Glinn | Magnum Photos
Dennis Stock California, USA. 1968.
“For many years California frightened me; the contrasting arenas of life shook me up. Even though I found the sun and fog, sand and Sierras which conveyed a firm image of s (...)
tark reality, the mother vision of life, the state seemed unreal. The people were constructing layers and dimensions of life that unsettled me. Surrealism was everywhere, the juxtapositions of relative levels of reality projected chaos. For the young man with traditional concerns for a spiritual aesthetic order, California seemed too unreal. I ran.”
– Dennis Stock, in California Trip, 1970. © Dennis Stock | Magnum Photos
Marilyn Silverstone Ravi Shankar performing at a concert. To his right is tabla player Alla Rakha. Mavlankar Auditorium, Delhi, India. 1968.
“Marilyn first met Ravi Shankar in 1959. She was on assignment for The New (...)
York Times to write a profile on him shortly after he arrived in New York. They became fast and close friends.
Meeting with Shankar was the beginning of Marilyn’s amazing time in India, where she lived for over 14 years, photographing events, politicians, the impacts of famines, the experiences of women, and more, for major magazines and journals. She met again with Shankar a number of times, one of which is documented in this photo taken at a concert in Delhi in 1968. The image symbolizes that prolific stage of Marilyn’s career — and eventful chapter of her life story — that was to follow.”
– Estate of Marilyn Silverstone © Marilyn Silverstone | Magnum Photos
Colby Deal Third Ward, Houston, Texas, USA. 2017. From the series “Beautiful, Still”.
"The ongoing photographic series, Beautiful, Still, is focused on presenting a more practical representation of people of (...)
color in urban communities and preserving cultural characteristics that are rapidly being erased."
– Colby Deal © Colby Deal | Magnum Photos
Bob Henriques The Palisades, New Jersey, USA. 1959.
“While short, Bob Henriques’ photographic career was substantial. He began to make his name in the profession at the tender age of 20, selling street photogr (...)
aphy of his native city of New York. By 30, he had made images of iconic figures and pivotal moments in politics, from Martin Luther King Jr. at the Prayer Pilgrimage for Freedom in 1957, to Fidel Castro immediately following the liberation of Cuba in January 1959. When he retired to Florida in the mid-1960s to run his candle-making business, he made his complete, and ultimate, escape from photography.”
– Estate of Bob Henriques © Bob Henriques | Magnum Photos
René Burri Kitty Hawk, North Carolina, USA. 1997.
“In 1903, the Wright brothers made their historic flights on the beach at Kitty Hawk. On December 17, Orville piloted the first ever powered flight, which tr (...)
avelled 37 meters and lasted 12 seconds. Later the same day, his brother Wilbur flew a distance of 260 meters, lasting 59 seconds.
René Burri wrote in 1981, ‘...Maybe I'm still looking for what is beyond the horizon. It could be around us or right behind me…’”
– Estate of René Burri © René Burri | Magnum Photos
Sabiha Çimen A shy girl uses a palm leaf to hide her face at a Qur’an school. Istanbul, Turkey. 2018.
“Things can be hidden in plain sight. A face is recognisable even to a newborn, but when that face is hidde (...)
n, the image can become a mirror where our selves are reflected back to us. Photography reveals things to the heart even when they cannot be seen with the eyes.”
– Sabiha Çimen © Sabiha Çimen | Magnum Photos
Herbert List ‘Eyes in the sky’. Paris, France. 1937.
“By the late 1960s Herbert List’s interest in photography had waned. He declined offers for retrospective shows of his work, and escaped by devoting himsel (...)
f to his collection of Italian Old master drawings. In a last interview for his 70th birthday, he remarked:
‘[Am I] still photographing? Yes, of course. I still carefully choose subject, composition, and harmony of colors: Then I shoot. But without a camera, just with my eyes. No negative. No positive. And so no possibility of communication.’”
– Estate of Herbert List © Herbert List | Magnum Photos
Antoine d’Agata Thermal photography. Metro station Olympiades, Paris. Lockdown. March 17, 2020. From the project, Virus.
“Living beings experience the state of dissatisfaction. They try to carve themselves a kind (...)
of destiny, to become protagonists in history. In spite of themselves, they attempt to escape from the dreams of commodity, from the parceling out of reality. They go forth in search of sensation, willing to pay any price, aware in their flesh of the conditions that have been imposed on them.”
– Antoine d’Agata © Antoine d’Agata | Magnum Photos