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.

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.

Nan Goldin is internationally recognized as one of today's leading photographers. Her photographs have been exhibited in museums and galleries worldwide, including SFMOMA, California, the Whitney Museum of American Art, New York, the Stedelijk Museum, Amsterdam, Centre Pompidou, Paris and the Museu Reina Sofia, Madrid. Born in Washington DC, Goldin grew up in Boston where she began taking photographs at the age of fifteen. She has since lived in New York, Bangkok, Berlin, Tokyo and Paris, amassing an extensive body of work that represents a fascinating photographic portrait of our time. Since the 1980s Goldin has consistently created images that are intimate and compelling; they tell personal stories of relationships, friendships and identity, but simultaneously chronicle different eras and the passage of time. Her 'snapshot'-esque images of her friends - drag queens, drug addicts, lovers and family - are intense, searing portraits that, together, make a document of her life. Goldin herself has commented on her photographic style and philosophy, saying, 'My work originally came from the snapshot aesthetic ...Snapshots are taken out of love and to remember people, places, and shared times. They're about creating a history by recording a history.' Her work often breaks social taboos with its explicit exploration of relationships, sexuality and eroticism, and has also shown the devastating effect AIDS has had on her community of friends. Through its sequence of 55 images, Nan Goldin presents an overview of the photographer's entire career, and illustrates the development of the intimate and raw style for which Goldin has become internationally renowned.

乔治·德·拉图尔，17世纪美术史上一位擅长描绘光线与阴影的大师。他的绘画作品充满神秘，曾赢得国王路易十三钟爱。在他逝世后，曾被世界遗忘长达三个世纪之久，直到20世纪初才被发掘出来。拉图尔的作品构图严谨，以极端写实的手法描绘光与影的变化，画风受到卡拉瓦乔的影响，但却又能有其个人的独特风格。拉图尔以年老乐师为题的一系列画作以著名的《作弊者》、《女相命人》，展现出其细腻的笔触和敏锐的观察力，充分将画中人物的内心世界传达出来。晚期杰作如《忏悔的马德莱娜》、《伊琳为圣赛巴斯蒂安疗伤》等系列，更成熟掌握燃烧着蜡烛的夜光表现，流露出一股神秘动人的气氛，整个画面深具一种崇高的精神性。本书收录多幅鉴定为拉图尔的名贵真迹与仿作。并呈现细腻的局部处理，同时附刊与拉图尔同时代画风相近的名画，让读者相互对照比较，深刻体会拉图尔的生平特色与艺术价值。本书为2001年5月第2次印刷。

18世纪法国艺术家布歇是洛可可画风的代表画家。他的作品中满溢着奢华、艳丽、纤细、感官的装饰风格，亦流露出画家丰沛的情思与想像力。除了绘画，布歇也将触角伸入其他艺术领域，举凡挂毯画、舞台设计，甚至为著名的塞弗尔陶瓷作图样设计，处处展现出他惊人的艺术才能，于当时即备受推崇。布歇的创作对女性美多有着墨。不论是挤牛奶女工，或是宫廷沙龙贵妇，在布歇流畅的画笔下，总不失古典风味。布歇以明亮柔美的色调来表现丰腴肉感，使肌肤闪耀着如珍珠般的光泽，透出动人的优雅韵味，其作品中如诗的画面，让观画者全然享受画作中传达出的愉悦与活力。

Now available as a mini paperback, Heaven & Earth charts an awe-inspiring voyage of discovery through the infinite world of science - from the smallest particles on the earth's surface to tiny dots in galaxies that are light years away. Featuring the extensive range of matter contained in the cosmos, the book navigates an unfamiliar world and celebrates the beauty and boundless mysteries of planet earth and the universe. These beautiful photographs are presented in sequence according to scale and distance within distinct chapters, and are accompanied by extended captions. Through the lens of a microscope or the shaft of a telescope exists a universe of life and beauty that is unknown to many. Hidden from sight because of the restricted ability of the human eye, atoms, ice crystals, grains of pollen, snowflakes, butterfly wings, cloud formations, searing comets, and showers of stars are born, live and die. Heaven & Earth charts an awe-inspiring voyage of discovery through this infinite world that is science - from the smallest particles on the earth's surface to tiny dots in galaxies that are light years away. Featuring the extensive range of matter contained in the cosmos, the book navigates a fascinating trajectory through an unfamiliar world and celebrates the beauty and boundless mysteries of planet earth and the universe. The images are presented in sequence according to scale and distance within distinct chapters. All the images are taken with some form of camera or instrument used to view these fragments of life and nature - microscope, x-ray, satellite, telescope, etc. - and nothing can be seen with the naked eye. Presented as art, these beautiful but unfamiliar images are accompanied by extended captions. The captions explain what we are looking at, how small or far away it is, how it was photographed and where it can be found, as well as offering an interesting snippet of scientific information that enables us to associate with it on a human scale. A glossary of scientific terms is also included.

