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Limited Edition 8x10'' Prints
Why do people buy art? Perhaps as an investment, or based on a personal connection – perhaps the subject matter has a particular resonance. Irrespective of motive, for many, buying into the art market remains an aspiration. Magnum Photos has, since the mid-'80s, sold prints with prices that rendered them the reserve of the established collector. Magnum Editions is a range produced with the utmost care and excellence, offering the same quality that you would expect in a fine print, at a more affordable price.
These images reflect some of the diversity of practice among Magnum’s members: capturing events and individuals pivotal to world affairs, personal reflective moments, levity, and the beauty of everyday moments.
The photographs are available as 8x10" Magnum archive stamped, archival pigment prints, now in a limited edition of 100 each. Available framed or unframed, these limited edition prints will never be available at this size and price again.
Elliott Landy
In 1968, Elliott Landy was assigned by the Saturday Evening Post to shoot a cover image of Bob Dylan. At the time, Dylan was at the height of his fame, while Landy was a relatively unknown, but his work with The Band had been noticed by one of Dylan’s friends. The meeting spawned a friendship, yielded an album cover, and a left a series of intimate photos of the musician with his young family. Here, Dylan is captured on infrared film outside his home in Byrdcliffe, New York.
Robert Capa
Robert Capa’s photographs of US forces’ assault on Omaha Beach on D-Day, June 6 1944, are an invaluable historic record of the Allied invasion of German-occupied France, which contributed to the liberation of Western Europe from Nazi control a year later. The largest seaborne attack in history, it was also one of the bloodiest, with a combination of strong winds, unruly tidal currents and a formidable German defense, resulting in the loss of 2,400 American lives by the end of the first day. Capa’s legendary documentation of the event saw him join the soldiers as they advanced, experiencing the landing on Omaha Beach alongside them as he photographed the scene.
René Burri
René Burri had learned how to capture aesthetically pure, artfully composed and illuminated objects – Swiss object photography in other words – at the Zurich School of Art and Design, where his teacher was Hans Fisler (1891-1972), the supreme master of subtle gray tones. The climate of the early fifties was remarkably conducive to this austere, rigorously objective style, and Burri fell under the same spell, inspired not least by Alfred Willimann, whom Finsler had recruited to teach typography and graphic design. Making numerous trips to Brazil over the years, René Burri built up a comprehensive portrait of Rio de Janeiro, which captures its iconic coastline, vibrant nightlife and some of the city’s most famous buildings.
Jonas Bendiksen
Jonas Bendiksen's series Satellites is the culmination of several years travelling across the southern borderlands of the former USSR to explore the unrecognized states, breakaway republics and remote communities that were born out of the collapse of the Soviet Union. The project took Bendiksen from Eastern Europe to Central Asia, including the spacecraft crash zones between Russia and Kazakhstan. It is the latter of these that brought Bendiksen to the Altai Territory in Russia in 2000, where he took this photograph of villagers collecting scrap metal from the wreckage of a crashed spacecraft surrounded by thousands of white butterflies.
Elliott Erwitt
As a self-confessed “professional watcher”, Elliott Erwitt is particularly adept at reading body-language. This unfiltered exchange— sometimes overt, at other times so slight that the participants themselves may be blissfully unaware—is magnified tenfold under Erwitt’s gaze. But it is the subtlety that draws him closer; a raised eyebrow, a tilt of the head, the lifting of a veil. “When a woman and man are together, the slightest suggestion of movement or angle weaves a whole tapestry of implications,” he says. Erwitt’s precise observation of the human condition offers both blink-and-you-miss-it moments and scenes still developing. Both are particularly fruitful when applied to the subject of love.
Dennis Stock
Dennis Stock’s images of James Dean offered a uniquely intimate insight into a life on the brink of stardom through the eyes of a close friend. Stock met Dean in Hollywood in January 1955 and intrigued, began to photograph him. Following him on a visit from his birthplace in Fairmont, Indiana, to New York City, and back to Hollywood, Stock recorded unforgettable images of the young actor in both his professional and private worlds.
Constantine Manos
Born to Greek immigrant parents in the American South, Constantine Manos first started photographing in his native South Carolina, documenting the segregated state as the nascent civil rights movement gathered steam.He went on to shoot his career-making project on the remote villages of Greece’s myriad islands - all of this early work made in black and white. This image, from the photographers 'American Color' project, captures the photographer’s love of color that developed later in his career.
