“I’m too much of an artist to be a photojournalist, and I’m too much of a photojournalist to be an artist. I feel stuck in the middle.” This is how Cristina de Middel, a leading figure at Magnum Photos, describes her own stance after attending a masterclass tied to the 17th Luís Ksado Prize for Photographic Creation at the Ágora Center in A Coruña. The artist, who won the National Photography Award in 2017, talks about her work, the press, the audience, and why it matters to tell events from a different lens.
President of Magnum, this global agency is a storied name in photography. The history behind Magnum is long and influential, making its current leadership a significant responsibility. The agency has endured through dramatic changes in the industry. It remains essential to honor its legacy while continuing to evolve with the talent it has always fostered. Challenges are constant, and occasionally the structure must be tested and reshaped.
How did the opportunity come about?
The president of Magnum is elected by photographers who become members and vote for new entrants and for the president. It felt to many that the choice was made when the candidate joined the cooperative. Impressions of imposter syndrome can surface, yet there is also a sense that the chosen leader embodies a bridging role. A respect for documentary work runs deep, and that mindset has long guided the organization. Opening minds to new languages and technologies often arises outside the core photojournalism sphere.
Photography has undergone numerous shifts, from monochrome to color and from analog to digital. What are the current challenges?
The evolving press landscape, with digital platforms accelerating consumption, has led to a more superficial tempo in many outlets. Competition with citizen journalism and content-driven clicks presents a real test. Magnum has always prioritized long-term storytelling, favoring a connection with subjects that endures beyond a single shoot. The challenge now is to keep the agency’s identity intact in an ecosystem that often prioritizes speed. This may involve new forms of support, such as scholarships or patronage, to ensure thorough, sustained documentation. A notable concern today is the impact of Artificial Intelligence on the field.
What effect does AI have? The public sometimes conjures dramatic images, like a pope in a white anorak, but the reality is subtler. Magnum’s approach has never aimed at speed; it values the artist’s voice. If today’s photographs are needed quickly, other outlets can supply them. Magnum emphasizes careful, collaborative work that respects the photographer’s personal perspective. Many Magnum projects operate outside mainstream markets and often remain unseen on typical publication cycles.
Getting into Magnum is challenging, and there are three Spaniards among its members, all of them women.
It is not a coincidence that three Spanish members are women. This balance traces back to the early years and has grown as more women joined, influencing how projects are presented and evaluated. A more inclusive environment tends to yield work that resonates differently and is perceived as more credible.
Is equality still far off? Yes, progress remains uneven. Achieving equality within Magnum mirrors the broader societal reality. The agency seeks to meet market demand while expanding opportunities for women’s perspectives and storytelling.
You’ve tackled major human themes—migration, conflict, and vulnerable work—without melodrama. How is that achieved?
Drama rests in the human experience captured in each frame. The photographer chooses to emphasize empathy through nuance rather than guilt, recognizing that audiences may become desensitized. Media outlets bear some responsibility for shaping perception, but the responsibility ultimately lies with viewers to engage thoughtfully. Humor and admiration can reawaken interest and compassion, offering an alternative to sensationalism.
How does one gain access to the lives of the people photographed to convey this?
The approach isn’t about entering lives to “save” people. Early work sometimes framed outreach in problematic terms. The focus now centers on how audiences interpret stereotypes and prejudices. This becomes the backbone of the work, guiding how misperceptions are challenged and clarified through visual storytelling.
Currently, the exhibition Letters to the Director in Madrid marks a significant phase in the artist’s career. Rather than a return to old modes of journalism, there is a gradual shift toward new forms such as video and drawing, with the imagery leaning more on color and composition. After more than a decade away from traditional press work, there is a sense of moving beyond the newsroom into broader creative exploration, while still preserving a distinctive eye for documentary vision. The evolution reflects a commitment to exploring storytelling across media, with personal perspective intact and a continued emphasis on meaningful, long-term projects.