郎静山先生（1892～1995年），浙江兰溪人，自幼喜爱中国传统书画。中学时代开始接触摄影。1911年后，进入上海《申报》、《时报》，成为中国最早的摄影记者之一。郎静山先生在其长达80余年的摄影生涯中，以相机为画笔，塑造出中国画悠远冲淡的意境，将西方的摄影技术与中国山水画完美地融合，创造出具有中国水墨渲染美感的摄影作品，在世界影坛独树一帜。

金波泛筏
三清道士
吴门归棹
寒风岚光
万瓦层层
华溪盐井
千手观音
古刹扫尘
桅影轻舟
静观自得
山径归樵
临流独坐
虎视耽耽
春江水暖
绝嶂回云
春树奇峰
坐看云起
晓汲清江
雁荡鸣春
芦岸轻舟
晓风残月
烟波摇艇
孤亭

享有“世界摄影之于中国的启蒙者和传道者”之名的摄影家阮义忠，于上世纪八十年代，花一年时间访谈陈传兴、汉宝德、黄春明三人，探讨摄影的本质。三位受访者：台湾清华大学教授陈传兴、著名建筑师及建筑学家汉宝德、台湾重量级小说家黄春明，都在各自的专业领域享有盛誉。这一系列别出心裁的跨界访谈碰撞出火花，讨论摄影而不限于摄影，涉及个人、社会、历史、科技、文化、传播、建筑、文学等层面，拓宽了摄影的文化视野，也为摄影在人文地图中的定位提供了更准确的坐标。
本书为著名摄影家阮义忠代表作，与《当代摄影大师》、《当代摄影新锐》一同被视为华人世界的摄影启蒙书。曾获陈丹青、顾铮、吕楠等人力荐。陈丹青曾说：“阮义忠的言说侧重摄影的社会与道德立场，陈传兴的表述则把握摄影的文化涵义。我相信如阮义忠那般热情，陈传兴那般冷静的有志于摄影启蒙的人物经己出现并散布在我们周围… 我愿预先向他们表达或者说，追致敬意。”

玛格南资深摄影师回忆到访西贡的三次经历
从战火纷飞中的异国风情到标准的全球化大都市
历史的碎片折射出越南1964—2014翻天覆地的变化
编辑推荐
◎ 战场内外的现实
德帕尔东用尊重且带有同情的镜头，力图贴近在越南遇到的形形色色的人，又不让他们变形失真。战场上神情紧绷的越南士兵，村庄里镇定自若的老太太，安静撤离基地的美军士兵，练习过马路的失明的战争受害者……他冷静地展示多年的战争给越南平民和日常生活带来的种种影响。
◎ 越南城市面貌的变迁
与其说本书是一本战地摄影集，不如说是越南战时生活图景集。德帕尔东的图像印证了西方游客对许多热带殖民地的想象，西贡街头身穿传统白色长袄的年轻女性、东西方风格混杂的建筑、聚在一起闲聊的三轮车车夫等，被摄影师一一收入镜中。这些异域风情后来被摩天大楼、航空公司广告牌、连锁餐饮店稀释，西贡成为一座与其他国际化大都市别无二致的城市。
◎ 摄影师的难忘回忆
德帕尔东第一次到访西贡时年仅22岁，已经历过三场战事，呼啸的子弹声依然让他紧张，目睹士兵伤亡令他惘然。他在西贡与心仪的女孩去电影院约会，与同行的摄影师彻夜畅谈，享受战争边缘的悠闲。50年后当他旧地重游时，每一个熟悉的街口都有了新的面目。他用这本书纪念在战场上牺牲的同行、朋友，也纪念自己曾经的岁月。
内容简介
雷蒙·德帕尔东在他的摄影师生涯中曾多次前往越南。他目睹被誉为“东方小巴黎”的西贡经历了法国殖民时期、南越政府治理时期，再到被解放与更名，直到成为一座与其他国际化大都市别无二致的城市。本书按时间顺序呈现了在法越战争结束后的1964年、1972—1973年越战末期、2014年西贡解放40周年之际德帕尔东在越南拍摄的照片。这些历史的碎片折射出过去几十年里越南翻天覆地的变化。

