Daido Moriyama, who was born near Osaka in 1938, is one of the most influential representatives of contemporary Japanese photography. His unmistakable style, influenced by the work of Weegee, William Klein and Andy Warhol, has been evolving since the 1970s. His images, often made with a small, hand-held camera, draw viewers in with their diffuse, suggestive layers of gray. Moriyama is aptly characterized as a ìhunter of light,î and his preference for the atmospheric and enigmatic leads to beautiful abstractions of the Japanese urban landscapes. Shinjuku 19XX-20XX features previously unpublished photographs taken in the Tokyo district of Shinjuku, whose labyrinthine streets and dark eddies have always drawn Moriyama in. He says of the district, ìEven though it wasn't a town that I liked because I wanted to like it, or became obsessed with because I wanted to be obsessed with it, the town of Shinjuku has a strange narcotic effect, and there is something about it that traps me and puts me under a spell.î

《POST911:后9.11》内容简介：打开王瑶这本摄影图集，你就像到了美国，而且是到处游逛。这里每一个画面都像是你见过的，并被她随手一按快门记录下来。没有刻意去选择拍摄对象，更没有人为的精心雕琢的痕迹。一切似乎都是随意的、信手拈来或兴之所至，但你最终合上这本图集时，留下的却是一个异常鲜明的、真切的、活生生的美国形象。每一幅看似平凡的作品实际上却是非凡的。她抓到了一个真实的令人信服的美国形象，既是社会生活的美国，又是文化意义上的美国形象。由此说，这是一部成功的摄影之作，也是一部抓拍作品新的典范。

Rarely has anyone photographed reality in such an unprettified way as Boris Mikhailov. He captures the unadorned and the natural; in pictures devoid of aesthetic exhaltation, he concentrates on people and their living conditions. On his journeys through Russia, Germany, and his Ukrainian homeland, Mikhailov has equally observed the poor, the well-to-do, the outcasts, and the homeless. ~Look at Me, I Look at Water was composed in 1999 at the suggestion of the Heiner Müller-Society when Boris Mikhailov's name was found in one of Heiner Müller's notebooks. With this book Mikhailov is continuing, thematically and conceptionally, what he began with his artist's book Unfinished Dissertation in 1985. The photographs are accompanied by handwritten Russian commentaries, which together give the impression of a private album which narrates stories from a chapter in the artist's life. This was a time in my life of much travelling--from East to West, and back again--and it coincided with a certain loss of identity. It was a time in which moral qualities seemed shaken: the focus of my attention altered, latching onto the possibility of moral changes. The gaze which searches over the surface of things held sway over a more analytical response to the visual. I feel that this book may be of interest, trying as it does to reflect the initial period associated with the processes of emigration. The pictures describe a range of unstable states, and also the intensity of some obscure quest, a quest which is also a sort of experiment. --Boris Mikhailov Slipcased, 15.00x 11.75 in./132 pgs / Illustrated throughout.

One of the most original and memorable photographers of the twentieth century, Brassaï was also a journalist, sculptor, and writer. He took great pride in his writing, and he loved literature and language-French most of all. When he arrived in Paris in 1924, Brassaï began teaching himself French by reading Proust. Captured by the sensuality and visual strategies of Proust's writing, Brassaï soon became convinced that he had discovered a kindred spirit. Brassaï wrote: "In his battle against Time, that enemy of our precarious existence, ever on the offensive though never openly so, it was in photography, also born of an age-old longing to halt the moment, to wrest it from the flux of duration in order to 'fix' it forever in a semblance of eternity, that Proust found his best ally." He quoted Proust in his own writing, and from the annotated books in his library, we know that he spent a lifetime studying and dissecting Proust's prose, often line by line. Drawing on his own experience as a photographer and author, Brassaï discovers a neglected aspect of Proust's interests, offering us a fascinating study of the role of photography both in Proust's oeuvre and in early-twentieth-century culture. Brassaï shows us how Proust was excessively interested in possessing portraits of his acquaintances and how the process by which he remembered and wrote was quite similar to the ways in which photographs register and reveal life's images. This book-beautifully translated by Richard Howard-features previously obscure photographs from Brassaï's High Society series and offers a rare glimpse into two of France's most fascinating artistic minds.

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. Bill Brandt (1904-1983), one of the most important figures in twentieth century British photography, exerted a crucial influence on subsequent generations of photographers. His work defies categorization. He created odd, surrealist compositions, stemming from his early work in Man Ray's Paris studio; telling images of life in London and the industrial towns of northern England; somber landscapes; perceptive portraits; and abstract studies of the nude. 65 duotone illustrations.

