Image Usage Terms & Conditions • These Images Are Cleared for a One Time Use Only in Direct Connection with Publicity

Image usage terms & conditions

• These images are cleared for a one time use only in direct connection with publicity for ‘Closer’ Magnum Photos square print sale between Monday 5 June – Friday 9 June 2017 • These images are for one time use only and must not be electronically stored in a media asset retrieval database • Magnum images can be used without fees for online or inside print use up to 1/4 page only. Please contact Magnum to use on any front covers. • Images must not be overlaid with text, cropped or altered in anyway without permission from Magnum Photos. • All editorial MUST be published between 8am (EST) on 5 June and 6pm (EST) on 9 June 2017 • A maximum of 10 images can be used by any one outlet • All images must be captioned and credited as outlined by Magnum Photos • All editorial must include one of the two credits below, incorporating a link to shop.magnumphotos.com • Social media posts must include the correct Magnum Photos handles – instagram @magnumphotos / twitter @magnumphotos and Magnum Photos on facebook. Where possible please include #MAGNUMsquare and #MagnumPhotos70 • By publishing these images you agree to the terms & conditions above.

Please include the text below in all editorial:

Magnum's 'Closer' square print sale runs from Monday 5 June 2017 at 8AM EST until Friday, 9 June 2017 at 6PM EST. Signed and estate stamped, museum quality, 6x6” prints from over 70 artists will exceptionally be available for $100, for 5 days only, from shop.magnumphotos.com.

Eve Arnold

Marilyn Monroe. Los Angeles, USA. 1960 © Olivia Arthur /Magnum Photos

“I remember we laughed a lot, particularly at the end, when I found that although I had had a white paper cone built around us for greater privacy and concentration, the crew had cut eyeholes in the paper and had been watching us all afternoon, supporting her with approving eyes. She had, of course, seen them, and was performing for them, making love to my camera–or really making love to herself–but playing to her public. Being photographed was being caressed and appreciated in a very safe way. She had loved the day and kept repeating that these were the best circumstances under which she had ever worked.” — Eve Arnold (Marilyn Monroe: An Appreciation, Hamish Hamilton Ltd., 1987)

Bruno Barbey

The Amazon River. Belém, Pará, Brazil. 1966 © Bruno Barbey / Magnum Photos

“At the time I was in Brazil, my first of many trips there, exploring the favelas of Belém, a town located at the mouth of the Amazon. The year was 1966– fifty years ago! As I walked along the river, I heard children splashing in the water and, quietly approaching them, seized the instant with my Leica, using a 21mm wide-angle lens. The challenge was to get close while trying not to disturb this perfect moment. I bent over the water, as if I was going to dive in myself. It was during that first extended stay in Brazil that I started using color seriously. Few photographers were at the time. Fortunately, I chose Kodachrome 25, a very slow film, because it withstood the humid climate. Fortunately, it is also a very stable film, and colors have not faded with time.

As if emerging from a green, liquid curtain that both hides and reveals, the two children smile, full of joy, their overlying bodies forming an X, limbs partially hidden by the cloudy waters of the great Amazon River.”

— Bruno Barbey

Matt Black

El Paso, Texas, USA. 2015 © Matt Black/Magnum Photos

"You can be right next to something and still not see it. Or you can be across the street and connect. I think this is also what Capa meant: don't just be there, feel it. Dive in."

— Matt Black

Robert Capa

U.S. troops assault Omaha Beach during the D-Day landings (first assault). Normandy, France. June 6, 1944 © Robert Capa © International Center of Photography / Magnum Photos

“If your pictures aren't good enough, you're not close enough.”

— Robert Capa

Robert Capa

Pablo Picasso with his nephew Javier Vilato and Françoise Gilot on the beach. Golfe-Juan, France. August, 1948 © Robert Capa © International Center of Photography / Magnum Photos

“In these images of Picasso and his family, Robert Capa stresses the everyday human side of the man. These are warm friendly images with sharp flashes of the typical Capa gaiety. In this group of pictures, the hopeful aspirations of millions of family snapshot albums is realized by a master journalist photographer.”

— Edward Steichen (Director of Photography, Museum of Modern Art, New York, 1947-1962) in the press release for “Photographs of Picasso by Gjon Mili and by Robert Capa” (January 24- March 19, 1950)

Elliott Erwitt

New York City, USA. 1955 © Elliott Erwitt / Magnum Photos

“In thinking about getting closer, weddings come to mind... at least initially. Afterward, and down the line, all bets are off.”

