The documentary dies in 81

Sebasto Seljado, the photographer who has acquired his unforgettable photos to exploit workers, environmental destruction, and human rights violations on a scale, died at 81.

His death was announced on Friday by Instituto Terra, the organization with his wife, Lélia Wanik Salgado. the New York Times She stated that he has suffered from health problems since contracting with malaria in the 1990s.

Saljado was considered one of the most beloved photographers working today. Its lush black and white images were apparently taken in each corner of the world, from the Sahel desert to the Amazon rain forests to the farthest arrival of the Arctic. In bringing his camera to places that many hear about, they rarely see, Saljado gave the world to glimpses that cannot be refuted for all the horror that the man gave to the ground.

He worked within a long tradition of documentary photography, using his pictures to say the truth about the tourist attractions he noticed. But while many documentary photographers and photographers photographed journalists claim to maintain objectivity, Salgado is close to his subjects, and had lengthy conversations with people who passed before his lens and are waiting for long periods of time to get the right shot.

“What distinguishes the pictures of Saljado from this work is his relationship involved in his topic, and it is the product of his life -long commitment to social justice”, ” Critic David Levy Strauss wrote in Artforum. “The emotional constant that allows us to stay away from other photographs of people who are starving, for example – their exploitation, to them, and their emotion – there is not to protect us in the case of Sadado’s report.”

His photos were widely published in the media and were the subject of countless traffic books. Unusually, for a person who can be classified as a Sahwani photographer, Sadado was also accepted in the art world, with the San Francisco Museum of Modern Art, which is regulated first in 1991.

Not all critics, Seljado, who was repeatedly accused of exploiting his subjects. Even these allegations returned to the appearance last year when the pictures of “Amazônia” of Salgado, which includes the indigenous footage of the Amazon, in Barcelona. the Guardian Joao Paulo BarrettoAnthropist who remembers the show: “For me, he feels such a violent photography of the original bodies. I mean, will the Europeans ever get rid of the width of the bodies of their mothers and their children in this way?”

Even Sadado fans tend to go to depicting him with suspicion. Weston Naef, then Secretary at the Getty Center, He said New York Times Magazine In 1991, “For myself, one of the problems is the annoying question about whether Siljado sometimes does not take advantage of his subjects instead of helping his subjects.”

However, it seemed that Saljado knew that he could not release his pictures. He once said: “You are photographed with all your ideology.” He often directed the money acquired from the sales of his photographs of the filmed societies. 1991 New York Times Magazine A piece said he recently used this money to pick up the Lampel artificial factory in Cambodia.

His penetration was his book in 1984 Autres Americues (Two other Americas), which was dedicated to farmers in Latin America. The series, which began in 1977, was the first thing he did in South America since he fled his Brazilian home to Paris amid the thread of the military government in the country, and was supposed to display poor societies in the region and its plot.

He told the newspaper “An” independent In 2015. “I decided to dive into more realistic in this Latin America, very mysterious and suffering, heroic and noble.”

This series, along with one follow -up to victims of famine in the African Sahel desert, gained loyalists in Europe. Americans seem to have a more stringent time with these pictures. Seljado recalled that American relief groups will not publish Sahal photos in the United States, although thousands of copies of books with them have already been sold abroad. By the nineties of the last century, many Americans knew him only because of one of his few pictures of urgent news: a snapshot of an assassination attempt in 1981 on Ronald Reagan by John W. Henkelio Junior.

Sebasto Siljado was born on February 8, 1944, in Aimorés, a small town in the Brazilian state of Minas Gerais. His father, shepherds of livestock, wanted to become Sellado as a lawyer, and Sellado initially began to fulfill his desires. But when he ended up attending the University of Sao Paulo, he studied Sadado instead of that economy. Continue work in the Brazilian Ministry of Finance.

In 1967, he married his wife, Laila and Anik Saljado. He later worked at the International Coffee Organization in London.

He took his work all over the world, and with him the Bentax camera came. A 1971 trip to Africa convinced him that photography was “the way to go to reality.”

While periodically posted his early photos in magazines, he did not gain more notice until the 1980s. to publish Autres Americues He saw his followers growing dramatically, and he followed him more praise for his photos of the workers in the Sira Paylada Gold Mine in Brazil.

In the new millennium, the work of Saljado is increasingly interested in climate change and environmental disorder. The “Genesis” series (11-11) included great snapshots of icebergs, mountain ranges and people in arid landscape.

“There are places where no one of Western civilization has gone; there are people who still live as we live fifty thousand years ago,” He said slot. “There are many groups that have not communicated with anyone else. They are the same for us. There is still a percentage of the planet in the case of Genesis.” Later, he used to say that through this series, he “turned into an environmental world.”

Saljado has been collected on a large scale, by institutions ranging from the Museum of Modern Art to Tate Modern. He won many awards outside the art world: He was the ambassador of the name of the goodness of UNICEF, and he has received countless support from his work to support the environment, including the restoration of forests in Brazil with his wife.

It seemed not interested in whether a memory would be commemorated. Talk to observer Last year, he rejected the idea that he was an artist, instead he was “a photographer”, and stated that his photos should be his legacy. “I have no concerns or allegations about how to remember me,” he said. “The pictures are my life, nothing else.”