5 comments about Richard Kern, Action.

1. I was expecting more from this book. I am usually more fetish photgraphy oriented and was not expecting such "penthouse" type pictures. I was expecting something further from your everyday erotica. This being said the book does have its moments with lighting and composition. For a more varied look at this type of photography I recommend Taschen's The New Erotic Photography wich caters to varying tastes. Not a disappointment no matter what your flavor is.



2. I was really blown away by this book. Pictures are of stunning detail and really show an artistic erotic art.



3. While the second review here is accurate -- and let there be no doubt, many of the photographs in Richard Kern's Action are indeed porn -- it is the first review that tells fans of Kern's work what's in store: This book is an erotic masterpiece. The photographs themselves are marvelously composed and beautifully lit. And the young women Mr. Kern has lensed are remarkably sexy and sexual. Yes, there are shots of women urinating and doing other naughty things for the camera, but, alas, that is what many of us enjoy viewing. In short, Richard Kern's new book is stunning, and those who enjoy his kind of work will not be disappointed. A superb volume, this one.



4. This review isn't to condemn this book, only to inform buyers. If you aren't a fan of Richard Kern before buying this book like me, you won't know the content. While the book is presented in coffee table book format; oversize, hardback, nice paper, ect., much of the photography is identical to what you would find in a porn magazine. Mostly young girls, hardcore shots, girls urinating, insertion of toys, semen on faces, and fettish shots. The accompying dvd is as well not photo reference, but is live footage of the models, again in a very adult nature. Probably not a standard artistic reference book if you're expecting it.



5. The evolution of Richard Kern continues. His new book, Action possesses that quintessential pizzazz that runs throughout all of his work, but it nonetheless has its own unique and wonderful flavor too. Kern has always been attracted to the atypical model - he was photographing girls from the "suicide" genre long before it became fashionable - and his affinity for sexy, young ladies continues.
   
   Within the 280 pages of Action there is a subtle yet piercing element of fetishistic sexuality. Panty clad young sirens drop their bottoms, there's toe-sucking, spread shots, and other forms of tainted affection. All presented in that infamous Richard Kern style. Fan's of Kern's work will find numerous reasons to fall in love with his breathtaking vision all over again. And there's an hour-long DVD too. Action is a can't miss!

5 comments about Spirit Of America.

1. This book contains a lot of the photos on display in his galleries in Hawaii. He's got a great eye, and this book is a wonderful substitute for those who can't afford (or don't have large wall space) to purchase his individual works.



2. At least five of my friends and family, who had looked at the book, imediately purchased one for themselves. The pictures are amazing. Get it while you can - they sell out fast. I waited six months between printings.



3. I viewed this talented artist's work while vacationing in Las Vegas, and loved it. When I returned home, I found the new book on amazon.com for half price--a great collection of beautiful photographs at a great price.



4. The book arrived right on time and it was great. The pictures were like nothing I have ever seen before. I recommend the book and Peter Lik to anyone.



5. I was fortunate to purchase a Peter Lik Limited Addition Photo, at which time the book had been just rec'd. by the Maui Hawaii Gallery. The sales person was kind enough to give me a copy of his new book. They has just rec'd. and still in the back shop. Boy what a great gift and stunning piece to have on your end table for guest to see. Would highly recommend this fabulous book.

5 comments about Tulsa.

1. It's been a month now and I still don't have my hands on it.How's it being shipped? By row boat!!!



2. "Tulsa" was Larry Clark's first book of photography. It made him famous instantly. The stark black-and-white visual style proved to be highly influential, and has been cited as an inspiration by such directors as Martin Scorcese, Francis Ford Coppola, and Gus Van Sant. But perhaps more importantly, "Tulsa" was perceived as an uncommonly honest work, because Clark actually lived the life that he depicted. He was accepted by the world of marginals and drug addicts, he knew all of the characters in the book personally. And furthermore, "Tulsa" clearly shows the consequences of the marginal lifestyle, such as accidental gunshot wounds and dead babies. All this gave Clark a lot of credibility.
   
   The book is honest, in the sense that all the photographs truthfully depict what occurred, and Clark probably didn't need to set any of them up. But nonetheless, it is very highly and deliberately stylized. In fact, most of the dramatic effect comes from the stylization, and not the immediate content of the photographs.
   
   Let's examine how Clark does this. Consider the opening paragraph:
   
   "i was born in tulsa oklahoma in 1943. when i was sixteen i started shooting amphetamine. i shot with my friends everyday for three years and then left town but i've gone back through the years. once the needle goes in it never comes out. L.C."
   
