Salgado and Workers

[Donal Philby <donalphilby@earthlink.net>]

LUGnuts,

This last Sunday I had an opportunity to visit local museum with 250
prints from Sabastiao Sagado's epic work Workers.

I know this is old news, the work has been out a while, and I've seen
the book.  But seeing the prints, that many, that big was an
experience.  I spent four hours.  My back and feet hurt, but I didn't
want to leave. 

I'm definitely going back.  The prints are beautifully made, crystaline
sharp grain, dark and contrasty (echoes of Gene Smith).  But the subject
matter. . . . 

It is so bazaar to be wandering a beautiful museum overlooking the ocean
in La Jolla, one of the more beautiful spots on the coast, surrounded by
enormous wealth (average home is probably $1 million) looking at an
exhibit documenting people on the edge of existance.

The depth and breadth of his work must rank Solgado as the most
important documentary photographer in the history of the art/craft.  But
what appeals to me is his ability to work with people on the very fringe
of subsistance, doing backbreaking, dangerous work and yet he treats
them with respect.  They are human beings doing what they must.  These
are not necessarily people in control of their destiny, only in control
of how they respond to circumstance.

And we all know he uses Leicas--Ms and Rs--that have become an extension
of his perception.

His new book about the landless doesn't have the epic power of Workers,
but it continues to show his ability to get inside groups of people and
connect.  Terra is more portraiture than activity, but still another
landmark work.

I remember looking through the book Works with my daughters and they
were affected by its power, but both assumed it had been shot a hundred
years ago and were deeply shocked to find out people today, right now,
live such lives.  It put some of their petty complaints about cars and
clothes into perspective.

Donal Philby
San Diego