SEBASTIAO SALGADO

سيباستياو سالغادو
塞巴斯蒂昂萨尔加多
סבסטיאו סלגאדו
セバスチャン·サルガド
세바스티앙 살가도
Себастьяно Сальгадо

genesis

SEBASTIAO SALGADO 1

source: g1globo

É uma espécie de psicologia inversa. Em vez de mostrar geleiras derretendo, usinas soltando fumaça e animais banhados em petróleo, Sebastião Salgado desperta de um hiato de mais de dez anos sem exposições grandiosas para alertar sobre os mais graves problemas ambientais focando justamente naquilo que ainda há de belo e de intocado. O objetivo do fotojornalista é invocar a percepção de que ainda há muito a ser salvo em um planeta que insiste em preservar paisagens e vidas exuberantes apesar de toda a degradação proporcionada pela ação humana.

Gênesis, a nova mostra fotográfica de Salgado, chega ao Rio nesta quarta-feira (29) com 245 imagens capturadas em oito anos de viagens aos recantos mais selvagens do planeta. A exposição ficará até o dia 26 de agosto no Museu do Meio Ambiente do Jardim Botânico e depois vai para São Paulo, onde abre, no Sesc Belenzinho, no dia 4 de setembro.
A jornada para a composição de Gênesis, que foi inaugurada no Museu de História Natural de Londres em abril, começou em 2004 e durou até 2012. Salgado realizou 30 viagens utilizando aviões de pequeno porte, helicópteros, barcos e canoas para atingir os pontos mais remotos do planeta. Consagrado pelas exposições Trabalhadores (1986-1992) e Êxodos 1994-1999), o fotojornalista mantém na nova mostra sua característica mais marcante. As imagens são congeladas em preto e branco, aguçando as texturas e os contrastes em cenas impressionantes.
Com curadoria de Lélia Wanick Salgado, Gênesis é organizada em cinco seções, priorizando os diferentes ecossistemas visitados pelo fotógrafo.

Na região da Bacia do Xingu, no Mato Grosso, um grupo de indígenas Waurá pesca na lagoa Piyulaga, perto da aldeia.

Em Planeta Sul, Salgado mostra as paisagens da Antártica, englobando a Península Valdés, as Ilhas Malvinas, o arquipélago Diego Ramirez e as Ilhas Sandwich. O mundo gelado da parte meridional da Terra serve de habitat para pinguins, leões marinhos, baleias, albatrozes, pétreis-gigantes e cormorões.
A seção Santuários se concentra na singularidade de lugares como as Ilhas Galápagos, Nova Guiné, Sumatra e Madagascar. Paisagens vulcânicas, populações anciãs e a peculiaridade da fauna intocada dão o tom da amostra.
Em África, Salgado captura a vida selvagem do continente em países como Botswana, Ruanda, Congo e Uganda. Tribos da Etiópia e do Deserto Kalahari também são destacadas. Nessa seção, também são enfatizados os desertos da Líbia e da Nigéria.
O extremo norte da América e da Rússia aparecem na seção Terras do Norte. Além dos ursos polares, se destacam os registros da tribo Nenet, no norte da Sibéria, que resiste às mais baixas temperaturas do planeta.
A diversidade biológica dos trópicos aparecem na seção Amazônia e Pantanal. Além da flora e da fauna exuberantes, Salgado registra tribos isoladas, do Pantanal à região do Rio Xingu.
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source: avaxnewsme

Sebastião Salgado is a Brazilian documentary photographer living in Paris. He has produced several books, and his work has been exhibited extensively around the world. His latest work, «Genesis», premieres at The Natural History Museum in London on April 11, on view through September 8, 2013.

On South Georgia, a barren island in the far South Atlantic, a pair of southern elephant seal calves beckon before a colony of king penguins. “The male seals can grow to almost five tons,” says Salgado, “but these are just babies. This one looked at me with beautiful eyes”.

On one of several trips to the Sahara, Salgado encountered this slashing sand dune in southern Algeria.

