Traces the history of this unique group from the original '60s Skinheads to its mid-'70s revival. Features a piece by Dick Hebdige on the sociology of youth cults.

《时尚与广告》将成就斐然的摄影大师们的实用拍摄秘诀与摄人心魄的精彩图片和个人独特的金点子完美结合，精选了时尚与广告摄影大师们的经典力作，表现了独特领域的摄影技艺和审美情趣。在其随后的作品中，他尝试使用更复杂的尖端照明系统，重新诠释他的摄影理念。

Connu pour sa maîtrise de la lumière, pour ses images évanescentes et pour ses jeunes filles aux formes graciles, David Hamilton est sans doute l'un des photographes les plus populaires depuis les années 1970. Cet ouvrage présente une rétrospective sensible et romantique de celui qui mieux que quiconque a su capter ce que pouvait lui offrir la photographie : fixer pour l'éternité la fragilité de l'existence. Que ce soit les portraits de jeunes femmes, les paysages ou les natures mortes de bouquets, les photographies de David Hamilton retracent toutes un paradis perdu, un temps retenu et saisi à jamais.

1978年から2年間日本カメラで連載された「民謡山河」をまとめた写真群。著者が故・田中雅夫氏（写真評論家）と共に「民謡・祭り」を主題に日本各地を巡り撮影した写真から、祭りという非日常性の中での人々の姿、そして日々の暮らしの中での姿が次々に浮かび上がってくる。 著者あとがきより抜粋 「1 人1人の祈りが集積されて、祭りは昴揚してゆく。唄や太鼓にのり、平手で空を切り、手をたたいて時を切り、後ずさり、跳躍し、身体をひねっては日常の呪縛から解き放される。人々は大昔から祭りの一夜にここではない場所へ飛び、自分ではない自分になるすべを知っていたのだろう。祭りという魂の時間から日々の生活にもどった人間の表情に目を配ると、どの顔も愛おしく、どの人生も切なく思えてくる。」 著者：須田一政 写真点数＝202点 判型＝A5判変型／並製本 価格：￥5,250（税込） （2007 年11月発売）

Although Edward Steichen exhibited some of Saul Leiter's color photographs at The Museum of Modern Art in 1953, for 40 years afterward they remained virtually unknown to the art world. Saul Leiter: Early Color provides the first opportunity to see a comprehensive presentation of images by one of photography's great originals. Leiter moved to New York in 1946 intending to be a painter, but through his friendship with the Abstract Expressionist Richard Pousette-Dart, he quickly recognized the creative potential of photography. Though he continued to paint, exhibiting alongside Philip Guston and Willem de Kooning, Leiter's camera became--like an extension of his arm and mind--an ever-present interpreter of life in the metropolis. He sought out moments of quiet humanity in the Manhattan maelstrom, forging a unique urban pastoral from the most unlikely of circumstances. The lyricism and intensity of his vision come into fullest play in his eloquent handling of color unequaled by his contemporaries. Leiter's visual language of fragmentation, ambiguity, and contingency is evoked by these 100 subtle, painterly images that stretched the boundaries of photography in the second half of the 20th century.

This Martin Parr retrospective is rich in the wit and colour that Parr's work is best known for, but also offers the first serious assessment of the career of this major contemporary photographer. Parr combines an urge to document with a bemusement about social behaviour. Author Val Williams, a distinguished writer and curator, considers his better known later work in the context of his full career and in so doing shows how Parr's photographs have highlighted political and social change over the last thirty years. While Parr began his career in Britain, he now has a large international following. This book offers the overview that many have eagerly awaited. It features fascinating previously unpublished early work, his startling and original 1974 installation Home Sweet Home, early black-and-white photographs of the people and places of Hebden Bridge in Yorkshire where he lived and worked in the 1970s, photographs from Ireland and Salford, and of course a selection of the very best images from all his published books including The Last Resort, The Cost of Living, Signs of the Times and Think of England (published by Phaidon). With unlimited access to Parr's archives and quoting from extensive interviews, Val Williams charts Parr's life and career, revealing insights into his influences and attitudes and assessing his importance within the worlds of art and photography.

【Review】 “Well produced and carefully selected, this is essentially a gallery tour in print of the world of Araki. Definitely not for everyone, but everyone who collects or shoots photography should be aware of it.” ~Range Finder Magazine 【Product Description】 Tracing Nobuyoshi Araki’s career, this volume comprises a collection of emblematic photographs (one per day), a new series of nudes and elegant female portraits and a number of "stories" set in traditional Japan. Alongside these serial works are portraits and street photographs taken in the 1960s and 1970s. With these works Araki records Japanese society during its period of intense economic growth. His new flower compositions and the classic bondage series are also included, which are responsible for making him famous throughout the world. His recent productions will be given broad exposure in the Tokyo Diary 2003–2007 series.

