中国·秦皇岛旅游风光摄影大赛征稿启事

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中国·秦皇岛旅游风光摄影大赛

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中国·秦皇岛旅游风光摄影大赛来稿选登

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中国·桦甸风光摄影大赛征稿启事

<正>为系统展示桦甸山水风貌和悠久历史,推介独特丰富的旅游资源,扩大吉林省桦甸市"白桦节"的知名度,促进桦甸旅游经济发展,桦甸市人民政府、旅游纵览杂志社联合举办首届中国.桦甸风光摄影大赛。     

中国·秦皇岛旅游风光摄影大赛征稿启事

<正>主办单位:秦皇岛市旅游局承办单位:《旅游纵览》杂志社协办单位:国际旅游摄影俱乐部秦皇岛市摄影家协会秦皇岛市女摄影家协会为打造国际旅游城市品牌、记录秦皇岛旅游事业的发展足迹,借奥运协办城市之东风,推介秦皇岛旅游资源,促进秦皇岛旅游经济的发展,特举办此次大赛。     

中国·桦甸风光摄影大赛征稿启事

<正>为系统展示桦甸山水风貌和悠久历史,推介独特丰富的旅游资源,扩大吉林省桦甸市"白桦节"的知名度,促进桦甸旅游经济发展,桦甸市人民政府、旅游纵览杂志社联合举办首届中国.桦甸风光摄影大赛。     

胡国旭的建筑摄影:佳境中渐成风格

<正>栏目主持人:亚秋主持人语:摄影家这个群体,充满着活力激情。他们总是透过镜头和足迹,向世人传达他们乐天达观和享受生活的态度,带领人们发现生活的美好。摄影俱乐部这个栏目为摄影家专享,只要你是国际旅游摄影俱乐部的会员,有独特的摄影故事,或可借鉴的摄影技巧,或出了让别人、自己拍案称绝的摄影作品,请联络我们,这里专为你而留。E-mail:guanggao@lyzl.com.cn电话:0335-8019131     

旅游风光摄影的特点

<正>旅游摄影已成为一种社会生活时尚。风光摄影作为旅游摄影中的一部分,不仅为专业摄影家所关注,也是业余摄影爱好者的首选拍摄题材,甚至一般旅游者也时常一试身手。可往往拍出的照片不尽如人意,即便拍出了一些算     

首届中国.桦甸风光摄影大赛征稿启事

<正>为系统展示桦甸山水风貌和悠久历史,推介独特丰富的旅游资源,扩大吉林省桦甸市"白桦节"的知名度,促进桦甸旅游经济发展,桦甸市人民政府、旅游纵览杂志社联合举办首届中国.桦甸风光摄影大赛。     

中国·桦甸风光摄影大赛征稿启事

<正>为系统展示桦甸山水风貌和悠久历史,推介独特丰富的旅游资源,扩大吉林省桦甸市"白桦节"的知名度,促进桦甸旅游经济发展,桦甸市人民政府、旅游纵览杂志社联合举办首届中国.桦甸风光摄影大赛。     

看她们的镜头!(二) 从中国女摄影家协会第四届会员优秀作品展看女摄影家镜头里的风光摄影

<正>摄影家,或者摄影本身,应该有一种理想,那就是揭示世界的多样性。对于女性和表现女性的摄影而言,多样性不仅仅是一种理想,更是一种态度,一种观点。因为丰富本身就意味着一种开阔,一种平等,一种认同。同样,相对于狭窄的被理想化的摄影作品,我们更希望看到这样的照片:充满了具体信息,自然,直接,而且富有力量。     

夏季IN玩法:自驾摄影游

<正>丰富的夏天对于旅游人来说,可以玩出很多花样。若想旅游拍摄两不误,自驾摄影游自然成为今夏的首选。夏天自驾游目的地有很多,小编们精选了景色美又能出好片的地方,分自然景色、古镇、滨海城市3个系列,做了详实的推荐。而且其中还穿插自驾摄影人的宝贵经验教训,相当值得借鉴哦。     

赵辉的侠骨柔情——是警察,也是风光摄影家

<正>赵辉是一名人民警察,英雄硬汉,铁骨铮铮;同时也是一位知名的风光摄影家,热爱摄影,热爱了30年。脱掉警服的端起相机的时候,他善于运用光影,拍摄手法细腻。这看起来完全不搭边的两重身份,在赵辉身上重叠、融合,激发出他对生活、对生命不同的精彩诠释。以下是《旅游纵览》记者对话赵辉老师。(L代表《旅游纵览》记者,z代表赵辉)     

