A couple more for you buddy... "You have done work in the inner city/ghetto... did it take time for your subjects to "warm up to you" or did you feel comfortable with the subjects right away. Did you feel that you had total "freedom" to use your camera as you wished or were the dynamics tricky at times?" "How well do you get to know your subjects when shooting in a situation such as the inner city? Do you spend some time to learn about their individual situation and their life? I suppose that time would vary depending on the "vibe" that you get from the individual, is that the case?" "Do your personal feelings and political view's take center stage when developing the visual story and do they drive that story... or do you go into the situation with a rough idea or outline of the content and then form the story as you go?"

Was mir zunächst bei Magnum Fotografen auffällt ist, dass es viele von ihnen fertigbringen, in ziemlich extremen Situationen Bilder zu machen, auf denen Personen sehr stark rüberkommen. Der Fotograf schafft es, sich den Menschen so vertraut zu machen, dass sie ihn nah ran lassen, keine Maske oder Show präsentieren sondern sehr intensiv 'bei sich' sind. Ich kann mir denken was man dafür braucht: sehr viel Zeit, Geduld, Bereitschaft sich auf Menschen einzulassen verbunden mit gestalterischem Talent und Beherrschung der fotografischen Technik sowie ein gutes Händchen bei Editing und Montage. Trotzdem wäre das meine erste Frage, nicht nur an Simon Wheatley sondern beispielsweise auch an Jonas Bendiksen: wie hat der jeweilige Fotograf das konkret gemacht? Was waren seine Schritte, wie ist die Vertrauenssituation gewachsen? Ich kann mir übrigens vorstellen, das man bei dieser Frage sensibel und geschickt nachhaken muss. Denn um ehrlich zu sein: wenn mir eine solche Vertrauenssituation gelänge, würde ich das hüten wie einen Schatz und nicht einfach in einem Interview preisgeben.... Zweite Frage: warum wählen so viele Magnum Fotografen (nicht nur Magnum übrigens...) so extreme Situationen um an das Menschliche im Menschen ranzukommen? Ist das Extreme an sich interessant? Wird Menschliches in solchen Situationen besonders sichtbar? Ich selbst bin davon überzeugt, dass man Geschichten und Menschen, die der Mühe wert sind, auch im ganz normalen Alltag finden kann. Ist das dort schwerer zu finden als im Extremen? Oder ist ein journalistisches Ethos im Spiel, das einen bewegt, der Welt die Extreme zu zeigen weil jemand es einfach machen muss (den Eindruck habe ich z.B. bei Geert van Kesteren in 'Why Mister Why'). Also insgesamt zwei Fragen, auch wenn's sich mehr anhört ;) Mir selbst sind beim Fotografieren übrigens Respekt, Behutsamkeit und Vertrauen wichtig, nicht weil ich mich für einen 'Gutmenschen' halte, sondern weil ich meine auf andere Weise entstandenen Bilder meistens weniger überzeugend finde. So auf Leute zustürzen und sie abschießen wie Bruce Gilden das macht: das könnte ich nicht - auch wenn ich eine gewisse Bewunderung dafür habe. Herzlichen Gruß und viel Erfolg beim Interviewen, Norbert

was mich schon immer interessiert hat ist die Frage wieviele der Magnum Fotografen die Fotografie als "Ausbildungsberuf" gelernt haben und wieviele quasi als Autodidakt aus ursprünglich anderen Berufen kommen.

As for the questions for a Magnum photographer - what is the planning process before committing to a long term project? Is there one? What kind of research does a photographer need to do? Do you look at the work that has already been done on that subject? If you do, how does that impact the way you decide to approach a particular subject?

I think what he himself thinks is interesting would be interesting; that would typically be the things he realized or put a lot of work into making work. And often it would also summ up what make him loving what he does. Very interesting to know. The daily worklife is very intersting. Does he prepare a lot, is there special moments he create - and thoughts on films and equipment of course. Thoughts on selection of pictures (often one find ones own selection of pictures is different than an editors, etc). The article in NY Times on the wedding photographer using Leica and Noctilux was interesting in the way it told what he had found to be successfull for him and which also turned out to be his own style then. I recognize that in my own stuff and I always look for such "realizations" by others to learn from them.

I think it's pretty interesting stuff. I'm intrigued by themes such as inner city life and poverty (it looks like he might at least touch on these). Hence, I would be more interested in asking about his motivations, his techniques to get 'in' with the people and to capture them whilst they are acting naturally. Sorry for not asking technical Q's... I'm a psychologist, so I guess it shows.

Seemed a pretty good portfolio to me. I'd be interested in knowing how he gains the trust of his subjects. Steve

Sounds interesting! I always think it's interesting to hear how their workflow is. Does he shoot jpeg, raw or film? What are his thoughts on postprocessing? Which equipment he use of course. I am sure there are other that have a lot of good suggestions as well.