This book offers us a privileged glimpse into the artistic process used by top fashion photographer Tim Walker. This comprehensive overview of his work brings us deep inside his glamorous world of adventure. Featuring a wide array of sketches, contacts and Polaroidse share in source materials normally hidden within the photographer's studio. The evocative images are rich with textured nuance and intriguing details. Walker gives full rein to his playful side and intersperses collages among the photographs. The over-sized format showcases some of the most imaginative and exuberant art being produced today. Tim Walker's work appears in trend-setting magazines such as Vogue and W. He has also created advertising campaigns for exclusive clients such as Comme des Garcons.

Cindy Sherman's "Untitled Film Stills," a series of 69 black-and-white photographs created between 1977 and 1980, is widely seen as one of the most original and influential achievements in recent art. Witty, provocative and searching, this lively catalogue of female roles inspired by the movies crystallizes widespread concerns in our culture, examining the ways we shape our personal identities and the role of the mass media in our lives. Sherman began making these pictures in 1977 when she was 23 years old. The first six were an experiment: fan-magazine glimpses into the life (or roles) of an imaginary blond actress, played by Sherman herself. The photographs look like movie stills--or perhaps publicity pix--purporting to catch the blond bombshell in unguarded moments at home. The protagonist is shown preening in the kitchen and lounging in the bedroom. Onto something big, Sherman tried other characters in other roles: the chic starlet at her seaside hideaway, the luscious librarian, the domesticated sex kitten, the hot-blooded woman of the people, the ice-cold sophisticate and a can-can line of other stereotypes. She eventually completed the series in 1980. She stopped, she has explained, when she ran out of clichas. Other artists had drawn upon popular culture but Sherman's strategy was new. For her the pop-culture image was not a subject (as it had been for Walker Evans) or raw material (as it had been for Andy Warhol) but a whole artistic vocabulary, ready-made. Her film stills look and function just like the real ones--those 8 x 10 glossies designed to lure us into a drama we find all the more compelling because we know it isn't real. In the "Untitled Film Stills" there are no Cleopatras, no ladies on trains, no women of a certain age. There are, of course, no men. The 69 solitary heroines map a particular constellation of fictional femininity that took hold in postwar America--the period of Sherman's youth and the starting point for our contemporary mythology. In finding a form for her own sensibility, Sherman touched a sensitive nerve in the culture at large. Although most of the characters are invented, we sense right away that we already know them. That twinge of instant recognition is what makes the series tick and it arises from Cindy Sherman's uncanny poise. There is no wink at the viewer, no open irony, no camp. In 1995, The Museum of Modern Art purchased the series from the artist, preserving the work in its entirety. This book marks the first time that the complete series will be published as a unified work, with Sherman herself arranging the pictures in sequence.

本书是黎朗的摄影，书中有各种各样的图片，都在在不同的地区不同的环境下所拍摄的。为了编辑这本摄影集，作者请黎朗把没有发表过的作品底片也寄一塌糊涂。在这个单元里，照片没有特定主题，风格也并不统一，仿佛是想从擦身而过，看似不相干的人与景当中，找到一个共同的关联。拿着相机的黎朗，想将散落在各个角落珍珠串成一条夺目的项链。这组照片有一种超现实的感觉，仿佛所拍摄的场景取自梦境。这些作品即刻获得许多好评。作品与黎朗刊登面一期的法国名摄影家方斯华·勒狄亚斯贡特别向我要了他的联络地址，好告诉创他对这些照片的欣赏。那时我已知道，黎朗的作品迟早会受到国际性的肯定。果然，“琼斯母亲报道摄影国际基金”1998年的大奖得主正是他。

收錄吉川日奈 、土屋安娜、高橋真梨子、鬼束千尋、bird等有名歌手、演員與模特兒總共63人的豪華人像寫真集，看蜷川實花如何詮釋少女的鮮豔以及女人的妖魅。

《植田正治 小傳記》是植田正治於一九七四年至一九八五年十二年間，在日本專業攝影雜誌《每日攝影》上的連載集結。內容收錄了植田正治攝影生涯中具有特別意義且重要的作品系列。他為這個專欄命名為「小傳記」，其蘊含了雙重的意念：一是他個人的（攝影）自傳，二則是他期待透過攝影鏡頭，記錄了與被攝者之間的交流，以及作為他們活在當下的見證。 植田正治作品的獨特之處在於，他不若許多攝影師環遊世界，尋找新鮮驚奇的人事物，而是多以家鄉、身旁的家人朋友作為攝影主題，他喜於在熟悉的人事物中挖掘其獨特的角度和觀點。 此外，除了攝影作品之外，本書還難得收錄了由植田正治親自撰寫的多篇攝影隨筆，透過他淺顯易懂、自然真實的文字，讓讀者對「植田調」以及這位謙遜的攝影大師的攝影風格和想法有了更進一步的認識。

Nobuyoshi Araki is the most controversial photographer working in the world today. To his critics, he is no more than a pornographer and a misogynist; to his supporters he is a radical and a revolutionary, a figure who has challenged not just artistic limits, but social limits in post-war Japan. At home, he is a national celebrity. In the West he is considerably less understood. This is the book that will explain Araki. In its sheer range of text and images, it is also the most comprehensive volume ever to be published on his life's work.

