Born in Berlin in 1958 and now based in Los Angeles, Uta Barth is among the most influential artists working with photography to have emerged in the last decade. Her photographs take the complete opposite approach to the famous Dusseldorf school of photographers which include Thomas Struth and Andreas Gursky. While they record their subjects in sharply objective archival detail, Barth's images of interiors, buildings, suburban roads or natural environments are often out of focus, perversely cropped and apparently empty of any foreground subject. Yet what emerges from this reduction and abstraction of subject matter is a body of photographs of extraordinary, haunting beauty, evocative of great moments in the history of painting, from Vermeer to Whistler, or of a cinematic ambience such as the fume-laden neon haze of Martin Scorsese's Taxi Driver.

From internationally acclaimed photographer Deborah Turbeville comes the first book on her highly influential visionary avant-garde fashion photography. Celebrated for her poetic grace and cinematic vision, Deborah Turbeville has produced fashion tableaux that draw the viewer into her otherworldly environments. A romantic and modernist, Turbeville bridges the boundaries between commercial fashion and fine arts photography. In this remarkable presentation, Turbeville reveals her highly individualistic point of view of fashion photography and the stories behind her photographs. This first retrospective presentation of Turbeville's fashion photography was selected by the artist herself. In addition, she has designed the evocative layouts to create yet another masterwork. The presentation includes Turbeville's most famous photographs, among them the controversial Bathhouse series of 1975 for American Vogue with disturbingly isolated figures and her Woman in the Woods series of 1977 for Italian Vogue showing psychologically charged emotions, along with her numerous photography campaigns for labels like Sonia Rykiel, Valentino, Yamamonto, Ungaro, and Commes des Garçons, as well as commissions for Chanel and work that has never been seen before. Her most current project for Casa Vogue --Italian nobility dressed in special couture outfits--evokes Turbeville's vision of everlasting beauty.

Book Description Helmut Newton (1920-2004) was born in Berlin. He lived and worked all over the world and was one of the most internationally famous and controversial photographers of his time. His shots of haute couture and the beau monde are instantly recognizable, having appeared in virtually every major magazine in Europe and the United States. From his early work for Vogue to his portraits of the rich and famous, Newton conveyed a unique vision of a wealthy and glamorous world that often shocks but never ceases to fascinate. 64 duotone illustrations. About the series: The classic Photofile series brings together the best work of the world's greatest photographers in an attractive format and at a reasonable price. Handsome and collectible, the books are produced to the highest standards. Each volume contains some sixty full-page reproductions printed in superb duotone, together with a critical introduction and a full bibliography. Now back in print, the series was awarded the first annual prize for distinguished photographic books by the International Center of Photography. Book Dimension length: (cm)19.1 　　　 　　　　　 　　　　　 width:(cm)12.5

Over the past few years, Hedi Slimane's ongoing design collaborations with musicians on their stage costumes has allowed him unfettered access around the stages of live concerts by David Bowie, The White Stripes, Beck, The Rolling Stones, Blondie, The Strokes, and The Libertines...in Paris, London, Berlin, New York, and Los Angeles. This juncture between fashion and music has evolved into a personal photographic investigation on the mythology of the rock concert. In Slimane's pictures, the stars of the shows are often conspicuously absent; what the images reveal, instead, is a meditation on the creation of a rock personality, the silent ritual that goes on in the space he (or she?) inhabits. His images capture, as Slimane himself puts it, "the sacred--almost sacrificial--space of the stage."

《那个年代,那些人》讲述了：上海锦绣文章出版社与上海画报社的张仲煜社长枉驾寒舍，赐教之余，更赏以社中新出版的图籍数种。我自以为算是爱书之人，面对这些精美书籍的催生者张社长，不避失礼之讥，当时就翻阅起来，并且绝对爱不释手——回想起来，真不知道张社长是否注意到，一直到张社长离开寒舍，我就没有放下过手中的这几《那个年代,那些人》。

