At once cosmopolitan metropolis and venue for a pensive stroll, Moloch and emblem of the modern, Paris has been a source of inspiration for countless artists and writers down the ages. But not least it is the home and constant muse of a relatively young art: photography. Since the earliest days of the daguerreotype right up to our time, renowned photographers such as Joseph Nicéphore Niepce, Henri Cartier-Bresson, Robert Doisneau, and Jeanloup Sieff have lived and worked in the city of lights. Over the years a love affair developed between Paris and photography, giving rise to a remarkable record of the metropolis and a telling history of a new art form. This volume takes the reader on numerous walks, camera in hand, through the streets of Paris. Atmospheric black-and-white photos, shot by great photographers over two centuries, reveal the dramatic and the tranquil, the historic and the everyday—in the capital’s parks and gardens, boulevards and backstreets, passages and arcades, bistros and nightclubs.

肖全历经十余年拍摄完成的《我们这一代》，是对中国50-60年代出生的知名文化艺术界人士进行影像建档。这些年来，他遍访散落在中国各地的艺术家、文学家，在他的笔记本上排列着以自己的标准选择出的长长的名单，并且随着时间和工作的进行，这个名单还在不断地变化和丰富。肖全怀着对同代人命运的关怀，怀着对人本身的同情和热爱，象一道和煦的阳光轻柔地穿过这一代人的生活，用他手中的相机为每一位被访者投射下一幅温存的造像。而他对人物性格的精准把握，以及他与这一代人广泛密切的交往，也使得他的照片集超越了个人行为的层次，而成为具有社会意义的影像工程。肖全，用他的温情和执着，见证了这一代人的生存，折射出了他们的痛苦与欢乐，彷徨与坚持，而在这一切之上，是对生命的永恒关怀。

きっ和、それらはぜんぶここにあるべきも的たち。完璧なバランス、そしてすぐにこわされるも的。

本书可以说是关于“摄影文化”思考的一条河流，书中介绍了在相机后面和围绕着相机的视觉文化的历史，以及围绕在摄影的艺术、哲学与美学，摄影的意识形态、摄影的“观看之道”等，自本雅明的那个“机械复制的时代”就成为“灵光”围绕，在布尔迪厄、约翰·伯格、苏珊·桑塔格等思考者的笔下，摄影展现出一派关于人类目光与影像的“生存图景”。　　本书可以说是介绍在相机后面和围绕着相机的视觉文化的历史，那些围绕在摄影的艺术、哲学与美学，摄影的意识形态、摄影的“观看之道”以及摄影与殖民统治等等，这些围绕在摄影的久远的问题，自本雅明的那个“机械复制的时代”就成为“灵光”围绕，在布尔迪厄、约翰·伯格、苏珊·桑塔格等思考者的笔下，摄影展现出一派关于人类目光与影像的“生存图景”，从而在人类社会与文化的历史上产生深远的影响，本书可以说是关于“摄影文化”思考的一条河流，赫拉克利特说“人不可能两次踏进同一条河流”，在“摄影”的光耀并未消散之时，本书亦是一种缅怀与追奠。

像你我一样呼吸：一个世纪的摄影传奇，ISBN：9787807400721，作者：顾铮 著

作者在这部《摄影简史》里直接切入摄影师和作品。它不是对时间、事件、人物的全纪录，而是一部关于摄影史的简单评论。它解释了我们判定一张照征好坏的依据，用摄影的方式记录画面有什么特殊之处，一张照片的精华在哪里，以及摄影与其他艺术形式的关系。借助于从摄影之父福克斯·塔尔伯特到当代摄影大师的范例，这种出色的研究为人们在评论方面提供了指南。

