Salgados image from Ethiopia where he captures refugees at the korem camp allows us to interpret and analyse how he captures his image and whether is it noticeable that his images are raw or he has allowed subjectivity to alter the truth behind the scene. The images shows 4 protagonists who tell the story of the image, they are located in the foreground middle and background of the image. Through the creation of layers in the image the depth of field is more appealing creating a more aesthetic image. The extensive depth of field brings all aspects of the image into focus making the audience feel like they are in the situation. This impact is also caused on the audience by the level that Salgado has shot at. By being level with the main protagonist of the image he is creating the feeling that he was a part of the scene. Salgado also skilfully fills the whole frame by having the subjects feel the majority of the picture. This could emphasise that there has been an element of planning gone into taking this photograph as it has been thoughtfully captured. This may suggest that Salgado is a subjective photographer as he has let his own opinion and mind’s eye have influence of the angles which may emphasise the meaning of the image. The arrangement of the image is also clever on Salgados part as the emptiness that surrounds the subject has the direct impact that leads us to believe that these people are lonely and receive little help. The lighting in the image is created by an over cast of clouds which creates a sober tone to the image which seems fitting with its tragic story and exaggerates its argument. Salgado use of the Kodak TRI – X film camera allows him to produce sharp images which reflect the reality of the situation he is in and as well as capture lighting which is characteristically spectacular, with plenty of backlighting and operatic contrasts.. His images are then “carefully worked on in a ‘laboratory’ or in dark rooms” [1]to create images which have vast tonal ranges and high amounts of contrast between pure white and pure black. This technique creates beautiful yet dramatized images which has led to critics such as Michael Kimmelman stating that Salgados “photographs are so stupendously gorgeous that they make you forget everything else while you are looking at them.”[2] Here we see another example of how Salgado may be subjective, as his want to create beauty in the images has drawn him away from emphasising the real subject pf global issues. Therefore subjectivity in Salgados work has affected his ability to represent third world countries authentically.

The meaning of Sebastiao Salgados most recent series of images ‘Genesis’ was to create awareness of Global issues. His image from Ethiopia is an example of global issues in Africa, one of the many countries he travelled too during his project. The image tells the story of possibly a family experiencing the very real issue of famine, poverty and disease. The image tells this story through the use of the subjects. Firstly the clothing that they are wearing are tattered pieces of cloth wrapped around them, this immediately connotes poverty and the lack of resources in this area of the world. Secondly it is noticeable that the main protagonist, the young boy, in the front of the images significance is that he shows that young children are experiences these hardships. The relevance of the child being in the Foreground of the image is that poverty stricken children have a bigger impact on the audience, therefore the image is harder hitting and may encourage more people to contribute to helping with these global issues. However we are unable to justify this as a truly realistic situation because the arrangement of the refugees may have been naturally occurring but Salgado could have also placed the young boy at the front to create this propaganda material which may lead to the image being more shocking to the audience creating more attention for his work and global issues.  

Salgado’s photography is artistically beautiful. The underlying tone of romanticism which is portrayed in his images shows his inability to be entirely object which subsequently effects the authenticity of his images as he is manipulating them to show situations which are more beautiful than what he experienced in reality. Therefore his representations of Third world countries are not entirely honest to reality. In The Telegraphs article ‘Sebastião Salgado: A God’s eye view of the planet – interview’, Sarfraz Manzoor talks to Salgado about his experiences of looking at life from behind the lens. During the interview Salgado admits that he thinks “Photography is not objective,” he continues to tell Manzoor “It is deeply subjective – my photography is consistent ideologically and ethically with the person I am.”[3] Salgado admits that photography is subjective including his own however he states that he is being subject in the way that he is making artwork which are raw realities of the third world. This suggests that as his photographs aim to be didactic and revelatory his images even though subject are authentic representations of the global issues that he captures.

[1] Paruati Nair – A different light – page 11

[2] Can suffering be to beautiful – Michael Kimmelman

[3] The Telegraph – Sarfraz Manzoor