World, meet China The People’s Republic seen by 88 Chinese photographers This book brings together a vast selection of images by Chinese photographers since 1949, giving readers a visual journey across the great People's Republic; edited by esteemed photojournalist Liu Heung Shing, longtime Associated Press correspondent and Time magazine contributor. In post-Mao China, late Chinese leader Deng Xiaoping urged his one billion countrymen to "seek truth from facts." Taking its cue from Deng's overture, China today is the leading economic story of the 21st century. The process by which China navigated the path from periphery to a central position in world affairs dominates the debate about Asia and China's relationship to the western world. Pulitzer-winning photojournalist Liu Heung Shing charts the visual history of sixty years of the People's Republic (1949 to 2008), and along the way aims to illustrate the humanistic course. Via work by 88 Chinese photographers, this collection of images shows how the Chinese people have blossomed in spite of enduring previous decades of extraordinary hardship. When China opens the curtain at the summer Olympics in 2008 and the world’s focus falls upon Beijing, these photographs will serve to map out the remarkable road the Chinese have traveled to rejoin the rest of the world. To help place the images in context, also included are a map of China, drafted and prepared by China National Institute of Geography, and a chronology listing all the major political events in China since 1949. The photographers: Cai Shangxiong, Chen Jie, Chen Ling, Chen Man, Du Xiuxian, Feng Jianguo, Gu Shoukan, Guo Kai, Han Lei, He Yanguang, Hong Ke, Hou Bo, Hu Yang, Huang Yimin, Ji Lianbo, Jiang Jian, Jiang Shaowu, Jin Alfred Cheng, Lei Yu, Li Lang, Li Nan, Li Zhensheng, Liu Heung Shing, Liu Zheng, Lu Guang, Lu Yuanmin, Luo Xiaoyun, Lu Beifeng, Lü Nan, Lü Xiangyou, Meng Zhaorui, Peng Xiangjie, Qin Wen, Qiu Haiyin, Qiu Yan, Ren Wen, Rong Rong and Inri, Ru Suichu, Shi Xunfeng, Tang Desen, Wang Fuchun, Wang Jie, Wang Jinsong, Wang Shilong, Wang Wenlan, Wei Dezhong, Wei Roxun, Weng Naiqiang, Wu Jialin, Xiao Chuan, Xiao Ye, Xiao Zhuang, Xie Guanfei, Xie Hailong, Xing Danwen, Xu Jingxin, Xu Xiaobing, Yang Shaoming, Yang Shizhong, Yang Yankan, Ying Fukan, Yong He, Yu Deshui, Yu Haibo, Zeng Nian, Zhang Dali, Zhang Peng, Zhang Yaxin, Zhao Cunying, Zheng Pingping, Zhou Cao, Zhou Jiandong, Zhou Yue, Zhu Yan and Zhuang Hui. About the editor: Liu Heung Shing’s journalistic involvement with China runs parallel with the development of the People’s Republic. Following the 1979 China-U.S. diplomatic normalization, Liu was Time Magazine’s first photojournalist based in Beijing. His first story was on the death of Mao Zedong. He has worked as a foreign correspondent for the The Associated Press in Beijing (1979-1983), Los Angeles (1983-85), New Delhi (19851-89), Seoul (1989-1990) and Moscow (1990-1993). Liu is the author of China After Mao (Penguin 1982), and USSR: Collapse of an Empire (Associated Press 1992). In 1992 he shared the Pulitzer Prize for Spot News Photography on the coverage of the Soviet Union, and in 2005 French Photo magazine named Liu Heung Shing one of the 100 most influential figures in contemporary photography. About the contributing authors: James Kynge is an award-winning former journalist in Asia for 20 years. His book, China Shakes the World, has been translated into 19 languages and selected as Goldman Sachs/Financial Times' Business Book of the Year in 2006. Karen Smith is an art historian specialising in Chinese contemporary art. She has written widely on the subject and is the author of Nine Lives: The Birth of Avant-Garde Art in New China (Scalo, 2006 / Timezone 8, 2008). She also curates exhibitions, including The Real Thing, Tate Liverpool, 2007, and Chinese Photography and Video, Kunstmuseum Wolfsburg, amongst others. She is also on the advisory board of Three Shadows Photography Art Center in Beijing. She lives in Beijing since 1992

