Sebastião Salgado: Gold/Sebastião Salgado; Lélia eslite誠品 價格比較,價格查詢,價格歷史信息

巴西紀實攝影大師薩爾加多Sebastião Salgado最新攝影集《Gold》 另有攝影師薩爾加多親筆簽名全球限量版： ‧ 此商品為客訂商品，讀者下單後進貨，約一個月到貨。 種了200萬棵樹的男人：巴西人道攝影師 薩爾加多 「原來，地球這麼漂亮，卻也這麼多傷口。」 當代知名紀實攝影師薩爾加多，時常走訪世界各地，拍攝受到嚴重剝削的各業工人，因此有著「人道攝影師」之稱。　他長年跟隨國際人道組織，忍受危險惡劣的環境，深入非洲等全球戰區，將當地難民影像送出，讓世人看到同一個地球的另一個世界。　除了戰亂被迫離開家園的難民，他也紀錄下因氣候而離散異鄉的流民。 　世界各地最可怕的大屠殺，薩爾加多都在場。在莫三比克，他目睹口渴難耐的孱弱難民，因在岸邊喝水而遭鱷魚吞噬；在盧安達，他見證屍橫遍野，河中載浮載沉的屍體如瀑布般順流而下，最終捲入河底漩渦而消失。種種難以負荷的衝擊畫面，讓身心受創的薩爾加多終於無法繼續工作。 地球病了，我也病了。　返回故鄉巴西後，薩爾加多驚覺自己的家成了另一個戰場：人類加速砍伐開發，過往的森林正快速消失。曾有「地球之肺」之稱的亞馬遜雨林，正以令人驚駭的速度大面積減少。其中的動物和植物，就如同記憶中被屠殺的人們，成群無聲息地消失無蹤。 我們把樹種回來吧！　想起年幼時，人類和土地是那樣的親近，薩爾加多和妻子決定成立「地球研究所」。出於動物自癒的本能，兩人開始瘋狂種樹，想把被人類撲殺的樹木們，重新種回來。　讓地球回到它原來的樣子。20年多來，他們已種植超過250萬棵樹，並復育上百種因人類過度開發而消失的動植物種。　其後，薩爾加多更開始了「創世紀」《Genesis》計畫。跑片全球、深入極地，拍攝地球最原始的壯闊之美。他拍高山、拍深水；拍巨獸、拍螻蟻。將鏡頭從過往關注的「人」轉向「動物和土地」。　最終領悟：人，原來就是這片大地的一部分。萬物並無不同，因為彼此皆有關聯。　人和自然不但無法對立、且永遠不可分離。因此，愛地球，就是愛自己。 In Brazil’s Gold Mines with Sebastião SalgadoHaunting black-and-white images of Serra Pelada When Sebastião Salgado was finally authorized to visit Serra Pelada in September 1986, having been blocked for six years by Brazil’s military authorities, he was ill-prepared to take in the extraordinary spectable that awaited him on this remote hilltop on the edge of the Amazon rainforest. Before him opened a vast hole, some 200 meters wide and deep, teeming with tens of thousands of barely-clothed men. Half of them carried sacks weighing up to 40 kilograms up wooden ladders, the others leaping down muddy slopes back into the cavernous maw. Their bodies and faces were the color of ochre, stained by the iron ore in the earth they had excavated. After gold was discovered in one of its streams in 1979, Serra Pelada evoked the long-promised El Dorado as the world’s largest open-air gold mine, employing around 50,000 diggers in appalling conditions. Today, Brazil’s wildest gold rush is merely the stuff of legend, kept alive by a few happy memories, many pained regrets―and Sebastião Salgado’s photographs. Color dominated the glossy pages of magazines when Salgado shot these images. Black and white was a risky path, but the Serra Pelada portfolio would mark a return to the grace of monochrome photography, following a tradition whose masters, from Edward Weston and Brassaï to Robert Capa and Henri Cartier-Bresson, had defined the early and mid-20th century. When Salgado’s images reached The New York Times Magazine, something extraordinary happened: there was complete silence. “In my entire career at The New York Times,” recalled photo editor Peter Howe, “I never saw editors react to any set of pictures as they did to Serra Pelada.” Today, with photography absorbed by the art world and digital manipulation, Salgado’s portfolio holds a biblical-like quality and projects an immediacy that makes sense vividly contemporary. The mine at Serra Pelada has been long closed, yet the intense drama of the gold rush leaps out of these images.

商品選項

屬性