《出龛入龛:当代美国摄影艺术家访谈录》作者对美国当代摄影史进行了认真地研究和梳理，选择了12位在美国当代摄影不同发展阶段板具代表性的人物。作者不但介绍了他们的成长历程、文化背景、作品特点，也传达了美国当代艺术家的智慧和他们通过作品表达出的看待世界的方式。同时还通过面对面的访谈，深入地探讨了每位艺术家不同的思想、逻辑和创作理念。《出龛入龛:当代美国摄影艺术家访谈录》就像一把打开研究美国当代摄影大门的钥匙，也像一面研究中国观念摄影的镜子。

“克里斯多佛·詹姆士(Christopher James)把手工涂抹和古典摄影艺术提升到了一个崭新的境界……本书必将成为古典摄影工艺方面全新的标准教科书。” ——迪克·沙利文(Dick Sullivan)，Bostick & Sullivan公司的创始人兼共有人 “这是一本具有里程碑意义的指南，它明确了历史上的各种工艺技法，古典摄影技术目前所处的状况，以及非银盐摄影未来的发展方向。作者不仅细致地解释和探讨了经典的摄影技术和材料，还针对当前喷墨印刷和数字技术的迅猛发展，创造性地对现有的工艺进行了推广和改造。” ——朱迪·西格尔(Judy Seigel)，《后工厂摄影杂志》的创始人兼编辑

本书首次出版，重现了在巴黎举办的亨利·卡蒂埃-布列松基金会的展览。97幅人像作品贯穿了卡蒂埃-布列松摄影生涯中的70年，书中不仅收录了卡蒂埃-布列松一生的经典之作，同时还有大量从未公开出版过的珍贵名人影像：埃兹拉·庞德、安德烈·布勒东、马丁·路德·金、马塞尔·杜尚、塞缪尔·贝克特、杜鲁门·卡波特、苏珊·桑塔格、卡尔·荣格、威廉·福克纳、玛丽莲·梦露以及亨利·马蒂斯等。 书中的97幅照片每一幅都充分体现了卡蒂埃-布列松在拍摄瞬间试图表达的想法： “我在寻找一种内心的寂静，我试图去展示人物的个性而非外在。” 他的影像再次浮现于此——朴实而平静自然——也正因如此，亨利·卡蒂埃-布列松“决定性瞬间”的美学观念再次在书中得到印证。

The work of conceptual artist Sophie Calle embraces numerous media: photography, storytelling, film, and memoir, to name a few. Often controversial, Calle's projects explore issues of voyeurism, intimacy, and identity as she secretly investigates, reconstructs and documents the lives of strangers—whether she is inviting them to sleep in her bed, trailing them through a hotel, or following them through the city. Taking on multiple roles—detective, documentarian, behavioral scientist and diarist—Calle turns the interplay between life and art on its head. The book presents Calle's best-known works, including The Blind, No Sex Last Night, The Hotel, The Address Book and A Woman Vanishes, as well as lesser known and earlier projects that have largely escaped the public eye. The book also includes diary excerpts and video stills, along with three critical essays, a revealing interview with the artist and a dialogue with fellow artist Damien Hirst.

《侯登科》内容简介：侯登科以他的独特的方式突破了现实身份的限制，摆脱了无谓的杂念而得以无旁骛地尽其所能为身边的人与事，做出了愧于他作为中国农民儿子的良知与他的社会责任感的负责记录与再现。无论是对于职业摄影师还是摄影爱好者，侯登科的摄影生涯都是一个意味深长的坐标。他的具有职业意识的摄影实践将使所有职业摄影师汗颜，而他的真正的业余姿态则将永远使所有真正热爱摄影的人受到感动和鼓舞。