这本摄影集是当代西方纪实摄影艺术的集中展示，国内第一本直接在海外组稿的摄影画册。M. 亚伯拉罕斯、G. 门德尔、H.洛根等活跃于当今欧美摄影界的纪实名家，以十个专题一百余幅作品，记录了他们对世界的观察与思考。从中东冲突到非洲艾滋病蔓延，从狂欢者的尽情宣泄到宗教徒虔诚的膜拜，人类种种生存状态，在摄影家的独特视角下，无不得到深入而有震撼力的表现。中国读者可从中领略纪实摄影的多种风格和摄影艺术的发展趋势。

《爱,就这么简单》是影像大师格里夫的最新摄影绘本，是《你今天心情不好吗》系列中的又一力作，《爱,就这么简单》延袭了该系列一贯的叙事风格，以生动逼真，活泼有趣的动物摄影图片，俏皮隽永的短句，内涵丰富的语汇，向读者揭示爱情的真谛，讲述爱情的浪漫，细数爱情的温馨，消解爱情的烦恼。正如作者之前写过的包括经典畅销书《你今天心情不好吗？》、《我爱你，妈妈》、《一生的朋友》在内的十《爱,就这么简单》那样，格里夫将其简洁的语言和独特的视角完美结合，让世间男女怦然心动。

Gregory Crewdson's photographic series capture a particularly American state of normalcy--in dissolution. The viewer, at first seduced by what appears to be an idyllic scene, soon discovers subtle off-kilter elements more akin to Film Noir than an NBC comedy. In a work from his Twilight series, yellow school buses are parked outside white wooden houses, and students stand and lounge around in seeming passivity. Something is happening--what, we don't know. The vision is familiar yet unfamiliar, seemingly benign yet threatening. Crewdson goes to great lengths in dramatizing his disturbing suburban scenes, employing elaborate lighting, cranes, props, and extras, espousing a level of behind-the-scenes preparation more akin to the making of a Hollywood movie than the making of a still image. Here perhaps is one place to locate the eerie unreality and narrativity of his pictures, the creepy attention to detail so out of place, in the ordinary settings he evokes. Middle-class reality meets the other side of the normal here--by way of Sigmund Freud. I'm very struck by the still image, and I'm interested in the limitations of a photograph in terms of its narrative capacity to have an image that's frozen in time, and there's no before or after. -- Gregory Crewdson Edited by Stephan Berg. Essays by Martin Hentschel, Martin Hochleitner, Urs Stahel and Stephan Berg. Hardcover, 11.75 x 10 in./200 pgs / 80 color and 100 b&w.

:::內容簡介::: ◆美學大師約翰．伯格 vs 專業攝影家尚．摩爾合力探討攝影本質的經典之作！ ◆繼《論攝影》、《明室》、《迎向靈光消逝的年代》，又一影像思考巨著！ ◆薩依德（E. W. Said）譽為「劃時代的原創性影像論述」！ ◆探討影像敘事之道的理論與實務之作！ 關於影像，我們總是思索： 何謂真實？攝影是紀錄，還是另一種呈現？ 影像與文字間有何關係？我們可否不用文字，全然用影像來說故事，來思考？ 什麼是照片？照片意味著什麼？它們是如何生成的，又如何被使用、被詮釋？ 當代美學評論界最具影響力的作家約翰．伯格（John Berger），與瑞士知名攝影家，首度以理論和實務結合的方式，為讀者揭示攝影的本質。 本書以極具創發性的方式寫就，主要分成四個部分： 首先，尚．摩爾（Jean Mohr）書寫他作為攝影家的各種實務經驗，尤其將焦點放在照片的意義為何總是「曖昧不明」一事上。一張照片，就像一個「相遇之所」（meeting place），身在其中的攝影者、被攝者、觀看者，以及照片的使用者，對於照片常有著彼此矛盾的關注點。這些矛盾既隱蔽，又增加了攝影圖象原本就具備的曖昧不明特性。而影像所具有的這種曖昧性其實正啟發了另一種的影像敘事之道。 第二部分試圖提出一個關於攝影的理論。攝影這種媒材的理論書寫，大部分不是侷限在純然實證的分析中，就是完全陷入美學風格的探究裡。但攝影一事，很自然地在本質上會導引出，關於事物外貌（appearances）意義的探討。 第三部分是兩人想像力合作的成果，由一百五十張沒有任何文字說明的相關照片構成。作者將這一系列的照片命名為「假如每一次……」（If Each Time……），透過連續的影像呈現，訴說一位農婦生命史的故事。這些照片，並非所謂的攝影報導（reportage），而是影像訴說故事的具體敘事實例。 第四部分則試圖探討，在「假如每一次……」當中訴說故事的方式，具有何種理論上的意圖與內涵。 何謂真實？每個攝影家都參與了真實，而他們呈現出的影像，正考驗出他們看到了哪一部份的真實！兩位傑出的影像工作者，解釋了視覺不僅僅只是記錄，更是呈現；剖析了攝影者與被攝者、照片與觀照者、相片瞬間與長存記憶間的緊張關係。 本書延續班雅明、羅蘭．巴特、蘇珊．宋塔的思想傳統，是喜愛攝影者不可錯過的影像思考巨著。

