Sebastião Salgado’s haunting black-and-white photographs from the GENESIS project record landscapes and people unchanged in the devastating onslaught of modern societyand development. Salgado calls GENESIS “my love letter to the planet.” A photographic homage to our planet “In GENESIS, my camera allowed nature to speak to me. And it was my privilege to listen.” —Sebastião Salgado On a very fortuitous day in 1970, 26-year-old Sebastião Salgado held a camera for the first time. When he looked through the viewfinder, he experienced a revelation: suddenly life made sense. From that day onward—though it took years of hard work before he had the experience to earn his living as a photographer—the camera became his tool for interacting with the world. Salgado, who “always preferred the chiaroscuro palette of black-and-white images,” shot very little color in his early career before giving it up completely. Raised on a farm in Brazil, Salgado possessed a deep love and respect for nature; he was also particularly sensitive to the ways in which human beings are affected by their often devastating socio-economic conditions. Of the myriad works Salgado has produced in his acclaimed career, three long-term projects stand out: Workers (1993), documenting the vanishing way of life of manual laborers across the world; Migrations (2000), a tribute to mass migration driven by hunger, natural disasters, environmental degradation and demographic pressure; and this new opus, GENESIS, the result of an epic eight-year expedition to rediscover the mountains, deserts and oceans, the animals and peoples that have so far escaped the imprint of modern society—the land and life of a still-pristine planet. “Some 46% of the planet is still as it was in the time of genesis,” Salgado reminds us. “We must preserve what exists.” The GENESIS project, along with the Salgados’ Instituto Terra, are dedicated to showing the beauty of our planet, reversing the damage done to it, and preserving it for the future. Over 30 trips—traveled by foot, light aircraft, seagoing vessels, canoes, and even balloons, through extreme heat and cold and in sometimes dangerous conditions—Salgado created a collection of images showing us nature, animals, and indigenous peoples in breathtaking beauty. What does one discover in GENESIS? The animal species and volcanoes of the Galápagos; penguins, sea lions, cormorants, and whales of the Antarctic and South Atlantic; Brazilian alligators and jaguars; African lions, leopards, and elephants; the isolated Zo’é tribe deep in the Amazon jungle; the Stone Age Korowai people of West Papua; nomadic Dinka cattle farmers in Sudan; Nenet nomads and their reindeer herds in the Arctic Circle; Mentawai jungle communities on islands west of Sumatra; the icebergs of the Antarctic; the volcanoes of Central Africa and the Kamchatka Peninsula; Saharan deserts; the Negro and Juruá rivers in the Amazon; the ravines of the Grand Canyon; the glaciers of Alaska... and beyond. Having dedicated so much time, energy, and passion to the making of this work, Salgado calls GENESIS “my love letter to the planet.” Sebastião Salgado. GenesisHardcover, 14 x 19.5 cm, 0.41 kg, 192 pages

Sebastiao Salgado traveled the Brazilian Amazon and photographed the unparalleled beauty of this extraordinary region for six years: the forest, the rivers, the mountains, the people who live there-an irreplaceable treasure of humanity.In the book's foreword Salgado writes: "For me, it is the last frontier, a mysterious universe of its own, where the immense power of nature can be felt as nowhere else on earth. Here is a forest stretching to infinity that contains one-tenth of all living plant and animal species, the world's largest single natural laboratory."Salgado visited a dozen indigenous tribes that exist in small communities scattered across the largest tropical rainforest in the world. He documented the daily life of the Yanomami, the Ashaninka, the Yawanawa, the Suruwaha, the Zo'e, the Kuikuro, the Waura, the Kamayura, the Korubo, the Marubo, the Awa, and the Macuxi-their warm family bonds, their hunting and fishing, the manner in which they prepare and share meals, their marvelous talent for painting their faces and bodies, the significance of their shamans, and their dances and rituals.Sebastiao Salgado has dedicated this book to the indigenous peoples of Brazil's Amazon region: "My wish, with all my heart, with all my energy, with all the passion I possess, is that in 50 years' time this book will not resemble a record of a lost world. Amazonia must live on."

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“We must remember that in the brutality of battle another such apocalypse is always just around the corner.” —Sebasti?o Salgado In January and February 1991, as the United States–led coalition drove Iraqi forces out of Kuwait, Saddam Hussein’s troops retaliated with an inferno. At some 700 oil wells and an unspecified number of oil-filled low-lying areas, they ignited vast, raging fires, creating one of the worst environmental disasters in living memory. As the desperate efforts to contain and extinguish the conflagration progressed, Sebasti?o Salgado traveled to Kuwait to witness the crisis firsthand. The conditions were excruciating. The heat was so vicious that Salgado’s smallest lens warped. A journalist and another photographer were killed when a slick ignited as they crossed it. Sticking close to the firefighters, Salgado braved the intense danger, stench, pollution, and scorching temperatures to capture the ravaged landscape; the air choking on charred sand and soot; the blistered remains of camels; the sand littered with cluster bombs; the flames and smoke soaring to the skies, blocking out the sunlight, dwarfing the oil-soaked firefighters. The epic monochrome pictures first appeared in The New York Times Magazine in June 1991 and were subsequently hailed as one of the photographer’s most captivating—and courageous—bodies of work. Adding to Salgado’s roster of international accolades, the series was awarded the Oskar Barnack Award, recognizing outstanding photography on the relationship between man and the environment. This signed and limited Collector’s Edition Kuwait: A Desert on Fire is the first monograph of this astonishing collection. In grand-scale, museum-quality reproduction, it presents more than 80 images, interlaid with transparency paper, and printed with cutting-edge High Definition Skia Photography technology. This new era of photographic printing allows, for the first time, all visible elements captured by the camera to transfer to print, achieving a visible range close to the very limits of what the human eye can perceive and a new level of three-dimensionality on the page. Like a breathtaking exhibition in print, the result is at once a remarkable encounter with one of Salgado’s landmark series and a major document of global history and awareness. In its pristine quality, scale, and intensity, it serves to remind us, in the photographer’s own words, “that in the brutality of battle another such apocalypse is always just around the corner.” First major publication of Salgado’s Kuwaiti oil wells series. Grand-scale, museum-quality reproduction with High Definition Skia Photography, allowing all visible components captured by the camera to be transferred to print. More than 80 images, interlaid with transparency paper. Signed by the photographer.Collector’s Edition of 1,000 numbered copies (No. 101–1,100), signed by Sebasti?o Salgado. Also available in an Art Edition of 100 copies, each coming with a gelatin silver print The author and photographer Sebasti?o Salgado began his career as a professional photographer in Paris in 1973 and subsequently worked with the photo agencies Sygma, Gamma, and Magnum Photos. In 1994 he and his wife Lélia created Amazonas Images, which exclusively handles his work. Salgado’s photographic projects have been featured in many exhibitions as well as books, including Other Americas (1986), Sahel, L'Homme en détresse (1986), Workers (1993), Terra (1997), Migrations (2000), The Children (2000), Africa (2007), and Genesis (2013). The editor 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 Sebasti?o 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.

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