幕末、国芳門下の芳幾・芳年によって、全葉を血の絵で編んだ浮世絵『英名二十八衆句』が刊行された。120年の時が流れ、数々の逸話を生んだこの「血みどろ絵」を、昭和の絵師、花輪・丸尾が世紀末の世に復活させた。
一個一個字解釋好了：江戶時代流行一種繪畫藝術風格，
叫做浮世繪，也就是以此浮世之中的事物人為主題，
有人畫海浪、有人畫美女、有人畫風景，有人畫鬼怪殺人場景....
進入正題摟，鬼怪殺人場景的畫作就叫作無慘繪，
然後有兩個無慘繪名家月岡芳年和落合芳幾合，作畫了一個英名二十八衆句。
畫中主角可能是英雄殺妖怪，或是 戰爭場片，或是傳說中的場景。
不過這都是一百多年前的事情了。
到了現在昭和年間(其實應該是平成啦)，
又出了一本繪本要跟一百多年前的作一個競爭或比較。
找了有名的獵奇畫家丸尾末廣與花輪和一。
這是由日本地下畫家《丸尾末廣》和天才浮世繪師《花輪和一》合著的江
戶昭和競作‧《無慘繪》英名二十八眾句的其中一頁。
這本日本浮世繪畫風繪製的無慘繪，分成二個部份，新英名二十八眾句由
丸尾末廣和花輪和一以昭和浮世繪畫風繪製，而英名二十八眾句是月岡芳
年和落合芳幾的江戶浮世繪畫風。
丸尾和花輪的部份，丸尾用的是近代的人物。例如德國的連續殺人狂，以
及圖中的一柳展也。一柳展也在昭和五十五年用金屬球棒擊殺父母，震撼
了整個日本。日本後來發生了多宗少年暴力殺人事件，而一柳展也應是當
中的第一人吧！
花輪用的是日本歷史人物和鬼神。例如白虎隊的集體切腹場面、源賴光和
酒吞童子等。被譽為天才浮世繪師花輪和一的地獄無慘繪，每一幅作品皆
散發出一般懾人的闇黑張力，比丸尾末廣更有過之無不及。
《無慘繪》已絕版多年，但由於其中那獨一無二的藝術表現，已使它成為
了收藏家渴求的珍品！