亨利 卡蒂埃 布勒松从事摄影半个多世纪，周游世界各国，拍摄了大量的精彩照片，但是，他从来不允许别人拍摄他本人的照片，他的志愿似乎是，永远躲在人们看不见的地方，描绘和刻画世上芸芸众生。

“如果你的照片拍得不够好，那是因为离炮火不够近。”这是最具影响力的战地摄影记者卡帕的一句名言。 1936年西班牙内战，卡帕在战场上拍摄了一个战士中弹将要倒下的一瞬，这幅使人有身临其境之感的作品以《西班牙战士》、《战场的殉难者》、《阵亡的一瞬间》等标题发表，立刻震动了当时的摄影界，成为战争摄影的不朽之作，也成为卡帕的传世之作。1941年，卡帕作为摄影记者从美国来到欧洲，此后转战各大战场，用相机反映西班牙内战、二战、越南战争的实况，照片凝固了光荣、苦难、欢欣或残酷的一瞬。 Book Description Robert Capa (1913-1954), one of the greatest photographers of the twentieth century and a founding member of the Magnum photographic agency, had the mind of a passionate and committed journalist and the eye of an artist. His lifework, consisting of more than 70,000 negative frames, constitutes an unparalleled documentation of a crucial twenty-two-year period (1932-1954) encompassing some of the most catastrophic and dramatic events of the last century. This book represents the most definitive selection of Robert Capa's work ever published, a collection of 937 photographs selected by Capa's brother, Cornell Capa (himself a noted Life photographer), and his biographer, Richard Whelan, who meticulously re-examined all of Robert Capa's contact sheets to compile this master set of images. This book opens with a biographical introduction illustrated with rare photographs of Capa, and closes with a chronology of his life. The main body of the book presents this definitive collection of 937 of Robert Capa's most important pictures. The photographs, arranged in chronological order and accompanied by commentaries and identifying captions, constitute an in-depth survey of Robert Capa's finest work over the entire course of his career. The pictures reveal the dramatic shifts in location and subject matter that Capa experienced from day to day, representing the trajectory of his life - from war-torn Spain to Picasso on a sunny beach in France; from carousing with Ernest Hemingway in London to Capa's historic images of the Allied landing on Omaha Beach in Normandy in 1944. The book design groups together pictures that constitute a story - for example, the Popular Front rallies in Paris in 1936, or the U.S. Army's entry into Sicily in 1943 - in order to maintain the original coherence of the work. Embodying the spirit of his photographs, Robert Capa's life itself was adventurous, romantic, and tragic. Born in Hungary in 1913, he hoped to become a journalist but was forced to flee to Berlin at the age of seventeen because of his leftist political sympathies. When Hitler became chancellor of Germany in 1933, Capa fled to Paris, the city that would become his home on and off for most of his life. It was there that he met Andre Kertesz, who became a mentor to Capa and introduced him to the extraordinary potential of the 35mm Leica camera as a tool for reportage. Capa also met two other photographers during his early years in Paris: Henri Cartier-Bresson and David "Chim" Szymin, with whom he founded Magnum, the co-operative photo agency, in 1947 along with George Rodger and William Vandivert. For the rest of his life, Capa would devote much of his time to guiding the operations of the Magnum offices in Paris and New York. Throughout the 1930s and World War II, Capa was present at many of the twentieth century's defining events and moments. His first assignment came in 1932, when he was working as a darkroom assistant at Delphot, the important Berlin photo agency. The agency's director, recognizing Capa's talent, lent him a camera and sent him to Copenhagen to photograph exiled Russian revolutionary Leon Trotsky giving a speech to Danish students. From there, Robert Capa went on to photograph the Spanish Civil War, when he made his famous "Falling Soldier" picture showing a Republican soldier collapsing just after being shot. Capa reported on the increasing political tensions in Europe in the mid-1930s, including the Popular Front demonstrations in France, and on the presidential elections in Mexico in 1940 before being accredited by the U.S. Army as a war correspondent for Life. After documenting Londoners' stalwart survival of the Blitz, he went on to cover battles on many of the major fronts in North Africa, Sicily, mainland Italy, France, and Germany. In one of his most famous assignments, Capa landed with the first wave of American troops on Omaha Beach in Normandy on D-Day, June 6, 1944. Wading into the frigid water behind amphibious tanks, and dodging machine gun and rifle bullets, Capa shot 36 exposures before his hands were shaking so badly that he could not insert another roll into the camera. In an ironic twist of fate, a Life darkroom attendant damaged all but eleven of Capa's negatives. After the war, he did various stories for travel magazines and worked on writing projects with friends such as John Steinbeck and the noted journalist Theodore H. White. He also went to Israel several times to document the conflict and co-operation in the founding of the new nation. Capa's last assignment would be a trip to Vietnam to cover the French Indochina War: he was killed when he accidentally stepped on a Vietminh antipersonnel mine in the countryside on May 25, 1954. Though perpetually broke, Capa lived a glamorous life - through a combination of charm, luck, and talent (and an uncontrollable penchant for gambling), he frequented a wealthy circle of celebrities and cultural figures. He fell in love with Ingrid Bergman; was friends with Ernest Hemingway, the director John Huston, and other writers and directors; spent many an afternoon at the racetracks, and enjoyed all-night poker games. Seen together, however, the pictures in this book transcend the specific situations they portray to stand as timeless images of the human condition at its most terrible and inspiring; they are monuments to the strength of the human spirit. Book Dimension : Height (cm) 25 　　　　　　　　　　　　　　 Width (cm) 25