FEELING IS BELIEVING, OR LANDSCAPE AS A WAY OF BEING IN THE WORLD

This article is work‐in‐progress, an orientation of thought towards possibilities for individual human beings to diminish the distance between outer and inner landscapes imposed by cultural norms and happenstances such as exile. The dominance of visual landscapes and visual perceptions is seen as a pivotal problem, to be solved by the engagement of all the senses in landscape discourse and formation. All the senses are engaged in earliest childhood, as they have been in ‘primitive’ societies. While returning to either a state of childhood or primitivism is an impossible dream, it is possible to edge closer to human nature by engaging and honing all the senses, especially the ‘earth‐bound senses’ of feel, smell and taste. Cultivating those senses and developing discourse about them, and incorporating them into landscape formation and enjoyment, is much more difficult than having a discourse about sight and hearing, for which there is a rich and well‐developed symbolic language and which can be shared through various types of media. The way towards a deeper discourse about the earth‐bound senses, and the way out of the tyranny of the visual, is to be found in stories, as several thinkers suggest. The story told is autobiographical and literary – a mode of geographic writing that I developed in a 2004 book (Bunk?e 2004a), in which the complex dilemmas of home and road were explored. This article shows how in the early 1970s I defined the individual's landscape as ‘a unity in one's surroundings perceived through all the senses’, with imagination as the key human faculty. And I tell the story of how through complex circumstances, a visually and emotionally repugnant landscape became emotionally and intellectually attractive, with a scent, not a picture or image causing the initial attraction. The external and internal landscapes are thus unified, resulting in a sense of timelessness and placelessness of deep existential significance for the person.     

细节打动心灵——2011年度女摄影家摄影作品展示

<正>承接10月刊,本期我们在"女摄影家"专栏中,继续与读者分享2011年度中国女摄影家的优秀作品。201 1年是中国女摄影家协会持续快速发展的一年,协会为会员积极搭建创作平台,精心组织形式多样的摄影活动,充分发挥协会作用,通过采风活动、影展观赏、专家讲座等方式,为全国的女摄影家会员们服务。而会员们积极参与、创作、交流的热情也是协会发展的动力。经过对会员一年所发来作品的整理,我们惊喜地发现,协会藏龙卧虎,好片佳作比比皆是。这些感性而敏锐的女摄影家们,在拍摄出画面唯美,技艺高超的摄影作品的同时,借助影像呈现的力量,更表达了作品背后隐藏着的深刻的情绪,用细节激发观众内心深处的瞬间灵感。一张张性格迥异却又艳丽动人     

大画幅 大块头有大智慧

<正>大画幅摄影艺术实践已逐步进入了一个创作旺盛的时期,对当代摄影文化欲求发展并建构在相对多元的艺术状态中发挥着积极作用。在艺术表现方面,即使是日常生活中最简单的物品都能在大画幅摄影作品里透过摄影家自己的诠释而达到丰富的表现。进而,为了寻找合适大画幅摄影创作的表现形式,在     

漫谈摄影艺术的形式美

<正>本人多次被邀请为全国性摄影大赛的评委。在评选过程中,我体会到,评委们面对成千上万的摄影作品,不可能细心品味每一幅作品的思想内容,尽管评选标准和顺序第一是思想性,第二是技术性,第三是艺术性。     

生态摄影的N种玩法

<正>多少年来摄影人常常将视野放在一些自然的唯美风光画面上,创造出中国摄影独有的绚丽景观。其实,生态摄影领域包含范围之广,不仅仅是大自然中的植物,还包     

摄影作品的命题方法2

<正>(接上期)三、对立反义式其特点是借景抒怀,不拘一格。凡是在摄影画面中出现主体与陪体形象相背、意思相反、主体形象与主题思想相矛盾,以及画面内容能证明客观世界某个定义、说法、印象不准确的,都可以使用对立反义式来命题。     

MEMORY,LANDSCAPE & MORTUARY PRACTICE

Stone Age people handled their dead in various ways. From the Late Mesolithic period onwards, the deceased were also buried in formal cemeteries, and according to radiocarbon dates, the cemeteries were used for long periods and occasionally reused after a hiatus of several hundred years. The tradition of continuous burials indicates that the cemeteries were not only static containers of the dead but also important places for Stone Age communities, which were often established in potent places and marked by landscape features that might have had a strong association with death. The paper explores the tradition of burials in cemeteries exemplified through Jönsas Stone Age cemetery in southern Finland. Here the natural topography, along with memories of practices conducted at the site in the past, played a significant role in the Stone Age mortuary practices, also resulting in the ritual reuse of the cemetery by the Neolithic Corded Ware Culture.