编辑推荐：
1、日本国宝级生态摄影师星野道夫：不仅是一位生态摄影师，也是一位旅行作家，旅居北极二十年，创作了大量摄影与文学作品，曾获“摄影界的芥川奖”——木村伊兵卫摄影奖。
2、33段邂逅，33个故事，33篇旅行手记：精选星野道夫1993-1995年间的33篇旅行随笔，棕熊、驯鹿、座头鲸，还有几位老酋长……旅行途中邂逅的人，会在今后的人生中画出怎样的地图？通过旅行，找到答案。
3、六十四开文库本，日本古版书纸印刷：星野道夫自然文库系列三书，开本小巧，顺纹易翻；通勤旅行，熨帖称手；专色封面，醒目耐磨。熊伴野趣，雪映清凉，身未动，心已远。
内容简介：
以记录美丽而严酷的极北之地阿拉斯加而闻名的星野道夫，不仅是一位生态摄影师，还是一位旅行作家。《旅行之木》精选星野道夫创作于1993—1995年的33篇随笔。它们发表于作者成名伊始，33篇旅行手记，也是33个故事，33段邂逅。对作者而言，旅行路上邂逅的人会在今后的人生中画出怎样的地图，总归是想要了解的。通过旅行，找到答案，安静而意味深长地记录了下来，写成书，是“幸福汇报”。星野道夫的文字，有种“告别了某种人生”的人所特有的温柔，本书让我们能够与他并肩看到许许多多的风景。

The celebrated contemporary photographer Michael Kenna presents a gorgeous new collection of images, all photographed with plastic Holga cameras. Michael Kenna is internationally renowned for producing evocative black-and-white images of nature and the urban environment. Often photographing at night or in the early morning hours, the majority of his photographs involve long time exposures with the camera on a tripod. However, some of Kenna’s more quirky, whimsical, and unpredictable images have been photographed with inexpensive, hand-held, plastic Holga cameras. These cameras generally produce relatively lowfidelity images, with marked vignetting. Precisely because of these attributes and its portability, Kenna often carries a Holga camera, even when he is not specifically photographing. For this beautifully produced book, Kenna has chosen his favorite Holga images, many never seen before, from his vast archive of negatives. Despite their low-tech origin, these refined and artful photographs bear the hallmarks of Kenna's brilliant work.

《大地的表情》内容简介：国家地理新近推出的这本顶级图片集即是一次赞颂地球宏伟壮丽的盛会，也是一场吸引视觉、抚慰灵魂的饕餮盛宴。《大地的表情》：唯美，雄壮，神奇，由国家地理杂志主编克里斯约翰斯作序（Chris Johns），该书就像是一座引领读者领略怡人美景，风土人情，珍稀动物以及自然界中惊鸿一瞥的展览馆。书中的照片选自国家地理杂志中的“大地的表情”专栏（读者评价最高的），或我们著名的《图片收藏》，以及由全世界顶尖摄影师拍摄的照片。其中许多照片从未面世。
《大地的表情》展示了许多伴随在我们的生活当中，却时常会被我们忽略的唯美，雄壮，神奇的点滴瞬间。这些照片包括：伴随着晨曦的霞光，蝴蝶破茧而出；正在进行表演的蚂蚱昂首阔步地前进；一个正在拉小提琴的伊拉克男童，像在演奏着希望；印度尼西亚的清真寺里一个身着红衣小女孩站在一群头裹白巾的妇女中显得格外瞩目。打扮得五颜六色的西班牙年轻人头戴超大纸质面具正在加泰罗尼亚欢庆节日，而在印度锡克教的庆典仪式上的表演者正口含煤油上演着惊险的口吐火莲。
书中每一章节选录的照片的集中诠释了一个共同的主题：从开篇到结尾，中间分为图案、形状、表面、视角、惊喜等多个主题。多达250多张照片展示了地球上生物的品种多样和宏伟壮丽，赞颂了世界上奇妙的景致。每张精美的图片都配以生动有趣，诙谐幽默的奇文妙语。比如，“在每一个限定时段地球上都有十亿多只鸟儿，而其中最常见的就是公鸡”，“墨西哥的普埃布拉有着世界上最小死火山，其规模只有43英尺（13米）高”，等等都生动诠释了地球上的奇观。
海报：

