spotlight

We sit down with Michael Sargeant from Magnum Photos

As Head of Digital Projects at the renowned Magnum Photos, Michael Sargeant is an expert on the history of the alliance, their current projects, and their shared concern for the future integrity of photography and humanistic storytelling. Join us as we chat to Michael to learn about the collective’s education program and an upcoming exhibition dedicated to the late Martin Parr.

Portrait of Michael Sargeant © Harley Maryon

Q: Hi Michael, can you tell us how Magnum Photos began?

A: In 1947, in the wake of the Second World War, four pioneering photographers—Henri Cartier-Bresson, Robert Capa, George Rodger, and David Seymour—came together, uniting their distinct visual styles, to form Magnum Photos. As the story goes, the union was sealed over a magnum of champagne, which may well have inspired the cooperative’s name. Their purpose was quietly revolutionary: to build a model that freed photographers from the strict formulas of magazine journalism and championed authorship, ensuring that the photographers retained full copyright.

Q: How does the alliance operate today?

A: Much has changed since its inception, but the core ideals remain. Magnum Photos now represents more than 100 photographers and estates, maintaining that original mix of journalist, artist, and storyteller. The archive has grown to more than one million images, and we continue to make this work accessible through our own platforms as well as exhibitions, publications, and wider cultural partnerships.

Magnum Archive, Slide sheet

Our photographers work across personal, editorial, and commercial practice, and through Magnum Photos’ education programmes they share their knowledge with the next generation of storytellers, passing on the same spirit of independence that shaped the cooperative from the start.

Courtyard of the Meiji Shrine in Tokyo, Japan, 1951

£190, framed poster

New Werner Bischof Japan Trees Archive Photography Asia Magnum Photos Photography Landscape & Seascape Travel

‘the milestones that really define the collective go back to its founding ideals: authorship, authenticity, and a humanistic approach to storytelling.’

Michael Sargeant

Magnum Archive, Slides

Q: Since the collective began almost 80 years ago, what have been some key milestones?

A: Magnum’s photographers have been present for most major global events and have photographed most public figures since the 1930s, but the milestones that really define the collective go back to its founding ideals: authorship, authenticity, and a humanistic approach to storytelling. Those principles shaped everything from the early post-war years to the way the organisation works today.

Glasgow, Scotland, 1980

£190, framed poster

New Raymond Depardon Glasgow Scotland Children Magnum Photos Photography Figurative

What’s exciting is how those ideas created room for new ways of working. Over the decades we’ve seen major collective moments, from editorial landmarks like America in Crisis, to collaborative experiments such as Postcards from America, through to public-facing initiatives like our education programmes and the Square Print Sale. Each of these projects marks a point where the organisation has pushed itself to rethink how we engage with audiences and support photographers’ practice.

And honestly, the fact that Magnum Photos still exists nearly 80 years later is a milestone in its own right. To my knowledge, it’s the longest-running artist-led photography cooperative in the world. I think that the structure of shared ownership, independence, and a commitment to individual vision has played a huge part in keeping Magnum adaptable, curious, and willing to experiment as the industry has changed.

Venice Beach Rock Festival, California, USA, 1968

£190, framed poster

New Dennis Stock USA Archive Photography Dance Magnum Photos Photography Figurative Music

Q: Do the collective often exhibit their work together?

A: Yes, absolutely! Group initiatives have been part of Magnum Photos for decades, and they’re still a core part of how we share the work. We regularly collaborate with major cultural institutions on exhibitions that bring multiple photographers together, including landmark shows like Magnum Contact Sheets and Close Enough, both of which highlight the breadth of practice across the collective.

We also present work in our own gallery space in Paris, which is currently being relocated and will reopen in March with an exhibition dedicated to the late Martin Parr.

Tokyo, Japan, 1998

£190, framed poster

New Martin Parr Sweets & Cakes Restaurants & Cafes Magnum Photos Photography Food & Drink

Q: Magnum’s website offers a wonderful editorial section titled, Stories. How do themes for this get realised, do members submit their own ideas?

A: We have a dedicated team at Magnum Photos working to share the incredible work of our photographers, both past and present. Our role as staff is to amplify and support that work across the channels available to us. It’s an ongoing collaboration between the agency’s members and the team behind them to develop these ideas and bring the stories to audiences across the globe. I’d recommend that readers also check out our Instagram and YouTube channel for more incredible photography, behind-the-scenes of how the agency runs, and insights into individual artists’ practice.

Q: Can you tell us about your educational offering?

A: Magnum Photos’ educational offering, Magnum Learn, brings photographers and visual storytellers together in workshops, courses, mentorships, and events both in person and online. It’s built around the idea of creating hands-on learning opportunities where participants can meet and learn from Magnum photographers, experiment with ideas, and sharpen their craft alongside peers. There are immersive multi-day workshops in locations worldwide, shorter thematic courses, and on-demand online offerings (think MasterClass but by Magnum) that allow people to learn at their own pace, wherever they are.

New York, 1974

£190, framed poster

New Elliott Erwitt Dogs Archive Photography Magnum Photos Photography Animals Fashion

At its core, Magnum Learn is about more than technique: it’s about fostering creative confidence, curiosity, and community. It’s designed for people at different points in their journey, from emerging photographers to those looking to deepen their practice, and aims to make quality photography education accessible, inspiring, and connected to the real-world experience of working photographers.

Q: Magnum and K&M have collaborated to present an official collection of photographic prints. What can you tell us about this newly launched collection?

A: This collection brings together some truly extraordinary works by our photographers. It includes iconic images from Martin Parr, Thomas Hoepker, Elliott Erwitt, Inge Morath, and many others. Parr’s sharp and vivid observations of British society, global tourism, and leisure are well represented, while Erwitt’s joyful, often humorous photographs showcase his unmistakable way of seeing the world.

The collection also includes portraits of cinema icons Marilyn Monroe and Audrey Hepburn, alongside a wider selection of work spanning different styles and eras. Altogether, it’s a vibrant, varied collection: the kind of photography that brings real character into a home and offers something for everyone.

Marilyn Monroe, Nevada, USA, 1960

£190, framed poster

New Cornell Capa Celebrity Portraits Marilyn Monroe Archive Photography Portraits & Faces Film Stars Magnum Photos Photography Figurative Films

‘We’re living in a post-truth era where images can be created or manipulated to steer opinion at a scale we’ve never seen before.’

Michael Sargeant

Q: What are Magnum’s hopes for the future and preserving the integrity of photography in a fast developing world of technology and artificial intelligence?

A: This is a big question. At the heart of Magnum Photos is authenticity, and that feels more important than ever. Combating misinformation is a major concern for us. We’re living in a post-truth era where images can be created or manipulated to steer opinion at a scale we’ve never seen before. The worrying part is how advanced and accessible these tools have become, and how quickly fabricated visuals can gain traction. This is where both education and regulation need to play a much stronger role.

Outside of journalism, we’re also seeing AI used more frequently in commercial work, with fully generated campaigns becoming more common. It’s an interesting moment, but I genuinely believe people still crave the authenticity I mentioned: work rooted in real experience, human perspective, and a unique artistic voice. That individuality is something Magnum has always championed through its humanistic and long-term approach, and I think that commitment will continue to set it apart.