“Sebastião Salgado was born on February 8th, 1944 in Aimorés, in the state of Minas Gerais, Brazil. He lives in Paris. Having studied economics, Salgado began his career as a professional photographer in 1973 in Paris, working with the photo agencies Sygma, Gamma, and Magnum Photos until 1994, when he and Lélia Wanick Salgado formed Amazonas images, an agency created exclusively for his work” — Ilford featuring his preferred papers. https://ilford.com/ilford-masters/sebastiao-salgado/
I was informed that you mention I work as a printer for Sebastiao Salgado. As a matter of fact, I am only developing films for him. The prints are made by his printer, Dominique Granier.
Contrary to what is generally said, A49 is not like Agfa Atomal. Atomal didn’t have any paraphenylenediamine in it but A49 has some. I use A49 specifically for 220 TXP at 1+1. A49 might not work well with other films. For many b&w films, D76 is still a very good choice.
Contrary to what is also said, Tri-X 35 mm film was not developed with Rodinal in Salgado’s work. He prefers not to have too grainy images. Philippe Bachelier
Recurrence. We return to asking the first questions: How does X do Y?
“Sebastião Salgado’s Genesis – How did he do it?”
“He has used Leica and Pentax 645 film cameras in the past, but migrated to digital capture during the course of the Genesis project. As explained by the photographer’s wife and partner, the resulting digital files were converted into analog negatives and silver prints to insure a consistent aesthetic throughout the project”
The (partial) answer to Salgado’s method is in a video posted to those people within the past weeks. They never get further than asking — the main truth of the amateur.
Griffin Editions // Charles Richardson // Didier Bahamon // Eli Keneally ][ https://www.griffineditions.com/clients ][
Laumon Photographics // Philippe Laumont // Esteban Mauchi // Benjamin Pelaez // Shamus Clisset
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