   The paragraph is brilliant in its dramatic conciseness. It provides all of the context one needs to understand the photographs. At the same time, it reveals almost nothing about Clark. But this very lack of information already creates a certain sense of mystery and tension. The last sentence evokes an air of inevitable tragedy, and Clark's self-effacing use of initials seems to downplay his personal role and suggest that the tragedy may be universal, not limited to specific names.
   
   The only other text in the book consists of a handful of captions. Almost all of the photographs are untitled, so Clark's choice of words for the captions is painstakingly deliberate. One of the few titled photographs is the one on the cover of the book. The caption reads, "dead 1970". The opposite page is blank except for the one line, "death is more perfect than life".
   
   If there is a more perfect evocation of gloomy youthful romanticism, I'd like to see it. Probably Billy Mann assumed that pose by himself, and Clark was merely there to photograph it. But in this book and with this caption, Mann becomes a kind of tragic hero. There is nothing natural about his pose. It obviously glamorizes him, along with the self-destructive quote on the opposite page. But the caption's merciless conciseness makes Mann's death seem inevitable, and it also suggests vulnerability and naivete on his part, as if he didn't know that his guns and posturing wouldn't be able to save him.
   
   In fact, the best way to read "Tulsa" is not as a Naturalistic document, a social commentary, or an indictment of society, but as a classical tragedy. The opening makes it obvious that something terrible will happen, but the photographs purposefully start early, with the tragedy a long way away. The first two photographs show the two principal characters, David Roper and Billy Mann, whose names are given in the captions. Clark makes them look touchingly young. Roper is squatting down with his chin on his arm and looking directly at the camera. He looks serious and lost in thought. Mann has a worried look on his face. In different ways, they look earnest and vulnerable.
   
   Another picture shows Roper hunting in the woods, looking up into a tree with what looks like boyish delight. The first scenes of drug use take place in a well-lit dining room with a white tablecloth and a picture of Jesus. The point is obvious -- Clark is trying to create a sense of innocence that will be lost by the end of the book. He doesn't show how the characters were introduced to drugs or how they obtain them. In some sense, drugs aren't really the cause of the characters' downfall. Like in classical tragedy, it's more like fate.
   
   The rest of the book achieves its power through contrast with these early scenes. Towards the end, Roper is portrayed as a big, shaggy junkie with a cynical grin. If this part is shocking, it's because one can't help but compare this image with the thoughtful boy on the first page. The settings also get progressively seedier, with much heavier use of darkness and shadow, underscoring the book's sense of inexorability.
   
   Then, of course, there's a picture showing a pregnant woman shooting speed, shortly followed by a picture of a dead baby in a coffin. These events are like a sign that redemption has become impossible. But the characters don't seem to really want it, anyway.
   
   And, in the very end, there's a photograph of three naked teenagers preparing to shoot speed. They're much younger than the other characters in this part of the book, so there's a hint of that innocence shown in the very beginning. But the implication is that the same conclusion is equally inevitable, and in fact will arrive much faster this time around. And yet the photograph is undeniably sensual, creating a feeling of subtle regret.
   
   Clark's later work doesn't read in the same way. His second book "Teenage Lust," for example, reprises many of the scenes from "Tulsa," but contains much more text and information, and ends with a very long stream-of-consciousness autobiographical narrative. In some sense this decreases the power of the images. "Teenage Lust" is still worth seeking out (as of this writing, it has not yet been reprinted in an affordable edition), but "Tulsa" has a fatalistic mystique that stands apart from anything else Clark has ever made.



3. If being on the cutting edge of the art world means imortalizing crack-house addicts and other voidoids from the baseboards of society then Larry Clark should be hailed as "King of the Scum". I can hardly wait to see how the next generation will imortalize him.



4. Wasted lives and forgotten deaths. And a sense of voyeur's shame.



5. After seeing the recent Larry Clark collection at the International Center of Photography in New York, I decided I needed this collection.
   
   I had never experienced this side of Tulsa (the city) before. I make frequent trips there for daily outings (it's only 2 hours away), but I've never experienced the harsh reality of the meth addict lifestyle that was portrayed in this book. Of course, that was 40 years ago, times change, and the drug is more commonplace in this area now.
   
   What I've always liked about Larry Clark's work is that it doesn't set out to glorify situations such as those portrayed in "Tulsa". It's more about cause and effect. The reality that your actions bring about some other action. Playing with guns can lead to accidental gunshot wounds. Pregnant? Shooting up may kill the baby.
   