本格的に女優始動した新垣結衣の初水着写真集。故郷である沖縄の海や川で、のびやかな17歳の肢体が眩しい。お宝映像満載のDVDも必見。

《拍摄100个人生精彩瞬间》由荷赛金奖获得者吴晓凌倾情奉献，书中包含100多幅精彩的瞬间照片，以及100篇文章，讲述拍摄故事、照片背后的故事，品味照片背后的人生故事。 本书作者的思想无疑是隐忍而深刻的。他对人生、灵魂、爱，对为文、摄影，对如何做一个摄影记者、如何拍摄新闻和体育等等，都有真知灼见： ▲ 要用爱与思念铸造自己的灵魂。 ▲ 在偶然中体现必然，在局限中探求永恒；在任何局限里都有可供发挥的可能性。 ▲ 自己受奖只是幸运捡到金子的人。我们每个人后面都有一个强大的编辑和后援团队。 ▲ 摄影很难，因为摄影很容易。刚开始，仿佛我们看到什么就能拍到什么。到很久以后才会明白，我们想到什么，才看到了什么。 ▲ 我把温情，放在摄影师应具备品质的首位。是我们的情怀，决定了我们的想法和眼光。 ▲ 作为一名摄影师，用我的摄影来表达我对人生的理解，来表达人生。 ▲ 摄影记者的重要任务就是记录瞬间，而不在于评判。所以，即使我有态度，也只想把自己的态度隐藏到照片中，并不想误导观看者。我相信，照片有时候比拍摄者要更聪明，大家看照片就可以了。 ▲ 从事摄影艺术创作的人，我觉得要做到的第一点就是要对自己真诚，只有你自己真正相信的东西，你才会感动别人。那些人云亦云的东西要尽量少一些。 ▲ 摄影师的“致命一击”不是为了结束，而是要给某个瞬间以生命，为了留住。我们必须先“爱”上那个瞬间。 ▲ 发现细节是造就成功摄影的关键要素之一。 ▲ 每一个瞬间都有故事，每一个瞬间都有拍摄秘技。 ▲ 对于新闻摄影而言，理念比艺术更重要。 ▲ 越是小的细节越可能是最美丽的，这一点尤为适用于新闻摄影。 ▲ 有时瞬间被忽视是因为太“小”。我对“小”的东西比较敏感，相信“小”的才是美丽的。 ▲ 中国的媒体记者，与其他的世界媒体同台竞技，毫不逊色。 ▲ 我拍摄体育的特点就是人，不在光影。 ▲ 体育摄影如果追求技巧，就可能以失去瞬间为代价。 ▲ 在拍摄体育比赛时，无论一场比赛多么乏味，都会有灵光一闪的时刻。我所要做的，就是坚守住平淡，等待这个灵光闪现的时刻。

那古老的楼兰古城在向人们召唤，远方的西夏王陵，留着古人对世人的期冀……人类在时间长河中是何等的渺小！历史在这里沉淀，我们能听见风吹过的悲歌。耳边响起的是神秘花园的曲子，忧伤，淡然，像漂泊的回忆……本书用一个一个的字符，构想我们向往的生活；用真实的镜头，描绘我们中意的色彩，记录古建筑里真实的颜色。希望能给所有憧憬幸福和梦想的人们，带去些许心灵的慰籍。 1890年，《国家地理》杂志刊登了它的第一幅图片，标志着一个伟大传统的开始。从19世纪末到21世纪初，《国家地理》一次又一次开辟新天地，《国家地理》作为全球最大的非赢利性科学与教育组织之一,不断在摄影报道这一领域不断引导新潮流。国家地理学会超凡的馆藏摄影档案，是世界历史博物馆独一无二、无可估价的形象记录。而《透过镜头》则集其精粹于一书，书中数百幅图片捕捉了一个个罕见瞬间，这些图片在时间上涵盖一个世纪有余，在空间上则纵经横纬无所不至，直到我们这个星球以远。本书是《 透过镜头》系列之一，《透过镜头》是魅力无穷的形象和惊世才华的展现，也是百年来摄影艺术的生动文献记录，更是我们这个五光十色世界的一扇画窗，它所呈现的景致多姿多彩，令人难忘。

書市中，教你調光圈、快門，運用不同鏡頭，按部就班拍出理想照片的書，已經太多。但是，要真正拍出打動人心、吸引人的好照片，牽涉到的，不只是攝影用具及技術層面，而是怎麼想、怎麼看、怎麼發揮創造力。 也就是說，要拍出好照片，一定要先學會「想」；要提升自己的層級，這更是絕對的關鍵。 本書探討的主題包括： ‧創造力與攝影眼的培養 ‧創造有力量的作品 ‧哪些東西上鏡頭，以及去哪裡尋找最好的攝影題材 ‧如何處理主題 ‧面對失敗、打破成規、改變想法 ‧取景、裁切、後製，以創造畫面的基調、傳達作者的訊息 ‧了解你的層級，以便向前邁進 ‧如何創造畫面 ‧畫輪廓草圖，以創造有力的構圖 ‧研究偉大的攝影作品，並從中學習 ‧評價作品 ‧找到需要改進的地方，並成為一位有自覺的攝影者

