1995年，黑明改变了持续10年的摄影方式。又一个10年过去了，黑明已经拍摄了100个知青、100个右派、100个和尚、100个藏民、100个农民、100个边民、100个在天安门广场照过相的人、100个…… 这些年黑明通过和1000多人的对话，以及对一件件个案的分析、研究、出版，受到了社会各界的关注。黑明以最为平实的视觉影像和犀利的洞察目光，叙述时代变迁，记录大众生活，以特征鲜明的摄影语言和质朴无华的文字，完成了纪实摄影的社会使命。 黑明已经不会再把摄影看成小圈子里的事，也不再把自己当成一名纯粹的摄影艺术家。黑明寻找的话题尽可能是自己感兴趣的话题。而不是摄影话题。 本书为我们讲述了特定时期、特定事件、特定场景中普通人的真实故事，也许你和你的家人、朋友、同事，正是故事中的主人公。

Henri Cartier-Bresson is one of the finest image makers of our time. Born in 1908, he studied painting before embarking on a career in photography in the early 1930s. In 1940 he was captured by the Germans and spent three years in prisoner-of-war camps before escaping to join the Paris underground. With Robert Capa, David Seymour, and others, he founded the photographic agency Magnum in 1947. Since then his work has taken him all over the world—from Europe to India, Burma, Pakistan, China, Japan, Indonesia, Bali, Russia, the Middle East, Cuba, Mexico, the United States, and Canada. This new collection of work by Cartier-Bresson, created on the occasion of his ninety-fifth birthday, provides the ultimate retrospective look at a lifetime's achievement. It includes the first photographs taken by him, some of which have never been published, rarely seen work from all periods of his life, classic photographs that have become icons of the medium, and a generous selection of drawings, paintings, and film stills. The book also features personal souvenirs of Cartier-Bresson's youth, his family, and the founding of Magnum. Cartier-Bresson's extraordinary images are shaped by an eye and a mind legendary for their intelligent empathy and for going to the heart of the matter. This definitive collection of a master photographer's work will be an essential book for anyone interested in photography—indeed, for anyone interested in the people, places, and events of the past century. An exhibition of work by Henri Cartier-Bresson opens in Paris in 2003 and will be seen in the United States in 2004-2005. 630 illustrations in color and duotone.

本书是黎朗的摄影，书中有各种各样的图片，都在在不同的地区不同的环境下所拍摄的。为了编辑这本摄影集，作者请黎朗把没有发表过的作品底片也寄一塌糊涂。在这个单元里，照片没有特定主题，风格也并不统一，仿佛是想从擦身而过，看似不相干的人与景当中，找到一个共同的关联。拿着相机的黎朗，想将散落在各个角落珍珠串成一条夺目的项链。这组照片有一种超现实的感觉，仿佛所拍摄的场景取自梦境。这些作品即刻获得许多好评。作品与黎朗刊登面一期的法国名摄影家方斯华·勒狄亚斯贡特别向我要了他的联络地址，好告诉创他对这些照片的欣赏。那时我已知道，黎朗的作品迟早会受到国际性的肯定。果然，“琼斯母亲报道摄影国际基金”1998年的大奖得主正是他。

Robert Frank is one of the most influential of all post-war photographers. Pioneering a revolutionary approach to photography and filmmaking, he combines autobiographical and poetic elements to produce straight black-and-white images that transcend the specific. Speaking of universal experience, Frank has said, "I'm trying to forget easy photo, trying to make something from within." He adds, "Time moves on and never stops or waits." Often involving a progression through a series of images, his work is structured like a musical sequence, creating storylines that resonate beyond the frozen moment of any single photograph. Storylines accompanies an exhibition highlighting Frank's experimental use of narrative in photography and film. The exhibition consists of his films and photographs, including Polaroids, contact sheets, and recent digital stills. Photographs from locations as diverse as Peru, London, Wales, Coney Island, and Chicago, appear along with several artist's books. Essays by Philip Brookman and Sam Shepard. Hardcover, 9.75 x 11 in. / 240 pgs / 25 color and 225 duotones.

至今为止，刘铮的摄影只有一个主题．中国人。出现在他的这个庞大作品群《国人》中的种种中国人形象出处繁多，既有出现在传统文化样式如京剧中的戏剧人物形象与现代文化装罟如博物馆中的泥塑人物，也有来自当代中国社会各个层面的人物形象，如囚犯、僧侣、劳动者、村民。童工等。此外 这个作品群中还出现了不少从传统审美观与价值标准看不宜入影的奇奇怪怪的世怪物，这当中甚至包括了尸体与畸型儿标木。刘铮以此象征他心目中的中国文化传统与心理酌暗部。这些“国人”们往往以怪诞、荒谬、阴冷、愚昧、丑陋。无奈，笨拙甚至是凶悍的形象出现在人们面前，令人在悚然之余感到阵阵现实的错愕。而在这些人的身后，则还分明拖着一道长长的挥之不去的中国传统文化的阴影。...

侯登科，一个在当代中国摄影史上无法绕开的名字。他的影像、经历和思考代表了上个世纪80年代以来的一批有良知的中国摄影家的影像、经历和思考；他的思想常常在摄影界内外引起震动。侯登科用自然、平朴和踏实的影像，对生活在自己周围劳动者的生存、劳动和命运的具体观察和追踪，他以一个中国农民的视角为历史留下了20世纪最后20年即将消逝的农村生活影像。 摄影成了侯登科最后见证自己存在、了解和思考社会生活的方式，他拍摄西北地区候鸟一般的麦客，自己也像候鸟一样永远追逐着炙热的阳光。2003年他因病逝世，离我们而去。 在侯登科逝世5周年之际，此书是我们为他献上的一份纪念。