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攝影之后:拍照的藝術家 版權信息
- ISBN：9787805019345
- 條形碼：9787805019345 ; 978-7-80501-934-5
- 裝幀：157g啞粉紙
- 冊數：暫無
- 重量：暫無
- 所屬分類：>>
攝影之后:拍照的藝術家 本書特色
美國視覺傳播學者米契爾(Walliam Mitchell)在1991年提出“后攝影時代”(Post-Photography)這一個名詞，用以形容攝影自從進入了數碼時代后已出現了根本性的改變。在如今這個“一切皆有可能”、“萬事已難創新”的數字時代，藝術家們的確還在使用照相機，但是僅僅拍照是遠遠不夠的了。 那么，攝影之后是什么？ 這本《攝影之后：拍照的藝術家》便試圖通過深入探究圖像制造中令人興奮的新語言來回答這個問題。 本書分為五個部分，分別是“借鑒與創新”“現實的層列”“整個世界都是舞臺”“手與眼”“后現代新聞攝影”，所介紹的創作觀念與技法來自21世紀52位具有吸引力、具有創新性的國際藝術攝影師。
攝影之后:拍照的藝術家 內容簡介
★ 收錄21世紀極具影響力的52位藝術攝影師的250多幅佳作； ★ 跟隨大師學習先進的創作觀念與技法； ★ 集知識性、藝術性于一身，探究后攝影時代令人興奮的新語言； 在這個人人都有一部智能手機的時代，人們按下快門，隨即就秀出照片。人人都有自己的社交網絡賬戶，可以將自己在這個世界上每一秒鐘的狀態都用相機記錄下來。“我思故我在”變成了“我記錄，故我存在”。如今攝影已經是一種極為平民化的行為，“自拍”甚至成了2013年牛津詞典的年度熱詞。 瀏覽并創造性地將他人的圖像吸納至自己的作品中，如今這種實踐成為很多藝術攝影師的主要工作。由攝影記者轉型為藝術攝影家的沃爾夫曾說：“我們的世界充滿圖像，這是未來影像中的一部分。我們必須得想辦法處理，對其去蕪存菁，或者將其吸收到我們的作品中。我認為，未來我們很重要的一項任務就是對所有這些圖片進行精挑細選。你能想象今天我們到底有多少圖像嗎？這個數字是不可估量的。” “你不是在拍照片，你是在制作照片。”偉大的美國風景攝影師安塞爾·亞當斯這樣說道。這一提法在近二三十年內日益得到肯定，雖然亞當斯本人對此并沒有很明確的設想或實踐。那么，我們如何構建一個自己的天地并將它記錄下來呢？ 在本書中，你將會認識52位21世紀杰出的藝術攝影家，并學習到他們的創作觀念與技巧。書中所選的作品均立足于數字時代的前沿，具有很強的視覺沖擊力。相信跟隨著大師的腳步，你將會進入一個精彩絕倫的藝術世界。歡迎來到后攝影時代。
攝影之后:拍照的藝術家 目錄
序言：攝影之后是…… ···· 07
1
借鑒與創新···················· 13
什卡·漢納································14
約阿希姆·施密德··························22
伊娃·史妲朗································28
妮可·貝勒···································34
戴 維·托馬斯·史密斯····················38序言：攝影之后是…… ···· 07 1 借鑒與創新···················· 13 什卡·漢納································14 約阿希姆·施密德··························22 伊娃·史妲朗································28 妮可·貝勒···································34 戴 維·托馬斯·史密斯····················38 喬尼·布里格斯·····························42 諾埃·森達斯································46 茱莉亞·博里索娃 ·························50 布倫丹·尤哈斯·····························54 安 德列·施密特·····························58 克萊蒙特·瓦拉·····························62 2 現實的層列···················· 67 瓦萊里·貝琳································68 李在镕·········································72 喬納森·劉易斯·····························76 蘇菲·西野···································80 奧利沃·巴爾比埃利·······················84 楊泳梁 ········································88 丹·霍茲沃斯································92 3 整個世界都是舞臺··········· 99 勞倫斯·德梅松·····························100 原久路·········································106 莎迪·伽迪里安·····························110 萊昂斯·拉斐爾·阿波德魯··············114 克里斯蒂·李·羅杰·······················118 安吉洛·穆斯克·····························122 奧拉夫·布魯寧·····························126 斯佳麗·霍夫特·格拉芙蘭··············132 魯內·古納佑森·····························136 埃里克·約翰遜·····························140 若昂·卡斯蒂略·····························144 約翰·克文斯基·····························150 迦勒·哈蘭德································154 亞歷杭德羅·吉加洛·······················158 丹尼爾·埃斯肯納茨·······················162 伯恩德納特·斯米爾德····················166 4 手與眼···························171 阿里奇·布雷恩·····························172 陳農············································178 查爾斯·格洛戈·····························182 達夫娜·塔爾默爾··························186 約爾瑪·普拉能·····························190 朱莉·科伯恩································196 