• © Wissam Nassar. Salem bathes his 5 year-old daughter and niece in the only surviving piece of his war-torn house in Gaza. 2015. “This image marked a turning point in my career -- a time when my images from war were seen globally by millions. I’ve worked in the coastal enclave of Gaza for the past fifteen years and have seen it all, living a life surrounded by war and reconstruction. But I’ve found the most authentic images I made come from the subtler moments of reprieve. I was first inspired to begin documenting turbulence in Gaza while in college. I began my professional career covering the three Israeli-Hamas wars in 2008, 2012, and 2014 and the ‘Arab Spring’. I focus on how people want to live normal lives, spending time at parks, beaches, and coffee shops despite the rubble scattered everywhere.” Wissam Nassar
    © Wissam Nassar. Salem bathes his 5 year-old daughter and niece in the only surviving piece of his war-torn house in Gaza. 2015. “This image marked a turning point in my career -- a time when my images from war were seen globally by millions. I’ve worked in the coastal enclave of Gaza for the past fifteen years and have seen it all, living a life surrounded by war and reconstruction. But I’ve found the most authentic images I made come from the subtler moments of reprieve. I was first inspired to begin documenting turbulence in Gaza while in college. I began my professional career covering the three Israeli-Hamas wars in 2008, 2012, and 2014 and the ‘Arab Spring’. I focus on how people want to live normal lives, spending time at parks, beaches, and coffee shops despite the rubble scattered everywhere.” Wissam Nassar
Close×

The latest Magnum Square Print Sale is now on

7 April 2020

Magnum Photo has recently announced their latest Square Print Sale (Turning Points), where over 100 signed or estate-stamped, museum-quality 6x6” prints by Magnum and The Everyday Projects’ photographers will be available for US$100.

© Moises Saman / Magnum Photos. Marja’s newly appointed district chief Hagi Zahir (far top left) meets with local elders in Marja’s district center, days after US Marines fought an intense battle against the Taliban who had been in control of the area for years. Marja, Helmand Province, Afghanistan. March 2010. “This is one of the last photographs that I took in Afghanistan after spending ten years covering what is now America’s longest war. In this photograph, a new American-installed district chief was meeting with local elders for the first time after the Marines had taken the area from the Taliban. Another ten years of war have passed since then, but to me, this moment from 2010 represents a turning point in understanding the inability of America’s war effort to bring peace and stability to Afghanistan.
© Moises Saman / Magnum Photos. Marja’s newly appointed district chief Hagi Zahir (far top left) meets with local elders in Marja’s district center, days after US Marines fought an intense battle against the Taliban who had been in control of the area for years. Marja, Helmand Province, Afghanistan. March 2010. “This is one of the last photographs that I took in Afghanistan after spending ten years covering what is now America’s longest war. In this photograph, a new American-installed district chief was meeting with local elders for the first time after the Marines had taken the area from the Taliban. Another ten years of war have passed since then, but to me, this moment from 2010 represents a turning point in understanding the inability of America’s war effort to bring peace and stability to Afghanistan."
Moises Saman

Turning Points represents the first collaboration between Magnum Photos – the world’s longest-running photographic and artistic co-operative – and The Everyday Projects, a global network that began as Everyday Africa in 2012. Everyday Africa set out to challenge the media-driven stereotypes that affect the continent by featuring images of everyday life made by a community of contributing photographers that live or work extensively on the continent.

Images available for sale will relate to, or capture events that changed the course of history, society, a life, or a practice. Turning points can occur on a scale that spans at extremes; the global or national, and the most personal of moments.

© Malin Fezehai. The wedding in 2014 of two Eritreans who came to Israel as refugees. They were among about 50,000 African asylum seekers living in Israel, mostly from Eritrea and Sudan. “This image was the first iPhone image ever to be awarded a World Press Photo Award, in 2015. When I started out in photography I was always worried about not being able to afford the best equipment. So for me winning this award made me realize that you can make do with what you have, and it’s what you are seeing in front of you that matters.” Malin Fezehai
© Malin Fezehai. The wedding in 2014 of two Eritreans who came to Israel as refugees. They were among about 50,000 African asylum seekers living in Israel, mostly from Eritrea and Sudan. “This image was the first iPhone image ever to be awarded a World Press Photo Award, in 2015. When I started out in photography I was always worried about not being able to afford the best equipment. So for me winning this award made me realize that you can make do with what you have, and it’s what you are seeing in front of you that matters.” Malin Fezehai

On the sale’s theme, the co-founders of The Everyday Projects, Austin Merrill and Peter DiCampo explained, “Turning Points is the ideal theme for our first collaboration with Magnum Photos. The Everyday Projects was born of a desire to use photography to encourage people to change the way they think about the world. The Square Print Sale is an opportunity for our photographers to showcase that effort, bringing stories they care about to a new and wide audience.”