就对艺术的刺激与影响而言，约翰·析格的《观看之道》是罕有匹故的。这本谈论艺术与社会之关系的小册子初版于1972年，基于英国BBC同名电视系列片写成。全书包括7篇文章，其中4篇，图文并用；其余3篇，纯用影像。每篇文章讨论一个主题，诸如：艺术与政治，女性作为观看的对象，油画自身的矛盾以及广告与资本主义白日梦。30多年来，这本书激起的争论历久不衰，其观点几成此一领域的常识。

布列松、厄威特、巴贝……数十位摄影大师；
超过300幅杰作的精美呈现；
一次对玛格南图片社的深入发掘；
无数场在世界各地上演的街头戏剧——
这一次，你将跟随大师的脚步，领略摄影与街头的魅力。
◎编辑推荐
☆国际顶尖摄影机构的稀有作品集
有哪位摄影师没听过玛格南的名号？然而，这家图片社在国内的引进却始终寥寥。作为深入玛格南图片社数十年档案的工作结晶，本书开启了一场摄影爱好者不可错过的视觉盛宴。
☆数十位国际摄影大师，超过300幅精选照片
布列松、阿巴斯、拉莱、厄威特……在这本书中，你会同许多如雷贯耳的名字相遇。围绕这些摄影师，全书收录了300余张高精度照片，既是粉丝的案头收藏，也为专业人士提供了参考范例。
☆追溯大师的理念和实践，探索街头的潮流与奥秘
本书在每个章节都附有精彩评论，内容涉及理念的解读、历史的梳理，也包括了对具体作品的赏鉴，乃至对创作过程的披露。评论作者同样为知名摄影师，以专业的目光与笔触，带你走进照片背后的故事。
☆足不出户，哪里都是“此时此地”
以四座国际大都市——巴黎、东京、纽约和伦敦——为中心，其间穿插了诸如爱尔兰、墨西哥等地的相关照片与论述，本书的内容范围遍布世界各地，紧扣“街头”这一主题，在形形色色、五彩缤纷的日常生活中，为你展现各地的人文地理与精神风貌。
◎内容简介
《此时此地：玛格南街头摄影经典》是一部摄影集，也是一部评论集，收录了国际顶尖摄影机构玛格南图片社的超过300幅照片作品。
本书以四座城市、数十位摄影大师为中心，对相关的摄影创作进行了深入剖析，既包含理念的解读、历史的梳理，也包括了对具体作品的赏鉴，乃至对创作过程的披露。这是一次对玛格南图片社辉煌传统的深入发掘，也是一场摄影爱好者的饕餮盛宴。

继布列松、马克·吕布和刘香成等摄影大师之后
专注拍摄中国时间最长、地域最广的西方摄影师
行走拍摄中国三十年作品首次在国内出版
【内容简介】
本书以阎雷的大型摄影集《中国》为底本，甄选并增补部分未公开发表的照片，重新编排成册，全面呈现1985—2000年间处于转型期的中国的日常生活、经济起飞和社会巨变，用镜头为整个中国创作一幅最鲜活、最富生命力的肖像。
作者对中国充满了感情，三十年间足迹踏遍中国的每一个角落，敏锐地捕捉到这个具有厚重灰色调的国度在20世纪末对变革的渴望、对新鲜事物的痴迷，通过他的视角，将新旧交替时期的种种微妙和激烈之处真实地传递出来，真实展现了那段逐渐远去的历史。
【推荐语】
16岁，我做了一个梦，梦见的是我在中国的一种生活，很神奇。1979年，中国开始改革开放，第一次签发针对个人的外国人旅游签证。我听到这个消息就睡不着觉，我要学习摄影，我要学习中文，我要拍中国改革开放。他们在叫我，我应该去。所以我来中国了。
我没有后悔这个梦。
——阎雷
以中国为主要拍摄题材的外国摄影师中，阎雷也许可以称得上是最优秀的人之一。他完全可以与他的前辈马克 •吕布比肩。
——那日松