在陆元敏的镜头里，没有奇观城市，没有新闻，没有尖锐性，没有焦虑、紧张、躁动的欲望，甚至没有时髦……一切都衰败了，黄昏的大街、弄巷深处、桥与河、厂房和烟囱、偶然的被摄者、后院、屋顶、窗和天空，全部凝崮在寂静中，时光已逝，那儿仿佛永远是一座停滞的旧城，仅有一点迷离的诗意、漂移、不确定以及梦般的恍惚。陆元敏的照片虽然记录了上海，却并非为了充当时代的见证。陆元敏和上海之间的距离感是不可克服的，他从未真正融入进这座食利之城。上海复兴的勃勃野心、好大喜功和奢华亢奋，尽管和陆元敏一点关系也没有，但他似乎注定了要拿起相机来拍摄上海的“另一界面”，出于不可知晓的原因，哪怕是被一种神秘的无意识力量所驱使。陆元敏的摄影魅力在于，它如同弗瑞兰德(Friedlander)的作品那样，温和、迷失、自在、孤寂和无意义，进而触及了令我为之惊异的“在世的虚无”。

A broad monograph devoted to one of the preeminent names in contemporary Japanese photography. Moriyama's photography is provocative, both for the form it takes (Moriyama's photographs may be dirty, blurry, overexposed or scratched) and for its content. The viewer's experience of the photo--whether it captures a place, a person, a situation or an atmosphere--is the central thrust in his work, which vividly and directly conveys the artist's emotions. The approximately 200 black-and-white images sketch out an original perspective on Japanese society, especially during the period from the 1950s to the '70s. During this time, he produced a collection of photographs -- Nippon gekijo shashincho -- which showed darker sides of urban life and relatively unknown parts of cities. In them, he attempted to show what was being left behind during the technological advances and increased industrialization in much of Japanese society. His work was often stark and contrasting within itself--one image could convey an array of senses; all without using color. His work was jarring, yet symbiotic to his own fervent lifestyle. In addition, the artist has included a number of photos shot in the past decade to complete this volume.

缅北监狱，ISBN：9789881845948，作者：

本书精选75位顶尖摄影师的自拍作品，通过探讨自我与社会、个人与艺术的关系，对自拍这一摄影形式进行深入的解读。 从19世纪40年代到20世纪晚期，自拍艺术已历经两百多年的发展。作者苏珊·布赖特（Susan Bright）从它的起源娓娓道来，为我们展现了其诞生、发展、逐步成熟的完整发展脉络，也为我们思考当代摄影中自拍照的复萌之势提供了语境参考。 本书以自传、身体、角色扮演、影棚与相簿行为表演这五个重要主题为索引，介绍自拍影像中不同的拍摄形式与风格，揭示“自我”对影像创作的影响，有助于读者了解摄影历史与文化，观赏当代自拍影像以及寻找拍摄创作灵感。 ..................................................................................................... 新鲜有趣的调查报告，自拍影像的视觉盛宴。——观察家报（The Observer） 视野广阔，发人深省。了解自拍艺术的必备指南。——玻璃杂志（Glass Magazine） 灵感之源。——专业摄影师 完美编纂，引人入胜。——业余摄影师 自拍照不同于传统的肖像摄影。当摄影师与拍摄对象合二为一，拍摄对象的内在特质和摄影师身处的环境都得以呈现。这是我从《自动对焦》中总结出的心得。—— Conrad，亚马逊读者 如果你想更好地将自拍照作为一种摄影流派来理解，你应当好好读读这本书。它将会为你提供许多有用的见解。——P.Vidalina，亚马逊读者 各种自爆的主意，非常有创造性。—— 夏天的美丽，读者

Ansel Adams produced some of the century's truly memorable photographic images and helped nurture the art of photography through his creative innovations and peerless technical mastery. This handbook - the first volume in Adam's celebrated series of books on photographic techniques - has taught a generation of photographers how to harness the camera's artistic potential. It remains as vital today as when it was first published. Along with visualization, image management, Adams' famous Zone System, and other keys to photographic artistry, The Camera covers 35mm, medium-format, and large-format view cameras and offers detailed advice on camera components such as lenses, shutters, and light meters. Beautifully illustrated with photographs as well as instructive line drawings, this classic manual belongs on every serious photographer's bookshelf.