The Turning Points Square Print Sale runs from Monday, 6 April, 9AM EST to Sunday, 12 April, 6PM EST.
Visit magnumphotos.com/shop.

© Martin Parr / Magnum Photos. Bedminster, Bristol, England, GB. 1995.
© Martin Parr / Magnum Photos. Bedminster, Bristol, England, GB. 1995.

About Magnum Photos

Magnum Photos was founded in Paris in 1947 as an artists’ co-operative by four pioneering photographers: Robert Capa, Henri Cartier-Bresson, George Rodger, and David “Chim” Seymour. The legendary photo agency continues to shape photographic practice and maintains its original values of uncompromising excellence, truth, respect and independence, representing an idiosyncratic mix of journalist, artist and storyteller. Magnum photographers share a vision to chronicle world events, people, places and culture with a powerful narrative that defies convention, shatters the status quo, redefines history and transforms lives.

About The Everyday Projects

Everyday Africa began in 2012 in Ivory Coast as an effort to rise above the media-driven stereotypes that plague the continent. Following its viral success, an international movement began as like-minded storytellers worldwide created their own @Everyday feeds on Instagram that use photography to combat cliché, promote local norms, and celebrate global commonalities - forming The Everyday Projects, a non-profit organization. The group now covers regions from Latin America to Asia, Australia to the Middle East, Mumbai to the Bronx — covering topics spanning climate change, mass incarceration, and more. Everyday photographers work with the world’s leading international media outlets, and the photography of The Everyday Projects is featured regularly worldwide in publications.

 

© Alec Soth / Magnum Photos. Sydney. Tallahassee, Florida. 2004. “In 2004 I shot one of my first traveling editorial assignments in Tallahassee, Florida. I photographed a second-rate celebrity for an equally unimpressive magazine. My photographs were terrible. After the shoot I went to a local diner to drown my sorrows in fried chicken. When I walked in the door I saw a beautiful young girl falling asleep at her table. This was the moment I learned that the ability to choose my own subject was essential to my creative success. The picture I made that day became one of my all-time favorites.” Alec Soth
© Alec Soth / Magnum Photos. Sydney. Tallahassee, Florida. 2004. “In 2004 I shot one of my first traveling editorial assignments in Tallahassee, Florida. I photographed a second-rate celebrity for an equally unimpressive magazine. My photographs were terrible. After the shoot I went to a local diner to drown my sorrows in fried chicken. When I walked in the door I saw a beautiful young girl falling asleep at her table. This was the moment I learned that the ability to choose my own subject was essential to my creative success. The picture I made that day became one of my all-time favorites.” Alec Soth
© Elliot Erwitt / Magnum Photos. California, USA. 1956. “In life’s saddest winter moments, when you’ve been under a cloud for weeks, suddenly a glimpse of something wonderful can change the whole complexion of things, your entire feeling.” Elliot Erwitt
© Elliot Erwitt / Magnum Photos. California, USA. 1956. “In life’s saddest winter moments, when you’ve been under a cloud for weeks, suddenly a glimpse of something wonderful can change the whole complexion of things, your entire feeling.” Elliot Erwitt
© René Burri / Magnum Photos. São Paulo, Brazil. 1960. “Did I know those men were there when I took that photograph? No. I went up there out of curiosity. I remember taking the elevator to the roof. Buildings weren’t guarded in those days; they didn’t have guardians as they have now. It was a question of getting to the top and knocking on the door. And then saying, ‘Excuse me. Excusez-moi, est-ce que je peux faire une photo? Desculpe-me, posso tirar uma foto?’ ‘Yeah, yeah, yeah. Come in!’ so I walked out onto the terrace and at that moment those guys came from nowhere and I shot five images.
© René Burri / Magnum Photos. São Paulo, Brazil. 1960. “Did I know those men were there when I took that photograph? No. I went up there out of curiosity. I remember taking the elevator to the roof. Buildings weren’t guarded in those days; they didn’t have guardians as they have now. It was a question of getting to the top and knocking on the door. And then saying, ‘Excuse me. Excusez-moi, est-ce que je peux faire une photo? Desculpe-me, posso tirar uma foto?’ ‘Yeah, yeah, yeah. Come in!’ so I walked out onto the terrace and at that moment those guys came from nowhere and I shot five images." René Burri, “The René Burri interviews - #1 Men on a Rooftop”, phaidon.com (2012)

cph-newsletter
Get more stories like this delivered
free to your inbox. Sign up here.