托爾斯滕·瓦爾穆斯·······················200 克洛伊·塞爾斯·····························204 斯蒂菲·克倫茨·····························208 布倫丹·弗勒································212 5 后現代新聞攝影···············217 邁克爾·沃爾夫·····························218 楊怡············································226 瑪蒂娜·巴奇伽魯普·······················230 克里斯蒂娜·德·米德爾·················234 理查德·莫斯································238 本雅明·羅伊································244 戴維·伯金···································250 亞當·布魯姆伯格、奧利佛·查納林 ···256信息
1
借鑒與創新···················· 13
什卡·漢納································14
約阿希姆·施密德··························22
伊娃·史妲朗································28
妮可·貝勒···································34
戴 維·托馬斯·史密斯····················38序言：攝影之后是…… ···· 07 1 借鑒與創新···················· 13 什卡·漢納································14 約阿希姆·施密德··························22 伊娃·史妲朗································28 妮可·貝勒···································34 戴 維·托馬斯·史密斯····················38 喬尼·布里格斯·····························42 諾埃·森達斯································46 茱莉亞·博里索娃 ·························50 布倫丹·尤哈斯·····························54 安 德列·施密特·····························58 克萊蒙特·瓦拉·····························62 2 現實的層列···················· 67 瓦萊里·貝琳································68 李在镕·········································72 喬納森·劉易斯·····························76 蘇菲·西野···································80 奧利沃·巴爾比埃利·······················84 楊泳梁 ········································88 丹·霍茲沃斯································92 3 整個世界都是舞臺··········· 99 勞倫斯·德梅松·····························100 原久路·········································106 莎迪·伽迪里安·····························110 萊昂斯·拉斐爾·阿波德魯··············114 克里斯蒂·李·羅杰·······················118 安吉洛·穆斯克·····························122 奧拉夫·布魯寧·····························126 斯佳麗·霍夫特·格拉芙蘭··············132 魯內·古納佑森·····························136 埃里克·約翰遜·····························140 若昂·卡斯蒂略·····························144 約翰·克文斯基·····························150 迦勒·哈蘭德································154 亞歷杭德羅·吉加洛·······················158 丹尼爾·埃斯肯納茨·······················162 伯恩德納特·斯米爾德····················166 4 手與眼···························171 阿里奇·布雷恩·····························172 陳農············································178 查爾斯·格洛戈·····························182 達夫娜·塔爾默爾··························186 約爾瑪·普拉能·····························190 朱莉·科伯恩································196 托爾斯滕·瓦爾穆斯·······················200 克洛伊·塞爾斯·····························204 斯蒂菲·克倫茨·····························208 布倫丹·弗勒································212 5 后現代新聞攝影···············217 邁克爾·沃爾夫·····························218 楊怡············································226 瑪蒂娜·巴奇伽魯普·······················230 克里斯蒂娜·德·米德爾·················234 理查德·莫斯································238 本雅明·羅伊································244 戴維·伯金···································250 亞當·布魯姆伯格、奧利佛·查納林 ···256信息
展開全部
攝影之后:拍照的藝術家 作者簡介
羅伯特·肖（Robert Shore），英國著名媒體人，主要從事文化和媒體領域的創作，長期為英國《都市報》《衛報》和《星期日泰晤士報》撰稿。同時，他還是《藝術評論》雜志的編輯。
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