滚石乐队成员Mick Jagger的女儿Bianca Jagger，1979

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加州大学伯克利分校艺术博物馆公布了一批安迪·沃霍尔生前捐赠的，未曾公开的宝丽来作品，这批人物肖像宝丽来拍摄于1970年至1987年间，被摄者从皇室、运动员到音乐人，涵盖不同职业和背景。他们被置于同样的白色背景前，并以近乎一致的手法进行拍摄，相内人物个性昭然若揭。

UC berkeley art museum presents an installation of polaroids taken by andy warhol during the period of 1970 to 1987. The collection donated to the university museum is one of portraits depicting people of varied backgrounds including royalty, athletes, and musicians in addition to unknown individuals all photographed against a plain white backdrop. Similar to the techniques of antiquated portraiture, several sitters are pictured with a prop indicative of their personality.

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Barbara Crane

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从2010年起，每到年底，摄影博客booooooom都会推出年度摄影合集“75 photos by 75 photographers”，从一年来分享过的摄影作品中选出75张来，一同欣赏吧！看不够的话，再回顾一下2010年度的“75 photos by 75 photographers”吧！

Great collection “75 photos by 75 photographers” found on 2011 and curated by Booooooom.

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德国摄影师Jochen Lempert的作品专注于自然和动物。在上世纪90年代从事摄影之前，他是一位生物学家。这样的双重身份造就了介于科学与艺术，理性与感性，真实与虚拟，抽象与具象的风格。

“他真正质疑了何谓摄影画面，虽以自然的事物为题材，但因为用粗糙的手法拍摄，于是让摄影画面裡产生某种虚拟现实的东西。此外，很重要的是“接近”（proximity）和“距离”的问题：你必须接近摄影画面，才能看出里面的状态。然后你必须再后退，来感受整幅影像的向度。（他的作品呈现了）介于抽象和具象之间的界线，以及质疑摄影画面作为某种在真实之外的自主性的存在（autonomous entity）。他的照片并不呈现真实，但创造它们自己的某种真实。”（via）

Jochen Lempert is a German photographer whose work is about the world of nature and animals. Lempert first studied as a biologist before turning to photography in the early 1990s. Accordingly, his pictures are marked with scientific aspects, not only referring to his motives but more to the whole process of photography.

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爱尔兰国宝级摄影师Bill Doyle（1926 – 2010）被誉为爱尔兰的布列松，多年来，自学成才的他用黑白影像捕捉爱尔兰阿伦群岛人们淳朴而原始的生活方式。然而，与快门不停按的布列松的相异之处在于，他是一位非常珍惜昂贵胶片的“one-shot”摄影师。

阿伦群岛，在这片堪称世外桃源的岛屿上，当地的人们一直使用爱尔兰语，并遵循从旧时沿袭下来的生活方式，安静而悠然。Bill Doyle自1960年代以来拍摄的大量阿伦群岛渔民的生活剪影，均收录在《The Aran Islands: Another World》一书中。

Bill Doyle, who passed away last year at the age of 85, was often referred to as Ireland’s Cartier-Bresson and had a knack for artfully capturing the scenes of the world around him. During his trips to the islands, he was able to photograph many of the people and their daily activities and in 1999 a collection of these pictures were published together in a single volume titled The Aran Islands – Another World.

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纽约摄影师Matus Bence从今年9月份开始，建立了一个名为“New York Sleep Style”的博客，穿梭于时尚之都纽约的街道、公园、地铁站，捕捉在你匆匆而行时，压根不愿多看一眼的睡着的流浪汉。对于他的拍摄目的，我们多少可以从博客说明”Art of real street style and life”中找到答案。

New York Sleep Style, is a photo blog by Matus Bence that captures the “fashion” of New York’s homeless. Fantastic images.

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日本年轻摄影师中备受注目的Mayumi Hosokura（细仓真弓）今天于G/P gallery举行自己的首次个展。以欧洲为中心2011年荷兰现代摄影杂志《Foam》每年的新人特辑”Talent”中，日本人仅有细仓入选，并作为封面出版。同名摄影展在Foam画廊展出时便受到聚焦。今年9月在意大利罗马举行“FOTOGRAFIA”的展览，“Mizu no Oto”（水之声）成为代表日本人摄影师五人中的一员，并且于明年在伦敦出版摄影集的计划也提上日程。在京都出生，立命馆大学文学部，以及日本大学写真学科毕业的经历，给予她对周遭细腻观察的意识。以《kazan》（火山）为题，描绘当今年轻人纤细且强有力的日常感受，因自然流畅的表达与独特Eros所渲染出的自我色彩，而获得极高评价。本次展览同时发行她的第一本摄影集《Kazan》，也被誉为2010年代摄影界不可或缺的存在。（撰文_Will）

Showing at G/P gallery. Mayumi Hosokura is a young Japanese artist who has been warmly received in Europe, appearing on the covers of the Dutch contemporary photography publication Foam and showing her work at the Fotografia festival in Rome this September. This exhibition showcases new works from her “Kazan” (Volcano) series.

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《馆子》，一本收录十七位中国年轻摄影师作品的摄影书。在这个洪水猛兽的时代里， 这些摄影师不算浮躁，还在拧把地使用着传统相机，在冲取胶片的路上盘算余下的钞票够去哪儿走走，今后拍些什么，该怎么拍，相机是他们与这个世界较量的最好方式。面对中国新摄影这个庞杂冗大的词汇，谁也无法代表这个时代的全部精神，他们也会象 其他人一样，年华老去，不再适合“新”和“年轻”这样的华丽辞藻，但此时此刻的他们鲜嫩多汁，凶猛极端或温柔似水，作品里早已有了倔强的光芒和沉静的呼 吸。这一代人的成长经历，注定了他们的细腻敏感，青春被消费在了一个精神廉价的时代，他们面对的世界更辽阔了，却也更听不见回声。因此在这百幅影像作品 里，我们可以看到一个个生命个体对自我存在的早慧的质疑，面对生活既充满隔阂，也深深沉溺。

Light Room is a photography book realeased by Goooodie.com, includes works by 17 young Chinese photographers. In our treacherous and grotesque age, these are the ones who have not been carried away. They still stick to traditional flim cameras, and already come up with new plans for the next destination and next shoot with their last penny, even on the way to develop film rolls. As a matter of fact, cameras are their arms in the wrestling with the reality. None is able to fully represent the rising neo-photography in China, for that the youngsters will eventually fade away just like the rest, and lose their halo of being “fresh” or “young”. However, at this moment, traits which they boast, being tender, aggressive, or simply mild, are reflected in their works through different approaches, calm or rebellious. The upbringing and life experience of this generation have early declared their sensitivity deep down. In a broadened world, their voices hardly echo, and their youth is consumed. Therefore, via the collection, not only a premature doubt of self-awareness is subtly expressed, but also their dilemma of being isolate from and addict to life at the same time.

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