In 2012, after a few days spent with the children and Marie-Thérèse, Yann decided to create the BADAO association to help them as much as possible.
The house shelters children, who although sometimes very young have had a very difficult start in life. Marie-Thérèse gives them a second chance for a fresh start, and as well as a shelter, she provides each of them with love and support. For years, thanks to her courage and determination, dozens of children have had access to education and health care. The House of Nazareth is like a second family for all these children. There, the children help each other out, the older help the younger, those who go to school teach the other children who, suffering from diseases can not access education. Love is all around this House, and makes it a beautiful place...
Sebastião 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 Asháninka, the Yawanawá, the Suruwahá, the Zo'é, the Kuikuro, the Waurá, the Kamayurá, the Korubo, the Marubo, the Awá, 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.
Sebastião 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. Amazônia must live on."Soon available in a Collector's Edition including a bookstand designed by Renzo Piano and four Art Editions, each including the Renzo Piano bookstand and a signed print.
Photographed in Zimbabwe and Kenya in late 2020, The Day May Break is the first part of a global series by acclaimed photographer Nick Brandt, portraying people and animals that have been impacted by environmental degradation and destruction.
The people in these photographs were all affected by climate change, displaced by cyclones and years-long droughts. Photographed at five sanctuaries, the animals were rescues that can never be rewilded. As a result, it was safe for human strangers to be close to them, photographed so close to them, within the same frame. The fog on location is the unifying visual motif, conveying the sense of an ever-increasing limbo, a once-recognizable world now fading from view. However, despite their respective losses, these people and animals have survived, and therein lies possibility and hope.
From 1988 to 1991 Dawoud Bey made a series of portraits of African Americans in the streets of various American cities. Using a large format tripod mounted camera and a unique positive/negative Polaroid film that created both an instant print and a reusable negative, he asked a cross section of the populations of these communities to pose for him, creating a space of self presentation and performance in the streets of the urban environment. As part of every encounter, Bey gave each person a small black-and-white Polaroid print for themselves as a way of reciprocating and returning something to the people who had allowed him to make their portrait. Defying racial stereotypes, the resulting portraits reveal the Black subjects in all of their psychologically rich complexity, presenting themselves openly and intimately to the camera, the viewer, and the world.
A new installment in Miles Aldridge's ongoing homage to, and plea for the revival of, Polaroid film
The sequel to Miles Aldridge's (born 1964) Please Return Polaroid (2016), this book presents new and vintage Polaroids from the British photographer's more than 20-year archive, in a seemingly random sequence shaped by a dreamlike logic and surprising juxtapositions.
Please Please Return Polaroid explores Aldridge's dedication to analogue processes where cut-and-paste is still a manual process, made with scissors, gaffer tape, intuition and not a little patience. Aldridge continues to use Polaroids as part of his work-in-progress “sketches,” often scratching, tearing and taping them together, even drawing over them; each mark part of the creative act.
Known for creating immaculate photos of a less than perfect world, Aldridge revels in these unpolished images, transforming some into extreme enlargements filling double pages with their reworked and damaged surfaces.