Anytime the idea, thought or concept of documentary photography creeps into my mind there is ONE person who always comes to mind first. Salgado. I’m just gonna refer to him by has last name. If Prince can do it, and Ronaldo and a few others, then I nominate Salgado for one name status.
If you don’t know Salgado then you are in for a treat. This film below is around 20 minutes long, which in portfolio terms either means you don’t know how to edit or you have produced an insane amount of quality work. Salgado falls into the second category. Just take a look at this film, or skip through it to any section and have a look.
Salgado from www.aformi.gr on Vimeo.
This guy works on projects on a scale beyond anyone else i know, and the only sad thing about this story is that I don’t see anyone following in his footsteps. I’m not sure the industry or the collective mindset of the world will permit it. This work, on this scale, takes time, a lot of time, and we seem to want the quick fix these days.
My hope is that somewhere out there is a kid who will see this and make a decision to follow these well placed tracks.
I can’t tell you how painful it is for me to watch this film. I had to turn the sound off, but that’s not why I find it painful. What hurts, in kind of a good way, is knowing what it takes to pull off ONE of the projects in this film, let alone ALL of them. People, some of these were ten plus year projects. To envision, fund, create, package, market, sell and expose this work is a year-round, full-time well oiled machine, and Salgado has been doing it for decades. I sent him a book a few years ago, just blindly, sent it to him in Paris. I just wanted to share what I thought at the time was my best work. No idea if he ever received it, if he ever saw it, but I felt better at least making an attempt.
Love his work! Always have. Ballsy, to send him a book. A heart felt ataboy!
If I’m not mistaken he was an economist by trade and uses this education and knowledge to pull off the long-term projects. Really good use of an education and appears to allow him the ability to make this work.
There are some YouTube talks of his as well where he provides some detail on how he does what he does. Wish I could link them here but, as usual, I find myself in an airport.
someone had to send it
The sense of tension and compression in that train station image is so intense.
agreed
If i am not wrong, the train station is the Victoria Terminus in Mumbai?
I’ve not been to India so I’m no help with that one.
I love his work as well! He produces far too many powerful images… i can only handle so many at a time before I’ve reached overload and need a break.
That being said, here’s a really cool play list of videos on him from YouTube.
http://www.youtube.com/view_play_list?p=F5165C193556AB98
I especially like the CONTACTS videos where there is a dialog about him ditching his car and following a funeral procession. Very interesting
Great images, over a huge timeframe,
I’ve never looked at Salgado’s work before. That was humbling to view. Thanks for sharing.
Yep, he has been considered by many to be the best doc shooter in the world…for decades.
I think this 1991 interview from the NY Times Magazine gives some of the best insights into Salgado even though it’s 20 years old.
http://www.nytimes.com/1991/06/09/magazine/sebastiao-salgado-the-eye-of-the-photojournalist.html
Salgado has been one of my favortie photographers for a long time now. I scored two of his books, Africa & Workers – both of which are incredible. He is a rare genius, and truly a god among men when it comes to documentary photography. While he doesnt work on projects for quite the same length of time that Salgado does, I have always considered James Nachtwey to be in the same class as him. If you have not already seen it, I would pick up War Photographer about Nachtwey, which is incredible. Nachtwey’s book Inferno is also on par with the two Salgado books I mentioned.
Whoah that was powerful stuff. I loved it ! Thanks Daniel
Glad you enjoyed.
Salgado’s Africa was the first photobook I ever bought. It breaks me everytime I open it. the guy is a legend. Have you seen any of his recent stuff he’s doing on climate change? From what little I’ve read online he seems to be getting quite a lot of criticism for it.
wow, for your first book…good choice. I have that book as well.
First Parke and now Salgado? Such a treat
If I ever need a slice of humble pie, I know where to look.
Yes, whenever I start to feel like I’m a badass….I just open their books.
In addition to the NYT article mentioned above, there was another essay written by critic Ingrid Sischy for the New Yorker magazine at the same time about the Salgado retrospective that took place at both International Center of Photography locations, specifically addressing critical issues of documentary practice.
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In a class I teach, we discuss the idea of “good intentions” and documentary practice, using Ken Light’s interview with Salgado (which can be found in the book, “Witness In Our Time – Working Lives of Documentary Photographers” and I’d encourage anyone interested in documentary practice to read) and the Sischy essay for a full context of discussion. Here’s the link, which includes a .pdf of the Sischy essay:
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http://aphototeacher.com/2008/03/26/sebastiao-salgado-and-good-intentions/
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I saved that New Yorker article, it really is a good one. And….it was back when you saw ten page spreads…….
Intention is a dangerous word there Paul. Sometimes when I look in the mirror I don’t like the intention I see coming back, and I have to make changes. I question all documentary photographers, some I believe in, others…I’m not so sure. Salgado, I believe in what he is doing. I see a long track record. I’d love to actually sit down with him.
Absolutely right, “good intentions” is problematic which is why Sischy used it as the title of the essay for the New Yorker, which is different than the NYT Sunday Magazine essay.
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While there is no questioning of Salgado’s intentions as demonstrated by his work with Doctors Without Borders, Sischy questions whether Salgado’s photographs undermine rather than dignify his subjects and his intentions of social awareness and change.
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This questioning is due in part to a number of issues, including the role and function of aesthetics, “beauty,” in relationship to social awareness and change (two different things), the use of the camera to further perpetuate “victimization” as it relates to the venues of where the photographs are presented (museums and galleries), as well as the photographer being thrust into the art-canon of hero worship by these institutions (not something he necessarily has control over).
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I’d encourage people to read the article as at the very least it provides for an opportunity for photographers to reconcile for themselves the role and function of the camera in relationship to the role and function of the photographs they make. Once the photograph is made and put out there, the photographer loses control of the discourse and consequently, their intention.
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Great comment and a point that is very relevant to anyone who picks up a camera under the guise of “documentary photographer.”
Thanks for that link Daniel, mindblowing work by Salgado and as you say the scale of these projects are almost superhuman. Inspiring!
Yep, he is a machine.
The first time I ever saw Salgado’s work was at my local book store that barely had any photo books. I was blown away, I remembered thinking about the time it must have taken to get all these quality images. I still go back and look at his work from time to time. A master no doubt.
In short….years. Decades in fact. There is no other way of doing it. Not many are up to the task.