Crying Men is a series of photographic portraits of famous film actors: Tim Roth, Gabriel Byrne, Laurence Fishburne, Woody Harrelson, Michael Gambon, Jude Law, Hayden Christiansen, Ryan Gosling, Robert Downey Jr., Paul Newman, Ed Harris, Benicio Del Toro, Willem Dafoe, Kris Kristofferson, and others. Sam Taylor-Wood makes portraits of her subjects as actors; she shoots them in character, asking each to perform and cry for the camera, and demanding their investment in the process. These are no passive sitters. Each of the resulting images is distinct; one actor recalls the hieratic clarity of a Byzantine saint whose tears appear decorative. Other images are of heroic crying, where stoic restraint has broken down. Some display the voluptuous crying of medieval saints, others cathartic crying or quiet tears of regret and grief. Yet while being moved by these intimate revelatory images, we simultaneously know that the emotional display is being play-acted. Sam Taylor-Wood's film and photographic works are distinguished by their subversive creation of enigmatic situations full of latent but explosive energy. Clothbound, 11.75 x 15 in. / 56 pgs / 24 color.

摘自封底: 「我」叩門，門就開了，只一個空房／一糰漆黑，夾雜活人封塵的唸白或哭喪，亡魂未能冥滅，在嚎叫。「我在想念，同時忘記。「我」寫的又怎能是妳。期間「我」老了少許。道德世界給轟成核子塵的時候，那一段靜默和停頓--- 「我」看見那朵煙花--- 世界的簡寫：世界之簡化為一個標號--- 那是永生和死亡下棋的籌碼，陀思妥也夫斯基的流行曲誓辭...... 當「追悔」變成最新近流行在前端的文學潮流，「我」高興得害怕了高興。渴望温柔。悔咎成癮。「我」看見，那朵煙花，「我」看見妳，「我」想著要找到妳。「我」在妳耳畔訴說。妄念無痛的前生。無玷的童貞女、聖靈冥滅，靜夜之華是妳。 Taken up the pseudo-confessional voice of "I," the narrator is trapped in the most difficult situation of choosing between two kinds of women in his "final bet after too many desperate stakes of losing" - one that makes him smoke, the other stops him from smoking - from there a flight of self-fashioned interrogations and a sadomasochism between the split selves take off. Carelessly invoking Nietzsche or Fante, Oxford dictionary and Che Guevara to ornament a melancholic boredom that is irreducible and reactionary. The narrative swerves around in-between cliches typical of travelers writer books, brutally dismantled by existentialist non-action, persecution paranoia reminiscent of the Freudian Schreber's, and at times frank lament of unrequited love and classic Goth motifs reinvented.

The people in Mona Kuhn's photographs are nude but not naked. Completely relaxed before the camera, they give the impression that nothing could clothe them better than their own skin. With a unique style, Kuhn's intimate photographs of both young and old are sensual compositions of skin and wrinkles, light and shadow, gestures and gazes. She creates taughtly composed images and balance sharply rendered portraits against blurred backgrounds to lure the eye and provoke the imagination.

In his most recent book, Yoga for People Who Can’t Be Bothered to Do It, Geoff Dyer confessed that not only did he not take pictures in the course of his travels but that he does not even own a camera. With characteristic perver-sity—and trademark originality—Dyer has now come up with an idiosyncratic history of . . . photography. Seeking to identify their signature styles, Dyer looks at the ways in which such canonical figures as Alfred Stieglitz, Paul Strand, Walker Evans, André Kertész, Edward Weston, Dorothea Lange, Diane Arbus, and William Eggleston, among others, have photographed the same things (barber shops, benches, hands, roads, and signs, for example). In doing so, he constructs a narrative in which these photographers—many of whom never met—constantly encounter one another. Great photographs change the way we see the world; The Ongoing Moment changes the way we look at both. It is the most ambitious example to date of a form of writing that Dyer has made his own: the nonfiction work of art.

本书介绍了新闻图片传播的历史沿革、图像时代的新闻媒体、图像时代的新闻摄影、构建现代新闻摄影平台、新闻图片传播中的伦理与法制5章内容。

哈苏经典照相机的发展历程与述评 各款哈苏照相机的基本性能特点 哈苏照相机配用镜头 哈苏照相机配件 哈苏数码摄影器材 哈苏的魅力

《摄影构图》共分八章，前五章主要讲述摄影构图的基本知识，如什么是摄影构图，取景与构图，摄影构图的诸要素，摄影构图的形式法则，摄影构图的手段与技巧等。从感性层面上阐述摄影构图的性质，并联系到摄影实践中技术、技巧的运用。它是初学摄影者必须了解的基础知识。 后三章主要阐述：画面世界与客观世界的关系，摄影构图的本质，画面世界的结构，以及构图的形态与功能等。意在开阔构图的视野，探讨摄影构图创作，这对有一定实践经验的摄影者也是需要深入研究的问题。