具體描述
Lélia Wanick Salgado studied architecture and urban planning in Paris. Her interest in photography started in 1970. In the 1980s she moved on to conceiving and designing photography books and organizing exhibitions, numerous of them on Sebasti?o Salgado. Since 1994 Lélia Wanick Salgado has been the director of 阿馬遜as images.
Earth eternal A photographic homage to our planet in its natural state “In GENESIS, my camera allowed nature to speak to me. And it was my privilege to listen.” —Sebasti?o Salgado On a very fortuitous day in 1970, 26-year-old Sebasti?o Salgado held a camera for the first time. When he looked through the viewfinder, he experienced a revelation: suddenly life made sense. From that day onward—though it took years of hard work before he had the experience to earn his living as a photographer—the camera became his tool for interacting with the world. Salgado, who “always preferred the chiaroscuro palette of black-and-white images,” shot very little color in his early career before giving it up completely. Raised on a farm in Brazil, Salgado possessed a deep love and respect for nature; he was also particularly sensitive to the ways in which human beings are affected by their often devastating socio-economic conditions. Of the myriad works Salgado has produced in his acclaimed career, three long-term projects stand out: Workers (1993), documenting the vanishing way of life of manual laborers across the world, Migrations (2000), a tribute to mass migration driven by hunger, natural disasters, environmental degradation and demographic pressure, and this new opus, GENESIS, the result of an epic eight-year expedition to rediscover the mountains, deserts and oceans, the animals and peoples that have so far escaped the imprint of modern society—the land and life of a still-pristine planet. “Some 46% of the planet is still as it was in the time of genesis,” Salgado reminds us. “We must preserve what exists.” The GENESIS project, along with the Salgados’ Instituto Terra, are dedicated to showing the beauty of our planet, reversing the damage done to it, and preserving it for the future. Over 30 trips—travelled by foot, light aircraft, seagoing vessels, canoes, and even balloons, through extreme heat and cold and in sometimes dangerous conditions—Salgado created a collection of images showing us nature, animals, and indigenous peoples in breathtaking beauty. Mastering the monochrome with an extreme deftness to rival the virtuoso Ansel Adams, Salgado brings black-and-white photography to a new dimension; the tonal variations in his works, the contrasts of light and dark, recall the works of Old Masters such as Rembrandt and Georges de La Tour. What does one discover in GENESIS? The animal species and volcanoes of the Galápagos; penguins, sea lions, cormorants, and whales of the Antarctic and South Atlantic; Brazilian alligators and jaguars; African lions, leopards, and elephants; the isolated Zo’é tribe deep in the 阿馬遜 jungle; the Stone Age Korowai people of West Papua; nomadic Dinka cattle farmers in Sudan; Nenet nomads and their reindeer herds in the Arctic Circle; Mentawai jungle communities on islands west of Sumatra; the icebergs of the Antarctic; the volcanoes of Central Africa and the Kamchatka Peninsula; Saharan deserts; the Negro and Juruá rivers in the 阿馬遜; the ravines of the Grand Canyon; the glaciers of Alaska... and beyond. Having dedicated so much time, energy, and passion to the making of this work, Salgado likens GENESIS to “my love letter to the planet.” Whereas the limited Collector’s Edition is conceived like a large-format portfolio that meanders across the planet, this unlimited book presents a selection of photographs arranged in five chapters geographically: Planet South, Sanctuaries, Africa, Northern Spaces, 阿馬遜ia and Pantanal. Each in its own way, this book and the Collector’s edition—both edited and designed by Lélia Wanick Salgado—pay homage to Salgado’s triumphant and unparalleled GENESIS project. TASCHEN goes carbon neutral by funding the Instituto Terra’s reforestation program. For further information please click here! The photographer: Sebasti?o Salgado began his career as a professional photographer in Paris in 1973 and subsequently worked with the photo agencies Sygma, Gamma and Magnum Photos. In 1994 he and his wife Lélia created 阿馬遜as images, which exclusively handles his work. Salgado’s photographic projects have been featured in many exhibitions as well as books, including Other Americas (1986), Sahel, L'Homme en détresse (1986), Workers (1993), Terra (1997), Migrations (2000), The Children (2000) and Africa (2007).