如果說我們今天還在靠理想(而不是某種現實指標)支撐著往前走，那麼這種理想恰恰是由那個荒蕪年代培植起來的。“我們這一代”中有很多人幹著本不屬於自己幹的事，在70年代後那些熱情高漲的年月裏，我們每個人都作出了種種努力，有時也患下一些可愛的幼稚病，每一次不同的面孔上都毫不掩飾地透現出充滿希望的鎮定和安詳。如果說肖全留下了“我們這一代”最好的照片，毋寧說肖全留下了“我們這一代”最好的記憶

当死神渐渐走近，生命开始消逝，徘徊在死亡线上的人们，生与死的对比，留下曾经与现在的肖像。
一位治疗过无数病人、挽救过无数人生命的医生，临终前经常被噩梦吓醒；
一位音乐家在病床上牵挂的不是他的亲人，而是家里那只陪他度过多年的狗；
一个天使一样可爱的女孩因为母亲遗传的艾滋病，在漫长的住院期间，只是想回到家里，跟邻居的小伙伴们一起做游戏；
一位敬业的警察因为长期值夜班，只能在白天入睡，梦中也会大喊“站住！别跑！警察！”；
一位前政府官员在国家统一后失业，原先享受的高福利没有了，怨声载道，一个劲地发牢骚；
一个曾在纳粹军队服过役的老人心事重重，一言不发，对瓦尔特的拍摄心怀警惕，决不提及自己的那段历史……
德国摄影师瓦尔特像拍记录片一样，忠实地记录下了这些在死亡线上徘徊的人们。这些图片曾在欧洲引起轰动，它们记录下一些人的生与死，他们中有科学家、官员、警察、作家、银行家、医生、农场主，甚至还有几岁的孩子和刚出生的婴儿。不管他们的身份、地位和年龄有何差异，摄影师对他们的记录无一例外地是两张照片：一张记录他们活着时的状态；另外一张则是他们死亡后的表情。在这些人的脸上，有不甘心、平静、满怀希望，也有绝望、放弃、哭泣、害怕，还有深深的哀伤。
摄影师的拍摄动机，很大程度上源于他在二战中面对死亡时的惨痛经历。
拍摄中，瓦尔特使用对比手法，表现人类在濒临死亡时的精神状态。编辑成册的图片在欧洲展出销售时，一销而空，接连再版，也引发了广泛的争议。但是这组作品却获得了包括ADC金奖和荷赛银奖等纪实摄影方面最高奖项，瓦尔特也被评为德国年度肖像摄影家。

れて、守られて育った記憶は消えない。
『Cui Cui』は川内倫子が13年前から撮り続けている、家族の記憶である。
お正月の団らん、兄の結婚式、祖父の死、新しい命の誕生…。
ありふれた出来事が積み重なっていく普通の家族。
人の匂いと土地の匂いのする故郷の風景が漂ってくる。
出会いと別れを繰り返しながら、記憶の中でずっと家族は生き続ける。
誰もが持っている家族のアルバムをそっと呼び覚まします。

【目录】
1 谁应该看这本书
2 仅仅拍照不是艺术
3 求真意志：人工制像的划时代革命
4 欧洲思想的象征性器具
5 第一张照片的传教士拍的
6 现代主义与摄影
7 摄影家都攒下了哪些招数
8 摄影的尊严在于纪实
9 傻瓜机革命
10 摄影之后的摄影
11 客观、现客观、极端客观：对相机的非控制倾向
12 撒开你的伤口：另类社群摄影
13 机械眼胜过人眼
14 摄影之前：摆拍
15 思想类型：表演和导演
16 玩偶世界：我是你的镜子
17 透视与角度：置景摄影的自我设局
18 从静物到置景
19 在摄影与摄影之间：拼贴
20 从底片蒙太奇相纸蒙太奇
21 非蒙太奇拼贴
22 采样时代：数量的意义
23 时与时之间
24 叙事摄影：真实的谎言
25 摄影之后：涂绘
26 扫描：流水账
27 异形与妄想：数字化拼贴中超现实主义的幽灵
28 数字作为分析方法
29 数字雕塑：非摄影图片
30 拼贴在环境中：摄影装置
……



