The first collection of Magnum Editions posters features contemporary works from 23 Magnum Photographers translated into a brand new poster concept. Uncluttered by branding or additional design elements, these posters feature nothing that will detract from the image.
These 23 images are available as 18x24” posters priced at either $150 signed or $100 unsigned. The collection features 3 new nominees whose work is brand new to Magnum. Collectively, the works demonstrate the diverse visual language of the photographers working both in traditional photojournalism and a more art-based practice. These images will never be available in this size, design and price again.
This photograph, “Cry Baby”, was taken in 2005, as part of the book project Niagara which saw Soth making images either side of the famed falls, in Canada and the USA. A long established popular location for honeymoons and romantic getaways, Niagara explored the somewhat less cheery reality of the region. “Niagara is part of American mythology. It’s a place of romance, where people go to get married,” explains Soth. “But when I got there my view of the place totally changed. The American side is economically devastated. It’s bleak.”
This 2019 photograph is from the project The Crimson Line, a meditation on the way industry is affecting the environment.
Like much of Parke’s earlier work, The Crimson Line uses light and framing to turn the everyday into the otherworldly. Photographing throughout the year - only in the first and last minutes of daylight - in his native Adelaide, the photographer plays with the reds and yellows that appear during these fleeting moments. Parke’s crimson-lit images of factories, steam clouds, and industrial machinery transform commonplace scenes into something alien and dystopian.
In 1996, Sanguinetti began working on a project titled The Sixth Day, exploring life and death on a farm in the Pampas, just outside Buenos Aires.
This photograph, “Ophelias”, was taken in 2001, early on in the Adventures project, during a period when the two girls were working out who they would become. "I'd photograph them at play,” she has said, “and I started asking them to imagine what their future would be like – and then they'd act it out, like stars of their own life," she says.
This photograph is from Anderson’s series Approximate Joy, a study of modern China as it continues to rapidly develop and evolve. Traveling through the country, Anderson was “struck by the way that so many places in China’s cities are lit” at night – an observation seen in this portrait of a street in Shenzhen, a former fishing village and now China’s fifth-largest city.
The corner of 125th and Lexington, Harlem, is a spot Khalik Allah has returned to throughout his career. This photograph from 2020 was also taken there, and is reminiscent of his work in Souls Against Concrete, a collection of intimate portraits taken after sunset, using only available light. “I am shooting at nighttime in a black neighbourhood,” Allah has said. “Those are two things people are afraid of. I’m trying to turn that on its head and show that there is nothing to fear.”
Antoine d’Agata’s work is often viscerally corporeal, centering the nude human body and all of its imperfections. However, in some of his photographs he manages to make his subjects look almost ghostly, and at times utterly extraterrestrial. This photograph, taken in Vilnius, Lithuania, is an example of the latter, a skeletal human body distorted to the point that it becomes something else entirely.
This photograph is taken from the 2016 book ZZYZX, a blend of landscape photography and street portraits taken in and around Los Angeles, which won PhotoBook of the Year at the Paris Photo–Aperture Foundation PhotoBook Awards. Initially drawn to the city by “the light, the colours [and] the extremes”, Halpern wanted to focus on a location for his next body of material and chose LA, he has said, because “it felt like it defied description.”
This 2009 photograph, from Drake’s book Two Rivers , is of Turkmenistan’s Darvaza gas crater. Nicknamed "The Door To Hell”, it has been burning since 1971, when Soviet geologists set it alight while trying to burn off gas in an underground cavern to prevent workers from being poisoned.
This 2011 photograph is from The Afronauts, a surreal staging of one of the training missions at Zambia’s National Academy of Science, Space Research and Astronomical Research.
Throughout the 1950s and 1960s, as the US and the former Soviet Union worked to achieve various firsts in space-flight capability a Zambian science teacher named Edward Makuka decided he too would join the international “space race” in 1964. De Middel’s project re-visualises this little-known interplanetary mission, using costume and staging in order to explore and question representations of Africa while challenging ideas around diaspora, race, and societal power structures.
This photograph is from the series The Lost Head & the Bird, in which Hura uses the Indian coastline as a lens to examine the country’s changing politics and society, specifically the growing spectre of religious, sexual, and caste violence. The project was accompanied by a surreal short story about a woman whose head is stolen by a past lover. In her subsequent travels, she comes across a fortune teller, who tries to take advantage of her lack of sight by selling her a crow as a “parrot with a horrible cough”. The story gets stuck in an endless loop, with the woman returning to the fortune teller to again buy a crow she’s told is a parrot.
In 2012, Power commenced his most ambitious project yet, a ten-year study of the United States. Having devoured American media – particularly television – as a child, he had always wanted to explore the country from behind his camera, and in Good Morning, America has finally realised that dream.