Michael Kenna’s black-and-white photographs of Buddha statues featured in this book are a restorative, inspiring antidote to a chaotic modern world.
Michael Kenna is celebrated for his mysterious and exquisite black-and-white natural and industrial landscapes. He is especially revered for his images of Asia, where he has traveled to some of the world's most beautiful locations. It is no wonder that among Kenna's prolific creations are numerous images of the Buddha from countries such as Cambodia, China, Japan, India, Korea, Laos, Myanmar, Thailand and Vietnam. Captured in shrines, temples, sanctuaries, private homes, and museums, these images are quiet, uncluttered, and striking in the interplay of dark and light, line and shadow. Also included in the book are a selection of Kenna's Asian landscape photography, an essay about Buddhism, and excerpts from Buddhist scriptures. Fans of Kenna's distinctive evocative style will savor the myriad perspectives of the Buddha's singular form, while anyone inspired by the Buddha's message will be drawn to this photographic journey towards enlightenment.

This beautiful book presents a meditative, arresting, and dazzling collection of 240 black-and-white images of Japan, made over almost 30 years by the internationally renowned photographer Michael Kenna. A rocky coast along the sea of Japan; an immense plain of rice fields in the snow; Mount Fuji towering over misty wooded hills; silent temples devoid of people but brimming with Buddhist deities; a Torii gate mysteriously emerging from moving clouds and water--these are a few images from this remarkable collection of photographs by Michael Kenna, whose black-and-white work is highly renowned. Forms of Japan, brilliantly designed by Yvonne Meyer-Lohr, is organized into chapters simply titled, "Sea," "Land," "Trees," "Spirit," and "Sky." The quietly evocative photographs, often paired with classic haiku poems of Basho, Buson, Issa, and
others, provide a contemplative portrait of a country better known for its energy and industry. Gorgeously reproduced to convey the enormous subtleties that exist in Michael Kenna's traditional black-and-white silver prints, the photographs in this book include both well-known and previously unpublished images from all corners of Japan: Hokkaido, Honshu, Kyushu, Okinawa, and Shikoku.

The Lindbergh lens Unique fashion storytelling that first launched the supermodels When German photographer Peter Lindbergh shot five young models in downtown New York City in 1989, he produced not only the iconic British Vogue January 1990 cover but also the birth certificate of the supermodels. The image didn t just bring revered faces together for the first time; it marked the beginning of a new fashion era and a new understanding of female beauty. Coinciding with his major retrospective at the Kunsthal in Rotterdam, the Netherlands, this book gathers more than 400 images from four decades of Lindbergh s photography to celebrate his unique and game-changing storytelling and the new romantic and narrative vision it brought to art and fashion. Whether in striking single portraits or dramatic situations of figure and setting, we trace the photographer s cinematic inflections and his provocative play with female archetypes as subjects adopt the guise of dancers, actresses, heroines, and femmes fatales. Raw and seductive at once, we see how Lindbergh s trademark monochrome pictures also redefined standards of beauty by emphasizing spirit and personality as much as looks, celebrating the elegance and sensuality of older women, and privileging natural and authentic beauty in an era of pervasive retouching. In a testimony to Lindbergh s illustrious status in the fashion world, his images are contextualized by commentaries from collaborators such as Jean Paul Gaultier, Nicole Kidman, Grace Coddington, Cindy Crawford, and Anna Wintour, who chose Lindbergh to shoot her first US Vogue cover. Their tributes explain what makes Lindbergh s images so unique and powerful.

