I also met Chim during the war, first in New York and then in Paris, where he wound up working in intelligence. I became very close to Cornell Capa who was essential to the continuation of Magnum after his death. I met him in 1930, he died in вЂ54 on May 25. I called him my Hungarian brother, and I knew Robert Capa very well during the last 15 years of his life. It was not called Magnum, it was just an idea that photographers should benefit more from the sale of their work. It was from Capa that I first heard of his dream of a picture agency. He had already covered the Spanish civil war. I met Robert Capa just when the war in Europe was starting. I knew all the founders of Magnum, even before they knew each other. YouвЂ™ve known Magnum from the very beginning, how do you recall that time? But then eventually picture editing became editing from contacts. In the beginning, at LIFE they didnвЂ™t bother with making contact prints in the dark room, a choice of negatives would be made either by the photographer or by the lab person and enlargements would be given to the department managing editor. Even though I was quite young, I was privileged to work in the field with a photographer sometimes, actually shooting the story and often looking at the contact prints. And through LIFE primarily and its other competitors like Look, the profession of photo editor evolved.ДЄt LIFE, where I grew up, the photo editors would receive, for example, a sports story and then do a preliminary edit, and show that preliminary editing to an assistant managing editor who then would decide which stories could be used that week, so it was a complicated process. Every young photographer, every young person who had a camera wanted to be a LIFE photographer, where you could actually photograph the real world and tell stories in pictures. And then LIFE magazine came along in 1936 and got people excited about photojournalism, and photojournalism became a glamorous profession. Newspapers seldom had photo editors per se, the large ones had a director of photography in charge of the photos but the editing was done on the desks by news editors. Photo editors originally worked with publications. The role of a photo editor has changed in some respects because the media has changed. What was the photojournalism world like when you started out, and how has the role of the photo editor changed? monthly LadiesвЂ™ Home Journal, Executive Editor of Magnum Photos, Assistant Managing Editor for Graphics of The Washington Post and Picture Editor of The New York Times, as well as going on to work as the European correspondent of National Geographic. He worked as LondonвЂ™s photo editor for the weekly picture magazine LIFE вЂ“ which celebrated its 80th year as a photo-led magazine in November 2016 вЂ“ throughout WW2, and then after the war became picture editor for U.S. He oversaw the production of the 11 images that survived a lab assistantвЂ™s processing incident in which most of the rolls were destroyed. The American-born photo editor was who Robert Capa sent his rolls from the D-Day landings to. Morris is responsible for the proliferation of some of the most iconic photos in the history of photojournalism. In October 2016, the venue played host to an evening that gave credit to John Morris for his role in placing into our collective memory images that would come to define public understanding of WW2 and later the war in Vietnam, amongst many other important moments of the past century. LondonвЂ™s Frontline Club вЂ“ a membersвЂ™ club for war journalists, photographers and other members of the media covering conflict вЂ“ was the ideal venue to honour the lifeвЂ™s work of one of the industryвЂ™s most prolific photo editors. *This article was originally published in November 2016.

Picture editor