話題の猫の写真ブログが書籍で登場。華麗に、必死に、愛らしく、肉球全開で飛びまくる猫たちの姿を捉えた、躍動感溢れるユニークな写真集。巻末には「そらとぶねこのつくりかた」を収録。

Magnum photographer Jacob Aue Sobol moved to Tokyo in spring 2006. Initially I felt invisible. Each day I would walk the streets without anyone making eye-contact with me. Everyone seemed to be heading somewhere – it was as if they had no need of communication. Most mornings I would take the Chuo-line from Nakano to Shinjuku, and even though the train would be packed with salary-men and school girls in uniform, I rarely heard a word being spoken. And so I began taking my pocket camera out with me on the streets and in the parks. Rather than focusing on the impressively tall buildings and the eternal swarm of people, I began searching for the narrow paths and the individual human presence in a city that felt both attractive and repulsive at the same time. Sobol’s first book Sabine (2004) was nominated for the 2005 Deutsche Börse Prize and selected for Martin Parr & Gerry Badger’s The Photobook: A History. Other Awards include a first prize at World Press Photo 2006. Exhibitions during 2008 include the United States, China and Denmark. Previous solo exhibitions include Portugal, United Kingdom, Canada, Poland and Denmark. In 2007 Jacob became a nominee at Magnum Photos. He is represented by the Yossi Milo Gallery in New York.

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. Born in Czechoslovakia in 1938, Koudelka left the country in 1968

First published in France in 1958, then in the United States in 1959, Robert Frank's The Americans changed the course of twentieth-century photography. In 83 photographs, Frank looked beneath the surface of American life to reveal a people plagued by racism, ill-served by their politicians and rendered numb by a rapidly expanding culture of consumption. Yet he also found novel areas of beauty in simple, overlooked corners of American life. And it was not just his subject matter--cars, jukeboxes and even the road itself--that redefined the icons of America; it was also his seemingly intuitive, immediate, off-kilter style, as well as his method of brilliantly linking his photographs together thematically, conceptually, formally and linguistically, that made The Americans so innovative. More of an ode or a poem than a literal document, the book is as powerful and provocative today as it was 50 years ago. Published to accompany a major exhibition at the National Gallery of Art, the San Francisco Museum of Modern Art and the Metropolitan Museum of Art, Looking In: Robert Frank's "The Americans" celebrates the fiftieth anniversary of this prescient book. Drawing on newly examined archival sources, it provides a fascinating in-depth examination of the making of the photographs and the book's construction, using vintage contact sheets, work prints and letters that literally chart Frank's journey around the country on a Guggenheim grant in 1955-1956. Curator and editor Sarah Greenough and her colleagues also explore the roots of The Americans in Frank's earlier books, which are abundantly illustrated here, and in books by photographers Walker Evans, Bill Brandt and others. The 83 original photographs from The Americans are presented in sequence in as near vintage prints as possible. The catalogue concludes with an examination of Frank's later reinterpretations and deconstructions of The Americans, bringing full circle the history of this resounding entry in the annals of photography. This richly illustrated expanded edition of Looking In: Robert Frank's "The Americans" contains several engaging essays by curator Sarah Greenough that explore the roots of this seminal book, Frank's travels on a Guggenheim fellowship, the sequencing of The Americans and the book's impact on his later career. In addition, essays by Anne Wilkes Tucker, Stuart Alexander, Martin Gasser, Jeff L. Rosenheim, Michel Frizot and Luc Sante offer focused analyses of Frank's relationship with Louis Faurer, Edward Steichen, Gotthard Schuh, Walker Evans, Robert Delpire and Jack Kerouac, while Philip Brookman writes about his work with Frank on several exhibitions in the last 30 years. This edition also reproduces many of Frank's earlier photographic sequences, as well as all of the photographs in The Americans and selected later works. In addition, Looking In: Robert Frank's "The Americans"-Expanded Edition includes a wealth of additional materials, essential information for all interested in twentieth-century photography. It contains all of Frank's vintage contact sheets related to The Americans, a section that re-creates his preliminary sequence and presents variant croppings of the first and subsequent editions of the book and a map and chronology, along with letters and manuscript materials by Frank, Walker Evans and Jack Kerouac related to Frank's Guggenheim fellowship, his travels around the United States in 1955-1956, and his construction of the book. This groundbreaking 528-page catalogue is certain to be the definitive source of information on The Americans for years to come.

