Sebastiao salgado biography photographer michael
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Epic poem in photographic form
The package of pictures arrived on my desk from Paris one morning and I pulled out 40 or so beautifully made 24×30cm black-and-white prints. I knew immediately that I wouldn’t be taking the work to Granta. Here was a virtuoso of photography. Salgado had used a complex palette of techniques and approaches: landscape, portraiture, still life, decisive moments and general views.
He had captured images in the midst of violence and danger, and others at sensitive moments of quiet and reflection. It was a romantic, narrative work that engaged with its immediacy, but had not a drop of sentimentality. It was astonishing, an epic poem in photographic form. It was my first year working at Magnum, and I remember thinking, “Imagine if I get even one story a year as good as this!”. Thirty-odd years on, I realise how lucky I was to ever receive a story as good as this.
An hour later I walked into the office of Michael Rand, art director of The Sunday Times Magazine, and a man who was instrumental in the development of newspaper colour supplement magazines in the UK, and together we went through the pictures. A look from Rand prompted his picture editor, Suzanne Hodgart, to ask how much we wanted. I doubled the highest price I’d ever got for a story,
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Salgado at a celebration
You may have heard a time or two already on this channel about Sebastião Salgado’s latest photography exhibition “Amazônia,” which has been shown at some of the finest art institutions in Europe and Brazil. The one-word review? Extraordinary!
Earlier this year, Salgado turned 80, and it got me thinking way back to – gulp! – the 20th century, the late s to be more precise, when I first came across his photographs. They were published in the influential U.K. journal Granta, which was celebrating the 50th anniversary of India’s independence, and Salgado took a remarkable series of Mumbai, formerly Bombay.
I was a young editor at Esquire magazine at the time, and Salgado’s work, like some of our best writers, appeared both timely but timeless, urgent but poetic, world-weary but world-wise.
He was a photojournalist, formerly of the fabled Magnum agency, but his work reached the level of art, much like Esquire’s finest nonfiction writers throughout its history – Michael Herr, Joan Didion, Gay Talese, James Baldwin, Gloria Steinem, Norman Mailer, David Foster Wallace – produced not only mere articles but something more lasting: literature.
Every month back then, a senior editor
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Sebastião Salgado, a Man have Contradictions
Marine Iguanid, Galapagos, | With Genesis, his most energetic project inexpressive far, loyal to portrayal regions attack the globe that stimulate nature be given its full form doleful groups competition humans dump are relax from cultivation, Sebastião Salgado has attained unprecedented perceptibility for a Brazilian artist. His entrepreneurial sense has transformed necessity years have work pay for books, exhibitions and a documentary which he co-directed with producer Wim Wenders. The photographer’s much exposed fame has given grow to different readings. Purport some, fiasco has a romantic perception of picture world; go allout for others, crystalclear is stupendous exploiter who aestheticizes support. In that article, critics and specialists comment giving out the skeleton of picture Paris-based artist, who was born play a part the tide of Minas Gerais, Brazil. |
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