关于纪实摄影的8本书
关于纪实摄影的8本书
　　摄影有时候不仅仅只是实践，也需要知识理论的补充，以下是小编整理的关于纪实摄影的8本书，希望对大家有帮助!
　　关于纪实摄影的8本书：Magnum Contact Sheets
　　《马格南世纪经典：马格南印相典藏》
　　由马格南图片社官方授权，汇集69位马格南摄影师，139套接触印样，揭密马格南图片社的选片之道，精美呈现20世纪经典影像，是马格南成立以来信息量最大的摄影集。2015年2月由中国摄影出版社引进国内出版。
　　关于纪实摄影的8本书：Bruce Davidson: Subway
　　布鲁斯&戴维森《地铁》
　　布鲁斯&戴维森出生于1933年，被认为是美国最具影响的纪实摄影师之一，10岁时开始摄影，曾在罗彻斯特理工学院和耶鲁大学设计学院学习。1958年，他成为马格南图片社成员，1962年获得古根海姆奖金拍摄民权运动。在1963年在现代艺术博物馆举办个展以后，他花了两年时间在纽约哈林区拍摄，形成画册《东部100号大街》。1980年在居住纽约23年后，他开始纽约地铁的拍摄。从1980年春到1985年，布鲁斯&戴维森探索和拍摄了600英里的纽约地铁。
　　这本突破性的《地铁》一书，由&光圈&出版社在1986年首次出版，并获得评论界一致好评。一方面是呈现了纽约文化结构里独有的时刻，一方面色彩上使用极致的色彩和阴影，而不是拍成亮丽的皮肤。
　　关于纪实摄影的8本书：Diane Arbus: A monograph
　　黛安&阿勃斯《黛安&阿勃斯专集》
　　当黛安&阿勃斯1971年48岁去世的时候，她已经很有影响力，甚至成为某种传奇，尽管她最重要的作品只有一小部分在当时被广泛知道。
　　这本专著由80张照片构成，由阿勃斯的朋友画家Marvin Israel和阿勃斯的女儿杜恩&阿勃斯编辑和设计。他们的目的就是让这本书忠实于黛安&阿勃斯对于作品的评价标准，以她希望被看到的方式呈现这些作品。
　　关于纪实摄影的8本书：Lee Friedlander: Friedlander
　　李&弗里德兰德《弗里德兰德》
　　作者之一的Peter Galassi是现代艺术博物馆摄影部的主要策展人。摄影师李&弗里德兰德(Lee Friedlander)生于1934年，是在世的世界上最重要的摄影家之一。从50年代起便记录美国居民的日常生活，用线条和反差冷硬的图片风格为美国黑白摄影立下典范。
　　在480页的画册里，收入超过750张的作品。Peter Galassi在书中评论，弗里德兰德的一些作品让人感觉&物理世界被打成碎片，在原有密度三倍的压力下得以重组。&
　　关于纪实摄影的8本书：Elliott Erwitt: Personal Best
　　艾略特&厄维特《个人最佳作品》
　　艾略特&厄维特作为摄影大师，作品定义了20世纪和21世纪的视觉历史。尽管他的作品横跨几十年和地域，包含多样的主题，但他的摄影作品具有相当的辨识度。他的视野里充满了真实的艺术性，看不到人工技巧的痕迹。在这部作品集里，收录了他认为个人最佳的摄影作品。当你浏览这本画册的时候，你会感觉到怀旧、奇迹和生活中富有潜力的持久感。
　　关于纪实摄影的8本书：Richard Kalvar: Earthlings
　　理查德&卡瓦尔《地球人》
　　理查德&卡瓦尔作为马格南摄影师精英俱乐部的一员，这位前主席有与众不同的眼睛和潜能，去捕捉社会行为变得幽默或者转变成荒谬的时刻。他的黑白照片记录下人类的条件。他在寻找中强调与众不同，以敏锐的镜头揭示了独特的人类标识。他使用全新的视角探索日常生活，有时更加滑稽或者更加黑暗。这是关于他的第一本出版的专著。
　　关于纪实摄影的8本书：Robert Frank: The Americans
　　罗伯特&弗兰克《美国人》
　　罗伯特&弗兰克的《美国人》1958年首次于法国出版，1959年于美国出版，改变了20世纪的摄影课程。通过83幅摄影作品，罗伯特&弗兰克深入美国生活的表面，揭示了被种族主义困扰、对其政治家感到不适、被快速扩张的消费主义文化所麻木的这一族群。2008年《美国人》出版50周年时，史泰德出版社曾全球发行中、英、德三语50周年纪念版
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优秀人文纪实摄影作品欣赏。下面就让学习啦小编带大家一起赏析下。...冲双冠特惠抢购 马格南Magnum Contact Sheets 精装版 限量促销 -
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看看全国朋友怎么评价滴``&冲双冠特惠 Magnum Contact Sheets [Hardcover] 马格南摄影师玛格南最重量级画册，该书重达4.G，韩国印刷。定价95英镑！&本书的制作进度：&Magnum Contact Sheets: Commissioning #1ByAndrew Sanigar|Published:August 3, &For the first in our newLife Cycle of a Book series, Andrew Sanigar looks back at the development of our new Autumn titleMagnum Contact Sheets.Courtesy Magnum PhotosIt was always going to be a challenge to distill the story of howMagnum Contact Sheetswas developed as a project and then commissioned as a book, within the confines of a blog entry. It is a story that spans, by the time the book is published in October this year, a little over four years. New authors often look slightly dazed when I explain to them the development, production and sales cycles of publishing, but four years is on the long side compared to many books.It&s taken the time for good reasons:Magnum Contact Sheetsis a book which is ambitious in scale and scope, it involves working with the world&s greatest photography collective, which is owned by its photographer members and therefore needs their commitment, it has involved those members, or the representatives of the estates of those members who are no longer with us, delving back into their archives and providing us with a privileged insight to how each photographer works. It is a book produced to impeccable standards and it is a book that takes an opportty that history rarely provides: digital photography is now the medium of choice for practically all photography and photographers. &Film& is now a technology of the past (witness the last roll of Kodachrome being shot by Magnum Photographer Steve McCurry this year) and the contact sheet, for some seven decades a central part of how a photographer or picture editor views, edits, selects and archives what they has been photographed, has now been consigned to history.Given that opportunity: to document in detail a fragment of the history of photography,it is worth taking the time to give it your best shot.Courtesy Magnum PhotosAs a commissioning editor here at Thames & Hudson I plan and develop our new publications in subject areas including photography, advertising and branding and design, among others. Typically, the projects we develop