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."

自分が植物になったような気分になる時、花にとまる小さな昆虫のような気分になった時、そんな時にシャッターをきった。ただただ美しいだけではなく、花以上のなにかを写しとった写真集。

Beijing-based photographer Chen Man (b.1981) is the subject of the newest book by 3030 Press. “Chen Man: Works 2003-2010” will be released as a limited edition of 2,000 individually numbered copies, being available in Hong Kong and China from March 1, 2010, and thereafter in Southeast Asia, Europe and North America. Chen is one of the China’s leading commercial photographer and the country’s most successful women photographer ever. She has produced shoots for magazines including Vogue, Elle, Nylon, Esquire and Cosmopolitan and acclaimed campaigns for brands such as Motorola and Adidas.

▲蒼井優日本Itoh Company事務所空前絕後，獨家授權海外唯一發行版權 ▲日本出版社全書審核，與蒼井優事務所共同籌劃製作長達14個月 ▲硬皮精裝，比照日本規格印製 ▲初回特典版 贈送日本獨家授權蒼井優限定贈品 精裝收藏、初回特典版 「台灣充滿了機會，讓我們把握現在去愛它吧！」－蒼井優 「我可能沒有認識一個比 優還要狂愛芒果+冰的人了。」－Ivy Chen 從旅日女攝影師Ivy Chen的鏡頭發現家鄉的美， 從一個日本女生 蒼井優的心境故事找回我們遺忘的感動…… 純粹以台灣小吃、商店和夜市等獨特美景打造， 連日本女生都欽羨、流連忘返的台灣。 希望我是個台灣女生…… 蒼井優於2004年的宣傳機會來到了台灣，從此愛上這裡的冰品和小吃。她首次訪問是為了宣傳電影「花與愛麗絲」（岩井俊二導演），卻意外愛上了台灣僅有的獨特刨冰！ 「這裡是個會讓人感到留戀的地方，每一口刨冰都觸動人心，似乎轉過身就回到福岡老家附近的街道上，充滿了童年回憶。真希望我能在這裡長大。」－蒼井優 本書中滿溢著蒼井優對台灣的愛，不僅是刨冰，更多的是溫暖人情、豐富美食。 時常造訪台灣的她，這次和來自台北的旅日攝影師Ivy Chen一起合作， 用影像與短文與讀者一起分享蒼井優眼中的美好台灣。

等待十六年，陳綺貞個人攝影集首次出版 攝影大師柯錫杰/郭英聲 驚喜推薦 小說家張惠菁專文寫序 設計師王志弘精心設計裝禎 一本精選攝影集+一本攝影手記文字別冊 兩種角度，全部收藏 一次旅行，從鏡頭裡她拍下隔絕在全世界之外的哈瓦那。 兩場對談，我們看到了在音樂之外拿著相機的陳綺貞。 。第一次 八歲時遠足的前一天我得到一台半格相機， 應該是我父親給我的，已經裝好底片，還可以拍二十張。 到了霧氣繚繞的陽明山，我漸漸遺忘了其他同學，遺忘了集合時間，也遺忘了自己， 我明知道框框裡的花和框框外的花是一樣的， 但是幼小的我也已然知道一旦拍下來，他們就會是不一樣的。 。攝影 我喜愛攝影，有很大部分原因是因為我喜歡攝影這一種孤獨的本質。 一台相機的背後只能有一雙眼睛，一個快門只給唯一的手指。 在無法分析的瞬間快速的判斷，所有曾經存在過的瞬間一起綻放， 生命的豐盛和喜悅，都在裡面。 。背對 古巴人大多都住在海邊，封面上的男孩專注的面向大海。 他們背對的世界就是我們熟悉的日常世界， 而他們看到的世界正是我們未知的世界。 背對哈瓦那，是離家最遠，離自由最近的地方。 。哈瓦那 《流動的饗宴》是海明威在古巴寫的巴黎回憶錄， 海明威最為人所知，也是我最喜歡的小說《老人與海》， 也是古巴的生活帶給他的靈感， 在這個城市，我是一個和古巴人民一樣，身處被海洋環繞， 會困惑也開放給自己在這個世界的無限可能的定位的，海洋之子。

