Dronescapes 是与*的无人机摄影网站 Dronestegram 和著名摄影编辑Ayperi Karabuda Ecer合作创建的，它是*一本汇集了全球*无人机航拍照片的书。它给了我们从全新的有利位置俯瞰地球的激动人心的机会，无论是从里约热内卢鸟瞰救世主基督，还是从飞行中的老鹰几英寸处拍摄的照片，还是从墨西哥塔穆尔瀑布上空拍摄的令人眩晕的照片，讨论了无人机摄影的到来如何标志着航空摄影历史↑的一个重大转变。Created in collaboration with Dronestegram, the world-leading drone photography website, and Ayperi Karabuda Ecer, a highly renowned photography editor, Dronescapes is the first book to bring together the very best photographs taken by quadcopters around the globe. It grants us the thrilling opportunity to see our planet from entirely new vantage points, whether this is a bird's-eye view of Christ the Redeemer in Rio de Janeiro, a photograph taken inches away from an eagle in mid-flight, or

铁托南斯拉夫共chan主义极简主义狂野世界指南 Spomenik-- Serbo-Croat /斯洛文尼亚语中的纪念碑 - 指的是20世纪60年代至80年代在铁托的南斯拉夫共和国建造的纪念碑，标志着第二次世界大战期间占领的恐怖和轴心国的失败。全国各地都有数百座建筑，从沿海度假胜地到偏远山区。通过这些富有想象力的混凝土和钢铁形式，设想了一个没有种族紧张局势的无阶级，前瞻性的社会主义社会。而不是寻求意识形态一致的苏联的艺术灵感，铁托转向西方和抽象表现主义和极简主义的作品。这使得南斯拉夫能够通过纪念碑发展自己独特的身份，将它们变成政治工具，阐明铁托对新明天的个人愿景。 今天，在该国解体和随后的1990年代南斯拉夫战争之后，一些人被摧毁或被遗弃。许多人遭受了种族紧张局势的后果：一旦被视为希望的象征，他们现在成为怨恨和愤怒的焦点。 本

It's simple question,but there's no simple answer-indeed,each of the 280 photographs in this wonderful book offers its own,unique answer,distilling subject,setting,and cerative skill into a single arresting moment that cap-tures the viewer's imagination.And though we may find this elusive quality hard to define,we recognze is imme-diately and instinctively. William Albert Allard,one of the essayists in the book,writes,A fine portrait has the potential to tell something about the spirit of the subject that can be sensed by someone half a world and a different language away.something universal and simple:This is another person in our world and I'd like you to meet him or her. Culled from National Geographic's extraordinary archive,this collection spans more than a century and explores every cornetr of the globe and every aspect of the portraitist's art.The pictures here represent both the special visions of some of the world's finest photographers and the universal appeal of our shared humanity in all i

‘The Bitter Years’ was the title of a seminal exhibition held in 1962 at The Museum of Modern Art, New York, curated by Edward Steichen, and 2012 marks its 50th anniversary. The show featured 209 images by photographers who worked under the aegis of the US Farm Security Administration (FSA) in 1935–41 as part of Roosevelt’s New Deal. The Great Depression of the 1930s defined a generation in modern American history and was still a vivid memory in 1962. The FSA, set up to combat rural poverty, included an ambitious photography project that launched many photographic careers, most notably those of Walker Evans and Dorothea Lange. The exhibition featured their work as well as that of ten other FSA photographers, including Ben Shahn, Carl Mydans and Arthur Rothstein. Their images are among the most remarkable in documentary photography – testimonies of a people in crisis, hit by the full force of economic turmoil and the effects of drought and dust storms. The Bitter Years celebrates some of the m

Best known for his striking photographs of people on the fringes of South African society, Roger Ballen makes images that are ambiguous and often disturbing, but also shot through with flashes of dark humour. The photographs in Shadow Chamber blur the boundaries between documentary photography and art forms such as painting, theatre and sculpture, challenging the ways in which we perceive the 'reality' of photography. Ballen's images are completely honest, yet also fabricated. The mysterious, cell-like rooms that Ballen photographs are actual places, but they are unsettling and strange, logical but impossible: their walls are covered with scribbled drawings, stains and dangling wires, the floors are strewn with bizarre props and artefacts. Dogs, rabbits and kittens wander into the frame or are stuffed into unlikely containers. The humans and animals in Ballen's photographs appear isolated and lost, yet strangely empowered at the same time. The resulting images are allegories of lived experiences and surre

Whether they are of Abu Dhabi, California, Egypt or Emilia, all of the images he produces are lit with a constant physical light and elements that this photographer seems to always have with him the way he does with his camera bag, and through which all he wants to do is observe the world. I find such an aesthetic to be more that of a painter than a photographer somehow. Better yet, that of a post-documentary or neo-pictorialist photographer, who experiences and conceives his work to be the exprssive gesture of an artist for whom the subject is above all the opportunity for a tremendous but constant variation in his view of the world.

Baby Talk The Anne Geddes phenomenon Baby as bunny, baby as sunflower, babies upon a carpet of feathers. With her unique portraits of infants, Anne Geddes has become one of the world?s most widely known and loved photographers . Her portfolio has become a brand in itself, with posters, puzzles, apps, calendars, and clothing items all inspired by her baby photography. Like no photographer before, Geddes strives to capture the beauty, purity, and vulnerability of young children and to embody within an image her deeply held belief that each and every child must be ?protected, nurtured and loved.? Since its inception in 1992, The Geddes Philanthropic Trust has designated significant funds from the range of Anne Geddes products to help prevent child abuse and neglect in countries around the world. This Geddes retrospective offers access to her complete archive, reaching back to the late 1980s. With many previously unseen images , it honors not only a whimsical and endearing aesthetic but its underlying