   The photographs here are grim, disturbing, yet beautiful. Something which isn't the subject of much glamourized photography.
   
   I just wish his other books were re-released.

5 comments about How to Photograph Your Life: Capturing Everyday Moments with Your Camera and Your Heart.

1. This book offers some great tips and ideas that are easy to incorporate into your normal photo taking. Some tips are common sense, and others offer a different perspective on things. You can read the book in under an hour, and immediately start improving your photography. The book is especially good for amateurs who never seem to be able to get the right shot, and also offers good ideas for more seasoned photographers. I highly recommend it!



2. As a working pro, people often ask me how to take better pictures. I simply give them the guidelines Nick gives in this book, and then point them to a copy of it. He talks in accessible language, with no jargon, and no special tools needed. You can apply his thoughts to pictures you take with a disposable camera.
   
   More importantly, Nick shows you what he would do... and he took the photos in the book with his wife's point and shoot. By showing you what the average person would do and what he would do, it helps you learn how to compose pictures. But what makes Nick special is that he also shows you not a thought process, but a heart process, one that takes photography out of the realm of souvenir shooting and into the place where people make emotional connections to the moments that make up our lives and our families. This is the genius of the book: You learn how to feel with a camera as an extension of your heart.
   
   I have yet to see a friend look inside this book, even just to skim it, and not come away as a better photographer.



3. I love Nick Kelsh's how to books. I've always considered myself a good amateur photographer but some of his tips have transformed my photography. A must for every person who wants to capture special moments forever.



4. This is amazing book. In simple language, it explains how to make good photos with any camera. There is no deep technical analysis (Like Ansel Adams in "The Camera", "The Negative" or John Shaw's Nature Photography Field Guide). There are no guidelines how to improve your creativity (like "Learning to See Creatively: Design, Color & Composition in Photography or Photography and the Art of Seeing" by Freeman Patterson or "A Visual Perception Workshop for Film and Digital Photography" by Bryan Peterson). This books are great but doesn't answer simple way for simple questions (like questions many my friends asked me). Book covers most common shooting situations and explains how to avoid common mistakes and make your photo looks much better and more interesting. I red a lot of books on this topic (good books), but they mostly dedicated to people who want to become professional photographer or photo artist. Even I already know all ideas presented in this book, it was helpful for me to read this.



5. Nick Kelsh's books have seriously inspired me to kick my photography skills up a notch without overwhelming me. I saw the titles to his books in Lasting Memories magazine and knew I wanted to read them. They are a quick read which was encouraging since I have a newborn and started with his book on how to photograph babies. I'm already putting into practice what I've learned from all of his books and I think my photos are greatly improved.

5 comments about Mastering Black and White Digital Photography (A Lark Photography Book).

1. First and foremost this is a Photoshop book. If you don't have Photoshop the majority of the content will not be useful to you. The book is an editing nightmare. The author should be embarrassed.



2. I've bought several B&W digital photography books and this one is hands down the absolute best of the bunch. He covers a wide range of information but it's not at all intimidating or confusing. Great examples. Highly recommended.



3. This book presents an introductory exposition of techniques for producing "fine art" black and white images from digital color images. Its intended audience is amateur digital photographers and Photoshop users with limited experience. The technical depth of the discussion is fairly high-level. The book is laid out in a glitzy fashion that indicates heavy influence from the graphic arts department. In this regard, the book is better suited for coffee table display than for use as a workroom reference.
   
   The book divides its discussion into five chapters:
   · The Language of Mono
   · Color into Grayscale
   · Digital Black and White
   · Image Editing and Effects
   · The Print
   
   The Language of Mono
   This is good place to start a discussion of black and white images, by looking at what makes black and white images work. Here, the author introduces his "case study" method, where he uses an image as an example to illustrate his points.
   
   Color into Grayscale
   In this chapter, the author explores ways to use the Channel Mixer in Photoshop to manipulate the individual color channels for red, green and blue to produce the black and white tones intended by the photographer. He also introduces the technique of manipulating hues to control tones. Again, he uses case studies of individual images to illustrate his ideas.
   
   Digital Black and White
   In this section, the author explores the management of tonal ranges using Photoshop. He discusses setting white and black points to expand tonal range, and introduces methods for managing scenes with high dynamic range. Zone System is introduced, and the author briefly discusses scanning images.
   
