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摄影之后:拍照的艺术家 版权信息
- ISBN：9787805019345
- 条形码：9787805019345 ; 978-7-80501-934-5
- 装帧：157g哑粉纸
- 册数：暂无
- 重量：暂无
- 所属分类：>>
摄影之后:拍照的艺术家 本书特色
美国视觉传播学者米契尔(Walliam Mitchell)在1991年提出“后摄影时代”(Post-Photography)这一个名词，用以形容摄影自从进入了数码时代后已出现了根本性的改变。在如今这个“一切皆有可能”、“万事已难创新”的数字时代，艺术家们的确还在使用照相机，但是仅仅拍照是远远不够的了。 那么，摄影之后是什么？ 这本《摄影之后：拍照的艺术家》便试图通过深入探究图像制造中令人兴奋的新语言来回答这个问题。 本书分为五个部分，分别是“借鉴与创新”“现实的层列”“整个世界都是舞台”“手与眼”“后现代新闻摄影”，所介绍的创作观念与技法来自21世纪52位具有吸引力、具有创新性的国际艺术摄影师。
摄影之后:拍照的艺术家 内容简介
★ 收录21世纪极具影响力的52位艺术摄影师的250多幅佳作； ★ 跟随大师学习先进的创作观念与技法； ★ 集知识性、艺术性于一身，探究后摄影时代令人兴奋的新语言； 在这个人人都有一部智能手机的时代，人们按下快门，随即就秀出照片。人人都有自己的社交网络账户，可以将自己在这个世界上每一秒钟的状态都用相机记录下来。“我思故我在”变成了“我记录，故我存在”。如今摄影已经是一种极为平民化的行为，“自拍”甚至成了2013年牛津词典的年度热词。 浏览并创造性地将他人的图像吸纳至自己的作品中，如今这种实践成为很多艺术摄影师的主要工作。由摄影记者转型为艺术摄影家的沃尔夫曾说：“我们的世界充满图像，这是未来影像中的一部分。我们必须得想办法处理，对其去芜存菁，或者将其吸收到我们的作品中。我认为，未来我们很重要的一项任务就是对所有这些图片进行精挑细选。你能想象今天我们到底有多少图像吗？这个数字是不可估量的。” “你不是在拍照片，你是在制作照片。”伟大的美国风景摄影师安塞尔·亚当斯这样说道。这一提法在近二三十年内日益得到肯定，虽然亚当斯本人对此并没有很明确的设想或实践。那么，我们如何构建一个自己的天地并将它记录下来呢？ 在本书中，你将会认识52位21世纪杰出的艺术摄影家，并学习到他们的创作观念与技巧。书中所选的作品均立足于数字时代的前沿，具有很强的视觉冲击力。相信跟随着大师的脚步，你将会进入一个精彩绝伦的艺术世界。欢迎来到后摄影时代。
摄影之后:拍照的艺术家 目录
序言：摄影之后是…… ···· 07
1
借鉴与创新···················· 13
什卡·汉纳································14
约阿希姆·施密德··························22
伊娃·史妲朗································28
妮可·贝勒···································34
戴 维·托马斯·史密斯····················38序言：摄影之后是…… ···· 07 1 借鉴与创新···················· 13 什卡·汉纳································14 约阿希姆·施密德··························22 伊娃·史妲朗································28 妮可·贝勒···································34 戴 维·托马斯·史密斯····················38 乔尼·布里格斯·····························42 诺埃·森达斯································46 茱莉亚·博里索娃 ·························50 布伦丹·尤哈斯·····························54 安 德列·施密特·····························58 克莱蒙特·瓦拉·····························62 2 现实的层列···················· 67 瓦莱里·贝琳································68 李在镕·········································72 乔纳森·刘易斯·····························76 苏菲·西野···································80 奥利沃·巴尔比埃利·······················84 杨泳梁 ········································88 丹·霍兹沃斯································92 3 整个世界都是舞台··········· 99 劳伦斯·德梅松·····························100 原久路·········································106 莎迪·伽迪里安·····························110 莱昂斯·拉斐尔·阿波德鲁··············114 克里斯蒂·李·罗杰·······················118 安吉洛·穆斯克·····························122 奥拉夫·布鲁宁·····························126 斯佳丽·霍夫特·格拉芙兰··············132 鲁内·古纳佑森·····························136 埃里克·约翰逊·····························140 若昂·卡斯蒂略·····························144 约翰·克文斯基·····························150 迦勒·哈兰德································154 亚历杭德罗·吉加洛·······················158 丹尼尔·埃斯肯纳茨·······················162 伯恩德纳特·斯米尔德····················166 4 手与眼···························171 阿里奇·布雷恩·····························172 陈农············································178 查尔斯·格洛戈·····························182 达夫娜·塔尔默尔··························186 约尔玛·普拉能·····························190 朱莉·科伯恩································196 托尔斯滕·瓦尔穆斯·······················200 