Like most of Salgado’s work, MIGRATIONS from the beginning, sets itself as a bible for documentary photography. The black and white, high impact, historical images, makes a mark and stays with you, easily placing the viewer into the action, the struggles, the pain, and time in history.
While exploring MIGRATIONS, I feel physical responses that oscillate between having a hole in my gut to sometimes caressing my arm up and down, as it seemed like my skin is curling. The images are raw and alive.
The book is divided into four very large sections depicting the subjects it covers:
Migrants & Refugees: The Survival Instinct
Page 50, children at the door of a plane, Moscow, Russia, 1994
Page 60, people ashore pulling a small boat, Vung Tau, Vietnam, 1995
Page 118, elderly woman sitting at the train steps, Vinkovci, Croatia, 1994
The African Tragedy: A Continent Adrift
Page 190, naked man, lying on his back on the ground, dying of cholera, encircled by people, Zaire, 1994
Page 211, woman with child wrapped on her back, seating on train tracks, Zaire, 1997
Latin America: Rural Exodus, Urban Disorder
Page 270/271, peasant child dressed in soiled clothing, carrying a sack on her back and the harshness of her life on her face, Imbabura Province, Ecuador, 1998
Page 308/309 daily life after Hurricane Mitch, Honduras, 1998
Asia: The World New Urban Face
Page 350, coexisting men and buffalo, Bombay, India, 1995
Page 368, construction, Ho Chi Minh City, Vietnam, 1995
MIGRATIONS has over 400 images, mostly one photograph per page, and many double pages with one image. Inclusive to the book is a booklet explaining each photograph, which is very helpful so the viewer can experience the photographs without having to refer to the back of the book for the image index.
Hardcover: 432 pages
Publisher: Aperture; 1st edition (2000)
Available above on Amazon.com
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