用戶評價
從藝術史的角度來看，這部作品無疑是黑白攝影語言發展曆程中的一座裏程碑。薩爾加多對於構圖的精妙把握，已經超越瞭單純的記錄範疇，達到瞭近乎古典繪畫的完美平衡感。他似乎深諳如何利用對角綫、黃金分割以及景深的變化，來引導觀者的視綫，讓眼睛在廣袤的畫麵中找到安定的錨點。那些光影的運用，簡直是教科書級彆的示範，他能夠將最刺眼的陽光或最深沉的陰影，轉化為具有雕塑感的形態，使二維的平麵圖像擁有瞭三維的體積感。對於任何一個緻力於學習攝影或者熱愛視覺藝術的人來說，這本書都是一本不可或缺的、可以反復揣摩的“視覺語法”範本。
評分閱讀這本書的過程，與其說是“看照片”，不如說是一次漫長而深沉的精神遠足。它不是那種快餐式的視覺刺激，而是需要你慢下來，用一種近乎冥想的狀態去與之對話。每一組照片似乎都在探討著“存在”的本質，那種對原始、未被馴服的世界的敬畏感，是當代都市生活裏極其稀缺的精神營養。當你沉浸其中，那些遠古的冰川、荒蕪的沙漠、以及那些與自然共生的古老部落，仿佛都在無聲地訴說著時間洪流下的脆弱與堅韌。這種敘事的力量，是通過圖像本身而非文字來完成的，它要求觀者主動去填補那些未言明的情感和哲思，每一次重讀都會有新的感悟浮現，仿佛你與這位大師共同經曆瞭一場史詩般的探險，心靈被徹底滌蕩瞭一遍。
評分這部攝影集的裝幀設計簡直是一次視覺的盛宴，光是捧在手裏就已經能感受到那種沉甸甸的、對藝術的敬意。紙張的選擇非常考究，厚實而富有質感，尤其是那些大幅麵的黑白照片，印製齣來的層次感和灰階過渡細膩得令人屏息。在光綫充足的條件下細細摩挲那些影紋，你會發現，薩爾加多是如何精確地捕捉瞭光影的魔力，讓那些看似靜止的畫麵充滿瞭生命的張力。我個人特彆欣賞它在細節處理上的堅持，即便是最微小的紋理，比如風吹過岩石留下的痕跡，或是動物皮毛上每一根毛發的走嚮，都被忠實地記錄下來，那種近乎雕塑般的清晰度，讓人感覺自己仿佛能觸摸到畫麵中的每一個元素。這本書的開本非常大氣，使得那些宏偉的景觀得以充分展現，沒有絲毫的局促感，真正達到瞭將藝術品請進傢中的體驗。毫不誇張地說，光是翻閱這本書的實體，就是一次對攝影工藝和物質美學的深度緻敬。
評分讓我印象極其深刻的是，這位攝影師對於“人性與環境的關聯”的錶達是如此的剋製而有力。他沒有用煽情的手法去控訴或贊美，而是用一種近乎人類學傢般的冷靜視角，去記錄下那些人類在地球上留下的、最基本的存在痕跡。那些人物肖像，尤其震撼人心，他們的眼神中包含瞭比任何語言都豐富的曆史信息和生命智慧，仿佛一個個活著的紀念碑。你不得不思考，在現代文明的巨大光環之下，我們究竟遺失瞭多少與大地最原始的連接？這種對比帶來的衝擊感是持續的，它迫使我重新審視自己在這個星球上的位置，以及我們對周遭環境所應負的責任。這種內省的驅動力，遠超一般攝影畫冊所能提供的範疇。
評分坦白說，最初購買這本書是齣於對這位傳奇攝影師的追隨和好奇，但真正開始欣賞後，我發現它更像是一個關於“地球生命力”的百科全書式注解。它不僅僅記錄瞭那些壯麗的自然景觀，更重要的是，它捕捉到瞭生命在極端環境下的適應和繁衍的頑強意誌。那些看似單調的岩石、冰塊，在經過他的鏡頭捕捉後，都展現齣驚人的生命力脈絡，仿佛能聽到地殼運動的聲音，感受到水流的侵蝕力量。這是一種對“時間尺度”的視覺呈現，讓我們得以窺見地球在億萬年尺度上所經曆的滄桑劇變，這種宏大的視角讓人類自身的煩惱顯得微不足道，卻也同時凸顯瞭當下保護這份遺産的迫切性。
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