我的目的是要告诉读者，摄影不是你所想的那么复杂深奥，你没有受过专业训练，没有昂贵的器材，也不指望通过摄影来谋生，你还是可以通过它来理解，来感觉，来梦想。我的读者是那些曾经被图像的力量所打动的，同时在生活中有着这样或那样的关于形象的奇思妙想的人……而不是专业摄影工作者。
——邱志杰

Aimed at professionals and beginners alike: the first systematic attempt to find out how photographers of world stature approach their work, and what it is that makes them succeed.
This essential new guide to photography draws upon in-depth interviews with established photographers from the fields of fashion, art, portraiture, documentary photography, and advertising as well as comments from picture editors, curators, agency directors, and publishers who reveal what they look for when choosing an image.
The book first focuses on photographers' working practices, from how Mario Sorrenti got the inspiration to photograph a naked Kate Moss draped over a couch for the iconic Calvin Klein campaign to how the Dutch portrait photographer Rineke Dijkstra gets the best out of her subjects. What made the photographer start taking pictures? How did he or she develop a signature style? What is the process involved in going from concept to shoot? How important is postproduction?
Then the book turns to selection. How does the picture editor of the New York Times Magazine decide which photographer to commission for the next fashion spread? What kind of photograph, according to the Senior Curator of London's Photographers Gallery, is worthy of being hung in a gallery? What advice would art book publisher Gerhard Steidl give a budding photographer? Whether it is the question of what to look for in an image, views on cropping, or the pros and cons of color versus black and white, the shapers of taste give acute and useful accounts of their methods. 150+ illustrations in color and black and white.

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."

Thomas Struth (born 1954) began his career making cityscapes, jungles and portraits. In the 1980s, after a meeting with psychoanalyst Inge Hartmann, he branched into portraiture. This book presents a selection of Struth's solo and group portraits from the 1990s.

本书所说的人体摄影150年，是从人体摄影刚刚起步的19世纪中叶至20世纪末人体摄影后现代主义时期近150年的历史。这是一本相当有质量的关于人体摄影历史的书，也是一本关于摄影史的书。在书中，作者顾铮从头到尾都贯穿了一条人文主义的主旨，坚持用社会学的眼光审视整个人体艺术给予了充分的阐述。顾铮通过历史上的杰出作品和杰出的艺术家，雄辩地证明了所谓的人体摄影史，其实是一部关于人如何认识自身的历史。顾铮从人体摄影摆在了一个审美的与社会意识的天平上，成功地审视了人在社会发展历程中殊而别致的一个方面。

本书汇集了中国最优秀的纪实摄影师们
记录中国现实的难忘影像
它们大多曾叩动过
社会的情感和所有怀有良知的心灵
当我们面对这些记录时
反省的时间会更长一些，对历史领悟会更多一些
我们在其间发现关怀和人性
以鼓荡我们的激情、痛苦、爱恋、勇气和正义感
对当今中国更多的反省和领悟
将创造属于未来的意义
中国，有这样一群人
对我们大多数人而言，我们已习惯于从电视和报刊上泛泛地了解世界。这样的习惯证明我们是幸福的，因为我们身处的环境拥有平静。当我们每天在新闻中匆匆浏览遥远的灾难和不幸时，我们几乎不会去做多少思考，更不会去领悟这些事件与故事背后，整个社会的状态和其他群体的命运。
然而，有另外一群人却必须去直接面对这些。他们在或偏远或危险的地方奔波，年复一年进行着寂寞的守候或艰苦的追踪―不仅仅是为了填充新闻时间或版面，更多的是成为我们正在经历的历史的证人。
人类的故事首先是时间和空间的故事，中国的故事更是如此。
因为时间，有了历史和命运；因为空间，有了社会和情感。
要叙述激烈跌宕的当代中国，离不开时间，
要认识真正的中国，需要走进许多我们看不见、
或者看见了也视而不见的空间。
因为变化太快，因为人口太多，
时间和空间其实是中国最稀缺的两大资源。

