Tina Barney’s earliest photographs were candid snapshots of her well-to-do relatives at home in and around New York, images that revealed both the familial relationships and material wealth she was accustomed to. During the 1980s, she became one of the first photographers to work in the “directional style”when she forfeited the spontaneous freedom of 35 mm for a more detail-oriented, large-format technique that recalled nineteenth-century portraiture. In her two previous volumes, Barney chose to look at American families and their milieu, then carried on this examination of families in Europe. This new collection, Players, sees Barney expand her subject matter to include fashion, performers and actors, as well as her own circle of friends. Emboldened by the cacophony of the set and the stage, Barney has here embraced a more casual aesthetic that is no less visually exhilarating. In Players, she combines commercial assignments dating back as far as 1988 with editorial, fashion and portrait photography, selections from her personal work completing the mix. The result is refreshing, revealing and curious. Barney has always been fascinated by the circumstances in which her subjects operate; whether performing publicly or privately, they are all “players.” Editor and designer Chip Kidd has translated that excitement to the pages of this volume, to which Michael Stipe has contributed a poetical commentary.
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作为一个摄影门外汉 甚至连爱好者都不算的我 看到极强的戏剧表演性 还是很有趣的～
评分《欧洲人》之后的第三本单行本，仍然是大画幅抓拍。一部分内容为马戏团和戏剧演员表演抓拍，一部分为杂志委派作品。书的设计概念来自于Tina本人，她说厌倦了传统典型的摄影书样式。但是显然，目前的设计让照片显得有些杂乱。总体来说，照片一如既往的不错，但书的设计不成功。
评分作为一个摄影门外汉 甚至连爱好者都不算的我 看到极强的戏剧表演性 还是很有趣的～
评分作为一个摄影门外汉 甚至连爱好者都不算的我 看到极强的戏剧表演性 还是很有趣的～
评分《欧洲人》之后的第三本单行本，仍然是大画幅抓拍。一部分内容为马戏团和戏剧演员表演抓拍，一部分为杂志委派作品。书的设计概念来自于Tina本人，她说厌倦了传统典型的摄影书样式。但是显然，目前的设计让照片显得有些杂乱。总体来说，照片一如既往的不错，但书的设计不成功。
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