1989 Retrospective; Hasselblad Center; Go ̈teborg, Sweden
and traveling
1990 An Uncertain Grace; San Francisco Museum of Mod-
ern Art; San Francisco, and traveled to Los Angeles,
New York, Washington DC, and Cambridge, Massa-
chusetts
1993 Workers; Philadelphia Museum of Art; and traveled to
Paris, Lisbon, Madrid, and Bratislava, Slovakia
2000 The Children: Refugees and Migrants; United Nations;
New York and traveled
Selected Works
As melhores fotos = The Best Photos.Sa ̃o Paulo: Boccato,
1992
Other Americas. New York: Pantheon Books, 1986. (Autres
Ame ́riques, Paris: Contrejour;Otras Ame ́ricas, Madrid:
Ediciones ELR, 1986.)
Sahel: L’homme en de ́tresse. Paris: Prisma, 1986. (Sahel: El
fin del camino: Madrid: Comunidad de Madrid, 1988.)
Sebastia ̃o Salgado: Fotografias. Rio de Janeiro: FUN-
ARTE, 1982
An Uncertain Grace. New York: Aperture, 1990. Tokyo:
SGM, 1990; London: Thames and Hudson, 1990. (Une
certaine grace. Paris: Nathan, 1990.)Further Reading
Harris, Patricia, and David Lyon. ‘‘More Light on the
Subject.’’Americas43:4 (1991).
Hopkinson, Amanda. ‘‘Sebastia ̃o Salgado.’’ The British
Journal of Photography29 (March 1990) 11–15.
Sischy, Ingrid. ‘‘Good Intentions.’’The New Yorker, 9 Sep-
tember 1991.
Taylor, Liba. ‘‘Interview: Sebastia ̃o Salgado.’’The British
Journal of Photography12 (November 1987) 1354–58.
Workers: An Archaeology of the Industrial Age. New York:
Aperture Books, 1993.
Salgado, Sebastia ̃o.The Children: Refugees and Migrants.
New York: Aperture Books, 2000.ERICH SALOMON
German
Erich Salomon is among a handful of German
photographers and editors credited with establishing
modern photojournalism. Perhaps the greatest mark
of Salomon’s achievement is the number of moni-
kers his contemporaries attached to him: ‘‘Houdini
of Photography,’’ ‘‘Diogenes with a Camera,’’ or as
one French diplomat chided, ‘‘the king of the indis-
creet.’’ For a decade after 1928, Salomon excited
German and foreign periodical readers with un-
posed portraits of politicians and celebrities cap-
tured by his inconspicuous lens. An editor atThe
Graphicin London coined the phrase ‘‘candid cam-
era’’ to describe Salomon’s innovative style.
Like most of his colleagues in the new German
photojournalism of the 1920s, Salomon came to
photography by chance and financial necessity.
Born in 1886 into a well-established Berlin banking
family, Salomon pursued a professional course of
studies in zoology, civil engineering, and finally,
with the urging of parents, a doctorate in law.
While a conscript in World War I, he was captured
at the battle of the Marne and spent the next three
and a half years in French POW camps. In Ger-
many’s postwar depression economy, Salomon
earned a living with brief stints in banking and the
stock exchange, work at a piano factory, and by
running his own taxi service. By the mid-1920s he
found promotions work at the country’s largest
periodical publisher,Ullstein Verlag.It was there
that his interest in photography was sparked, and in
1927 Salomon first used a camera. His break came
in 1928 when he snuck his small glass plate Erma-
nox camera into several high-profile criminal trials,
and the pictures were published internationally.
Salomon completely transformed the character
of interior photographic reporting by shooting in
natural light, a development made possible by new
hand-held cameras with fast shutter speeds. His
unobtrusive cameras—the Ermanox until 1932,
and 35-mm Leicas thereafter—enabled Salomon
to catch people in ‘‘unguarded moments.’’ Much
of his work was quietly collected in the conference
rooms of dignitaries, in closed sessions of Parlia-
ment, or at the dinner tables of celebrities. Such
spontaneous photography became his hallmark,
giving rise not only to Salomon’s reputation as a
charming spy, but also to a ‘‘snapshot’’ style that
became internationally acclaimed. While based in
Germany, he traveled throughout Europe and the
United States, securing jobs from the world’s bestSALGADO, SEBASTIA ̃O