This photograph, taken in 2019, is of a snow-strewn gas station in Touchet, a tiny settlement in the south of Washington state--a quintessentially American scene, with vivid splashes of colour offset by a distinct lack of colour in the rest of the frame.
This 2014 photograph is from Black’s series American Geography. For the ongoing project, Black has travelled to poor areas in 44 US states, documenting communities whose poverty rates are above 20 percent to highlight the increasing levels of inequality in one of the richest countries on Earth. This image was taken in Tulare County, California, the wealthiest state in America. However, in Tulare itself, 27 percent of people live below the poverty line, a markedly higher number than the national average of 13 percent.
Bieke Depoorter first met Agata in Paris, while on assignment for the Paris Magnum Live Lab. “I was wandering around at night to find someone: people I feel attracted and inspired by, people that could help me to tell my story — a story that would be partially theirs as well. This is how I found Agata.” The pair met when Depoorter went for a drink at a striptease bar, where Agata was working. Their connection was immediate, intimate and mutual, and what transpired was an ongoing photo story that walks a thin line between documentary and fiction, with both the photographer and subject becoming contributors in the narrative. This photograph is taken from their trip to Beirut in August, 2018.
This image, a pressing of a wildflower, is from a 2019 trip to the US-Mexico border wall, along with 15 colleagues from Magnum Photos. There, Arthur focused on the area around Otay mountain in San Diego county, which is home to a number of rare plant species.
This 2013 photograph of the Brooklyn Bridge is from Price’s series Cursed By Night, a project exploring “a world of darkness to which black males are unfortunately tied”. An exploration of race and the way black men are often unfairly perceived, Price began the series after starting her MFA programme at Yale in 2012. The idea came to her after witnessing friends cross the road to avoid passing groups of black men, or refusing to travel to certain areas after dark. The photographs in Cursed By Night were taken over the course of a year, along America’s east coast, in Harlem, Brooklyn, Philadelphia and Hartford, Connecticut.
Moises Saman blends traditional conflict photography with a deeply personal point of view. For more than ten years, he has been concerned with the humanitarian impact of war in the Middle East, documenting both the front line of daily suffering and the ‘fleeting moments on the periphery of the more dramatic events’. Pictured here, residents and armed rebels search for survivors among the rubble of a residential building targeted by a Syrian airstrike in Aleppo, Syria.
After six years spent meeting and photographing the families of people lost to Mexico’s drug wars, Yael Martinez started work on a new project, Firefly. In 2019, the photographer was invited to take part in an exhibition about the concept of night in Latin America, and suggested an idea around humanity’s ability to “transform black energy into a positive energy”. To illustrate this concept, Martinez altered his photographs with pin pricks, allowing strands of light to bleed through the darkness.
This 2018 image depicts an annual horse race that takes place during Naadym, the national festival of the Siberian region, Tuva. Every year, young men in the area race each other across a distance of 30km, on horses without saddles. The race usually takes place in August, when the high temperatures of summer have dropped, but in 2018 it was held in July. At 10AM, when Heitmann took this photograph, the mercury registered at 45 degrees.
This picture was taken on van Agtmael’s first trip back to Chile after he’d lived there for six months in 2002. “Those months were deeply formative for me,” he has written of the experience. “I was obsessed with photography but had no real outlet in college. I took the semester off from school and got an internship at a tabloid in Valparaiso. They gave me a loose leash to explore the city and make little features. I started to learn the freedom to be myself. I had my first experience with conflict during a massive rally that turned suddenly violent. I was scared and strangely liberated. And I fell in love. Although this picture is a departure from most of my work, it was in that place I discovered who I was supposed to be.”
This photograph was taken in Libya’s Murzuq desert in December of 2015, near El Sharana, the country’s largest oil field. Pictured is a member of the Third Force, a militia that established significant control in southwestern Libya during the country’s civil war. Operating under the Tripoli government of the time, the Third Force secured oil fields, acted to enforce law and order, and maintained a level of peace in the region.
This photograph is taken from Tavakolian’s 2011 project Listen, which highlights the fact that women singers have not been allowed to produce their own CDs or perform as solo acts in Iran since the 1979 revolution. Tavakolian asked a number of women singers to close their eyes and imagine they were performing in front of a large audience, then took their portraits. She also created an imaginary CD cover for each artist, all of which “will for now remain empty”. This image – a dream CD cover for its subject, Sahar – was taken in the Caspian Sea, off the coast of Mahmudabad, a city in the north of Iran.
In The First March of Gentlemen, the 2017 book from which this image is taken, Rafal Milach creates a fictitious narrative composed of authentic stories. He retells the historical childrens’ strike in Września in Poland from the early 20th Century, through collaged archive photographs from the 1950s and 1960. By blending these elements, he has created a new narrative, to be read as a playful metaphor for the political situation of the present.