Sitting on the terrace outside his room at the Beverly Wilshire Hotel, Juliano Salgado, son of Brazilian photographer Sebastião Salgado, pulls down on his cigarette as the day turns to night and the Christmas lights below come to life.
Midway through a scene in the documentary The Spectre of Hope, Sebastião Salgado explains to John Berger that the near 350 photographs in Salgado’s book Migrations represent little more than one second of actual time.
During the seemingly endless wars and humanitarian crises of recent decades, some "conflict" photographers have been accused of exploiting their helpless subjects, of purveying “poverty porn.”
