In this we profile the lives and explore the legacies of some of the biggest photography luminaries to have ever lived and worked on the planet. The precursors of fashion photography go back to the 18th century, when images of fashionable clothes were printed in magazines and often hand-coloured. Paris was, at that time, a centre for the production of such magazines, many of which were imported into England. The technique of photography was developed in the 1830s, but it wasn’t until much later that the métier of fashion photography came into existence. The earliest popular photographic technique, the daguerreotype, could not be used for mass printing. A later technique enabled the production of the ‘carte de visite’, which were made for individuals and which also depicted famous theatre and music hall personalities of the age. It wasn’t until advances in halftone printing techniques that fashion photographs came to be featured in magazines. This happened in about the first decade of the 20th century. Now when we see famous designer brands in advertisements and catalogues, what we are really seeing is the artistry of the image-makers who stand behind the camera. What we don’t see is their names. Personal opinion will decide who were the greatest photographers of all time, but in the minds of many experts, a special few could be singled out. We have recently just seen the passing of an era, as Corinne Day, Richard Bailey, Richard Avedon, Helmut Newton, Horst P Horst, Irving Penn, Herb Ritts, Robert Mapplethorpe, Norman Parkinson are all no longer with us, but their legacy, like that of historic monuments, lives on. Their epic images will forever capture a feeling of their times. Our two Immortals editions detail some of the most enduring and famous names in photography, all of whom are no longer with us. In this book we look at the lives and legends of; Robert Doisneau Horst P Horst Robert Mapplethorpe Helmut Newton Norman Parkinson Irving Penn Man Ray Herb Ritts Fashion Industry Broadcast’s “MASTERS OF PHOTOGRAPHY” is a series: MASTERS OF PHOTOGRAPHY – Vol 9 Living Legends MASTERS OF PHOTOGRAPHY – Vol 10 Living Legends MASTERS OF PHOTOGRAPHY – Vol 11 Immortals MASTERS OF PHOTOGRAPHY – Vol 12 Immortals MASTERS OF PHOTOGRAPHY – Vol 13 Australians MASTERS OF PHOTOGRAPHY – Vol 50 Living Legends MASTERS OF PHOTOGRAPHY – Vol 51 The Muse MASTERS OF PHOTOGRAPHY – Vol 52 Gen Next Fashion Industry Broadcast is the number one destination on the web for the latest in fashion, style, creative arts, creative media, models, celebrity biographies and much more. Our site is available globally in 13 languages and is updated daily. Not a minute goes by without our passionate team scouring the globe for the latest breaking news and insider gossip. Fashion Industry Broadcast publishes on a vast array of media platforms art books, eBooks, apps for mobiles and television documentaries. We cover all the key areas of popular culture, style and media arts. Our products are sold globally in over 100 countries through our partnerships with people like Amazon, Apple, Google and many more. You can purchase all of our products directly from the FIB site, please have a browse. www.fashionindustrybroadcast.com A very special video rich multimedia App version with hundreds of original videos, interviews, behind the scenes at fashion shoots and advertisements, is available through Apple’s App store for just $4.99 per edition. Look for “MASTERS OF PHOTOGRAPHY” on the Apple App store. Contact [email protected]

CHINESE LANGUAGE VERSION.MASTERS OF PHOTOGRAPHY VOL 12 IMMORTALSFashion Industry Broadcast's Masters of PhotographySeries is one of the most extensive and prestigiouspublishing initiatives ever released on photography.In this we profile the lives and explore the legacies of some of the biggest photography luminaries to have ever lived and worked on the planet. The precursors of fashion photography go back to the 18th century, when images of fashionable clothes were printed inmagazines and often hand-coloured. Paris was, at that time, a centre for the production of such magazines, many of which were imported into England.The technique of photography was developed in the 1830s, but it wasn't until much later that the métier of fashion photography came into existence. The earliest popular photographic technique, the daguerreotype, could not be used for mass printing. A later technique enabled the production of the 'carte de visite', which were made for individuals and which also depicted famous theatre and music hall personalities of the age.It wasn't until advances in halftone printing techniques that fashion photographs came to be featured in magazines. This happened in about the first decade of the 20th century.Now when we see famous designer brands in advertisements and catalogues, what we are really seeing is the artistry of the image-makers who stand behind the camera. What we don't see is theirnames.Personal opinion will decide who were the greatestphotographers of all time, but in the minds of many experts, a special few could be singled out. We have recently just seen the passing of an era, as CorinneDay, Richard Bailey, Richard Avedon, Helmut Newton, Horst P Horst, Irving Penn, Herb Ritts, Robert Mapplethorpe, Norman Parkinson are all no longer with us, but their legacy, like that of historic monuments, lives on. Their epic images will forever capture a feeling of their times.Our two Immortals editions detail some of the most enduring and famous names in photography, all of whom are no longer with us.In this book we look at the lives and legends of;Robert DoisneauHorst P HorstRobert MapplethorpeHelmut NewtonNorman ParkinsonIrving PennMan RayHerb RittsFashion Industry Broadcast's "MASTERS OF PHOTOGRAPHY" is a series:MASTERS OF PHOTOGRAPHY - Vol 9 Living LegendsMASTERS OF PHOTOGRAPHY - Vol 10 Living LegendsMASTERS OF PHOTOGRAPHY - Vol 11 Immortals MASTERS OF PHOTOGRAPHY - Vol 12 ImmortalsMASTERS OF PHOTOGRAPHY - Vol 13 AustraliansMASTERS OF PHOTOGRAPHY - Vol 50 Living LegendsMASTERS OF PHOTOGRAPHY - Vol 51 The MuseMASTERS OF PHOTOGRAPHY - Vol 52 Gen NextFashion Industry Broadcast is the number one destination on the web for the latest in fashion, style, creative arts, creative media, models, celebrity biographies and much more. Our site is available globally in 13 languages and is updated daily. Not a minute goes by without our passionate team scouring the globe for the latest breaking news and insider gossip.Fashion Industry Broadcast publishes on a vast array of media platforms art books, eBooks, apps for mobiles and television documentaries. We cover all the key areas of popular culture, style and media arts. Our products are sold globally in over 100 countries through our partnerships with people like Amazon, Apple, Google and many more. You can purchase all of our products directly from the FIB site, please have a browse.www.fashionindustrybroadcast.comA very special video rich multimedia App version with hundreds of original videos, interviews, behind the scenes at fashion shoots and advertisements, is available through Apple's App store for just $4.99 per edition. Look for "MASTERS OF PHOTOGRAPHY" on the Apple App store.Contact [email protected]