媒體推薦【96年10月好讀推薦】二○○八年，日本人移民巴西一百年紀念。青年攝影家川內倫子與聖保羅近代美術館合作，開始了以巴西的日本移民為主題的創作計劃。最擅長捕捉日常裡肉眼不可見但確實存在的「空氣」，川內倫子走訪巴西各地日本移民社區，沉穩細膩地節錄下充滿能量和情緒的生活片段。 ■推薦理由：伊瓜蘇瀑布般豐沛強韌的生命剪貼冊。 二○○一年由リトルモア同時出版三部作品《うたたね》、《花火》、《花子》的川内倫子，隔年獲頒以具有潛力的新進攝影家為頒發對象的木村伊兵衛獎。最近則因擔任是知裕和導演的《無人知曉的夏日清晨》劇照師而引起討論。 2008年是日本人初次移民巴西的100週年，值此也是聖保羅近代美術館的建館100週年。因此企畫由川內倫子為日裔巴西人做100週年的紀錄。在兩年中川內倫子到巴西三次，除了拍攝巴西當地的風土民情，還有巴西與日本迥異的自然景觀、日系社會生活等等。 在巴西的瞬間，含有壓倒性的能量，充滿了懷舊的情懷與纖細的美感，在這美感中包含了異國文化及人種、貧富差距、種種不同的微妙處細膩地融合在一起。

Robert Frank is one of the most influential of all post-war photographers. Pioneering a revolutionary approach to photography and filmmaking, he combines autobiographical and poetic elements to produce straight black-and-white images that transcend the specific. Speaking of universal experience, Frank has said, "I'm trying to forget easy photo, trying to make something from within." He adds, "Time moves on and never stops or waits." Often involving a progression through a series of images, his work is structured like a musical sequence, creating storylines that resonate beyond the frozen moment of any single photograph. Storylines accompanies an exhibition highlighting Frank's experimental use of narrative in photography and film. The exhibition consists of his films and photographs, including Polaroids, contact sheets, and recent digital stills. Photographs from locations as diverse as Peru, London, Wales, Coney Island, and Chicago, appear along with several artist's books. Essays by Philip Brookman and Sam Shepard. Hardcover, 9.75 x 11 in. / 240 pgs / 25 color and 225 duotones.

本书是摄影大师哈尔斯曼作品的一个选集。哈尔斯曼精通心理学，擅长拍摄别具一格的“心理肖像”照片，世界上许多著名的政治家、科学家和艺术家都曾出现在他的镜头中。本书所涉及的人物肖像主要有演员格蕾丝・凯丽、玛丽莲・梦露、格洛丽亚・史旺森、费雯丽和奥立弗等，作家萨特、纳博科夫，科学家爱因斯坦等等。其中最有影响的是有关超现实主义画家达利的一组作品，哈尔斯曼也因此被誉为“超现实主义的人像摄影怪杰”。

Eikoh Hosoe's Kamaitachi, a classic and groundbreaking body of work, was originally released in 1969 as a limited-edition photobook of one thousand copies. A unique collaboration between photographer Eikoh Hosoe and Tatsumi Hijikata, the founder of ankoku butoh dance, the work documents their visit to a farming village in northern Japan and the improvisational performance that resulted, made with the participation of local villagers and inspired by the legend of kamaitachi, a weasel-like demon who haunts the rice fields and slashes those he encounters with a sickle. In 2005, in close consultation with the artist, Aperture released a limited-edition facsimile in homage to the original. In this 2009 edition, Aperture is honored to reinterpret this paragon of Japanese bookmaking, which now includes four never-before-published images from the classic Kamaitachi series and a new text by preeminent Japanese scholar Donald Keene, as well as essays by Eikoh Hosoe and Suzo Takiguchi. Aperture is doubly pleased to make this enchanting body of work available, for the first time ever, in an affordable trade edition. This version was painstakingly reworked by renowned graphic artist Ikko Tanaka, designer of the original volume, shortly before his death. Hosoe and Hijikata, who first met in 1959, share the same birthplace: the Tohoku countryside in Northern Japan, where most of the images were made. Hosoe photographed Hijikata's spontaneous interactions with the landscape and the people they encountered. A magnificent and seductive combination of performance and photography, the two artists enact an intense investigation of tradition and an exploration, both personal and symbolic, of Japanese society during a time of massive upheaval and change. In an accompanying personal essay, published here for the first time, Hosoe recounts how he became one of the Beat Generation artists, who were willing to try anything new, and his exploration of how traditional documentary photography and personal expression could be merged into what he describes as "subjective documentary."