   Image Editing and Effects
   In this abbreviated section, the author introduces ideas for modifying images to enhance mood. He also provides brief introductions to concepts including adding color tones (e.g., sepia), using duotones and other print finishing techniques.
   
   The Print
   In this final section, the author presents a brief discussion of printer types (dye-sublimation vs. inkjet). He introduces the concept of printer calibration, and goes on to introduce ink issues (mainly suggesting external ink supplies). He finishes with a brief discussion of print mounting and display.
   
   Critical Assessment
   Clearly, the real value of this book is in introducing the reader to the concepts involved in digital black and white photography. The discussions that have the greatest value are in the first three sections, where the author provides the greatest depth. Topics broached in the final two sections are passed over too lightly to add much to the readers understanding.
   
   Taking the first three sections on their own merit, however, they do justify the price of the book. Although introductory in scope, they delve deeply enough into the topics to provide real help for beginners. There is enough here to keep beginning photographers busy for some time, exploring the techniques he describes. Soon enough, however, students will reach the point where they will need additional information not provided in this book. To be fair, many of the topics the author covers lightly are worthy of books in themselves. For example: the author devotes four pages to zone system, but manages to say nothing that might actually help the reader understand what zone system is about. (I recommend reading Ansel Adams' The Negative again. Just remember, in digital photography the zone system admonition to "expose for the shadows, develop for the highlights" morphs into, "expose for the highlights, expose again for the shadows." And, while you're about reading Ansel Adams, The Print has much good information. Just skip all the lab chemistry parts.)
   
   The layout of this book is such that it is not so much read as explored. Major content is provided in sidebars and captions. The heavy influence of the graphic arts department in the layout can be annoying at times, for instance when it is unclear which supplementary text belongs with which main text, or when an entire column is devoted to a pull-quote in large type of a paragraph we just read on the preceding page. The book does not invite highlighting with a marker or scribbling notes in the margins (it would seem almost a desecration).
   
   On balance, I am glad I discovered this book. It provided me with essential help in getting started with black and white digital photography. I was disappointed that the book lacked the depth to help me with steps beyond the first, so in this sense it does not live up to its title, Mastering Black and White Digital Photography. The book would have more accurately been titled, Introducing Black and White Digital Photography, which it well accomplishes.



4. This book is an excellent reference for intermediate to advanced photographers. Absolute beginners would need a basic photoshop book to help fill in the gaps or details to understand some techniques instead of blindly following a recipe.
   The author has brought together under one book a large variety of creative ideas and techniques that not too long ago were only available from a collection of books and magazine articles. It's written in concise 1 to 2 page sections and in many places use a sequence of images to show the different steps of a process. Most of the images are very suitable to demonstrate that technique.
   I can see how this book could seem confusing and disjointed in places as described by other reviewers, especially to an absolute beginner, but there is so much good stuff in this book that I would consider it a definite must have reference for any serious Digital B/W photographer. A second edition could fix some of these issues, e.g. key information being relegated to captions under images vs. in the text and minor tweaks to the logical sequence of a few topics. Adding summary outlines of the steps would make it even more useful for quick review and reference instead of wading through the text and images every time. However, the book is still very useable. These suggestions would just make it clearer. As a photography instructor, I have applied and taught several of the methods in this book. Using this book has further clarified my understanding of Digital B/W techniques to create compelling images.
   One area of weakness is that this book lacks a good comprehensive section on image composition. This would make it more complete as a useful class text book. B/W imagery lets you look at composition in it's elemental form without distractions from color. If the author could round up a good collection of images demonstrating various composition and design concepts in a revised edition, I would go as far to say this book has the potential to become a "standard" intermediate text on B/W Photography for the digital era.



5. As a professional photographer I found Michael Freeman's book to be the most informative and concise study on the complex and somewhat baffling world of digital photography. He is a master of his craft and opens one's eyes to the major developments. His writing and illustrations are supberb, he simplifies what could be compex adjustments and tasks.
   Excellent, a must for any serious photographer.
   Thanks Michael

5 comments about One Hundred & One Beautiful Small Towns in France (101 Towns).

1. I shall be basing a few tours on this finely produced book but it gives only a tantalising introduction: the illustrations seem to emhasise the cathedrals - take Laon, for instance, it is an extraordinary fortress on a rock with fascinating labyrinths. I expect to find far more delights in the places we visit than the few that are hinted at. Great coffee table conversation piece.