本书对19世纪美国和欧洲有关摄影的作品进行了颇具见地的概述,他涉及到艺术理论、社会改革和生理学不同的领域。早期的摄影批评，具有大量关于客观性、外观和复制等种种传统性的概念。同时，被普遍接受的艺术中有关中性视觉、直觉天赋和艺术进步等观点构成了人们对摄影的理解方式。玛丽·沃纳·玛利亚认为，摄影是重要的社会和文化符号，它折射出艺术和社会变革诸领域中的现代性和变化。另外，她还阐明了摄影作为现代性和变化的象征迅速崛起的方式，既能轻易地反对进步，又能促进民主的发展。

本书以极其方便的查阅形式，将你快速引入美妙的摄影艺术时空隧道。无论你随手翻开哪一页，都可领略到摄影术诞生的150年来，人类历史上曾经有过的一个不朽瞬间。本书收录的447位伟大的摄影家们，在富有创意的心灵感触下，将世事沧桑与艺术经验凝练在瞬间的定格中，凝固了风云变幻的近现代史，记录着丰富的人类情感，书写和创造了新的趣味与价值。通过本书，你可以重温曾经熟悉的经典，进一步了解创造经典的人，也能够认识众多在中国尚未被介绍的另类大师或新生代大师。《摄影速查手册》为你量身定做摄影鉴赏的入门课与高级修养课程，无论是布列松，还是索德克，都可变成你犀利的谈资，或锻炼你本已挑剔的艺术眼光。

《我将是你的镜子:世界当代摄影家告白》汇聚了30余篇当代外国摄影家的访谈录，并把摄影家们的精彩作品穿插其中，对于那些真正的摄影爱好者和艺术家来说，《我将是你的镜子:世界当代摄影家告白》不仅仅是带来视觉上的冲激，读者被深深触动的，是摄影家们言论的锋利，是他们透过照片看到事物的本质的眼光。