《被遗忘的人》1989－1990年
吕楠的三部曲之旅是从拍摄精神病院起步的，从1989年开始，吕楠前后走访了38家精神病院和上百个患者家庭。每拍摄一个精神病人，只要条件和情况允许，吕楠都会进行面对面的采访，了解病人的身世、家庭背景和病情，并作记录，采访时间一般不少于一个小时。通常接下来的拍摄会再花一至两个小时。
有一次，吕楠在北京安定医院拍摄，在一间病房外面，遭遇了一个强壮的病人，吕楠本能地用手护住头，就在这时，那个病人却向他伸出一只手，要和他握手。在这一瞬间，吕楠被病人的友好和善良深深触动，此后，在吕楠的心目中，再也没有精神病这一概念，在他眼中，精神病人和所有的人一样，也有喜怒哀乐，也有正常的感情。
吕楠在拍摄中发现，精神病人在“文革”中一度被当作是没有远大理想的人群对待，毛泽东思想和毛泽东语录曾经被用来作为精神病人的治疗手段。他在四川一家精神病院的墙上看到一条标语：“没有正确的政治思想就等于没有灵魂。”那个“魂”的云字旁被人抠掉了，变成了“没有灵鬼”。
陶世茂，22岁，是四川一个偏僻农村里惟一的大学生。寒假回家时首次发病，杀死母亲，打伤父亲。极度恐惧的家人便把他关进石头房子里。每天为他送饭的是最疼爱他的85岁的奶奶。
采访完患者的家属，吕楠提出要见一见患者，患者家属用杠子为他抬开压在石头房子顶部沉重的石块。吕楠下到石头屋子里，和病人聊了一会天。在此之前从来没人敢下去，但吕楠却发现病人非常正常。只是因为石头屋子里面太暗，环境说明不了什么问题，吕楠才回到屋外。
患者的父亲和奶奶满面愁容地坐在石头房子前。吕楠和石头房子里的患者商量：我希望别人知道你在这样的屋子里，你的手能不能伸出一点来。患者照办了，于是，吕楠拍下了这张照片，这只从狭小洞孔里向外徒劳挥舞的手比出现完整的病人像更令人震撼。
在谈到精神病院拍摄时，吕楠反复提到的一个词是“尊严”。广西一家精神病院的重病者病房，全身赤裸的女病人站立在铁栅栏做成的铁门背后，双手搭在铁栏杆上，病房外的近景坐着一个老年女病人。照片旁的说明文字写着：重病者病房里23岁的女病人住院超过一个月，但她从来没有离开过13号病房。
吕楠说：“她可以坐在那里，也可以站在那里，也可以趴在那个上面，她可以在房间里的任何地方，而且事实也是如此。但是我要让她的尊严显现出来，只要她是歪七扭八地靠在这个门上面，我就不会拍。”
吕楠对女病人说道：你能站过来一点吗？病人按照吕楠说的靠近门站着。近景的老年病人本来也在病房外坐着，但是偏离画面，吕楠看见了，希望把她也加进取景框：如果不加进来，可能会有两层歧义，一、会让人觉得这家医院所有的病人都是关在房间里的，其实病房里的病人只是比较重的一个；另外，画面上没有老年女病人出现，房间里的人就太强了。
吕楠叫老年女病人坐过来一点，更靠近画面中心：“很多人慢待摄影，他们有一个事先虚设的前提：世界是为摄影师准备的，你‘咔嚓’一下就行了，没那样的事。你必须要调整，但是这个调整不能违背真实，调整要注意的是一定要够，但不能过。如果画面里没有关在房间里的女病人的话，就没有力量，老年女病人不过来，我也没法拍，我等她过来了，就开始拍，拍了五六卷，直到院方很客气地把我请出医院。”
吕楠对待所有的病人都一视同仁，即使是丧失行动和语言能力的病人。在一张照片旁边，吕楠写道：“天津的一家精神病院，她不会说话，是警察三年前在大街上捡的。她有破坏欲，医院不能为她提供衣服和被褥。一天中的大部分时间，她都是躺在地上，确切地说是躺在自己的尿和屎的混合物上。这些脏物一星期才会有人来打扫一次。拍照半年后，她死于这家医院。”面对这样的病人，吕楠按下快门的瞬间也是她挺直身子坐在没有床垫的床上，而不会是歪歪斜斜躺倒的样子。
吕楠在很多照片旁边都有简短说明，写下了病人的姓名、家庭、住院前后的基本状况。以前，别人问吕楠为什么要写那么多照片说明，吕楠也讲不明白，直到看到桑塔格在《旁观他人之痛苦》里对摄影家萨尔加多的作品提出了批评。桑塔格这样写道：“这些照片以孤苦无告的蚁民百姓为焦点，却又把他们打回孤苦无告的原形……他们的姓名在图片说明中一律从缺，拍摄人物照却不列出对象的姓名，等于是在有意无意之间与名流文化同流合污，同时助长了对另一种截然不同的摄影口味的贪婪需索：只授予名流姓名，而将其他人贬降为他们的职业、种族及惨况的代表性样本。”吕楠发现现在可以很地好回答这个问题：我写下说明文字的目的，就是为了不把他们的苦难当作他们的职业。
也有例外，画册里有一张拍摄于北京一家精神病院的照片，小女孩怀抱一只玩具熊猫，目光与镜头对视。吕楠在照片旁边用简短的文字写道：女孩，11岁。由于缺少儿童病房，中国绝大多数儿童患者只能同成年人住在一起。这些成年人不仅不会照顾他们，有时还会打他们。
画册上原来有小女孩的名字，但是在画册制版的当天晚上，吕楠考虑再三，还是把女孩的名字划掉了。吕楠担心女孩以后痊愈了，不愿意让人家知道她以前的经历，有名字就会带来麻烦。
耗时两年完成的《被遗忘的人》虽然具有强烈的视觉冲击力，但吕楠并没有强调病人的痛苦和惨状，而是以极其克制的拍摄手法，真实再现了精神病人的生存状态：“我拍完了精神病院以后，才理解病人的想法：医院外面才是精神病院呢。里面倒像教堂，像寺庙，像修道院，宁静至极，安静极了。”

Previously published in 1959, Frank's most famous and influential photography book contained a series of deceptively simple photos that he took on a trip through America in 1955 and 1956. These pictures of everyday people still speak to us today, 40 years and several generations later.

Brad Pitt was married in one of his suits, John Galliano dressed in one of his jackets to receive a prestigious award, Karl Lagerfeld never wears anything else, and women as dashing and fashionable as Madonna, Catherine Deneuve, and Cecilia Dean go drag to wear his designs. Hedi Slimane, the young designer who left Yves Saint Laurent to reinvent Christian Dior's menswear image, embraces "the cosmopolitanism of the old-school couturier" as well as "the conventional trappings of the modern-day überdesigner." He reconfigures classical pieces via subtle tailoring tricks, discreetly adding such dandified details as black leather carnation buttonholes, tiny emerald-cut diamond pins clipped to a pant fly, and clear sequins dispersed in the folds of pleats. He is the leader of an anti-technological, anti-velcro revolution that is striving to take men's fashions forward to the luxurious, armorial, sophisticated standards of time past. As Slimane himself has said, "For me, tradition is now." Intermission was conceived and built by Slimane himself as an artist's book. Published in collaboration with Pitti Immagine.