Hi Martin, here are some questions I would find interesting... -- How can one imageine the daily work-life of a Magnum photographer? Do you take pictures every day? What do you do if you don't take pictures? -- How do you chose what you photograph? Does the agency give you a certain assignment which you have to do, or can you chose between different assignments? -- What is your approach if you assign yourself to a project? Do you ask the agency if it sees a chance it might be marketed or don't you care and just do it? -- Of all work you do, which percentage is self-assigned, personal projects and which percentage are you assigned to by the agency? -- Are there assignments you would refuse to do or have done so in the past, and for what reasons? -- What do you think are the major benefits for you as a photographer now that you're with Magnum? -- Do you process and edit your photos yourself and if not, who does and how much influence do you have in it? -- Ok, that's all I can think of for now, lots of very interesting questions already posted here by others!

I think the best weapon of a street photographer is the intuition, habitity and lucky, you think so?

Hallo Martin, hier kommen meine Fragen: • Was hat sich durch die Digitalfotografie für den Reportagefotografen geändert? Sind diese Änderungen eher positiv oder negativ für den Fotografen? • Warum sollte eine Redaktion ausgerechnet einen Magnum-Fotografen beauftragen, was ist der Unterschied zu anderen Agenturen? • Ist es gut, dass beim World Press Photo Award meist eine überdurchschnittlich hohe Zahl von Kriegs- und Elendsfotos unter den prämierten Fotos sind? • Wenn eine Redaktion einen Auftrag für eine Reportage ohne finanzielles Limit geben würde, was wäre das Thema der Reportage und mit welcher Technik (digital/analog) und Ausrüstung würde der Fotograf es umsetzen? • Man hört immer wieder: "Die Zeit der grossen Fotoreportagen ist vorbei". Stimmt das und wenn ja wird es ein Revival de Fotoreportage geben. Viele Grüsse aus München, Stefan

Hallo Martin, was du da ins Netz gestellt hast finde ich ganz ausgezeichnet! Bin seit dem Entdecken deiner NewYork Seite täglicher Besucher... Für deine Interviews würden mich Antworten zu folgenden Fragen interessieren: -Wie ändert sich durch die 11,12 und 16 MPixel DSLR die Arbeit? Interessiert die Fotografen die Mögklichkeit der sofortigen Kontrolle und/oder gibt es Fotografen, die gerade das ablehnen? -Wie wird die Magnum-Fotografie bewertet-als zeitgemäß, innovativ und frisch oder als konservativ in einem durchaus positiven Sinn. Gibt es eine umfassende Diskussion bei den Jahrestreffen über neue Darstellungsmöglichkeiten auch klassischer MagnumThemen (Krisenberichterstattung z.B.) - Wird das Abwandern von Kollegen zu anderen agenturen verständnisvoll oder ablehnend bewertet? -Haben die einzelnen Büros unterschiedliche Schwerpunkte in der Themenvergabe/-bearbeitung? - Arbeiten auch mehrere Fotografen an einem gemeinsamen Thema?

I would like to know: How Mr. Wheatley came into photography. Which photographers Mr. Wheatley was influenced by early in his career, and which, if different, influence him today. How Mr. Wheatley got through the "era of transition to digital." What some of Mr. Wheatley's earliest assignments were, how they were approached, and what, if anything, went "right or wrong" about them.

Hi Martin, I would like to know why a certain Magnum photographer uses a certain camera and lens combination. Is it the the image quality? Is it how good the photographer can approach or dive into a situation? Is it how well own image imagination and visualisation can be transformed into a photograph? -and: whether (s)he uses always the same equipment for any reason? (we all know that e.g. HCB used during his photographer life alway just his favorite equipment and most often at 'fixed' f8/125...)

Martin- Here are a few for you buddy... "As a "Magnum" fotographer, do you feel the need to follow the Magnum tradition in terms of the general visual style do you feel that you have the freedom to "break the mold", style wise and bring something new." "What influence is digital having on Magnum photographers. Have many made the switch to digital like Natchwey, Greenfield and others or are they still holding on to traditional film for their work." "What percentage of travel time is involved for the typical Magnum photographer?" "What do you see as the future direction for Magnum? Are Magnum photographers encouraged to help form that direction for the agency as a whole? I will post a few more later... Danke, dR

how do you research a series-- do you simply throw yourself into the situation and shoot, or do you live in the situation until you gain enough of people's trust to begin to shoot? For example with some of the more intimate shots you have in the series did you have to build up a certain rapore with the guys before you took photos of more private moments? do you have any qualms about shooting stuff like this (for your own safety)?

- What makes working at Magnum so special? - What equipment do you use (analog/digital)? - Your most thrilling experience while working for Magnum? - You travel alone or with an assistant? - Where are the limits of photo journalism for your? Where is your personal line you wouldn’t step over? - Do you need an assistent which you will pay really well and show all your tricks to? - when you shot the photo series published on your website, how did you start the project … did you just walk to some of the kids and asked them if you can take photos of them?