作者2010年3月3日～4日在小洲村拍摄的影集，其中以胡武功就刘远其人、其像、其书写的个案研究文章“行摄天下 化物为像——刘远现象分析”为前言。铜版纸彩色印刷，精装本。

摄影是光线的艺术，而Speedlight闪光灯是目前最高级的照明器材，完美地将二者结合起来无疑会让你感觉如虎添翼。《美国摄影用光教程——热靴宝典》用简明的语言介绍了数码摄影中的Speedlight闪光灯使用技巧，从使用一只Speedlight闪光灯进行拍摄，到使用多只Speedlight闪光灯拍摄，是你了解如何充分发挥Speedlight闪光灯潜能的必备图书。 《美国摄影用光教程——热靴宝典》由资深摄影人撰写，书中不仅介绍了作者的大量经验，而且包括了大量的示例照片以及这些照片的照明示意图，可以让你充分了解如何在各种情况下利用Speedlight闪光灯拍摄完美的数码照片。 《美国摄影用光教程——热靴宝典》图文并茂，适合所有层次的专业或业余摄影人阅读参考。

这本书的宗旨是从青岛人的生活来表现青岛的变迁，尤其是表现改革开放三十年来青岛的巨大变化。但这本书使用了大量的篇幅来表现青岛的老街、里院、蜗居、老移民。这是青岛的过去、年轻青岛身上的老旧，是光亮青岛下不向阳的所在，是最可能被忽略的城市皱褶里的生活。这是年轻青岛身上正在更新、正在老去的细胞，转瞬即逝，所以这部分的记录也特别重要和感人。对于体察青岛的变化，这是不可或缺的图像。没有这部分图像，就建立不起青岛生活变迁的参照系。就纯摄影而言，这也是作者最见功力、最见感情、也是最重要的作品。 青岛正年轻，但她的第一代人民正逐渐老去，有如细胞的更新。他们是青岛第一代移民，城市的开拓者。青岛人不能忘记他们。青岛之外的我们，也能从中看到农民向城市迁移、扎根、奋斗为一个城市人的艰苦历程。在当下城市化进程中，我们许许多多的人们正在重复这个过程。这本书的青岛老移民告诉我们，对于大多数进城者而言，艰苦奋斗是个必然，草根生活是个常态，第一代移民注定需要付出更多更多方能被这块土地接纳。要经历整整一代人的努力，第二代移民方能从心灵里认同青岛这块土地，自然而然地说我是“青岛人”，而不是像他们的先辈说我是“即墨人”，我是“枣庄人”，我是“阳谷人”。

Can you imagine Groucho Marx without a cigar? Do you remember that a few years ago smoking was allowed in airplanes? Can you tell when New York stopped smoking? In the not so distant past, posing seductively with a cigarette was de rigueur for Hollywood types. How many celebrities today dare to even hold one? No Smoking is a tribute to the 20th century, a century that created, promoted and glorified the cigarette and then suddenly declared war on it.

As a young boy, Jacques Henri Lartigue (1894-1986) set about passionately recording his life in photographs, first documenting his domestic circle and later capturing the auto races, air shows, and fashionable watering holes of the Belle poque. His images have so bewitched modern viewers that even scholars have failed to see them clearly. In Jacques Henri Lartigue: The Invention of an Artist, Kevin Moore puts to rest the long-held myth of Lartigue as a nave boy genius whose creations were based on instinct alone. Moore begins by exploring the milieu in which Lartigue became a photographer, examining his father's crucial role in teaching him the latest techniques as well as the larger context of the turn-of-the-century craze for amateur photography. Two events brought Lartigue before the public eye in America and created the Lartigue myth: In the summer of 1963, the first exhibition of Lartigue's work in the United States was held at the Museum of Modern Art, which hailed him as an important modernist photographer, a forerunner of the art-documentary style of the 1960s. That fall, Life magazine published a feature presenting his work as an optimistic and sentimental prologue to World War I. Both treatments portrayed him as a nave genius and Lartigue happily participated in shaping this new persona. In Jacques Henri Lartigue: The Invention of an Artist, Moore successfully challenges the Lartigue myth using examples from popular magazines and the cinema. Illustrated with more than fifty of Lartigue's photographs and drawings as well as press imagery from the period, the book offers a radical reassessment of the photographer and his work.