Editing Inge Morath (section)

==Middle years (1945–1962)==
[[Image:Im mrsnash.jpg|thumb|left|Mrs. Eveleigh Nash, London, 1953]]
After the war, Morath worked as a translator and journalist. In 1948, she was hired by Warren Trabant, first as Vienna Correspondent and later as the Austrian editor, for ''Heute'', an illustrated magazine published by the Office of War Information in [[Munich]].<ref>{{Cite web |last=AnOther |date=2018-11-15 |title=The Extraordinary Life and Work of 20th-Century Photographer Inge Morath |url=https://www.anothermag.com/art-photography/11322/the-extraordinary-life-and-work-of-20th-century-photographer-inge-morath |access-date=2023-06-27 |website=AnOther |language=en}}</ref> Morath encountered photographer [[Ernst Haas]] in post-war [[Vienna]], and brought his work to Trabant's attention.<ref>Trabant, Warren. ''Letter to Alex Haas''. Unpublished: August 1987. Ernst Haas Archive.</ref> Working together for ''Heute'', Morath wrote articles to accompany Haas' pictures. In 1949, Morath and Haas were invited by [[Robert Capa]] to join the newly founded [[Magnum Photos]] in Paris, where she started as an editor. Working with contact sheets sent into the Magnum office by founding member [[Henri Cartier-Bresson]] fascinated Morath. "I think that in studying his way of photographing I learned how to photograph myself, before I ever took a camera into my hand."<ref>Morath, Inge. ''I Trust My Eyes (Manuscript for Berlin Lecture)'', page 15. Unpublished: date unknown. Inge Morath Foundation.</ref>

Morath was briefly married to the British journalist Lionel Birch and relocated to London in 1951. That same year, she began to photograph during a visit to [[Venice]]. "It was instantly clear to me that from now on I would be a photographer", she wrote. "As I continued to photograph I became quite joyous. I knew that I could express the things I wanted to say by giving them form through my eyes."<ref>Morath, Inge. ''I Trust My Eyes (Manuscript for Berlin Lecture)'', page 17. Unpublished: date unknown. Inge Morath Foundation.</ref> Morath applied for an apprenticeship with Simon Guttman, who was then an editor for ''[[Picture Post]]'' and running the picture-agency Report. When Guttman asked what Morath wanted to photograph, and why, she answered that "after the isolation of [[Nazism]] I felt I had found my language in photography."<ref>Morath, Inge. ''I Trust My Eyes (Manuscript for Berlin Lecture)'', page 18. Unpublished: date unknown. Inge Morath Foundation.</ref> After Morath had spent several months working as Guttman's secretary, she had an opportunity to take photographs. She sold her first photographs - of opening nights, exhibitions, inaugurations, etc. - under the pseudonym "Egni Tharom", her names spelled backwards.<ref>Morath, Inge. "About Myself", in ''Inge Morath: Life as a Photographer'', page 15. Munich: Gina Keyahoff Verlag, 1999.</ref>

Morath divorced Birch and returned to Paris to pursue a career in photography. In 1953, after Morath presented her first large picture story, on the [[Worker Priest]]s of Paris, to Capa, he invited her to join Magnum as a photographer. Her first assignments were stories that did not interest "the big boys." She went to London on an early assignment to photograph the residents of Soho and Mayfair. Morath's portrait of Mrs. Eveleigh Nash, from that assignment, is among her best-known works.  At Capa's suggestion, in 1953–54, Morath worked with Cartier-Bresson as a researcher and assistant.  In 1955 she was invited to become a full member of Magnum Photos. During the late 1950s, Morath traveled widely, covering stories in Europe, the Middle East, Africa, the United States, and South America, for such publications as ''[[Holiday (magazine)|Holiday]]'', ''[[Paris Match]]'', and [[Vogue (magazine)|''Vogue'']].<ref>{{Cite web |date=2022-12-17 |title=Inge Morath: INGE MORATH HOMMAGE {{!}} MONOVISIONS - Black & White Photography Magazine |url=https://monovisions.com/inge-morath-inge-morath-hommage/ |access-date=2023-06-27 |language=en-GB}}</ref> In 1955 she published ''Guerre à la Tristesse'', photographs of Spain, with [[Robert Delpire]], followed by ''De la Perse à l'Iran'', photographs of Iran, in 1958. Morath published more than thirty monographs during her lifetime.

Like many Magnum members, Morath worked as a stills photographer on numerous [[motion picture]] sets. Having met director [[John Huston]] while she was living in London, Morath worked on several of his films. Huston's ''[[Moulin Rouge (1952 film)|Moulin Rouge]]'' (1952) was one of Morath's earliest assignments, and her first time working in a [[film studio]]. When Morath confessed to Huston that she had only one roll of [[color film]] to work with and asked for his help, Huston bought three more rolls for her, and occasionally waved to her to indicate the right moments to step in with her camera.<ref>Morath, Inge. ''I Trust My Eyes (Manuscript for Berlin Lecture)'', page 22. Unpublished: date unknown. Inge Morath Foundation.</ref> Huston later wrote of Morath that she "is a high priestess of photography. She has the rare ability to penetrate beyond surfaces and reveal what makes her subject tick."<ref name="Morath 1986">Morath, Inge. ''Portraits'', New York: Aperture Foundation, 1986.</ref>

In 1959, while photographing the making of ''[[The Unforgiven (1960 film)|The Unforgiven]]'', starring [[Audrey Hepburn]], [[Burt Lancaster]], and [[Audie Murphy]], Morath accompanied Huston and his friends duck hunting on a mountain lake outside [[Durango]], Mexico.<ref>{{Cite web |title=Inge Morath Remembered {{!}} Magnum Photos Magnum Photos |url=https://www.magnumphotos.com/theory-and-practice/inge-morath-in-commemoration/ |access-date=2025-03-02 |website=Magnum Photos |language=en-US}}</ref> Photographing the excursion, Morath saw through her [[telephoto lens]] that Murphy's companion had capsized their boat {{convert|350|yd|m|abbr=on}} from shore. She could see that Murphy was stunned, and the men were struggling. A skilled swimmer, Morath swam out, stripped down and used her bra straps to haul the two men ashore .<ref>{{cite web|url=http://www.time.com/time/magazine/article/0,9171,892368,00.html|archive-url=https://web.archive.org/web/20070930092433/http://www.time.com/time/magazine/article/0,9171,892368,00.html/|url-status=dead|archive-date=30 September 2007|title=Epic in Durango|work=TIME Magazine|date= 23 March 1959}}</ref>

[[Image:Im misfits.jpg|thumb|right|Marilyn Monroe, dancing with [[Eli Wallach]], and Clark Gable, rehearsing a scene during the filming of ''The Misfits'', 1960]]
Morath worked again with Huston in 1960 on the set of ''[[The Misfits (1961 film)|The Misfits]]'', a film featuring [[Marilyn Monroe]], [[Clark Gable]] and [[Montgomery Clift]], with a screenplay by [[Arthur Miller]]. Magnum Photos had been given exclusive rights to photograph the making of the movie, and Morath and Cartier-Bresson were the first of nine photographers to work on location outside [[Reno, Nevada]] during the process.<ref>{{cite book|author=Serge Toubiana and Arthur Miller|title= The Misfits: Story of a Shoot|publisher= New York: Phaidon, 2000}}</ref><ref>Inge Morath, ''The Road to Reno''. Göttingen, Steidl, 2006</ref> Morath met Miller while working on ''The Misfits''.