克洛伊·塞尔斯·····························204 斯蒂菲·克伦茨·····························208 布伦丹·弗勒································212 5 后现代新闻摄影···············217 迈克尔·沃尔夫·····························218 杨怡············································226 玛蒂娜·巴奇伽鲁普·······················230 克里斯蒂娜·德·米德尔·················234 理查德·莫斯································238 本雅明·罗伊································244 戴维·伯金···································250 亚当·布鲁姆伯格、奥利佛·查纳林 ···256信息
1
借鉴与创新···················· 13
什卡·汉纳································14
约阿希姆·施密德··························22
伊娃·史妲朗································28
妮可·贝勒···································34
戴 维·托马斯·史密斯····················38序言：摄影之后是…… ···· 07 1 借鉴与创新···················· 13 什卡·汉纳································14 约阿希姆·施密德··························22 伊娃·史妲朗································28 妮可·贝勒···································34 戴 维·托马斯·史密斯····················38 乔尼·布里格斯·····························42 诺埃·森达斯································46 茱莉亚·博里索娃 ·························50 布伦丹·尤哈斯·····························54 安 德列·施密特·····························58 克莱蒙特·瓦拉·····························62 2 现实的层列···················· 67 瓦莱里·贝琳································68 李在镕·········································72 乔纳森·刘易斯·····························76 苏菲·西野···································80 奥利沃·巴尔比埃利·······················84 杨泳梁 ········································88 丹·霍兹沃斯································92 3 整个世界都是舞台··········· 99 劳伦斯·德梅松·····························100 原久路·········································106 莎迪·伽迪里安·····························110 莱昂斯·拉斐尔·阿波德鲁··············114 克里斯蒂·李·罗杰·······················118 安吉洛·穆斯克·····························122 奥拉夫·布鲁宁·····························126 斯佳丽·霍夫特·格拉芙兰··············132 鲁内·古纳佑森·····························136 埃里克·约翰逊·····························140 若昂·卡斯蒂略·····························144 约翰·克文斯基·····························150 迦勒·哈兰德································154 亚历杭德罗·吉加洛·······················158 丹尼尔·埃斯肯纳茨·······················162 伯恩德纳特·斯米尔德····················166 4 手与眼···························171 阿里奇·布雷恩·····························172 陈农············································178 查尔斯·格洛戈·····························182 达夫娜·塔尔默尔··························186 约尔玛·普拉能·····························190 朱莉·科伯恩································196 托尔斯滕·瓦尔穆斯·······················200 克洛伊·塞尔斯·····························204 斯蒂菲·克伦茨·····························208 布伦丹·弗勒································212 5 后现代新闻摄影···············217 迈克尔·沃尔夫·····························218 杨怡············································226 玛蒂娜·巴奇伽鲁普·······················230 克里斯蒂娜·德·米德尔·················234 理查德·莫斯································238 本雅明·罗伊································244 戴维·伯金···································250 亚当·布鲁姆伯格、奥利佛·查纳林 ···256信息
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摄影之后:拍照的艺术家 作者简介
罗伯特·肖（Robert Shore），英国著名媒体人，主要从事文化和媒体领域的创作，长期为英国《都市报》《卫报》和《星期日泰晤士报》撰稿。同时，他还是《艺术评论》杂志的编辑。
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