《消逝的日子》内容简介：我第一次去中国是在1986年的春天。我曾经住在西雅图的Ballard地区，那里住着许多北欧人。我有自己的设计室和摄影室，和几家广告公司合作，为西雅图的剧院设计、摄影。我养成一个习惯，每隔几年我会到世界各地旅游，然后返回西雅图。我曾在荷兰、西班牙、墨西哥、日本居住过，也访问了许多国家。 那次去亚洲，我先去了日本，访问了几个老朋友后飞至香港。这是我第一次去香港，并计划去中国大陆作短期访问，然后再去马来西亚、印尼.准备在巴里岛住一段时间后返回西雅图。

比女人更會欣賞男人， 比男人更懂男人！ 帶著好奇心旅行，陳克華與男人路上相逢。 ◎驚訝 「男人與男人間近距離的身體接觸，於埃及人是再自然不過了。」 「男人普遍愛車超過女人，但沒見過像巴基斯坦男人如此愛車至此！」 ◎好奇 「西藏男人都這樣好看而沉默嗎？還是因為初見面的靦腆？」 「對於不把刺青當時尚、男人氣概、宗教或愛情等理由的男人，我始終有些好奇。」 「在錫金的理髮室裡，男人齊聚趺坐彼此膝上腿上，一種男人間濃濃的愛美而親膩的氣氛。」 ◎困惑 「在中東旅遊，最容易被雙雙對對手牽手出遊的男人所困惑。」 「東京淺草寺的祭典裡，男人這樣肉貼肉，不知是何滋味？」 「像雨後的櫻花，一夕落盡？難道這就是東京人『處理』離別的方式？」 少有人知道陳克華會拍照，更少人知道他看男人的眼光獨到。自從2006年4月出櫃以來，陳克華先是以詩集《善男子》，在華人世界出版第一本同志情慾的詩集。此次，他更透過攝影圖文的搭配，訴說多年來，生活中、旅行中，或萍水相逢，或不期而遇的男男故事。 從美國、日本、埃及、柬埔寨、印度、錫金、西藏、巴基斯坦到巴西，從席德進筆下的男孩、第一位認識的網友到昔日的美國戀人，這些異地的男男相逢，不只是陳克華遠行時的奇遇，也是他人生行旅中刻骨銘心的過往。這當中的男人，令他心動，感動，甚至是心痛。 透過鏡頭，透過文字，陳克華以赤子心眼，毫無保留地記錄異境男子身體、生命與靈魂的故事，與讀者分享他私密的內心世界。

骆丹的这些照片是他2008年从北到南行走半个中国拍摄的。拍摄“在路上”的照片本身非常困难，不困难的方法就是廉价的浪漫主义，巨量的民俗风情，抒发对大自然的情感什么的，我们多年以来已看到过无数这样的“作品”。 骆丹面临的问题是：中国的生活方式和价值观在全球化浪潮中还有没有自洽和生存的可能性？古老的中国正经历着翻天覆地的变化，变革无所不及的巨大力量搅动着生活的各个层面，社会政治经济网络、基层生活的共同体、文化表达与交往形式，等等，在所有细节上都烙下了印迹。因此我能体会到这个问题对骆丹而言显得非常紧要，当摄影师面对我们的种种现状时，其实他并没有多少可依托的有效的精神资源，“在路上”就成了他用来探索与找寻的立足点。 骆丹的探索与找寻，更多的是对着他自己，这样的情形显然有着艰险，很可能镜头和现实是隔着的。从这个角度讲，他的拍摄难能可贵。