His images artfully teach us the disastrous effects of war, poverty, disease, and hostile climatic conditions. This stunning book is not only a sweeping document of Africa but an homage to the continent' s history, people, and natural phenomena. Sebastiao Salgado is one the most respected photojournalists working today, his reputation forged by decades of dedication and powerful black-and-white images of dispossessed and distressed people taken in places where most wouldn' t dare to go. Although he has photographed throughout South America and around the globe, his work most heavily concentrates on Africa, where he has shot more than 40 reportage works over a period of 30 years. From the Dinka tribes in Sudan and the Himba in Namibia to gorillas and volcanoes in the lakes region to displaced peoples throughout the continent, Salgado shows us all facets of African life today. Whether he' s documenting refugees or vast landscapes, Salgado knows exactly how to grab the essence of a moment so that when one sees his images one is involuntarily drawn into them. This book brings together Salgado' s photos of Africa in three parts. The first concentrates on the southern part of the continent (Mozambique, Malawi, Angola, Zimbabwe, South Africa, Namibia), the second on the Great Lakes region (Congo, Rwanda, Burundi, Uganda, Tanzania, Kenya), and the third on the Sub-Saharan region (Burkina Faso, Mali, Sudan, Somalia, Chad, Mauritania, Senegal, Ethiopia). Texts are provided by renowned Mozambique novelist Mia Couto, who describes how today' s Africa reflects the effects of colonization as well as the consequences of economic, social, and environmental crises.
Sebastiao Salgado. Africa
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твердый переплет + суперобложка
Эволюция и происхождение человека
Как же так, эти более ранние гоминоиды - презинджантропы в некотором отношении настолько ближе к современному человеку, чем более поздние питекантропы, с их столь длинными руками, огромными зубами и надбровным валиком, что А.Валлуа, Г.Осборн, Г.Хеберер и некоторые другие известные палеоантропологи отказываются признавать в них человеческого предка. Как же в одной и той же экологической нише в одно и то же время могли миллионы лет сосуществовать столь разные формы антропоидов, как австралопитеки грацильные (Aus ralopi hecus africa us), массивные (Aus ralopi hecus robus us), еще более крупные зинджантропы (A. boisei) и несравненно более прогрессивные хабилисы? К нерешенным проблемам антропогенеза относятся также загадочные причины утраты людьми шерстяного покрова, хотя даже в тропиках по ночам холодно и все обезьяны сохраняют шерсть. Остаются необъясненными шапка волос на голове человека, выступление вперед подбородка и носа с повернутыми почему-то вниз ноздрями; функциональные причины различий между зубами человека и других приматов, хотя все они считаются в питании одинаково всеядными, генетически невероятная быстрота (как обычно полагают, за 4-5 тысячелетий) превращения питекантропа в современного человека (Homo Sapie s) и многое другое.
|Salgado. Набор из 25 открыток Taschen Salgado S. |
Send a Salgado 25 postcards from the phenomenal Genesis collection For Sebastiao Salgado, Genesis is a love letter to the planet.
|Sebastião Salgado: Children Taschen |
In this companion series to Exodus, Sebastiã o Salgado presents 90 portraits of the youngest exiles, migrants, and refugees. His subjects are from different countries, victims to different crises, but they are all on the move, and all under the age of 15. Through his extensive refugee reportage, what struck Salgado about these boys and girls was not only the implicit innocence in their suffering but also their radiant reserves of energy and enthusiasm, even in the most miserable of circumstances. From roadside refuges in Angola and Burundi to city slums in Brazil and sprawling camps in Lebanon and Iraq, the children remained children: they were quick to laugh as much as to cry, they played soccer, splashed in dirty water, got up to mischief with friends, and were typically ecstatic at the prospect of being photographed. For Salgado, the exuberance presented a curious paradox. How can a smiling child represent circumstances of deprivation and despair? What he noticed, though, was that when he asked the children to line up, and took their portraits one by one, the group giddiness would fade. Face to face with his camera, each child would become much more serious. They would look at him not as part of a noisy crowd, but as an individual. Their poses would become earnest. They looked into the lens with a sudden intensity, as if abruptly taking stock of themselves and their situation. And in the expression of their eyes, or the nervous fidget of small hands, or the way frayed clothes hung off painfully thin frames, Salgado found he had a refugee portfolio that deserved a forum of its own. The photographs do not try to make a statement about their subjects’ feelings, or to spell out the particulars of their health, educational, and housing deficits. Rather, the collection allows 90 children to look out at the viewer with all the candor of youth and all the uncertainty of their future. Beautiful, proud, pensive, and sad, they stand still before the camera for a moment in their lives, but ask questions that haunt for years to come. Will they remain in exile? Will they always know an enemy? Will they grow up to forgive or seek revenge? Will they grow up at all? Physically weak, they are often the first to succumb to hunger, disease, and dehydration. Innocent to the workings and failings of the world, they are unable to understand why there is danger, why there are people who want to hurt them, or why they must leave, perhaps quite suddenly, and abandon their schools, their friends, and their home. In every crisis situation, children are the greatest victims.
|The Scent of a Dream. Travels in the World of Coffee Abrams Salgado S. |
The book spans nearly a decade of research into the hidden world of coffee, highlighting relationships characterized by respect, fair exchange, and a shared understanding that ever-improving quality has the power to improve lives.
|Serra Pelada Actes Sud Sebastio S. |