In Siberia Salgado traveled with the Nenets, nomadic herders who move their reindeer every year more than 620 miles from winter pastures on the Russian mainland to summer grazing lands in the Arctic Circle. “Every five days they kill one reindeer,” says Salgado. “In order not to lose its blood they don’t cut its neck — they strangle it. We drank the hot blood inside the animal. Then they take off the skin because they need it as cover for their huts, for clothes and to make the lassos they use to catch reindeer.” Here the herd makes the 31-mile crossing of the frozen Ob River in Siberia while a caravan of sledges follows in their wake.

Caimans, lizards related to alligators, gather in the Pantanal, a vast wetland in western Brazil that spills into Paraguay and Bolivia. Though an estimated 10 million live there, they are considered an endangered species because of uncontrolled hunting.

Big Horn Creek in Kluane National Park and Reserve, located in a nearly inaccessible region of Canada’s Yukon Territory, near the border with Alaska.

Two black-browed albatrosses nestle while overlooking the Willis Islands near South Georgia, in the far South Atlantic.

A herd of hippopotamus wade in the Okavongo Delta in Botswana. Though Salgado preferred balloons over planes, they could be risky. “In the late afternoon you get ascendant currents of air that can be dangerous,” he says. “So we would start to fly at half past five in the morning and land at half past ten”.

A colony of chinstrap penguins mills about at the foot of Mount Michael, an active volcano in the South Sandwich Islands, in the far South Atlantic, where erosion has cut the volcanic ash into eerie crevices. “These landscapes are as alive as I am,” says Salgado. “One day I was walking around rocks near a volcano that were one day old. They had just become solid”.

Sea lions rest on shelves of compacted volcanic ash on Santiago Island, part of the Galapagos chain made famous by Charles Darwin.

The earth’s largest concentration of penguins inhabits tiny Zavodovski Island, one of the nine volcanic islands in the South Sandwich chain, in the far South Atlantic. A 1997 survey estimated that it’s home to about 750,000 chinstrap penguin couples as well as a large colony of macaroni penguins. The island’s active volcano is visible in the background.

Chinstrap penguins line up along an iceberg as it floats among the South Sandwich Islands in the far South Atlantic.

Salgado photographed these buffalo at Kafue National Park in Zambia from a balloon. “When you come with planes or helicopters you scatter the animals,” he says. “With a balloon you can come within two or three meters of an animal and even use a tripod, because it’s so quiet”.

Along Argentina’s Valdés Peninsula, a southern right whale flexes its mighty tail. “We became friends with one,” says Salgado. “She came to our boat every day. You could touch her”.
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source: festivalphoto-lagacilly

Ce projet est le fruit d’une réflexion sur notre planète qui se trouve en péril de destruction. Notre utilisation quotidienne de l’énergie nucléaire, sans avoir trouvé une solution aux effets secondaires qu’elle provoque, notre utilisation abusive de produits chimiques qui polluent massivement nos sols et nos sources d’eau, de plus, l’excès d’émanation de gaz carbonique générée par les indutries ainsi que la destruction des forêts tropicales, compromettent sérieusement la santé de la stratosphère et réduisent la photosynthèse qui fabrique l’oxygène, essentielle à notre vie. L’existence même de l’être humain est en danger.

C’est seulement dans certaines zones de notre globe, zones non explorées ou peu explorées, qu’il est possible de trouver la clé de nos origines en tant qu’espèce et une biodiversité presque intacte. Le but de ce travail photographique est de tenter de montrer le plus possible, l’état originel de notre planète : l’air, l’eau et le feu qui lui ont donné vie, les animaux qui ont résisté à la domestication, qui continuent à vivre à l’état sauvage, les tribus humaines qui vivent encore d’une façon très pure. C’est pourquoi nous avons intitulé ce projet « GENESIS ».

Ce projet est planifié sur huit années, durée pour une exploration à travers le monde,pour montrer une face vierge et pure de la nature et de l’humanité. Les images ici exposées sont une sélection des trois premières années de ce travail.

Lélia Wanick Salgado
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source: taringa

El minero fotógrafo Sebastião Salgado, de 69 años, viajó por más de 30 regiones extremas del mundo recogiendo imágenes de decenas de tribus aisladas, animales en peligro de extinción y paisajes raros para el proyecto “Génesis”, que comenzó en 2004, y que consumió 1.000.000 euros al año.

