Magnum’s moment of reckoning

In the nearly three years since the #MeToo movement transformed journalism, Magnum Photos, the world’s most prestigious photo agency, has portrayed itself as an industry leader. Magnum issued a code of conduct for its members in 2018, and its CEO boast

But even as Magnum touted its efforts to confront the industry’s abuses, women who worked with one of the agency’s best-known photographers were telling a different story. Eleven women have described to CJR inappropriate behavior from David Alan Harvey over a span of 13 years, ranging from suggestive comments to unwanted sexual advances to masturbating without their consent on video calls. His behavior was reported to Magnum as early as 2009, but the agency sat on the information for more than a decade. It finally took action in August of this year, but only after the allegations spilled into public: a story published on the website Fstoppers reported that Magnum was selling explicit photographs of sexually exploited minors on its website, including photographs from a series taken by Harvey in Bangkok in 1989. That led photojournalist Amanda Mustard to write a Twitter thread about Harvey, alleging that sexual misconduct allegations against him were an open secret in the industry.

An Open Letter to Olivia Arthur. President of Magnum Photos. — duckrabbit

Dear Olivia, I’m writing to you following the statement that you made after the Magnum Photos archive was taken offline...

I’m writing to you following the statement that you made after the Magnum Photos archive was taken offline as a result of allegations that Magnum have been selling indecent images of children. First reported by Andy Day on August 6th and followed up here and here.

Magnum’s Problems are Bigger than David Alan Harvey

Yesterday the Magnum Photo Agency announced that it was suspending long time member David Alan Harvey while it investigates a specific allegation of sexual harassment. This comes on the tail of sev…

If Magnum really represents the best that photojournalism has to offer, it’s no longer enough to just demonstrate that photographically, it also has to demonstrate it in terms of it’s structures, practices and ethics.

LOOK3 2015: David Alan Harvey's Reunion with a Long-Lost Subject (and Other Surprises) | PDNPulse

David Alan Harvey’s artist talk on the main stage at LOOK3 in Charlottesville on Saturday included several surprises: a peek at some of Harvey’s precocious early work, images from his latest project (called Beach Games, an exploration in black and white o

David Alan Harvey’s artist talk on the main stage at LOOK3 in Charlottesville on Saturday included several surprises: a peek at some of Harvey’s precocious early work, images from his latest project (called Beach Games, an exploration in black and white of beach sports culture in Rio), his insistence (against much evidence to the contrary) that he doesn’t consider himself a color photographer or an extrovert–and a heartwarming guest appearance by a long-lost subject from a project he shot when he was 22.

David Alan Harvey's Beautiful Photos of Poverty and Beach Parties

He's been everywhere from the dirt-poor towns of Virginia to the dirt-poor favelas of Rio de Janeiro, along the way amassing an amazing portfolio of startling images. We talked to him about where he comes from.

Life is all about how you look at something. It’s all attitude and philosophy more than actual reality, because everyone’s reality is kind of the same, but everybody has problems or advantages. So I always worked with my fellow students and told them how to think about it. That was my main thing—I’ve just done that all along.

Livin' La Vida Rio

David Alan Harvey has documented Brazil many times before, but in “(based on a true story),” he nakedly reveals his thoughts and experiences in a tale of passion, mystery and danger.

David Alan Harvey’s “Based on a True Story” is an unusual mix of classic documentary images of Rio de Janeiro and casual shots of Mr. Harvey’s personal experiences there, including photographs of his “muses” — several Brazilian women who assisted him.

david alan harvey – videos

“This was pure intimidation,” Dalglish said, adding that “it’s clear from the circumstance that the journalist did nothing wrong.” Biden Press Secretary Kendra Barkoff would not speak on the record with Capital News Service. A message left for Dana Rosenzweig, the staffer who asked that the photos be deleted, was not returned.

(based on a true story) review

When you do, you find that David Alan Harvey has accomplished something that writers have been itching to do for a decade or more but have not accomplished – he has broken down the last wall, taken us to the place where he has been, where he still is, as the creator, the photographer, and, most importantly, as the editor. 

Jim Estrin – Conversation

A Conversation with Jim Estrin, New York Times Lens Blog   David Alan Harvey: You will be the third photographer in a row that I have interviewed, who I know as photographers and who have evol…

JE: There are multimedia platforms for story telling that weren’t available. I love working at the New York Times but for the first half, actually the first fifteen years of my career at the Times, I wasn’t the story teller, even if it was a story I came up with. I was an illustrator, someone else told the story. Now, I can tell the story. I can tell the story with audio, with video, with writing on the web, in a blog… DAH: Jim, you have really hit the nail on the head better than anybody, and that is the truth. That is the truth of the new media because you and I, when we first started in the business, even though we had salaries, I was also at least three people removed from my audience. You are nobody removed from your audience. You might have an audience of fifteen, but you’ve got fifteen people who know YOU. And actually who you are as a photographer, see, because I had a couple of editors interpreting theoretically to readers whoever DAH was. I had to convince Jack Hunter, one crusty embittered guy on the city desk of my newspaper, that this was in fact a good picture to get published. I mean I had to get to one guy who hated photography to “get” my picture…

David Alan Harvey comments on behalf of the Magnum Cultural Foundation — duckrabbit

I thank him for being open and he invited questions so massive respect for that. I hope this is not...

Also a bit confused about how some think Larry needs to respond or spend his personal time. For example, why can’t Larry go a a Magnum business meeting, take his wife to dinner, have a beer at the local pub, talk or not talk about Afghanistan, and still be very responsible with funds donated by believers in his craft so proven over so many years? I think no matter how many stones one wants to uncover, the motives of Larry Towell are going to come up clean.

48 Years Up (and Down) at the Geographic

William Albert Allard didn’t play by the rules. But he cobbled together a half century with National Geographic. David Alan Harvey explores how.

The core of it is that I went out for myself. I went out there to satisfy me. Because I felt if I can satisfy myself, the magazine is going to benefit. I made a lot of mistakes. But I wasn’t afraid to fail. You can’t be afraid to fail and grow and get better. You’ve got to be willing to risk.

Titled 'Burn,' but Printed on Paper

Having met with success online, David Alan Harvey was ready to gamble on a really risky medium: books.

When David Alan Harvey started his online Web journal Burn in 2008, there were few opportunities for emerging photographers to display their work to a broad audience. Today, thanks partly to Burn, they have numerous showcases on the Web. Now, building upon his online success, Mr. Harvey has embarked on a truly innovative enterprise: publishing on paper.

David Alan Harvey (Burn Magazine): In Conversation

The key for photographers today is that they must be idea people. Concept people. It is no longer any advantage to have technical skills. Today one needs idea skills, to really have something to say, either journalistically or artistically. I see photography as a language far, far from dead. In my opinion, just being born. I look for visual literacy in a body of work. The makers must be visually literate and the audience must be visually literate as well. Seeking this happy medium of literacy from creator to audience is a full time preoccupation that will never end. However, the pursuit of this ideal is in and of itself an art.