Magnum Magnum Edited by Brigitte Lardinois and Gerry Butler

First published in the United Kingdom in 2007 by Thames and Hudson Ltd.

With over 400 images by Magnum photographers, taken throughout 60 years, we discover the journey of photojournalism to doumentary today. From Henri Cartier Bresson introducing photojournalism to us in the 1930's, to Gueorgui Pinkhassov in 2006, we see the differences and simularites between Magnum Photographers, as well as how techonology has influenced Magnum Photographers.  

Bruce Davidson

In 1957, Davidson became a member of Magnum. He started work as a freelance photographer for Life, then after recieving a grant from the National Endowment of the Arts he spent 2 years capturing a block in New York City. The images to the right are just a few of the images he took. Davidson's style tended to focus on different cultures as his photo's would consist of different people with different cultural backgrounds. The subjects were normally in front of the camera, and occasionaly looking straight into the lens. Davidson's photos were different from Henri Cartier Bresson's, as Davidson's subjects were aware they were being photographed, therefore having a reflexive mode.

 

 

 

 

 Thomas Hoepker

Working alongside documentaries for German TV, Hoepker's photographs began to be distributed by Magnum in 1964. When looking at Hoepker's images, I began to feel that he was trying to tell me something about the world, something about the way different cultures live, and how people deal with different situations. One photo that caught my eye was the view from Brooklyn, New York City on the 11th September. The reason it caught my eye was how 'casual' the people in the photograph were acting, when very clearly behind them the sky fills with smoke from the Twin Towers which had been hit by planes. Not one of the subjects look over towards the towers, and they are all just looking at each other, with what seems like they are having a lightened conversation. When looking at this photograph, I cant help but feel it's staged, that Hoepker's lieing to the audience, trying to make a point about how the world has become careless and that we are just getting used to conflict and violence. Although I find the image interesting, i dont agree with Hoepker's point he's trying to create.

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