美國視覺傳播學者米契爾(Walliam Mitchell)在1991年提出“後攝影時代”(Post-Photography)這一個名詞，用以形容攝影自從進入了數碼時代後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”的數位時代，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。
那麼，攝影之後是什麼？
這本《後攝影時代：數位時代的影像創作方向》便試圖通過深入探究圖像製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”“後現代新聞攝影”，所介紹的創作觀念與技法來自21世紀52位吸引力、創新性的國際藝術攝影師。
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羅伯特·肖的圖書 |
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$ 987 | 后攝影時代：數字時代的影像創作方向
作者：（英）羅伯特·肖 出版社：北京美術攝影出版社 出版日期：2021-08-01 語言：簡體中文 規格：精裝 / 263頁 / 16k/ 19 x 26 x 3.68 cm / 普通級/ 單色印刷 / 1-1  博客來 - 攝影作品集
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羅伯特
羅伯特，又譯為羅拔圖、羅伯、勞勃、羅拔，是日耳曼語男名，源於古高地德語Hrodebert，意思是榮光，也被用作姓氏。 其名字常用的愛稱有羅伯、羅賓、鮑伯、博比。
隨著該名在歐洲大陸廣為使用，該名以古法語的形式Robert進入英格蘭，而古英語同源詞在諾曼征服前就存在。該名的女性形式為Roberta，義大利語、葡萄牙語、西班牙語形式為Roberto。
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圖書介紹 - 資料來源：博客來 評分：
圖書名稱：后攝影時代：數字時代的影像創作方向
內容簡介
目錄
序言：後攝影時代是…… 7
1
借鑒與創新···················· 13
米什卡·漢娜································14
約阿希姆·施密德··························22
伊娃·史妲朗································28
妮可·貝勒···································34
大衛·湯瑪斯·史密斯····················38
喬尼·布裡格斯·····························42
諾埃·森達斯································46
茱莉亞·博裡索娃 ·························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
瓦萊裡·貝琳································68
李在鎔·········································72
喬納森·路易士·····························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·伽迪裡安·····························110
萊昂斯·拉斐爾·阿波德魯··············114
克利斯蒂·李·羅傑·······················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
埃裡克·詹森·····························140
若昂·卡斯蒂略·····························144
約翰·克文斯基·····························150
迦勒·哈蘭德································154
亞曆杭德羅·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
阿裡奇·布雷恩·····························172
陳農············································178
查理斯·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
後現代新聞攝影···············217
邁克爾·沃爾夫·····························218
楊怡············································226
瑪蒂娜·巴奇伽魯普·······················230
克莉絲蒂娜·德·米德爾·················234
理查·莫斯································238
本雅明·羅伊································244
大衛·伯金···································250
亞當·布魯姆伯格、奧利佛·查納林 ···256
1
借鑒與創新···················· 13
米什卡·漢娜································14
約阿希姆·施密德··························22
伊娃·史妲朗································28
妮可·貝勒···································34
大衛·湯瑪斯·史密斯····················38
喬尼·布裡格斯·····························42
諾埃·森達斯································46
茱莉亞·博裡索娃 ·························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
瓦萊裡·貝琳································68
李在鎔·········································72
喬納森·路易士·····························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·伽迪裡安·····························110
萊昂斯·拉斐爾·阿波德魯··············114
克利斯蒂·李·羅傑·······················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
埃裡克·詹森·····························140
若昂·卡斯蒂略·····························144
約翰·克文斯基·····························150
迦勒·哈蘭德································154
亞曆杭德羅·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
阿裡奇·布雷恩·····························172
陳農············································178
查理斯·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
後現代新聞攝影···············217
邁克爾·沃爾夫·····························218
楊怡············································226
瑪蒂娜·巴奇伽魯普·······················230
克莉絲蒂娜·德·米德爾·················234
理查·莫斯································238
本雅明·羅伊································244
大衛·伯金···································250
亞當·布魯姆伯格、奧利佛·查納林 ···256
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