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In Istanbul: City of a Hundred Names, Magnum photographer Alex Webb displays his particular ability to distill gesture, color and contrasting cultural tensions into a single, beguiling frame. He presents a vision of Istanbul as an urban cultural center, rich with the incandescence of its past--a city of minarets and pigeons rising to the heavens during the early-morning call to Muslim prayers--yet also a city riddled with ATM machines and clothed in designer jeans. Webb began photographing Istanbul in 1998, and became instantly enthralled: by the people, the layers of culture and history, the richness of street life. But what particularly drew him in was a sense of Istanbul as a border city, lying between Europe and Asia. "For 30-some years as a photographer, I have been intrigued by borders, places where cultures come together, sometimes easily, sometimes roughly." The resulting body of work, some of Webb's strongest to date, conveys the frisson of a culture in transition, yet firmly rooted in a complex history. With essay by the Nobel Prize winning novelist, Orhan Pamuk.
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In Istanbul: City of a Hundred Names, Magnum photographer Alex Webb displays his particular ability to distill gesture, color and contrasting cultural tensions into a single, beguiling frame. He presents a vision of Istanbul as an urban cultural center, rich with the incandescence of its past--a city of minarets and pigeons rising to the heavens during the early-morning call to Muslim prayers--yet also a city riddled with ATM machines and clothed in designer jeans. Webb began photographing Istanbul in 1998, and became instantly enthralled: by the people, the layers of culture and history, the richness of street life. But what particularly drew him in was a sense of Istanbul as a border city, lying between Europe and Asia. "For 30-some years as a photographer, I have been intrigued by borders, places where cultures come together, sometimes easily, sometimes roughly." The resulting body of work, some of Webb's strongest to date, conveys the frisson of a culture in transition, yet firmly rooted in a complex history. With essay by the Nobel Prize winning novelist, Orhan Pamuk.
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对于伊斯坦布尔的诠释，似乎没有比帕慕克描绘给我们的更有说服力的了。那是一座矗立于欧亚大陆之上，被西方世界整整凝望了数百年的经历了辉煌到没落，每一寸土地上都浸满了忧伤，帕慕克将其称之为“呼愁”的神秘城市。 但似乎Alex Webb并不打算展示这座城市忧伤的一面。如他自...
评分对于伊斯坦布尔的诠释，似乎没有比帕慕克描绘给我们的更有说服力的了。那是一座矗立于欧亚大陆之上，被西方世界整整凝望了数百年的经历了辉煌到没落，每一寸土地上都浸满了忧伤，帕慕克将其称之为“呼愁”的神秘城市。 但似乎Alex Webb并不打算展示这座城市忧伤的一面。如他自...
评分对于伊斯坦布尔的诠释，似乎没有比帕慕克描绘给我们的更有说服力的了。那是一座矗立于欧亚大陆之上，被西方世界整整凝望了数百年的经历了辉煌到没落，每一寸土地上都浸满了忧伤，帕慕克将其称之为“呼愁”的神秘城市。 但似乎Alex Webb并不打算展示这座城市忧伤的一面。如他自...
评分对于伊斯坦布尔的诠释，似乎没有比帕慕克描绘给我们的更有说服力的了。那是一座矗立于欧亚大陆之上，被西方世界整整凝望了数百年的经历了辉煌到没落，每一寸土地上都浸满了忧伤，帕慕克将其称之为“呼愁”的神秘城市。 但似乎Alex Webb并不打算展示这座城市忧伤的一面。如他自...
评分对于伊斯坦布尔的诠释，似乎没有比帕慕克描绘给我们的更有说服力的了。那是一座矗立于欧亚大陆之上，被西方世界整整凝望了数百年的经历了辉煌到没落，每一寸土地上都浸满了忧伤，帕慕克将其称之为“呼愁”的神秘城市。 但似乎Alex Webb并不打算展示这座城市忧伤的一面。如他自...
用户评价
20世纪的排版水平。可以和刘涛的合肥，Matt Stuart的伦敦对比起来读，看看谁好玩
评分切割画面大师，或者说切割空间，镜子变化，明暗组合，建筑上下，颜色深浅，线条排列，动静瞬间……看到有人说，人头混乱，其实恰好是排版上的精心安排。因为三分之一篇幅，也出现了简洁干净构图的人物肖像。摄影师以这样的形式，呈现了伊斯坦布尔的变化，混乱冲突融合又有暗藏有秩序。
评分我最喜欢Alex Webb的一点就是他能在杂乱的环境中控制好画面元素，照片的信息量都很大却不显得繁琐。
评分City of a Hundred Names（最近把Alex Webb的摄影集差不多都买来看了 对色彩和构图万般着迷 且主要耐看
评分@2019-05-31 15:58:20
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