richer analysis. Yet the catalogue is concerned with Magnum’s images, its famous personalities, and especially its ontology. One of the last sections of the book offers free-form poetry, plucked from the archives, on the theme of ‘Magnum is’. Over the years, its members have completed the sentence with ‘a miracle’, ‘an ethics’, ‘a canon’, ‘an anachronism’, and ‘a continuous desire by a group of people to stay fresh in their work’. These snippets are employed to pay homage to the agency, but they also reveal decades of discussion about the business of photojournalism during a period of tremendous economic, political, cultural, and technological change. Ultimately, historians of photography will find that Magnum Manifesto does little more than evoke these histories (lowercase, plural) in passing. Like all manifestos, then, perhaps its greatest value lies in revealing just how much work remains to be done.

中文翻译：

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记录世界：电影、摄影和科学记录

更丰富的分析。然而，目录关注的是玛格南的图像、著名的人物，尤其是它的本体论。这本书的最后一部分提供了从档案中挑选的自由形式的诗歌，主题是“Magnum is”。多年来，其成员用“奇迹”、“伦理”、“经典”、“时代错误”和“一群人对工作保持新鲜感的持续渴望”完成了这句话。这些片段被用来向该机构表示敬意，但它们也揭示了在经济、政治、文化和技术发生巨大变化的时期，几十年来关于新闻摄影业务的讨论。最终，摄影史学家会发现，Magnum Manifesto 只不过是顺便唤起了这些历史（小写、复数）。就像所有的宣言一样，那么，