Cornell Capa
During a long and distinguished career as a photographer, Cornell Capa spent two decades covering social justice and politics for Life Magazine until 1967, exploring these themes across the U.S and beyond. Capa joined Magnum, the collective his brother Robert had founded, in 1954. He travelled to the Soviet Union in 1958, creating a series of photographs that provide a snapshot of life in Soviet Russia, ranging from the Bolshoi Ballet Academy to Russian Orthodox monks.
Hiroji Kubota
After graduating in political science from Tokyo’s University of Waseda in 1962, Kubota moved to the US, settling in Chicago, where he continued photographing while supporting himself by working in a Japanese catering business. In Chicago, Hiroji Kubota captured images of the time he spent with the Black Panthers across the country in the early 1960s as the Party gained popularity.
Mark Power
In 2012 British photographer Mark Power embarked on a long-term photographic survey of America, a country that has fascinated him since childhood. This onging body of images which will eventually comprise the five volume book project Good Morning, America are vast and complex, capturing a moment of American time and space. “I’m seeing America through the filter of an imposing cultural legacy that helped define me. As such, it’s a strange mix of the familiar and unfamiliar, of fact and of fiction,” Power says.
Burt Glinn
Andy Warhol never shirked a publicity opportunity, but his roundtable of disciples would often act as vessels for his celebrity—there was always a camera, a recorder or some semblance of a filter between Warhol and his audience. Burt Glinn had a gift for bottling the essense of counter culture. Here, three of the great artisitic players of the 60's—Andy Warhol with Edie Segwick and Chuck Wein—are photographed on a New York City sidewalk in 1965.
Leonard Freed
In 1962 Leonard Freed went to Berlin to shoot The Wall being erected. There he saw an African American soldier standing in front of it and the thought struck him; that at home in the US, African Americans were struggling for civil rights, and here in Germany an African American soldier was ready to defend the United States. This prompted a lengthy examination by Freed of the plight of the African Americans at home in the United States. Freed traveled to New York, Washington, D.C. and all throughout the South, capturing images of a segregated and racially-entrenched society. The photos taken at that time were then published in 1968 in "Black in White America".
Stuart Franklin
Stuart Franklin’s documentation of the mass protest in Beijing’s Tiananmen Square in 1989 was iconic and far-reaching. Hundreds of student protesters were killed when they clashed with the military after a lengthy standoff. Having photographed the rising tensions, and the erection of the students’ ‘Goddess of Democracy’ statue Franklin was present at the moment the protest was crushed: “As I was photographing the tank, I had very clear memories of the Prague spring of 1968, when citizens faced off with Russian tanks. The atmosphere soon became chaotic in the hotel, as people were worried about getting their stories out in the unfolding tragedy. Authorities inside the hotel confiscated footage, but I packed my film into a box of tea and gave it to a French student who was heading back to Paris. She got it to Magnum.”
Chris Steele-Perkins
A decade after Enoch Powell’s infamous speech on immigration, Chris Steele-Perkins was commissioned by The Sunday Times Magazine to travel to Wolverhampton, in England's Midlands, to photograph the city’s ethnic minorities and explore how Powell’s words had affected communities in his old constituency. Over the ten days, Chris Steele-Perkins was in-and-out of church clubs, community centers, factories, and playgrounds. His images catch the day-to-day, following individuals as they crowd around the record player, playing dominoes, at prayer or working shifts at the factory. It was a portrait of a community.
David Seymour
Mrs. Peggy Guggenheim, the famous art collector, socialite and bohemian, photographed by David ‘Chim’ Seymour at her palace on the Grand Canal, Venice, Italy, 1950. Chim’s career spanned genres and styles. His humanistic approach, which yielded important work documenting conflicts and their aftermath, was complementary to his low key personality, which quickly led him to become the favored photographer of many celebrities. Seymour’s biographer, Carole Naggar, wrote of his portraiture work: “His unobtrusive manner and sense of humour, his ability to listen, helped in the creation of portraits that went beyond the usual ‘glamour shots’, conveying an air of relaxed intimacy.”
Rafal Milach
The First March of Gentlemen is a fictitious narration composed of authentic stories. Historical events related to the town of Września came to be the starting point for reflection on the protest and disciplinary mechanisms. In the series of collages, the reality of the 1950s communist Poland blends with the memory of the Września children strike from the beginning of the 20th century. This shift in time is not just a coincidence, as the problems which the project touches upon are universal, and may be seen as a metaphor for the contemporary social tensions.