2. This amazing book leads you through beautiful France with a gentle hand. It opens doors not otherwise available unless you have unlimited time to research across a wide range of texts. Each step into each Department ensures another ( and different ) breath catching sight into ancient and contemporary France. Even though it is a heavy ( weightwise) text it is essential
   to take it with you. The index in back of the book it a treasure trove of information that otherwise would not be available to you. I rate this book as one of my special treasures and will be taking it with me for the 2 months I intend spending in the south of France in September and October. Don't buy another book until you have put this treasure in your library even if just for pure pleasure of meandering through beautiful France.



3. It's nice if you want a VERY short overview of towns in France. If I had leafed through it in a bookstore, I probably would not have purchased it.



4. This item was exactly what I needed: birthday present coffee table book for discerning New Orleans doctor. It arrived promptly & was well packaged, too.



5. I was very disappointed in the book. Most of the description is history, very little about current life in the towns. The photos are not very sharp in focus. It would have been very helpful to be able to id the towns on a map. The book does really delveinto some small remote towns that are not often covered in books.

3 comments about Around the Globe.

1. This book is exceptionally beautiful inside, but the title is a lie. Such deceit deserves every ounce of disapproval--at least in the opinion of anyone concerned about truth in labeling. If you buy this book because you particularly like the mix of people found "around the globe," you will be sorely disappointed. I have leafed through the book three times and have not spotted even a single person of color--no Asian, no Indian, no Middle Eastern, no African, no obviously Caribbean or other islander--nothing that wouldn't pass for American or Western European. Lots of blonds and light hair.
   
   Let me be clear. I want this review to be "helpful" whether you take the news as good or bad, so I'm simply relating a fact: although the pictures are superbly beautiful, they are not of people from "around the globe" as the title suggests. It is my opinion that false advertising (even if the product is good) deserves the consumer's scorn--hence the reason for my single star.



2. This is not exactly what I thought I would be getting seeing as this was a Bel Ami product. I purchased this book for my boyfriend who is a big fan of Bel Ami and their typical frisky and youthful models. We found the models in this book to be more stoic than being fun and interactive, more manly than boyish, more muscled than twinkish. The models are definitely beautiful as is the photography...but do not expect this book to be typical Bel Ami.



3. I can't say enough about how beautiful the book is. The photography is,well the only word I can use,perfect. The men in the book are hand picked for their physical beauty and the photographer knows how to enhance their perfection. I love the size of this book, oversize and done to perfection. I want to thank Amazon for not only offering this book but also at a great discount price I could not find this price anywhere else. I have brought several books from Amazon since I received this one and will continue to buy from them. Their customer service is the best and their prices are are way below other online stores or bookstores, even here in New York.Thank You Amazon and keep up the good work

5 comments about Water Light Time.

1. Beautiful pictures, we are actally going to use this book as our guest book at our wedding.



2. Not only the pictures are artistically and beautifully photographed, but one cannot not wonder how Mr. Doubilet could be right there at the moment, with the right lights and the right angles to capture such incredible photos. If you appreciate nature's beauty and photography, this book is a must.



3. I couldn't imagine a more beautiful photography book! If you are fascinated with the underwater world, this is for you! The quality of the photographs are unmatched. Looking through the book is a magical experience.



4. great gift for ocean lovers. amazing photography. an enjoyable book for those that love the water, but don't want to get wet.



5. David Doubilet's photographs are simply beautiful...this book really blew me away. I could literally stare at the images for hours as they are that captivating. It's almost as if you're diving with Mr. Doubilet and seeing these creatures up close. The way he uses two separate views (i.e. shooting the ray underwater while also shooting the sky above the water) is amazing. While exhibiting his photography prowess, Mr. Doubilet also shows the viewer the strong connection of all the earth's elements. He also seems to have a strong relationship with the ocean life- the stunning photo of the seal peeping over the bed of kelp truly captures the seal's beauty without compromising its playful nature.
   
   This book is a treasure!

4 comments about The Photography Reader.

1. This book includes seminal essays that all photography students should read such as those from Rosler, Sontag and Barthes to name a few. It also includes others that discuss the role of the photographer in the Post Modernist, digital artworld. Together the essays create a discussion about why we photograph the things around us and what happens to the meaning of the image when seen by others.
   
   I reccomend this anthology with 4 rather than 5 stars only because some of the essays are not complete and the book began to fall apart before I finished it. Many of the full version of the essays are available in the Context of Meaning, another highly reccomended photo-theory anthology. If available buy this in hard cover. It is a great introduction for college-aged students to the various writings on photogaphy.