“La gente no destruye el bosque porque sean malos, sino porque no están informados”, dijo Salgado. “Trabajando en estrecha colaboración con el pueblo de la tierra es muy importante. Para alcanzar el equilibrio, debemos luchar para protegerlos. ”
Salgado, junto a su esposa Lelia, ha trabajado para restaurar una porción de la selva tropical de Brasil a través del Instituto de la Tierra. También es embajadora de UNICEF.
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source: mypaperpchome

南半球巴塔哥尼亞Golfo San José and Golfo Nuevo海灣,
露脊鯨(right whales)在此聚集繁殖,
攝影師Sebastiao Salgado策劃史詩般創世紀方案(Genesis project )第三幕,
每天曙光乍現,
他就與工作人員駕著小型快艇,
穿梭在低溫冰冷的海上,
陪著露脊鯨一起生活、嬉戲,
目睹海洋變成群鯨跳躍的競技場。

*由於露脊鯨通常容易親近且游泳速度很慢,
每年都會在離海岸很近的地方聚集數月之久,
理所當然成為捕鯨人的目標,
也許如此才頻臨絕種(全球只剩2800隻左右,多集中南半球),
鯨魚雖是哺乳類動物,
但是他們只吃浮游生物及磷蝦,
鯨魚在海中跳躍的原因不明,
我覺得是求偶唄…..
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source: lidongblogsiyuefeng

文章来源: 网络综合 更新时间:2009-4-28 8:55:11
塞巴斯提奥•萨尔加多(Sebastiao Salgado)是目前世界最著名的纪实摄影大师,也是世界最著名的图片社“玛格南(Magnum)”的前成员。他拍摄的图片不仅充满了震撼人心的力量,让整个世界为之感动,而且也为他的老东家带来源源不断的经济来源。销售萨尔加多作品的经济收入,曾经占据了玛格南一年财政收入的一半。
萨尔加多1944年2月8日生于巴西文革摩里斯。1969年,25岁时他在圣保罗经济学硕士学位后,移居欧洲。1970年,开始接触摄影,跟这门瞬间艺术一见钟情。

1973年,在非洲咖啡贸易组织中任职时,他发现自己对摄影的爱好远远超过填写枯燥乏味的表格,于是辞去了这份工作,一门心思地搞起了摄影。他很快成为世界基督教协进会的专职记者,处女作是对撒哈拉沙漠地区旱灾的摄影报道。第二年(1974),30岁的萨尔加多被法国西格玛图片社吸收,任摄影记者,开始了到世界各地拍摄照片的生涯。1975年起,他先后认为法国伽玛图片社和玛格南图片社的记者。

萨尔加多摄影采访最突出的一个特点,就是不论面对什么样的题材,他都坚持从人道主义的精神出发来拍摄照片。1986年,当他在巴西帕拉达高原露天金矿采访时,他看到了世界上最艰苦、最危险的劳动场面:五万名淘金者挤在一个巨大的土坑之中,他们背负着沉甸甸的矿土,靠摇摇晃晃的木梯爬上爬下,随时都有摔死的危险。萨尔加多说:“被摄者虽然衣衫褴褛,甚至赤身裸体,但他们仍然具有人的尊严。我感到在我们这个世界上,存在着太多的不公平。良心驱使我把他们拍摄下来,借以引起人们的关注。”

萨尔加多是一位有思想、有自己信念的摄影家。他说:“用信念去摄影,是我生活的准则。”1982年,萨尔加多以共照片中浓郁的人道主义精神,获美国的尤金•史密斯奖。1985年和1992年,他又以《埃赛俄比亚的饥荒》和《科威科的恐怖》两组摄影报道,连续两次在世界新闻摄影大赛中获奥斯卡•巴尔纳克奖。

萨尔加多认为,人类的体力劳动生产正在以惊人的速度消失,我们现在所拍摄的体力劳动照片,再过10年到15年就会变成历史的遗迹。于是他制定并实施一个计划,从80年代开始,奔走于地球上仍存在着体力劳动的各个角落进行摄影采访,乌克兰的钢铁厂、古巴的甘蔗田、卢旺达的茶园、玻利维亚的锡矿、印度的煤矿、巴西的金矿、中国的自行车厂……无处不出现萨尔加多的身影。1994年,萨尔加多把他六年多来在世界各地拍摄地350幅反映苦力生涯的作品,汇编成一本巨型画册:《劳动者――工业时代即将消逝的形象》。
在世界各地的采访中,萨尔多加不畏艰险。为报道持续了10年的非洲大旱,他不远万里先后16次前去非洲,即使感染上了血吸虫病,也没有退却,他一边治疗,一边坚持摄影采访。