Eve Arnold
Eve Arnold began photographing Marilyn Monroe after the actress saw her pictures of Marlene Dietrich in Esquire. They met at a party and Monroe asked: “If you could do that well with Marlene, can you imagine what you can do with me?” So began their professional relationship, which, over the years, turned into friendship. Arnold photographed Monroe six times over the decade she knew her; the longest of these sessions being a two-month stint during the filming of 'The Misfits'.
Jean Gaumy
Over 14 years, French photojournalist Jean Gaumy captured the fierce conditions facing the fishermen who worked on open-deck trawlers, capturing the harsh reality of life at sea. In an extract from Pleine Mer: Men At Sea, Gaumy wrote of his time on board the boats, being “hurled when the boat dives, the steep and greasy stairs we climb become a pestle as we go over a wave. The iron airlock. The sticky air of diesel vapors. The large linoleum imitation floor, blistered, brown and greasy. Everything flutters about. The portholes’ light is dancing on the walls and behind the thick glass, the sea runs off distorting the vision. The unpredictable grey sky devastated with spindrifts, and the ocean at the edge, full of white flurries"
Bieke Depoorter
Together with Agata, Bieke Depoorter explores the complexities of the photographic enterprise, grappling with the relationship between photographer and subject. By diving deep into a collaborative working dynamic with a Polish woman she met in a strip club in Paris, she creates a small alternate universe that raises more questions than it offers answers: Who made these images? Who is the subject? Who is Agata? This project is both the story of a young woman searching for identity by playing with it as if it were a toy and the story of Depoorter experimenting with the fragility of photographic authorship. Most of all, it’s the product of a photographer and a subject consciously agreeing to, as both Agata and Depoorter have put it, “use each other.”
Guy Le Querrec
A jazz fan since his teens, Guy Le Querrec has been documenting the jazz scene for decades. Says Le Querrec: “Jazz – my ears, my heart, my emotions need it. Its cadences, its rhythms… And then there’s that crucial word: to practice a photography of improvisation.” The fact is, he stays tuned into the music as he works. “I don’t cut out sound.” For that reason it has been said that his eye listens. “His indisputable success in the attempt to reveal the true intimacy of jazz is owed to his inordinate passion that borders on empathy,” points out Stéphane Ollivier in the preface to Jazz Comme Une Image, 10 Ans de Banlieues Bleue
Ian Berry
Ian Berry's work has recorded a unique aspect of the South African experience: the duty to ‘live apart’ while occupying the same space. He first set out for South Africa as a boy of seventeen and thus began a career of recording ordinary lives in extraordinary circumstances. Present at the Sharpeville shootings in 1960, Berry has returned to South Africa many times in the course of the succeeding decades and captured many of its most significant moments, including the 1994 election of Nelson Mandela, and its remarkable aftermath. As his photographs show, the wounds of over forty years of apartheid cannot be quickly or easily forgotten.
Dennis Stock
In the late 1960s, Dennis Stock took to the road to create a portrait of California during the peak of America’s countercultural heyday. In this image, taken at Venice Beach Rock Festival, Stock captures just one of the attempts of California's non-conformists to reshape society according to the ideals of love and peace. He described the voyage as nothing less than extraordinary: “A recent trip blew my mind across this state of being, as I collected images along the way to remember the transient quality of the Big Trip.”
Bruno Barbey
Bruno Barbey was born in Morocco and grew up in various parts of the country: Rabat, Salé, Marrakech and Tangiers. In the course of a long career, Barbey has traveled all over the world, but it is to Morocco that the photographer keeps returning. Central to his more than 50 years of work in the nation has been his use of color film - a move inspired by an assignment working for Vogue in Brazil in 1966. Key also to many of Barbey’s Morocco photographs is an air of abstraction, and this image embodies so many central aspects of the photographer’s work in his nation of birth.
Raymond Depardon
This photograph - one of Depardon's best known from his period working in New York - offers a view of the Empire State Building from Manhattan’s East Side and wryly nods to the stark contrasts the city embodied. Economic success on Wall Street had fuelled a speculative real estate boom, but crime and unemployment were still issues many New Yorkers had to contend with on a daily basis. It would be another decade of regeneration before New York began to resemble the city we know it as today.
Nikos Economopoulos
Nikos Economopoulos’ major early projects saw him photographing his native Greece and its neighbors and the Balkan peninsula following the fall of Yugoslavia. All of this work was made in black and white, but later the photographer became focused on making color work - reveling in the opportunities the medium offered, “Black and white transcends reality by removing a very significant part of it: the color. Its simplicity and deductive character allow for abstraction… Color is more realistic. To get the same outcome, the same contrasts and tensions, the same sense of intensity is more complicated… You need to engage other tools, like the quality of light and a sense of balance between colors.”