After his "aperitif" book of models, Ten Women, which was a world success within five months of publication, Peter Lindbergh presented in 1997 his long-awaited larger title Images of Women, comprising the creative essence of his photographic work. Images of Women contains Lindbergh's classic fashion photos, his great portraits of actresses and pop stars such as Madonna, Tina Turner, Demi Moore, Milla Jovovitch, Catherine Deneuve, Charlotte Rampling, Daryl Hannah, and many, many more— and, of course, all the photos of his supermodels that he has been saving up for his larger book. Images of Women thus provides a comprehensive overview of twenty years of artistic work of the highest level, showing Peter Lindbergh in his favourite role—as a man who loves women.

Between 1991 and 2015, Josef Koudelka completed an epic journey across twenty countries bordering the Mediterranean, stopping at over 200 Greek and Roman archaeological sites, relentlessly researching the beauty of the ancient world.
Before the Magnum photographer, nobody had attempted to make such a comprehensive photographic record of these artefacts with so much persistence and so little assistance. In this book, produced in close collaboration with the photographer, Koudelka's aim was to use art to re-appropriate a world that is escaping us and that we could lose - a world where the mind alternates between reason and faith, law and liberty.

编辑推荐：
1、“摄影界的芥川奖”得主佳作重现：“一张照片，一盒卷。”甄选120幅标志性的极地摄影作品，记录星野道夫旅居北极二十年光影。
2、作者人生最后一段旅程首次披露：收录《西伯利亚日志》（1996年6月30日～7月27日），记录星野道夫最后时光的点滴瞬间。横跨白令陆桥，从阿拉斯加到西伯利亚，英雄的最后一抹色彩。
3、六十四开文库本，向日文初版致敬：星野道夫自然文库系列三书，开本小巧，顺纹易翻；通勤旅行，熨帖称手；专色封面，醒目耐磨。熊伴野趣，雪映清凉，身未动，心已远。
内容简介：
《森林、冰河与鲸》是生态摄影师、旅行作家星野道夫生前最后一部作品，曾连载于《家庭画报》，后因作者在堪察加半岛遭遇棕熊袭击，不幸离世，戛然而止。这部夹杂着人类学田野笔记的趣味的图文旅行手记，被星野道夫研究者誉为高峰和经典。书中，他从阿拉斯加东南部开始，一路向北，跨过白令海峡，再向西，完成从阿拉斯加到西伯利亚，从美洲到亚洲的文化寻根之旅。途中，作者记录下与部族长老的会面，以及找寻神话起源的经过，以及森林、冰河与鲸，三个关键词串联起一个永恒的主题——时间。回到洪荒，从自然中获得直觉与领悟，坚持不懈地用照片与文字去表现真理，以体验和温度，得到幸福。