作为玛格南(Magnum)图片社的成员,萨尔加多的摄影方式与该社前辈布列松等人有一脉相承之处,但又有自己的特点:相同之处是对”决定性瞬间”的追求,一旦发现这种瞬间就立刻进行迅雷不及掩耳的抓拍;不同之处是,他认为走马观花式浮光掠影拍出的照片多数都缺乏应有的深度,他宁愿走进所要拍摄的人群里生活一个时期,使所拍照片更有深度。
萨尔加多说,从事纪实摄影的记者就是记者,不是艺术工作者,尊重现实和尊重历史是从事纪实摄影的首要条件。他说他在拍摄照片时从不考虑艺术创作的问题。如果有人认为他的某些照片有艺术性,那是他们自己的事。
萨尔加多常用的相机是黑徕卡。他随身至少携带三台相机,上面分别配装28、35和60毫米的定焦镜头,目的是在摄影采访时只换相机,不换镜头,避免耽误时间。采访中的萨尔加多穿着非常一般,普通衣服也有助于他和普通百姓的交流和接触。他不背显眼的摄影包,也不手提银光闪闪的摄影箱,相机都放在三个很小的口袋里,目的是尽量避免被摄者的注意和戒备。

萨尔加多 代表作《劳动者》系列
萨尔加多并不排斥彩色,但他更喜欢黑白。他认为黑白照片有更强的概括力,而彩色片却容易把观众的注意力转移到五光十色的外表上,导致忽视事物的内在本质。他最喜欢用柯达Tri-X黑白胶卷,认为这种胶卷银粒细微,宽容度大,不论亮处或暗处都能产生丰富的层次,最能适应不同场合光线的变化。

经济学博士塞巴斯蒂奥•萨尔加多还是把自己看作一个业余摄影家。虽然,他的那些震憾人心的照片显露出经济学家的兴趣和眼光,但真正让我们目瞠口呆的还是它们对于灵魂和历史的巨大穿透力。对于一个舒坦生活的征逐者,阅读萨尔加多的照片不是一种愉悦的享受,而是一次对打击的体验。当一种类似遭受某种不幸的感觉使我们突然置身于回荡着苦难呻吟的穹窿中,我们像是参观地狱的但丁一样不知所措。另一边,摄影者正以温柔的方式、最佳的构图和最美的光线,抚摸着那些在困境中蠕动挣扎的人们。

萨尔加多不是一个教徒。他对受难者的同情也不是为了谴责某些阶层的人,使他们感到羞愧,更不是为了随意地抛洒怜悯。在试图沟通生活最底层的劳动者和其他所有阶层的同是时,他的照片也不隐晦地表达了对处于困顿的人们的赞美。他揭露贫困的剥削,但不屑于停留在宣扬悲惨主义的表面。因为,在那些胼手胝足的劳动者身上,他看到了巨大的忍耐力和不可蹂躏的尊严。
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source: weekendstravel

«Бытие» – это масштабный проект Себастьяно Сальгадо, знаменитейшего бразильского фотографа-документалиста, живущего в Париже. Восемь лет он путешествовал по миру, снимая места, где сохранилась первозданная природа, где живут не испорченные цивилизацией племена, где еще можно встретить красоту и чистоту, исчезающую на земле, которую человечество твердо и целенаправленно движет к экологической катастрофе. Он побывал на пяти континентах, фотографировал тропические леса Амазонии и Конго, ледники Антарктиды, сибирскую тайгу и высокогорья Чили, и теперь его черно-белые снимки можно увидеть одновременно в музеях нескольких городов – сейчас это Рим, Лондон, Рио-де-Жанейро и Торонто, – откуда они двинутся дальше и постепенно объедут все страны мира. Сальгадо надеется, что его картины сподвигнут людей серьезно задуматься об экологии, помогут прочувствовать красоту мира и пробудят желание остановить его разрушение.