Ian Berry
In 1970 Ian Berry, freshly returned from a gruelling trip across three continents, found himself in the small Paris flat of French singer and pop-culture icon Serge Gainsbourg - which he shared with his partner, the English singer and actress Jane Birkin. The pair shared a relationship often played out in the public eye, through photographs, but also through music – evidenced not least by the duet 'J'taime… moi non plus', which was banned in some countries for its lyrical content. In spite of being a highly popular image, it is something of an anomaly for a photographer who rarely worked with the famous.
Eve Arnold
Eve Arnold began photographing Marilyn Monroe after the actress saw her pictures of Marlene Dietrich in Esquire. They met at a party and Monroe asked: “If you could do that well with Marlene, can you imagine what you can do with me?” So began their professional relationship, which, other the years, turned into friendship. Arnold photographed Monroe six times over the decade she knew her, the longest of these sessions was a two-month stint during the filming of 'The Misfits'.
Constantine Manos
Born to Greek immigrant parents in the American South, Constantine Manos first started photographing in his native South Carolina, documenting the segregated state as the nascent civil rights movement gathered steam.He went on to shoot his career-making project on the remote villages of Greece’s myriad islands - all of this early work made in black and white. This image, from the photographers 'American Color' project, captures the photographer’s love of color that developed later in his career.
David Seymour
David Seymour worked on numerous commercial commissions for major publications, including shooting portraits of some of the most iconic cultural figures of the 20th century, including Sophia Loren, Pablo Picasso and Richard Avedon. This photograph of Audrey Hepburn was taken in Paris in 1956, three years after her breakout starring role in Roman Holiday, for which she won the BAFTA for Best Actress. Seymour’s biographer, Carole Naggar, wrote of his portraiture work: “His unobtrusive manner and sense of humour, his ability to listen, helped in the creation of portraits that went beyond the usual ‘glamour shots’, conveying an air of relaxed intimacy.”
Nikos Economopoulos
Nikos Economopoulos’ early black and white work saw him photographing his native Greece and its neighbours, primarily focusing upon displaced and liminal groups – including refugees and the Roma. Following the fall of Yugoslavia, he photographed extensively in the Balkan Peninsula. In 1990, Economopoulos attended a political rally in Yozgat, a city in central Turkey, organized by supporters of the late statesman, İsmet İnönü, the second president of Turkey. Economopoulos could sense that violence was about to erupt among the all-male crowd, but before the photographer’s eyes, a butterfly touched down on the shoulder of a man in front of him. He immortalized this fleeting moment of serenity in an image that became iconic.
Burt Glinn
Burt Glinn’s work on the set of Suddenly Last Summer, a 1959 movie adaptation of Tennessee Williams’ one-act play of the same name - offers a window onto a production that was fraught with tension. Twenty-five-year-old Elizabeth Taylor starred alongside Katharine Hepburn and Montgomery Clift. Glinn followed the cast and crew from Shepperton Studios in London to S'Agaro in Spain, photographing Taylor at work and behind the scenes. In spite of the tumultuous production, and mixed reviews, Taylor was nominated for the Academy Award for Best Actress for the film.
Leonard Freed
The Berlin Wall - a heavily guarded concrete barrier that physically and ideologically divided the city - was built in 1961. Leonard Freed documented the wall being erected, as well as the experiences of those living on its western side in the following years as Germany came to terms with being a nation divided. Freed particularly focused upon the comparatively freewheeling youth in the West - perhaps the best-known of those images being this, taken in Berlin’s Tiergarten part in 1965.
Guy Le Querrec
Guy le Querrec was in Berlin shortly after the fall of the Berlin Wall on November 9, 1989. The initially simple structure which had, over decades, grown into a sprawling and militarised ‘death strip’ symbolised the Cold War and to many the Soviet hold over portions of Europe. With the wall’s fall Berlin and its inhabitants found themselves unified once more, and a period of festivity ensued. This image captures the newfound freedom and openness which permeated the city after unification.
Micha Bar-Am
This image was shot at the end of basic training at women's army Training Base no. 12 at Tzrifin, the central base of the Israeli Women's Corps. “I happened upon this lovely and colorful fashion show happening in front of the bulk of monotonous Khaki clad young soldiers,” remembers Bar-Am, “The contrast was smashing and the real show was followed by a mock fashion show by the soldiers themselves in which the parade ground doubled as catwalk.”
