中文简介：

“一种暗黄色的金属到底是什么，促使人们放弃家园、变卖财物、穿越大陆，冒着生命、肢体和理智的风险去实现梦想？” ——塞巴斯蒂昂·萨尔加多 1986 年 9

月，当塞巴斯蒂昂·萨尔加多 (Sebastião Salgado) 终获准访问塞拉佩拉达 (Serra Pelada)

时，他已经被巴西军事当局封锁了六年，但他还没有准备好在亚马孙雨林边缘的这个偏远山顶上欣赏等待他的非凡奇观。

。在他面前，出现了一个宽深约200米的大洞，里面挤满了数万名衣不蔽体的人。其中一半人扛着重达 40

公斤的袋子爬上木梯，其他人则从泥泞的斜坡上跳回洞穴。他们的身体和脸都是赭石色，被他们挖掘的泥土中的铁矿石染红了。 1979

年在其中一条溪流中发现黄金后，塞拉佩拉达 (Serra Pelada) 唤起了人们长期以来所承诺的埃尔多拉多 (El Dorado)

作为世界上大的露天金矿的印象，该矿雇用了约 50,000

名挖掘机，条件极其恶劣。如今，巴西疯狂的淘金热已成为传奇，只有一些快乐的回忆、许多痛苦的遗憾以及塞巴斯蒂昂·萨尔加多的照片才得以延续。

当萨尔加多拍摄这些照片时，色彩占据了雜誌 光面页面的主导地位。黑白摄影是一条危险的道路，但塞拉·佩拉达 (Serra Pelada)

的作品集标志着单色摄影优雅的回归，遵循了从爱德华·韦斯顿 (Edward Weston) 和布拉塞 (Brassaï) 到罗伯特·卡帕 (Robert

Capa) 和亨利·卡地亚-布列松 (Henri Cartier-Bresson) 等大师定义了早期和中期摄影的传统。

-20世纪。当萨尔加多的照片传到《纽约时报》雜誌 时，发生了一件非同寻常的事情：全场鸦雀无声。

“在我在《纽约时报》的整个职业生涯中，”照片编辑彼得·豪回忆道，“我从未见过编辑们对任何一组照片做出像对塞拉·佩拉达那样的反应。”

如今，随着摄影被艺术界和数字化处理所吸收，萨尔加多的作品具有般的品质，并具有直接性，使它们生动地具有当代性。塞拉佩拉达 (Serra Pelada)

的矿井早已关闭，但淘金热的激烈戏剧性却从这些照片中跃然而出。

这本书以博物馆级复制品的形式收集了萨尔加多完整的塞拉佩拉达作品集，并附有摄影师的前言和艾伦·赖丁（Alan Riding）的文章。

还提供签名限量收藏版和艺术版。

英文简介：

“What is it about a dull yellow metal that drives men to abandon their homes,

sell their belongings and cross a continent in order to risk life, limbs and

sanity for a dream?” – Sebastião Salgado When Sebastião Salgado was finally

authorized to visit Serra Pelada in September 1986, having been blocked for

six years by Brazil’s military authorities, he was ill-prepared to take in the

extraordinary spectacle that awaited him on this remote hilltop on the edge of

the Amazon rainforest. Before him opened a vast hole, some 200 meters wide and

deep, teeming with tens of thousands of barely-clothed men. Half of them

carried sacks weighing up to 40 kilograms up wooden ladders, the others

leaping down muddy slopes back into the cavernous maw. Their bodies and faces

were the color of ochre, stained by the iron ore in the earth they had

excavated. After gold was discovered in one of its streams in 1979, Serra

Pelada evoked the long-promised El Dorado as the world’s largest open-air gold

mine, employing some 50,000 diggers in appalling conditions. Today, Brazil’s

wildest gold rush is merely the stuff of legend, kept alive by a few happy

memories, many pained regrets—and Sebastião Salgado’s photographs. Color

dominated the glossy pages of magazines when Salgado shot these images. Black

and white was a risky path, but the Serra Pelada portfolio would mark a return

to the grace of monochrome photography, following a tradition whose masters,

from Edward Weston and Brassaï to Robert Capa and Henri Cartier- Bresson, had

defined the early and mid-20th century. When Salgado’s images reached The New

York Times Magazine, something extraordinary happened: there was complete

silence. “In my entire career at The New York Times,” recalled photo editor

Peter Howe, “I never saw editors react to any set of pictures as they did to

Serra Pelada.” Today, with photography absorbed by the art world and digital

manipulation, Salgado’s portfolio holds a biblical quality and projects an

immediacy that makes them vividly contemporary. The mine at Serra Pelada has

been long closed, yet the intense drama of the gold rush leaps out of these

images. This book gathers Salgado’s complete Serra Pelada portfolio in museum-

quality reproductions, accompanied by a foreword by the photographer and an

essay by Alan Riding. Also available in a signed and limited Collector’s

Edition and as an Art Edition.