20世纪20年代，拉兹洛·莫霍利-纳吉曾说，“不懂得摄影的人，便是将来的文盲”。从最初摄影快照的出现，到如今正在开展的大规模的摄影革命，正好说明上面这句话惊人的预见性。 摄影作为一种艺术形式，影响力正日益扩大。格里·巴杰编著的《摄影的精神：摄影如何改变了我们的生活》一书正是为配合有关摄影的首部重要的系列电视片而撰写的，试图通过摄影发展进程中的关键事件、关键人物和关键影像，来探索这一艺术与科学性兼具的视觉表现形式的本质特征。《摄影的精神：摄影如何改变了我们的生活》共分六章，分别将摄影的发展过程纳入社会大背景之中，核心部分力图探索怎样的摄影作品，才能算得上是真正伟大的艺术杰作。本书各章提供20幅左右精心挑选的图片，配以文字解说，同时更在主线索中阐明本书涉及的有关问题，诸如：我们是否能够“相信”摄影所展示给我们的一切？为什么一幅摄影作品所展示的，比题材的全部内容还要丰富？摄影师是如何处理历史事件的？摄影为什么是一种悲怆的艺术？等等。 格里·巴杰批判的视角和敏锐的美学意识，使本书成为一部里程碑式的著作。对于每一个想对21世纪最重要的艺术形式之一的摄影有更多了解的人来说，本书是一部必读之作。

Teller’s idiosyncratic visual style and use of unusual models has been instrumental in establishing what has become one of the pre-eminent fashion brands of our times. Reflecting the intelligence and individuality of the Marc Jacobs’ brand, the models have included Sofia Coppola, Charlotte Rampling, Meg White, Kim Gordan and Thursten Moore, Michael Stipe, Rufus Wainwright, Harmony Korine, Cindy Sherman, William Eggleston, Samantha Morton, Winona Ryder, Roni Horn, Victoria Beckham and Juergen Teller himself among others… This book brings together a selection of images from all the campaigns into a collection that marks how significant this collaboration has been in both fashion and visual culture.

《世界摄影史》（修订版）系统介绍了摄影术发明以来一百多年的发展历程，用丰富的资料和经典作品形象描述了史上各摄影流派的发端及特点，并对两百多位著名摄影家及其作品作了精辟分析，是摄影专业学生了解世界摄影史的很好读本。

《明室:摄影纵横谈》分为上下两篇，有照片的特性、难于归类的摄影、以感动为出发点、摄影师、幻象和看照片的人、被拍照的人、看照片的人：趣味混乱、摄影如奇遇、不受拘束的现象学、二元性、“STUDIUM”和“PUNCTUM”、“STUDIUM”、传递信息、绘画、出其不意地拆除照等。

本书是14位摄影大师对摄影本质的思辨，这些严肃的问题却是以轻松的对谈方式书之，由于访谈者霍瓦本身也是一位摄影名家，对他所心仪的摄影家做过认真的观察和思考，而且曾有志写作，比别人多了一份对语言的敏锐，因此总能针对各家的风格，自不同角度切入。他花了四年的时间，巴黎之外，还远涉英国、意大利、美国、日本等地。除了两位日本摄影家通过传译，其他访谈都以原文进行（再自己译为法文），因此谈论能酣畅尽兴，引人入胜。 本书法文版于1990年中甫一上市，不但引起了摄影界的巨大回响，同时也被其他艺术领域及文化界人士称许为：近年来难得一见的、这么有深度又生动无比的对话录。

