防詐3要訣：不聽信、不操作、掛斷電話 
79
2,1001,659
分期3期0利率✕每期553元
3 期 0 利率✕每期 553 元
臺灣銀行、合作金庫、第一銀行、華南銀行、彰化銀行、台北富邦、國泰世華、兆豐商銀、臺灣中小企銀、滙豐銀行、新光銀行、聯邦銀行、遠東銀行、永豐銀行、玉山銀行、凱基銀行、星展銀行、台新銀行、安泰銀行、中國信託、台灣樂天
※ 除不盡餘數將於第一期收取
查詢門市庫存
內容簡介
【國際知名人道攝影師：薩爾加多】
以鏡頭紀錄人類和自然的貧窮富有；
以種樹修復自我和大地的破碎靈魂
「原來，地球這麼漂亮，卻也這麼多傷口。」
1944年出生於巴西的攝影師薩爾加多，因反對獨裁政府，大學畢業後即和妻子流亡至法國。並在定居巴黎後開始接觸攝影。
身為經濟學者，薩爾加多時常走訪全球咖啡產地、面對受嚴重剝削的種植工人。工作之餘，他便提起相機記錄當地人們的底層生活。
漸漸地，薩爾加多發現比起學者，照片所能擴及的影響力更深更遠。於是30歲前便辭去優渥的菁英工作，成為一名獨立攝影師。
在獲得國家大赦後，薩爾加多和妻子重返故鄉巴西，開始拍攝礦區工人和少數民族，並集結成攝影集「其他美洲人」《Other Americas》以及近日出版的「金」《Gold》。
多年來，薩爾加多隨著國際人道組織，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。爾後，更集結出版攝影集「出埃及記」《Exodus》和「流離兒童」《Children》。除了戰亂被迫離開家園的難民，更紀錄因氣候因素而離散異鄉的流民。
世界各地最可怕的大屠殺，薩爾加多都在場。
在莫三比克，他目睹口渴難耐的難民，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。
返家後，薩爾加多驚覺自己的故鄉成了另一個戰場：
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，就如同被屠殺的人們，成群無聲息地消失無蹤。
「我們把樹種回去吧！」
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，想把人類撲殺的樹木們，重新種回來。讓地球回到它原來的樣子。
在其回憶錄《重回大地》中提到，20年來他們已種植超過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。
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 Serra Pelada with Sebastião Salgado
Haunting black-and-white images
of the Brazilian gold rush
of the Brazilian gold rush
“What is it about a dull yellow metal that drives men to abandon their homes, sell their belongings and cross a continent in order to risk life, limbs and sanity for a dream?” – Sebastião Salgado
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 spectacle 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 some 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 quality and projects an immediacy that makes them vividly contemporary. The mine at Serra Pelada has been long closed, yet the intense drama of the gold rush leaps out of these images.
This book gathers Salgado’s complete Serra Pelada portfolio in museum-quality reproductions, accompanied by a foreword by the photographer and an essay by Alan Riding.
Also available in a signed and limited Collector’s Edition and as an Art Edition.
"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 spectacle 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 some 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 quality and projects an immediacy that makes them vividly contemporary. The mine at Serra Pelada has been long closed, yet the intense drama of the gold rush leaps out of these images.
This book gathers Salgado’s complete Serra Pelada portfolio in museum-quality reproductions, accompanied by a foreword by the photographer and an essay by Alan Riding.
Also available in a signed and limited Collector’s Edition and as an Art Edition.
作者介紹
Lélia Wanick Salgado
Lélia Wanick Salgado studied architecture and urban planning in Paris. Her interest in photography started in 1970. In the 1980s she began conceiving and designing the majority of Sebastião Salgado’s photography books and all the exhibitions of his work, including Genesis. Lélia Wanick Salgado has been the director of Amazonas Images since 1994.
規格
誠品貨碼 / 2681740161008
ISBN13 / 9783836575089
ISBN10 / 3836575086
EAN貨碼 / 9783836575089
頁數 / 208
注音版 / 否
裝訂 / H:精裝
語言 / 3:英文
尺寸 / 33X24.9X0CM
級別 / N:無
退貨說明
退貨須知：
- 依照消費者保護法的規定，您享有商品貨到次日起七天猶豫期(含例假日)的權益(請注意！猶豫期非試用期)，辦理退貨之商品必須是全新狀態(不得有刮傷、破損、受潮)且需完整(包含全部商品、配件、原廠內外包裝、贈品及所有附隨文件或資料的完整性等)。
- 請您以送貨廠商使用之包裝紙箱將退貨商品包裝妥當，若原紙箱已遺失，請另使用其他紙箱包覆於商品原廠包裝之外，切勿直接於原廠包裝上黏貼紙張或書寫文字。若原廠包裝損毀將可能被認定為已逾越檢查商品之必要程度，本公司得依毀損程度扣除回復原狀必要費用(整新費)後退費；請您先確認商品正確、外觀可接受，再行拆封，以免影響您的權利；若為產品瑕疵，本公司接受退貨。
依「通訊交易解除權合理例外情事適用準則」，下列商品不適用七日猶豫期，除產品本身有瑕疵外，不接受退貨：
- 易於腐敗、保存期限較短或解約時即將逾期。(如:生鮮蔬果、乳製品、冷凍冷藏食材、蛋糕)
- 依消費者要求所為之客製化給付。(如:客製印章、鋼筆刻字)
- 報紙、期刊或雜誌。
- 經消費者拆封之影音商品或電腦軟體。
- 非以有形媒介提供之數位內容或一經提供即為完成之線上服務，經消費者事先同意始提供。(如:電子書)
- 已拆封之個人衛生用品。(如:內衣褲、襪類、褲襪、刮鬍刀、除毛刀等貼身用品)
- 國際航空客運服務。
若您退貨時有下列情形，可能被認定已逾越檢查商品之必要程度而須負擔為回復原狀必要費用(整新費)，或影響您的退貨權利，請您在拆封前決定是否要退貨：
- 以數位或電磁紀錄形式儲存或著作權相關之商品(包含但不限於CD、VCD、DVD、電腦軟體等) 包裝已拆封者(除運送用之包裝以外)。
- 耗材(包含但不限於墨水匣、碳粉匣、紙張、筆類墨水、清潔劑補充包等)之商品包裝已拆封者(除運送用之包裝以外)。
- 衣飾鞋類/寢具/織品(包含但不限於衣褲、鞋子、襪子、泳裝、床單、被套、填充玩具)或之商品缺件(含購買商品、附件、內外包裝、贈品等)或經剪標或下水或商品有不可回復之髒污或磨損痕跡。
- 食品、美容/保養用品、內衣褲等消耗性或個人衛生用品、商品銷售頁面上特別載明之商品已拆封者(除運送用之包裝外一切包裝、包括但不限於瓶蓋、封口、封膜等接觸商品內容之包裝部分)或已非全新狀態(外觀有刮傷、破損、受潮等)與包裝不完整(缺少商品、附件、原廠外盒、保護袋、配件紙箱、保麗龍、隨貨文件、贈品等)。
- 家電、3C、畫作、電子閱讀器等商品，除商品本身有瑕疵外，退回之商品已拆封(除運送用之包裝外一切包裝、包括但不限於封膜等接觸商品內容之包裝部分、移除封條、拆除吊牌、拆除貼膠或標籤等情形)或已非全新狀態(外觀有刮傷、破損、受潮等)與包裝不完整(缺少商品、附件、原廠外盒、保護袋、配件紙箱、保麗龍、隨貨文件、贈品等)。
- 退貨程序請參閱【客服專區→常見問題→誠品線上退貨退款】之說明。
付款/配送