What a sketch is for the painter is a Polaroid for the photographer, namely the first formulation of a concept, the raw material of the imagination, as it were. When Helmut Newton published a selection of his Polaroids in Pola Woman in 1992, the subculture called it a stroke of genius. It was the first time that the master let people look directly over his shoulder. We became witnesses to the magic and often intense process by which erotic fantasies become finished images; the preliminary stages of a perfectly styled Newton photograph. It is remarkable, if not astonishing, that even this "raw material" possesses very original qualities and a charm of its own.

Diane Arbus redefined the concerns and the range of the art she practiced. Her bold subject matter and photographic approach have established her preeminence in the world of the visual arts. Her gift for rendering strange those things we consider most familiar, and uncovering the familiar within the exotic, enlarges our understanding of ourselves. Diane Arbus Revelations affords the first opportunity to explore the origins, scope, and aspirations of what is a wholly original force in photography. Arbus’s frank treatment of her subjects and her faith in the intrinsic power of the medium have produced a body of work that is often shocking in its purity, in its steadfast celebration of things as they are. Presenting many of her lesser-known or previously unpublished photographs in the context of the iconic images reveals a subtle yet persistent view of the world. The book reproduces two hundred full-page duotones of Diane Arbus photographs spanning her entire career, many of them never before seen. It also includes an essay, “The Question of Belief,” by Sandra S. Phillips, senior curator of photography at the San Francisco Museum of Modern Art, and “In the Darkroom,” a discussion of Arbus’s printing techniques by Neil Selkirk, the only person authorized to print her photographs since her death. A 104-page Chronology by Elisabeth Sussman, guest curator of the San Francisco Museum of Modern Art show, and Doon Arbus, the artist’s eldest daughter, illustrated by more than three hundred additional images and composed mainly of previously unpublished excerpts from the artist’s letters, notebooks, and other writings, amounts to a kind of autobiography. An Afterword by Doon Arbus precedes biographical entries on the photographer’s friends and colleagues by Jeff L. Rosenheim, associate curator of photographs at The Metropolitan Museum of Art. These texts help illuminate the meaning of Diane Arbus’s controversial and astonishing vision.

"Diane Arbus was no a theorist but an artist. Her concern was not to buttress philosophical positions but to make pictures. She loved photography for the miracles it performs each day by accident, and respected it for the precise intentional tool that it could be, given talent, intelligence, dedication and discipline. Her pictures are concerned with private rather than social realities, with psychological rather than visual coherence, with the prototypical and mythic rather than the topical and temporal. Her real subject is no less than the unique interior lives of those she photographed."--John Szarkowski, 1972, Director, Department of Photography, The Museum of Modern Art "I have never seen pictured like them before, and I am sure I will never see their equal again. They are the product of something beyond the camera, the result of a long, complex and intensely human process. No one can go into the street tomorrow and take a Diane Arbus photograph. That would be merely adjusting a lens and pressing a button. What made her pictures great was everything that happened before she pressed the button."--Douglas Davis, Newsweek, 1984 "Diane Arbus is one of our legends, her monograph a pivotal classic that changed the direction of photography in America. She captures the complexity and the art in reality. The quality that defines her work and separates it from almost all other photography is her ability to empathize on a level far beyond language."--Nan Goldin, Bookforum, 1995