1896年1月，在美国《国家地理杂志》的刊头下面出现了“配图月刊”这一小标题，从此以后这个图文并茂的传统一直延续至今，并在艺术和技术两个方面不断攀登新的高峰。美国国家地理学会举办过多次重大的探险和考察活动，如罗伯特·皮里率领的世纪之交北极探险，希拉姆·宾诺姆的发现马丘比丘，威廉·亨利·杰克逊的美国西部早期全景摄影，约瑟夫·洛克于20年代拍摄的中国内地稀罕镜头，从同温层气球上拍摄的第一幅鸟瞰图，以及从第一次海底旅行中观测到的人类从未见到过的景象。在这些活动中获得的珍贵照片的发表，使国家地理杂志始终能领先一步展示世界上形形色色的奇观。 在21世纪来临之际，《国家地理杂志》邀请摄影界的六位作者（德高望重的博物馆馆长，得奖作家，知名大学教授）来评选国家地理杂志上的最佳作品，并从摄影艺术史的角度对这些作品加以评价。这几位专家对各个时期的作品逐一认真分析，对《国家地理杂志》在图文刊物这一特殊领域的发展中所起的重大作用发表了精彩的评论。为了阐明自己的观点，专家们从学会的档案库里挑选出各种有代表性的优美照片（有许多从未发表过）编成选辑，作为各个时期的里程碑，从1910年国家地理杂志上的第一张彩色照片到1927年的第一张水下彩照，再到今天用尖端摄影技术拍摄下来的各种照片。

在线阅读本书 Lavishly produced and illustrated, Cinematography covers the entire range of the profession. The book is not just a comprehensive guide to current professional practice; it goes beyond to explain the theory behind the practice, so you understand how the rules came about and when it's appropriate to break them. In addition, directors will benefit from the book's focus on the body of knowledge they should share with their Director of Photography. Cinematography presents the basics and beyond, employing clear explanations of standard practice together with substantial illustrations and diagrams to reveal the real world of film production. Recognizing that professionals know when to break the rules and when to abide by them, this book discusses many examples of fresh ideas and experiments in cinematography. Covering the most up-to-date information on the film/digital interface, new formats, the latest cranes and camera support and other equipment, it also illustrates the older tried and true methods. *The definitive guide to cinematography *Up-to-date coverage of technical topics, including High Definition and digital imaging *Full color throughout brings issues of color and light to life

《Instant Light塔可夫斯基拍立得摄影集》是Instant Light: Tarkovsky Polaroids的中译本。这本书收集了塔可夫斯基在1979至1984年之间，在前苏联和意大利所拍的69张照片，即塔可夫斯基完成《潜行者》（Stalker，1979）之后，在《乡愁》（Nostalgia，1983）摄制期间所拍的。 这本拍立得摄影集，背后有段曲折复杂的故事。1981年，塔可夫斯基已名声远播，受邀和妻子至意大利工作，继而计划定居异国。此举触怒苏联当局，于是将其儿子扣押，一家分隔两地，塔氏不得返回俄国。这本摄影集的前半部，包括大量塔可夫斯基在俄国时期的家庭、妻儿、及生活快照，后半部，则是他至意大利后的影像素写。除了他一贯的诗意与神秘气质外，里面诸多故土与爱子照片，之后变成流亡异国的导演魂牵梦系的执念，这些影像后来变成电影，就叫做《乡愁》（Nostalghia）。直到塔氏病痛缠身，即将离世前夕，其子才获准前往意大利，一家拥抱。

http://www.lwordbook.com/ About The L Word BOOK During the six years we were shooting The L Word, I kept a photographic journal of the cast and crew, born out of a profound desire to create a bulwark against my rapidly eroding memory. It was an era of my life I was eager to preserve: I wanted to remember the cast, the readthrus, the dinners, the rehearsals — everything. I took pictures and saved my scripts, callsheets, and memos and organized them every year. I used them for reference as the seasons moved on, but frankly I held onto them because I knew I would get a kick out of looking at them as the years passed. Mostly, I wanted to remember the joy, because no matter where the storylines went, we always managed to have fun. Years ago, I started a tradition of making a photo book, to give as a gift to the cast and crew, after completing projects that were near and dear to my heart. As I started working on my cast-and-crew present for The L Word, I realized this wouldn't be like the others. The L Word was about the power of storytelling. And it was particularly unique because there were two streams of stories being told. Clearly we were telling your stories, but in some way we were telling our stories — the story of a group of colleagues who became friends while endeavoring to make something worthwhile. Somewhere along the line there was a kind of convergence. Somewhere underneath the plotlines of The L Word ran our own stories of friendship and struggle. These photographs evoke the various bonds and battles we as a cast endured. The L Word as a series was, at its core, about community and that played out behind the scenes as the cast formed its own community. But the series also was about all of you who made our collective journey possible. That is why I wanted to make the book available to fans of the show. Sincerely, Jennifer Beals