2. As the editor Liz Wells remarks in her introduction, this book is concerned with histories of ideas about photography. Even though Wells herself falls into the trap of referring to the materials in this book as photography criticism, this is a book of readings in critical theory of photography, and as such is concerned more with history, sociology, semiotics, aesthetics, and epistemology. All of the works in the book were created after 1930 and include the writings of many of the great public intellectuals, like Roland Barthes, Susan Sontag and Umberto Eco.
   
   After a general introduction by Wells, the book is divided into several parts, each of which deals with a particular aspect of photographic critical theory. Again Wells sets the scene and then a number of voices are heard from, either offering original theory, or analyzing a theory, or finding fault with a theory. For example, the general section offers selections from Barthes, Sontag and Walter Benjamin as well as articles by authors who clarify the thoughts of these writers. Thus W.J.T. Mitchell's article on Benjamin's "The Work of Art in the Age of Mechanical Reproduction" made explicit for me the basic conflict between Benjamin's respect for the aura of the original work of art and his optimism about the ability of mechanical reproduction to make art available to the public.
   
   The book covers a number of subjects in critical theory, such as photography and postmodernism, where several authors explain what the postmodern is in photography (I hasten to add "in photography" since the nature of postmodern seems to vary amongst the arts), and for me at least, explained what elements distinguished postmodernism from what I perceive to be the main stream of art photography. There is even a section on digital photography, which spent a great deal of print on an old question, how real is photography?
   
   There is nothing about photographic technique here. In fact one question that is regularly on my mind when I read photographic critical theory is "how much use can this work be to the photographer?" Some photographers will find the discussion of the nature of images interesting, but I was hard pressed to understand how all of the broad theory will help in making a single image that better expresses the photographer's vision of his work. (Interestingly, photographic critical theory may have diverged in this respect from literary critical theory where knowledge of some of the theory might help an author write a more effective work.) Moreover, except to the extent that photographic critical theory has identified certain broad philosophical trends in images, I'm not certain that all of this theory will help a single viewer to come to grips with a single photograph.
   
   Many of the concepts in this book are hard to grasp and I expect that many of the selections will require several readings to understand. However, as I've said elsewhere, reading the originals of the articles that Wells has assembled is probably the best way to come to terms with the deep roots that photography has sunk into modern culture.



3. I bought this book for a class. It is a collection of essays by photography critics and theorists examining photography throughout history. It served its purpose for the class and I did find some of our required reading interesting but it wouldn't be my choice for everyday reading.



4. This is the only required book I have ever made my college photography students buy.

5 comments about Phantom Shanghai.

1. This book is haunting. I expected photos of old buildings of different use and type. I did not expect the personal space photographs and the artful way they were presented. I did not expect the photographs to be so beautiful and so emotional. I guess what I'm trying to say is that this book is art, not information. I love this book!



2. Greg's work in this book is wonderful. The work continues to grow on me over time, and the impression that's left is one that resonates with everything I've come to know about Shanghai. This book takes the concept in Greg's previous book, City Of Darkness, to another level. A must have for anyone who enjoys photography books on China.



3. Most of us won't get to Shanghai in time to see the faded remains of its former glory before they're devoured by the crass forces of "progress." So run, do not walk, to purchase this superb collection of images, taken and commented upon by people sensitive to the beauty of this city.



4. IT IS A PLEASURE TO GET AQUAINTED WITH A BOOK OF PHOTOGRAPHS THAT CAN TRANSPORT YOURSELF INTO ANOTHER TIME OR DIMENSION. THIS BOOK DOES SO. AND VERY WELL PHOTOGRAPHED AT THAT. DARK, SURREAL, AND QUITE FRANKLY PHANTASMAGORICAL. I ENCOURAGE ANYONE INTERESTED IN PHOTOGRAPHY AS AN ART FORM OR AS A DOCUMENTRY METHOD OF RECORDING LIFE AROUND US, PARTICULARLY AN EVER EVOLVING CHINA, TO TAKE A CHANCE ON THIS BOOK. ENJOY



5. This book provides the reader a clear picture, as well as insight, into what Shanghai must have looked like in the past, the effects of the passage of time on its society and how it describes its resulting present-day reality.
   
   The accompanying narrative sets a deeper understanding of the well-laid out and stunning photographs of featured buildings, structures, places, and other vestiges making them come to life and explain their past, present and future to the interested and animated reader.