come about through two routes: via individuals (or agents) proposing new projects to us, which we consider (and what is developed and then published is the very small percentage of what is initially proposed), by means of any of us who commission coming up with an idea, which we then have to find an author for, or through hearing of something that immediately lends itself to a very publishable idea. ForMagnum Contact Sheets, the book started life through the last route mentioned above & it was spotting an opportunity and a classic example of what I call creatinga big book from a simple idea.Thames & Hudson has forged a healthy, collaborative relationship with Magnum Photos over the last decade. I commissionedMagnum Magnum, a huge, international hit, now in its third format, which has been published in nine different language editions and for which Thames & Hudson and Magnum have shared great success, and it was through talking to Sophie Wright, Print Room and Cultural Projects Director at Magnum Photos in London that I heard how Magnum were collating contact sheets from the individual photographer&s archives for scanning into Magnum&s main archive.& Susan MeiselasI have always found contact sheets to be utterly fascinating & they are the closest thing to a photographer&s sketchbook. They reveal so much of the photographer&s skill: Were the images the result of happenstance or serendipity, was the shot carefully planned and worked, was the fabled &decisive moment& at play? And they often (but not always) bear the marks which show the way in which the photographer (or sometimes picture editor) edited down from what was shot to the single image which defines that story.Wanting to publish the book was obvious: It was a logical sequel toMagnum Magnumand would reveal how great photographs were created, but making the book happen was much less straightforward. It&s worth keeping in mind that the development process took three years, whereas design, editing and production, took just over one.Courtesy Magnum PhotosUnlike a typical author arrangement, where I am working with one, sometimes two individuals, with a Magnum book involving them in a &group project&, the whole membership & some 70 photographers and representatives and estates & has to take a vote on whether it is a project they would like to pursue.It is eye-opening for the publisher, normally the one with the power to green light a project, going to see &the author& and pitch the concept to them to gain their approval.The boot is on the other foot.Having successfully pitched the concept to the membership at their Annual General Meeting in Paris in June , group of four people came together to develop the project beyond the initial ideas. The group consisted of: Sophie Wright of Magnum Photos,Martin Parr, Magnum photographer and the representative for all the photographers taking part in the project, Kristen Lubben, an Associate Curator at theInternational Center of Photographyand who had worked with Magnum photographerSusan Meiselason her wonderful bookSusan Meiselas: In History, and me.& Susan MeiselasOf course, once the book is ready for design and production to commence, the team increases greatly and some of those people will be writing blog entries on their roles in the creation of an exceptional book, but at this early stage, the Commissioning Editor has to shape the concept and the content & both text and photographs or illustrations & with any author. The four of us in the group then scheduled meetings for the months ahead, not easy given Sophie and I being based in London, Kristen in New York and Martin, while being British-based, traveling widely through his assignments and work. At this stage we had an agreed concept & we knew what size and shape the book should be and how many pages it should have & but no content yet. That was the next stage & each of the photographer&s was invited to participate and to select three contact sheets from their archive along with the accompanying &star& image, any &B& or &C& choice images and any other material, such as sketchbooks, notebooks or press passes, that would add extra visual flavour. We