— Elliott Erwitt

Stuart Franklin

“Tank Man” stopping a column of T59 tanks. Tiananmen Square, Beijing, China. June 4, 1989 © Stuart Franklin / Magnum Photos

“‘If your pictures aren’t good enough, you’re not close enough,’ Magnum co-founder Robert Capa famously said. If that’s the case, this picture of a man defying a tank is definitely not good enough. I had desperately wanted to get closer. I hate working with long telephoto lenses. But security had locked down the Beijing Hotel after a crackdown in Tiananmen Square the night before. As dawn broke on June 4th, and helicopters resupplied the troops who had replaced protesters in Tiananmen Square, tanks were preparing to move up the road. Soldiers fired at civilians blocking their path. Eventually they encountered, around noon, a lone protester carrying two plastic shopping bags. He brought the tanks to a halt and, with his singular act of defiance, wrote himself into history.”

— Stuart Franklin

Paul Fusco

The California Grape Strike. USA. 1968 © Paul Fusco / Magnum Photos

“Capa’s famous quote, ‘if your images aren’t good enough, you’re not close enough,’ is meaningful to me because my favorite lens is a 35mm, as it is the closest rendition of what the naked eye sees — and when I use that lens, I must get close to the subject. My goal is to bring life to my photos without changing anything in the image itself. That is, to show all of life as it is and not to show what I did to interfere in that moment of life. I want my photographs to make you feel what I felt. Often it's difficult or impossible to achieve that, especially when I am close to my subjects, because my presence can create a shift. In this photo, the children’s situation was unchanged by my presence, even though they are looking directly at me. I hope this photograph conveys the hardship that the children and their parents faced, the isolation the kids felt in the car in this vast field, as well as the comfort that the kids gave one another.”

— Paul Fusco

Burt Glinn

“From 1950-55, Burt Glinn was a young photojournalist based in the Northwest United States, living in Seattle. In 1953, Burt photographed the Seattle Tubing Society, a creative and bohemian group of his contemporaries, for a LIFE Magazine story (‘Life Goes Tubing on the Sammamish Slough,’ August 31, 1953). Once a year, these men and women would partake in a wacky parade in their retro bathing costumes, sun hats, and parasols, as they toted inner tubes from downtown Seattle to the nearby Sammamish Slough for a long, idyllic day of drifting on the river while hydrating with beer.

Burt kept close ties with these Seattle Tubers and they became part of his northwest ‘fan club,’ hosting several exhibitions of his work and sending fresh salmon and Alaskan king crab from the Pike Market on several occasions. Their unofficial dining club in Seattle, The Ruins, even threw Burt and his family a reunion party in 1993 with the same ebullient cast of characters present for the festivities. They continue to be free spirits full of joie de vivre.” — Elena Glinn, widow of Burt Glinn Guy Le Querrec

“I often imagine that, even with images taken on the spot, subjects are accomplices and can intuitively participate in the resulting photographs. No doubt there is an implicit link between them and the photographer; they are engaged in the dramaturgy and play well.

Robert Capa stated: ‘if your pictures aren’t good enough, you aren’t close enough.’ In this image, did the children apply this rule themselves? I certainly didn’t have to. As soon as I stopped by the side of a road to photograph a market, a group of kids jumped into the lens of my Leica, engulfing it.

This photograph was taken Thursday, September 1, 1988, during a reporting trip on a Renault rally that took place over several weeks, across Africa.”

— Guy Le Querrec

Erich Hartmann

"It was October 1979 and we were together in France, when Erich saw two weeks ahead without assignments. We bought train passes, each packed a small suitcase, and set forth eastward from Paris with the vague intention to travel clockwise around the periphery of France without timetables or hotel reservations. The magic train pass made it possible to choose destinations at will. Although Erich was without his customary photographic gear, he did carry a new, pocket-sized ‘point and shoot’ camera, as well as a good supply of film. From those two weeks of travel eventually came Erich’s ‘Train Journey’ series and an accompanying exhibit, which travelled around the U.S. and Europe. These images showcase landscapes and landmarks, the quick passage of never-to-be-seen-again vistas of forests and rivers, busy station platforms, and close- ups of the ever-changing cast of characters inside the train as they read, ate, chatted, and slept. But this image is especially ‘close.’ It was early morning, and I had crept out of bed to peek through the hotel room’s curtains and assess the weather in Pau just north of the Pyrenees.”

— Ruth Bains Hartmann, widow of Erich Hartmann