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Magnum Farce by Colin Jacobson |
"Magnum Photos which was founded by Cartier-Bresson, Robert Capa, George Rodger and others to set new photo-journalistic standards, has recently allowed several of its pictures to be used in advertisements. Colin Jacobson argues that this threatens the agency's original values and sets a dangerous precedent." Strange things are happening in the world of contemporary photojournalism. As less and less reportage photography is published in magazines and books, it is generally accepted that photojournalism is in crisis. At the same time, the advertising industry finds documentary images increasingly attractive. Sebastiao Salgado, perhaps the most celebrated photojournalist of our time, has been commissioned to take pictures for car and cigarette advertisements. Also, a campaign for Hugo Boss recently used three established British photographers working in the black and white documentary tradition. Like many other picture agencies, Magnum, the world famous photography cooperative, has recognized this lucrative market place. Liz Grogan, head of commercial sales at Magnum's London office, denies that this is anything new, and points out that Elliot Erwitt, famous for his humorous work, was selling images to advertisers 30 years ago. Magnum is renowned for its humanitarian objectives. Its name is synonymous with honesty and integrity. It was founded almost 50 years ago, on the basis that a photographer's individual responsibility was paramount, as was respect for the subjects photographed. Recent examples of reportage advertising involving Magnum photographs demonstrate the difficulties raised when editorial images are re-used in an entirely new, and commercial, context. The advertisements for Pepe jeans and Fiat finance, use photographs by Martin Parr, a relatively recent Magnum member. They constitute deliberate secondary use of images removed from their original purpose and setting, accompanied by captions which are knowingly insulting to the individuals depicted. Liz Grogan defends the situation: "Where we can, we try the individuals concerned [in the photograph], although often leave that to the advertising agency. Parr concurs: "I find out what the advertisement is for , seek to track down the people in the photo, offer them a payment. It's their decision." In the case of the Fiat advertisement, where the individuals could not be traced, Magnum asked the agency to put aside money in case they should come forward. The people featured in the Pepe advert gave their permission, and received payment, but does this absolve Magnum from their responsibility for allowing the photographs to be used in this way? What is at stake is not just the nature of the advertising, or even how editorial photographers and their agents view this rich market for their work. There is a more fundamental matter, which goes to the heart of the vulnerable and delicate relationships which photographers have with the people they photograph. In the case of Martin Parr, the debate takes on added significance, because he is a documentary photographer well known by the general public in Britain, and very famous abroad. His stylistic approach has been widely imitated by contemporary photographers, and is generally perceived to represent a rejection of the black and white documentary tradition passed down by magazines such as Picture Post and Life. His work has been constantly published in leading magazines throughout the 1980's and 90's. He has been featured several times on British TV and being promoted overseas by the British counsil. He recently had two exhibitions running concurrently at major venues in France. Colin
Jacobson is a freelance picture editor and visiting lecturer in the
Centre for Journalism Studies, |
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