倘若看得仔细些，上海的街头是有双重模样的。与高耸入云的摩天大楼和时尚名品商店共存的，还有端庄的石库门，狭窄的小弄堂，以及旧时光里的店面招牌。曾经的十里洋场，有幸在这些隐秘的角落里得以重现。 时代变迁，许多城市正在改头换面的浪潮中迅速丢弃自己原有的景观。作为曾经的「东方巴黎」，上海的文字风景也正在经历着巨大的消亡。近年来中国各大城市相继开展以「市容更新」为名的行动，拆除店铺和招牌，却偶尔揭开了隐藏在背后的年代更久远的老招牌或文字，犹如意外发现的考古现场，让人觉得十分有趣。 「隐字」风景大抵有两种：昔日落在街角或弄堂深处的烟杂店、酱油店、副食品店，柴米油盐酱醋茶，手写招牌显得朴拙而亲切；或是隐藏在拆除的招牌里层、新搭建的脚手架背后、碎石瓦砾间的「字体遗址」，其背后的空间早已易主或不复存在，但偶尔残留的招牌仍能带我们闪回到彼时的马路风景中——气味浓郁的是「永好理发店」，污渍斑驳的是「第一油酱店」，色彩分明的是「临青绸布店」，嘎吱作响的是「明峰维修店」……干净利落的手写字体未必出自名家，却别有风味，和周围的电线杆、自行车、晾晒的衣物、或悠闲或匆忙的行人一起，构成了一幅幅鲜活的上海图景。 旧时的店名和字形，携带着抹不去的时代印记：丰润饱满的繁体楷书招牌，往往可以追溯到民国或清末；社会主义特色的语词、汉语拼音和二简字，见证了建国后的语言文字改革；带着行政区划名称和编号的粮油果品烟杂百货店，是计划经济下的产物；将经营产品和广告语诚恳地写在街角旺铺的门檐上、墙身上或挂在门外，则似乎是跨越时代的招徕生意之道。已经归并至大区的南市、闸北、卢湾，尚属当代，它们的名称停留在还未破落的招牌上，不疾不徐地等待着与同代人一起走进历史。 隐藏的字迹是上海新旧交替的佐证，却也注定昙花一现。伴随着新店铺的开张、新招牌的安装、新街区的建设，露出的旧字很快又将回归隐匿，甚至彻底拆除。本书中收录了三位摄影师在过去六七年间记录的文字风景，如今也大多难以寻觅，幸而光影可以记录下这一道道风景，替我们唤起属于那个时代的独家记忆。
When you look closely, streets in Shanghai have two layers of appearance. Besides the towering skyscrapers and the boutique fashion stores, you will find the dignified Shikumen, the narrow alleys, and storefront signs from the olden days. The city’s colonial past is recreated through these hidden nooks and crannies. As time goes by, cities are rapidly discarding their original façade in the tide of urban regeneration. Likewise, Shanghai, referred to as “Paris of the Orient”, is undergoing a dramatic demise of its typographical landscape. In recent years, China’s major cities have carried out a number of initiatives in the name of urban planning to demolish shabby shops and remove worn-out banners, but occasionally they have uncovered even older sign boards or writing hidden behind the recent construction, like accidental archaeological mini-sites filled with surprises. There are broadly two categories of “uncovered signs”. One is the handwritten banners that are still visible at the streetcorners or deep inside the alleyways, in front of the stores that sell cigarettes, food, oil and sauce; the other is the “type relics” concealed under the removed banners, behind the newly erected scaffolding, or among the rubble of torn-down buildings. The original venues behind the latter have long since changed hands or ceased to exist, but the remnants of the signs project a flashback to the street views of the past – that gel smell from the Forever Good Barber’s Shop, that stain from the No.1 Oil & Sauce Store, that vibrant colours from the silk & fabric shop, and that squeaky noise from the repair shop. The simple and clean handwriting might not come from a master’s hands, but its unique personality is a missing piece of the urban landscape, accompanied by the surrounding telephone poles, bicycles, laundry hanging out of the windows, and strolling or hurrying pedestrians. The text and form of the uncovered signs carry with them indelible marks of yesterday. Traditional Chinese characters in plump calligraphy style can probably date back to the Republic of China or even the late Qing Dynasty; socialist vocabularies, Pinyin (romanised pronunciation of Mandarin Chinese) and the second-level simplified Chinese characters were witnesses to the social and language reform after the founding of the People’s Republic of China; food and commodity shops named after the administrative divisions with sequence numbers were the products of a planned economy; adorning the header of the corner store with menus and slogans, painting them on the wall or hanging them outside the door seem to be the time-transcending advertising tactics. While Nanshi, Zhabei and Luwan districts have already been merged into larger districts over the past decades, their names have been staying on the not-so-broken signs, uneventfully waiting to enter history along with the contemporary generation of citizens. Shanghai’s urban transformation is in evidence of those rediscovered, yet transient typography gems. With the installation of new shops, new banners and new neighbourhoods, the uncovered signs will soon be re-covered or even dismantled. The images collected in this book were documented by three photographers over the past seven years, yet most of the scenes are already hard to find today. Fortunately, we are able to preserve and revoke the memory through their lenses.

《时间的风景》是备受赞誉的摄像师和导演，汤姆·劳的首部影片。影片采用慢镜头与定时拍摄的摄影技术，向我们展示了美国西南部陆地、人文以及野外令人惊叹的瑰丽景色。为拍摄本影片，劳开着他的丰田敞篷小卡车奔走于美国西南部，历时两年。
《时间的风景》的拍摄、剪辑和色彩分级均采用4K 分辨率（4096×2304像素），是世界上首部面向公众发售的4K电影。