were clear what we had asked for, but it wasn&t clear what we would get back. That&s always the risk of publishing and working with authors, but multiply the risk to involve about 70 potential contributing photographers and you get a sense of how complex such a book is to bring together.In the next blog entry, I&ll tell you about the surprises that were in store once ugh contact sheets and photographs had been collated to begin making sense of things&Magnum Contact SheetsEdited by:Kristen Lubben34.2 x 28.0cm 508ppThis special and important photography book presents, for the first time, the very best contact sheets created by Magnum photographers. Contact sheets tell the truth behind a photograph. They unveil its process, and provide its back story. Was it the outcome of what a photographer had in mind from the outset? Did it emerge from a diligently worked sequence, or was the right shot down to pure serendipity a matter of being in the right place at the right time? This landmark publication provides the reader with a depth of understanding and a critical analysis of the story behind a photograph, the process of editing it, and the places and ways in which the selected photographs were used. For anyone with a deep appreciation of photography and a desire to understand what goes into creating
work, Magnum Contact Sheets will be regarded as the definitive volume.More than 120 contact sheets selected by some seventy Magnum photographers or their estates: a definitive book on how the best photographs are created and edited.Contact sheets unveil the story of what went into a photograph. Was it the outcome of what a photographer had in mind from the outset? Did it emerge from a diligently worked sequence? Was the right shot a matter of being in the right place at the right time? Here, for the first time, are the best contact sheets created by Magnum photographers. They reveal the creative methods, strategies, and editing processes used by some of the acknowledged greats of photography, from legends such as Henri Cartier-Bresson and Elliott Erwitt to Magnum&s latest generation, including Jonas Bendiksen, Trent Parke, and Alec Soth.Events, places, and people from over seventy years of history are contained in Magnum&s contact sheets, including the Normandy landings by Robert Capa, Che Guevara by Rene? Burri, the Paris riots of 1968 by Bruno Barbey, Malcolm X by Eve Arnold, and New York street scenes by Bruce Gilden.With supporting texts by the photographers or by those selected by the estates of deceased Magnum members, and ancillary material such as press cards, notebooks, and filed captions, this landmark publication provides a depth of understanding and a critical analysis of the backstory to a photograph. 250 full-color and 200 black-and-white photographs&About the AuthorKristen Lubbenis the Associate Curator at the International Center of Photography in New York. Her books includeSusan Meiselas: In History,Amelia Earhart: Image and Icon, andMagnum Contact Sheets.&&&
您如果对商家东方摄影书屋的冲双冠特惠抢购 马格南Magnum Contact Sheets 精装版 限量促销商品感兴趣，欢迎进入的淘宝店铺选购，若您在东方摄影书屋店铺购物过程中，遇到商品与描述不符、存在质量问题或付款后未收到货等问题，按照淘宝相关规则，可联系商家协商退换货。想学习英语的词根词缀.那几本书比较好？还有.学词根词缀对英语有帮助没？求大神解惑..._百度知道
想学习英语的词根词缀.那几本书比较好？还有.学词根词缀对英语有帮助没？求大神解惑...
英语零基础...自学...方法...
我有更好的答案
如果要说英语词根词缀的经典之作，非《英语词汇的奥秘》莫属。据说新东方英语学校的创始人俞敏洪就是参考的这本书，但是个人觉得，俞敏洪拆分单词的方法有些牵强附会，不如《英语词汇的奥秘》这本原著来得科学。应该告诉你的是，学习英语单词最好的方法就是词根词缀记忆法，只不过当代中国强调死记硬背，没有看到这种方法的精妙之处，请留下邮箱，我把多年搜集的资料给你发过去。
采纳率：71%
个人比较推荐新东方的绿本子的词根词缀书，那个用起来感觉挺好的，而且还有配套的词根词缀词典，比较适合大学及以上的英语学习者使用，我自己就是英语专业的，这个也是老师推荐给我的。
单纯学单词、语法、词根这种学习方法是枯燥的，都不知道你具体什么情况，业余的可以学学口语，找些英语美文什么的书籍。
直接看刘毅的《英文字根词典》吧。（不要被“词典”二字给吓到了，其实不是太厚）学词根词缀对英语词汇量的提升有很大帮助，经常翻翻字根词典，会发现很多没有背过的单词都能猜得出大概意思。
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我们会通过消息、邮箱等方式尽快将举报结果通知您。有没哪位大神知道背考研单词用扇贝里的哪本书好啊？
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有没哪位大神知道背考研单词用扇贝里的哪本书好啊？担心词少的不够用，太多的又背不完T^T
有没哪位大神知道背考研单词用扇贝里的哪本书好啊？担心词少的不够用，太多的又背不完...
我背的2016考研词汇大纲
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我背的2016考研词汇大纲...
觉得这一本好用吗？
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这个帖子太久没有人回复啦，你还是开个新帖吧
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