Henri Cartier-Bresson is one of this century's leading photographers. His earliest images are of Europe in the 1930s and '40s. Here is a magnificent compilation of the world-renowned photographer's work that truly captures his famous "decisive moments" through people and places rich in beauty as well as turmoil.

The Mogao Grottoes, a World Heritage Site in northwestern China, are located along the ancient caravan routes—collectively known as the Silk Road—that once linked China with the West. Founded by a Buddhist monk in the late fourth century, Mogao flourished over the following millennium, as monks, local rulers, and travelers commissioned hundreds of cave temples cut into a mile-long rock cliff and adorned them with vibrant murals. More than 490 decorated grottoes remain, containing thousands of sculptures and some 45,000 square meters of wall paintings, making Mogao one of the world’s most significant sites of Buddhist art. In 1997 the Getty Conservation Institute, which had been working with the Dunhuang Academy since 1989, began a case study using the Late–Tang dynasty Cave 85 to develop a methodology that would stabilize the deteriorating wall paintings. This abundantly illustrated volume is the definitive report on the project, which was completed in 2010.

"Examining the themes of presence and absence, the relationship between photography and theatre, history and death, these 'reflections on photography' begin as an investigation into the nature of photographs. Then, as Barthes contemplates a photograph of his mother as a child, the book becomes an exposition of his own mind."--Alibris.

The seventeenth century is generally acknowledged as one of the most politically tumultuous but culturally creative periods of late imperial Chinese history. Scholars have noted the profound effect on, and literary responses to, the fall of the Ming on the male literati elite. Also of great interest is the remarkable emergence beginning in the late Ming of educated women as readers and, more importantly, writers. Only recently beginning to be explored, however, are such seventeenth-century religious phenomena as "the reinvention" of Chan Buddhism—a concerted effort to revive what were believed to be the traditional teachings, texts, and practices of "classical" Chan. And, until now, the role played by women in these religious developments has hardly been noted at all. Eminent Nuns is an innovative interdisciplinary work that brings together several of these important seventeenth-century trends. Although Buddhist nuns have been a continuous presence in Chinese culture since early medieval times and the subject of numerous scholarly studies, this book is one of the first not only to provide a detailed view of their activities at one particular moment in time, but also to be based largely on the writings and self-representations of Buddhist nuns themselves. This perspective is made possible by the preservation of collections of "discourse records" (yulu) of seven officially designated female Chan masters in a seventeenth-century printing of the Chinese Buddhist Canon rarely used in English-language scholarship. The collections contain records of religious sermons and exchanges, letters, prose pieces, and poems, as well as biographical and autobiographical accounts of various kinds. Supplemental sources by Chan monks and male literati from the same region and period make a detailed re-creation of the lives of these eminent nuns possible. Beata Grant brings to her study background in Chinese literature, Chinese Buddhism, and Chinese women’s studies. She is able to place the seven women, all of whom were active in Jiangnan, in their historical, religious, and cultural contexts, while allowing them, through her skillful translations, to speak in their own voices. Together these women offer an important, but until now virtually unexplored, perspective on seventeenth-century China, the history of female monasticism in China, and the contributionof Buddhist nuns to the history of Chinese women’s writing.

Chinese cinema has a long history of engagement with China’s art traditions, and literati (wenren) landscape painting has been an enduring source of inspiration. Literati Lenses explores this interplay during the Mao era, a time when cinema, at the forefront of ideological campaigns and purges, was held to strict political guidelines. Through four films—Li Shizhen (1956), Stage Sisters (1964), Early Spring in February (1963), and Legend of Tianyun Mountain (1979)—Mia Liu reveals how landscape offered an alternative text that could operate beyond political constraints and provide a portal for smuggling interesting discourses into the film. While allusions to pictorial traditions associated with a bygone era inevitably took on different meanings in the context of Mao-era cinema, cinematic engagement with literati landscape endowed films with creative and critical space as well as political poignancy. Liu not only identifies how the conventions and aesthetics of traditional literati landscape art were reinvented and mediated on multiple levels in cinema, but also explores how post-1949 Chinese filmmakers configured themselves as modern intellectuals in the spaces forged among the vestiges of the old. In the process, she deepens her analysis, suggesting that landscape be seen as an allegory of human life, a mirror of the age, and a commentary on national affairs.