Seeing so many celebrity photographs from the beginning of Ms. Leibovitz's career unveils many of the most effective methods that she uses to create her deep insights into the subject of the portrait. Although you may feel the subtlety of her work viscerally, these comparisons make it easier to appreciate the purposefulness of how the effects are brilliantly captured. If you are like me, this book will enhance your already deep appreciation of her work.
Before going into all the reasons I like this book, let me mention that the book contains tasteful nudity and sexual situations that would probably cause an R rating for a motion picture (or possibly something a bit stronger, like an R plus). Many parents would be uncomfortable with some of their children seeing these images. So judge the appropriateness of this wonderful book for your own family.
First, Ms. Leibovitz is looking for the soul of the person. Who are they at the core? This is captured by establishing a composition that overtly expresses this inner kernel of truth. For Roseanne Barr and Tom Arnold, this is captured by mud wrestling. For Muhammad Ali, you see a fully confident, capable man fully comfortable with himself and the world.
Second, she captures the subject's personality with posing and expression within the composition. Whoopi Goldberg's playfulness is captured by a composition that has little bits of her beautiful blackness emerging from a milk bath, with a characteristicly wry, happy smile.
Third, she shows the social mask that the subject uses. Lily Tomlin's face poses behind a television set image. Diane Keaton is shown wandering around with her face averted from the camera to capture her preference for privacy and appearance of shyness. Keith Haring appears wearing nothing but his painted on designs.
Fourth, she connects her subject to another person where that helps to establish part of the person's reality. John Lennon appears in foetal position with Yoko Ono, in that famous image from this book's cover. The Rolling Stones are literally flying through the air at the same time while performing. The Grateful Dead are asleep on each other's shoulders. Interestingly, she is usually able to do this with a humorous, light touch that dispells some of the celebrity power of the person.
Fifth, she lets a little slip in composure or a little blemish show where that adds to the underlying reality. Louis Armstrong looks scared in one classic portrait pose, while totally relaxed and in control in a less formal setting. Mick Jagger's partially healed scar is shown in another image. Jodie Foster puts on an intelligent expression that shows the Yale graduate rather than the young female star.
Sixth, she captures motion in ways that give the kinesthetics of the person and situation wonderfully. For example, a group of prisoners and family members hug at Soledad Prison in California at Christmas in 1971. You see many different relationships in this one image. It's like a microcosm of all humanity.
Here are my favorite images:
John Lennon, New York City, 1970
Louis Armstrong, Queens, New York, 1971
Christmas, 1971, Soledad Prison, California
The Grateful Dead, San Rafael, California, 1971
Ray Charles, San Francisco, 1972
Lily Tomlin, Los Angeles, 1973
Richard Pryor, Los Angeles, 1974
Andy Warhol, New York City, 1976
Tennessee Williams, Key West, Florida, 1974
Ron Kovic, Santa Monica, California, 1973
The Rolling Stones, Philadelphia, 1975
Brian Wilson, Malibu, California, 1976
Muhammad Ali, Chicago, 1978
Robert Penn Warren, Fairfield, Connecticut, 1980
John Lennon and Yoko Ono, New York City, December 8, 1981
Greg Louganis, Los Angeles, 1984
Bruce Springsteen, Asbury Park, New Jersey, 1987
Whoopi Goldberg, Berkeley, California, 1984
Twyla Tharp, New York City, 1989
Michael Jackson, Los Angeles, 1989
Mikhail Baryshnikov, New York City, 1989
After you have enjoyed the book, I suggest that you make a drawing that does a similar unveiling of someone you know well. You might even consider a self-portrait. Ms. Leibovitz says those are the hardest to do.
Look deeply into those all around you and see the truth . . . as well as the fictions.