- Hardcover: 432 pages
- Publisher: Aperture; 1st edition (2000)
- Language: English
- ISBN-10: 0893818917
- ISBN-13: 978-0893818913
- Product Dimensions: 13.2 x 10 x 1.5 inches
- Shipping Weight: 7.3 pounds
- Average Customer Review: 12 customer reviews
- Amazon Best Sellers Rank: #1,624,440 in Books (See Top 100 in Books)
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Sebastião Salgado: Migrations: Humanity in Transition 1st Edition
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Salgado, a former economist who worked briefly for the World Bank and the IMF, but left to become a photographer because he thought he could do more for the world's poor through photography, has undoubtedly succeeded. It is hard to imagine a more powerful statement than his photographs. I was fortunate enough to see the exhibit of these photographs at the Museum of the Universe in Rio de Janeiro the day before the exhibit closed, August 5, 2000. I also saw a slide show of "Migrations" set to music in the museum's planetarium. I was overcome by any of the photographs and moved to tears.
I was fortunate enough to meet Salgado during a lecture he gave during the exhibit of "Workers" at the Philadelphia Museum of Art in 1993. While I cannot pretend to know a person after one brief meeting, he struck me as humble, brilliant, and perceptive, just like his photographs. Several centuries from now we will look at Salgado's photographs like we now look at Rembrandt's self-portraits: searing, penetrating images into the depths of the human soul.
Sebastio Selgato has truly outdone himself with this book--indeed, a masterpiece. Selgato, in my opinion, is the world's finest photojournalist to begin with, but "Migrations" not only is an extension of is past work, but actually surpasses it.
The composition and imagery is outstanding and the printing done by masters. I understand that Selgado does not do his own printing, but works with a team of printers. They did a splendid job printing some of the most evocative images I have yet to see.
I'm reviewing the first edition hardcover published by Aperture. It's a high quality edition, and in my opinion preferable to the later paperback edition. The printing and binding is excellent and the reproduction of the images is strong. Aperture always impresses with their attention to detail. It's a vertical format book, and some images are split across the spine, but I found it less distracting than in "Genesis" - perhaps this is due to the binding.
The book is large-format and nearly matches Saldado's "Workers" hardcover exactly. They make a good pair on the shelf. If you're a Salgado fan and wonder about the switch from Aperture to Taschen for Genesis - the Taschen volume is slightly taller, so it doesn't appear a companion to "Migrations" and "Workers."
Lastly, the book includes a caption booklet/pamphlet which is folded in to the end page - it includes location and information on every image in the book.
***If anyone would consider taking photos of the caption booklet and sharing them, I would greatly appreciate it. My copy does not include that booklet and I'd love to print it out on my own and fold it in*** Thanks.
But you must also take a step back at some point and remember what it is you are seeing: misery and suffering and depravity on a unbelievable scale.
And that is the tension within Salgado's work and the source of the criticism of much of his work.
His photographs of the Brazilian gold mines are unforgettable and feel as if you were witnessing something biblical. His photograph of the refugees in the Sudan, starving huddled under a tree with the sun streaking in behind them is a painting, of unparrelled mastery of light and shadow and raw human misery. His photograph of the a mother bouncing a her baby girl on her lab in a refugee camp for victims of Rawandan's genocide, the steam rising from the pot next to them, the sun rising over the mountains in the back, the other refugees shivering with their coats over their heads, and the little baby and her mother smiling broadly -- it is haunting.
Salagado is a master -- there is no question about it. From someone who dreamt of being a photographer himself, when I saw his pictures for the first time, my immediate feeling was to throw away my camera. There was no competing. He is the best and the standard by which all photographer working today are to be judged against.