Brazilian Photographer Sebastião Salgado dead at 81

Salgado’s upbringing would prove to be the inspiration for some of his work. Born in 1944 in the Brazilian state of Minas Gerais, he saw one of the world’s most biodiverse ecosystems, the Amazon Forest, recede from the land he grew up on, as the result of development.

He and his wife spent part of the last decades of their life working to restore the forest and protect it from further threats.

But Salgado was best known for his epic photography, which captured the exploitation of both the environment and people. His pictures were marked by their depth and texture, each black-and-white frame a multilayered world of tension and struggle.

In one recent photography collection, entitled Exodus, he portrayed populations across the world taking on migrations big and small. One shot showed a crowded boat packed with migrants and asylum seekers crossing the Mediterranean Sea. Another showed refugees in Zaire balancing buckets and jugs above their heads, as they trekked to retrieve water for their camp.

Salgado himself was no stranger to fleeing hardship. A trained economist, he and his wife left Brazil in 1969, near the start of a nearly two-decade-long military dictatorship.

By 1973, he had begun to dedicate himself to photography full time. After working several years with France-based photography agencies, he joined the cooperative Magnum Photos, where he would become one of its most celebrated artists.

His work would draw him back to Brazil in the late 1980s, where he would embark on one of his most famous projects: photographing the backbreaking conditions at the Serra Pelada gold mine, near the mouth of the Amazon River.

Through his lens, global audiences saw thousands of men climbing rickety wooden ladders out of the crater they were carving. Sweat made their clothes cling to their skin. Heavy bundles were slung over their backs. And the mountainside around them was jagged with the ridges they had chipped away at.

“He had shot the story in his own time, spending his own money,” his agent Neil Burgess wrote in the British Journal of Photography.

Burgess explained that Salgado “spent around four weeks living and working alongside the mass of humanity that had flooded in, hoping to strike it rich” at the gold mine.

“Salgado had used a complex palette of techniques and approaches: landscape, portraiture, still life, decisive moments and general views,” Burgess said in his essay.

“He had captured images in the midst of violence and danger, and others at sensitive moments of quiet and reflection. It was a romantic, narrative work that engaged with its immediacy, but had not a drop of sentimentality. It was astonishing, an epic poem in photographic form.”

When photos from the series were published in The Sunday Times Magazine, Burgess said the reaction was so great that his phone would not stop ringing.

Main Image: Courtesy Flowers Gallery