Photography is another thing. Photography is the memory of the society that we’re part of. And the bigger problem with the smartphone is that it goes to your archive that you never use anymore. Sometimes you lose everything, sometimes, you drop into the cloud and don’t use it anymore. Photography is tangible. You touch it, have it in your hands, see it repeatedly, and I can do nothing from the smartphone.
We’ve become such a 24/7 moving world with a constant stream of news and sound and pictures,” writes Light. “And the wonderful thing of a still photograph is you get to linger, you get to stop, you get to look, you get to think, you get to react, and it is a very different experience.
The duty of a photojournalist, according to many, is to remain detached in a moment of crisis, to compartmentalize scenes of violence and war from the goings on of everyday life. As suggested by Italian journalist Mario Calabresi in his extraordinary book Eyes Wide Open, however, the best storytellers are those who allow themselves to be submerged within often painful events, to forgo absolute objectivity in favor of something rarer: a precarious marriage of impartiality and intimate involvement. In interviews with ten photographers who have not only documented but in many ways shaped the course of history—Steve McCurry, Josef Koudelka, Don McCullin, Elliott Erwitt, Paul Fusco, Alex Webb, Gabriele Basilico, Abbas, Paolo Pellegrin, and Sebastiao Salgado— Calabresi peels back the layers that lie behind iconic images to reveal the nuances of each frame and the living, breathing people who stood behind the lens.
As suggested by Italian journalist Mario Calabresi in his extraordinary book Eyes Wide Open, however, the best storytellers are those who allow themselves to be submerged within often painful events, to forgo absolute objectivity in favor of something rarer: a precarious marriage of impartiality and intimate involvement. In interviews with ten photographers who have not only documented but in many ways shaped the course of history—Steve McCurry, Josef Koudelka, Don McCullin, Elliott Erwitt, Paul Fusco, Alex Webb, Gabriele Basilico, Abbas, Paolo Pellegrin, and Sebastiao Salgado
As Taschen republishes Sebastião Salgado’s classic reportage from the Serra Pelada gold mine, a former Magnum director recalls the day it first landed on his desk
As Taschen republishes Sebastião Salgado’s classic reportage from the Serra Pelada gold mine, a former Magnum director recalls the day it first landed on his desk
As one of the main cultural projects of the 2016 European Green Capital, the Jakopic Gallery of Ljubljana is presenting the exhibition Genesis, a project by the world-renowned photographer Sebastião Salgado.
Salgado the photographer was rejuvenated. He began work on Genesis, an eight-year magnum opus documenting the incredible beauty of the planet, rather than its tragedies. Along the way, he asked film directors Wim Wenders and Juliano Ribeiro Salgado, his son, to accompany him on some of his Genesis trips. From these journeys, “Salt of the Earth” was born. The film joins Juliano’s Genesis footage with interviews Wenders conducted with Salgado in a dark room, through a two-way mirror, as the photographer analyzes his own work.
In a wide-ranging interview, Sebastião Salgado discusses a new documentary that tracks his path from childhood in Brazil to witnessing some of the greatest stories of his age.
Listen, I am not a social photographer. I am not an economic photographer. I’m not a photojournalist. Photography is much more than that. Photography is my life. It’s my way of life, and my language. I went to photograph the things that I had a great curiosity to see and to organize. I felt a certain revulsion, and a compulsion to show that others also have dignity, that dignity is not an exclusive property of the rich countries of the north but exists all over the planet. That’s what photography was for me, my language, my life and my way of going about and doing things
“Genesis,” debuts in the United States today, September 19, at International Center of Photography (ICP). “The result of an eight-year worldwide survey, the exhibition draws together more than 200 spectacular black-and-white photographs of wildlife, landscapes, seascapes, and indigenous peoples—raising public awareness about the pressing issues of environment and climate change,” ICP said in a statement about the exhibition.
Written by Kevin Purcell An interesting free offer that TOP readers might like to try: Sony and DxO together are offering Film Pack 3 Essential for free download for Mac or Windows. It previously cost $79. It runs as a…
This workflow lets him shoot digital images that look identical to his film images and result in a silver halide archival print and an archival negative (that can be printed from in the future).
Economics PhD Sebastião Salgado only took up photography in his 30s, but the discipline became an obsession. His years-long projects beautifully capture the human side of a global story that all too often involves death, destruction or decay. Here, he tel
Economics PhD Sebastião Salgado only took up photography in his 30s, but the discipline became an obsession. His years-long projects beautifully capture the human side of a global story that all too often involves death, destruction or decay. Here, he tells a deeply personal story of the craft that nearly killed him, and shows breathtaking images from his latest work, Genesis, which documents the world’s forgotten people and places.
Salgado, who spent much of the past nine years trekking to the last wild places on earth to take the pictures collected in his new photography book, Genesis (Taschen; 520 pages), a window into the primordial corners of creation.
I attended National Geographic’s annual Photo Seminar last week. What started in 1967 as a way for photographers to informally gather and talk about their work (one attendee described it as an after the holidays palate cleanser), has become an annual rite
Finally, Sebastião Salgado whose passion and devotion to photography and planet surely cannot be matched delivered the perfect summation of what I just witnessed: “Photography is the most powerful language ever created in the modern world”
For his latest epic project, Genesis, photographer Sebastião Salgado spent eight years documenting parts of the world untainted by modern life. Here, he shares the images he took of the nomadic Nenets of northern Siberia
“For his latest epic project, Genesis, photographer Sebastião Salgado spent eight years documenting parts of the world untainted by modern life. Here, he shares the images he took of the nomadic Nenets of northern Siberia
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I must carry very, very good shoes. I use one American sandal called Keens. They are very good. With them, I can cross the river. It’s more important for a photographer to have very good shoes than to have a very good camera. Because you walk a lot. A lot, a lot, a lot!
Seeking a pristine land untouched by humanity, Sebastião Salgado photographed the Arctic National Wildlife Refuge in northeastern Alaska. Porcupine caribou, named for the Porcupine River, on the flatlands between Kaktovik village (on the Arctic Ocean coast) and the Brooks Range mountains.