Seeing so many celebrity photographs from the beginning of Ms. Leibovitz's career unveils many of the most effective methods that she uses to create her deep insights into the subject of the portrait. Although you may feel the subtlety of her work viscerally, these comparisons make it easier to appreciate the purposefulness of how the effects are brilliantly captured. If you are like me, this book will enhance your already deep appreciation of her work. Before going into all the reasons I like this book, let me mention that the book contains tasteful nudity and sexual situations that would probably cause an R rating for a motion picture (or possibly something a bit stronger, like an R plus). Many parents would be uncomfortable with some of their children seeing these images. So judge the appropriateness of this wonderful book for your own family. First, Ms. Leibovitz is looking for the soul of the person. Who are they at the core? This is captured by establishing a composition that overtly expresses this inner kernel of truth. For Roseanne Barr and Tom Arnold, this is captured by mud wrestling. For Muhammad Ali, you see a fully confident, capable man fully comfortable with himself and the world. Second, she captures the subject's personality with posing and expression within the composition. Whoopi Goldberg's playfulness is captured by a composition that has little bits of her beautiful blackness emerging from a milk bath, with a characteristicly wry, happy smile. Third, she shows the social mask that the subject uses. Lily Tomlin's face poses behind a television set image. Diane Keaton is shown wandering around with her face averted from the camera to capture her preference for privacy and appearance of shyness. Keith Haring appears wearing nothing but his painted on designs. Fourth, she connects her subject to another person where that helps to establish part of the person's reality. John Lennon appears in foetal position with Yoko Ono, in that famous image from this book's cover. The Rolling Stones are literally flying through the air at the same time while performing. The Grateful Dead are asleep on each other's shoulders. Interestingly, she is usually able to do this with a humorous, light touch that dispells some of the celebrity power of the person. Fifth, she lets a little slip in composure or a little blemish show where that adds to the underlying reality. Louis Armstrong looks scared in one classic portrait pose, while totally relaxed and in control in a less formal setting. Mick Jagger's partially healed scar is shown in another image. Jodie Foster puts on an intelligent expression that shows the Yale graduate rather than the young female star. Sixth, she captures motion in ways that give the kinesthetics of the person and situation wonderfully. For example, a group of prisoners and family members hug at Soledad Prison in California at Christmas in 1971. You see many different relationships in this one image. It's like a microcosm of all humanity. Here are my favorite images: John Lennon, New York City, 1970 Louis Armstrong, Queens, New York, 1971 Christmas, 1971, Soledad Prison, California The Grateful Dead, San Rafael, California, 1971 Ray Charles, San Francisco, 1972 Lily Tomlin, Los Angeles, 1973 Richard Pryor, Los Angeles, 1974 Andy Warhol, New York City, 1976 Tennessee Williams, Key West, Florida, 1974 Ron Kovic, Santa Monica, California, 1973 The Rolling Stones, Philadelphia, 1975 Brian Wilson, Malibu, California, 1976 Muhammad Ali, Chicago, 1978 Robert Penn Warren, Fairfield, Connecticut, 1980 John Lennon and Yoko Ono, New York City, December 8, 1981 Greg Louganis, Los Angeles, 1984 Bruce Springsteen, Asbury Park, New Jersey, 1987 Whoopi Goldberg, Berkeley, California, 1984 Twyla Tharp, New York City, 1989 Michael Jackson, Los Angeles, 1989 Mikhail Baryshnikov, New York City, 1989 After you have enjoyed the book, I suggest that you make a drawing that does a similar unveiling of someone you know well. You might even consider a self-portrait. Ms. Leibovitz says those are the hardest to do. Look deeply into those all around you and see the truth . . . as well as the fictions.

这本书结集了纪实摄影史上的经典佳作．从摄影术诞生后第一张照片开始，不单欣赏和解读，还讲述它们诞生的故事，甚至连作者的故事也不放过——专为普通读者而作。这还不算稀奇，难能可贵的是作者不单有如数家珍的学识，更有史家的胆识、理论家的创见，愣是满怀终极的人文关怀，用纪实摄影的经典佳作串起一部纪实摄影史来。 它的确是一部世界纪实摄影史，语言是散文化的——据专家说：堪称中国的纪实摄影理论的开山之作!它对纪实摄影概念的界定，对纪实摄影风格、流派的划分，对它们的内涵和文化价值的剖析，对它们赖以产生的社会背景及其衍变的文化动因和文化个体心理的内驱力的探究，卓有创见，尚未出版就引起了摄影理论研究者、大学摄影课的教授和新闻出版界的记者、编辑的瞩目。

