and those who identify themselves as journalists
has existed since the beginning of Magnum. Mag-
num bridges this hazy line by supporting each
photographer in his or her own personal goals.
In its policies and philosophy, Magnum prizes
the photographer’s independence above every-
thing. A former Magnum bureau head once said,
‘‘Magnum isn’t a democracy—it’s anarchy in the
truest sense because the guiding principle is not the
greatest good for the greatest number, but the rights
of the individual to do whatever they like’’
(quoted in Miller). Because it embraces individual
independence, Magnum photographers do not fit
any single profile; there is no ‘‘Magnum aes-
thetic.’’ Nevertheless, certain trends prevail, such
as the use of black-and-white rather than color
film; a strong editorial component even in docu-
mentary photographs; a consistent ability to cap-
ture the essence of human emotions. The one
common tie amongst all Magnum members is
complete devotion to photography and the inde-
pendence of the photographer. Magnum des-
cribed this devotion in a 1961 brochure as a
dedication ‘‘to continuing photojournalism in the
tradition established by the three Magnum photo-
graphers who have died on photographic assign-
ments of their own choice’’ (Miller, 1997, 195).
Capa was in Indo-China in 1954, photographing
his fifth war, when he was killed by a landmine.
The same day, Magnum members learned of his
death, they also received news that Werner Bischof
had died in an accident in Peru. At Capa’s death,
Chim stepped forward to take his turn as president.
He would be killed two years later during fighting
near the Suez Canal.
Amidst uncertainty over the future of the orga-
nization that seemed built around Capa, his
brother, Cornell Capa, resigned from his position
atLife to join Magnum. Cornell’s involvement
boosted morale tremendously. He became a leader
in the organization and would assume the presi-
dency after Chim’s death.
The founding members felt that reorganization
would be necessary for Magnum to survive without
Capa. At the next annual meeting, they established
a system for admitting new members, after which
time membership in Magnum became extremely
selective. To be considered, a photographer must
submit a large portfolio of work to be judged by the
current members. If it is approved by a majority of
members, the applicant is offered membership as a
nominee. Nominees may claim association with
Magnum, but they have no voting rights in the
organization. After two years as a nominee, the
photographer may submit a more extensive portfo-
lio for review. Following majority approval, the
nominee becomes an associate member of Mag-
num, but still does not enjoy voting privileges.
With full membership, granted only after a third
portfolio review, the photographer receives full vot-
ing rights and becomes a part-owner of the agency.
By 1960, moving images of current events were
available almost immediately via television. Film
required time to be processed even before it could
be printed and distributed. Many illustrated jour-
nals of the 1930s and 1940s redirected their focus
from news of current events to social and lifestyle
topics. As part of a brief attempt to carve a niche in
this new field, Magnum created the short-lived
Magnum Films in 1964. It had closed by 1970. In
1972,Lifemagazine, one of the largest clients for
many photojournalists, closed (it would reopen in a
monthly format in 1978).
Despite a reduced demand for photojournalism,
Magnum has continued to grow to become an
organization with membership limited to 50. In
1987, Magnum opened its third office, in London.
Its immediate success inspired the opening of a
Tokyo Magnum office in 1990.
By asserting the rights of individual photogra-
phers to control their own work, Magnum
increased the artistic integrity of photojournalism.
Magnum has thrived in the territory where art and
photojournalism intersect. But in the process of
elevating photojournalism to art, Magnum photo-
graphers were faced with a new issue, voiced by
London art critic Marina Vaizey in response to
Magnum’s 1989 exhibitionIn Our Time:
Have these starving people, these slum dwellers, these
prostitutes and the insane, given their consent for their
plight to be shown not just as the news, but in an art
gallery? It is a curious thing that somehow, in these
hundreds of photographs, almost all of which are con-
cerned with the human condition, the terrible is so
gorgeously memorable.
(quoted in Miller 1997, 278)
At the start of the twenty-first century, as it con-
tinues to struggle with many of the issues haunting it
since the start, Magnum’s strength lies in the devo-
tion of its international stable of photographers and
the depth, breadth, and quality of their work.Members of Magnum
1947 (founding members)
Robert Capa (b. 1913, Hungary, d. 1954,
Indochina)
Henri Cartier-Bresson (1908–2004, France)MAGNUM PHOTOS