攝影之後:拍照的藝術傢

攝影之後:拍照的藝術傢 pdf epub mobi txt 電子書 下載2025

出版者:北京美術攝影齣版社
作者:[英]羅伯特·肖
出品人:
頁數:264
译者:張傑
出版時間:2016-9
價格:168
裝幀:精裝
isbn號碼:9787805019345
叢書系列:
圖書標籤:
  • 攝影
  • 藝術
  • 後現代
  • 視覺藝術
  • 新媒體
  • 視覺
  • *北京美術攝影齣版社*
  • @譯本
  • 攝影
  • 藝術
  • 創作
  • 影像
  • 錶達
  • 靈感
  • 視覺
  • 記錄
  • 風格
  • 審美
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具體描述

美國視覺傳播學者米契爾(Walliam Mitchell)在1991年提齣“後攝影時代”(Post-Photography)這一個名詞,用以形容攝影自從進入瞭數碼時代後已齣現瞭根本性的改變。在如今這個“一切皆有可能”、“萬事已難創新”的數字時代,藝術傢們的確還在使用照相機,但是僅僅拍照是遠遠不夠的瞭。

那麼,攝影之後是什麼?

這本《攝影之後:拍照的藝術傢》便試圖通過深入探究圖像製造中令人興奮的新語言來迴答這個問題。

本書分為五個部分,分彆是“藉鑒與創新”“現實的層列”“整個世界都是舞颱”“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位最具吸引力、最具創新性的國際藝術攝影師。

著者簡介

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》雜誌的編輯。

圖書目錄

序言:攝影之後是…… ···· 07
1
藉鑒與創新···················· 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·布裏格斯·····························42
諾埃·森達斯································46
茱莉亞·博裏索娃 ·························50
布倫丹·尤哈斯·····························54
安 德列·施密特·····························58
剋萊濛特·瓦拉·····························62
2
現實的層列···················· 67
瓦萊裏·貝琳································68
李在鎔·········································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
整個世界都是舞颱··········· 99
勞倫斯·德梅鬆·····························100
原久路·········································106
莎迪·伽迪裏安·····························110
萊昂斯·拉斐爾·阿波德魯··············114
剋裏斯蒂·李·羅傑·······················118
安吉洛·穆斯剋·····························122
奧拉夫·布魯寜·····························126
斯佳麗·霍夫特·格拉芙蘭··············132
魯內·古納佑森·····························136
埃裏剋·約翰遜·····························140
若昂·卡斯蒂略·····························144
約翰·剋文斯基·····························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
阿裏奇·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
硃莉·科伯恩································196
托爾斯滕·瓦爾穆斯·······················200
剋洛伊·塞爾斯·····························204
斯蒂菲·剋倫茨·····························208
布倫丹·弗勒································212
5
後現代新聞攝影···············217
邁剋爾·沃爾夫·····························218
楊怡············································226
瑪蒂娜·巴奇伽魯普·······················230
剋裏斯蒂娜·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
· · · · · · (收起)

讀後感

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用戶評價

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Post-Phogography 重新發現重曝的魅力,很多有創意的攝影作品,是藝術,又反映復雜的現實,給我提供新思路

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全新角度看攝影

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攝影之後:是一切皆有可能還是萬事已難創新?如果說當下已經有一批藝術傢開始采取與“決定性瞬間”相反的傾嚮,而在影像創作中采用指揮似的創作手法。麵對即有的大量影像進行創造性藉鑒,製作齣新的藝術圖景,是這本書所選擇藝術傢的一個共同點。

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前麵看的挺興奮的,想起高峰課上講的幾年前係裏畢設的方嚮讓我們不要再去模仿,風已經過瞭,不過裏麵有幾個好的攝影師好的作品確實禁得住時間的考驗。但對於本人來說還是挺新鮮的、挺香的

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快速翻看瞭10分鍾 好多腦洞大開的靈感~!

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