纪实摄影表现摄影家对环境的关怀，对生命的尊重，对人性的追求……纪实摄影家以冰冷的机器记录边缘景象或被人有意无意间“忽视”的事实，却往往能借着影像的力量，使摄影成为参与改造社会的工具。从纪实摄影发生的社会背景与历史没载看，它的批判性和干革命性不言而喻。副产品纪实摄影史就是一部摄影家对人世间的不公、黑暗、动乱、肃削……进行记录、表述与传播的历史。通地影像，他们达到宣传鼓动，进而促进社会变革，使人间更美好的目的。 这本书以平易的文风介绍了当代著名纪实摄影家的贡献，他们的风雨历程、创作理念、参与社会活动的方式、对人性的追求等许多方面，为读者提供了关于纪实摄影的立体的、全景式的信息。

With an introduction by Hubertus von Amelunxen Media philosopher Vilem Flusser proposed a revolutionary new way of thinking about photography. An analysis of the medium in terms of aesthetics, science and politics provided him with new ways of understanding both the cultural crises of the past and the new social forms nascent within them. Flusser showed how the transformation of textual into visual culture (from the linearity of history into the two-dimensionality of magic) and of industrial into post-industrial society (from work into leisure) went hand in hand, and how photography allows us to read and interpret these changes with particular clarity.

编辑推荐：这本书是运用人的视觉生理学原理来阐发摄影艺术中许多具有基本意义的理论问题。由于摄影艺术的成像与造形的过程，与人的视觉生理作用十分相似，所以，从视觉生理学角度来论述摄影艺术中的一些问题，就有着特殊的意义。本书适合于艺术理论工作者、摄影专业入门及摄影爱好者参考阅读。

「内容简介」 中国改革开放三十年产生了翻天覆地的变化。对很多当今的中国人来说，1978 年经济改革的曙光仿佛就在昨天，在刘香成，这位普利策奖获得者的摄影图片中，我们看到那个时代的中国距离今日已如此遥远。照片捕捉到的大江南北的一幕 幕日常景像，对那一代中国人来说，是无比珍贵和熟悉的生活写照。三十年间，现代化进程已经渗浸到生活中的每个细节和瞬间，刘香成也在持续地记录中国的巨大变化。 「推荐语」 “我多么珍视他对人民和土地的脉脉深情。他的作品朴素得像面包，明澈如水，有益如盐，新鲜如山风，勇敢如鹰，自在如无限远云。” ——黄永玉，画家、作家、诗人 “刘香成的北京之行似乎一举终结了此前西方的中国影像：他追踪这个巨大国家在毛泽东逝世之后的庞然骚动，这骚动，不但大幅度改变了中国，目下正以未知的方式与能量，改变世界。” ——陈丹青，自由艺术家 “对刘来说，中国不只是一个值得发现的真相，更是一种尚待阐明的爱。” ——帝奇亚诺·坦尚尼（Tiziano Terzani），前《明镜》（Der Spiegel）周刊北京分社社长 “刘香成怀着对中国人民的忠诚，给予我们的不是明信片式的中国，而是真正艺术家的敏锐、感人和真实的刻画。” ——包德甫（Fox Butterfield），前《纽约时报》（New York Times）北京分社社长 “刘通过镜头把标准的‘西方的思索’带到了中国，却又不失中国气息，还通过一种特殊的方式关心政治，这样的纪实摄影在当时的中国可谓独一无二。” ——凯伦·史密斯（Karen Smith），当代艺术评论家 “刘香成也拍政治人物，没有颂扬，也没有贬低，没有隔膜，他把人当作是人，认识的准确，会有一种辛辣钻到人心里，但又被幽默和寻常化解了，看他拍开会照片，中国人会有一种菀尔一笑的亲切。” ——柴静，中央电视台记者 “这样一个摄影师，和用他的相机所解读的那个时代，对于中国来说，有多么的稀缺和重要……因为他的普遍性和独特性，我以为，他成为了迄今为止对中国一个时代的最完整、最深刻和最彻底的记录者，以前没有，以后也很难有。” ——连清川，FT 中文网