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位最具吸引力、最具创新性的国际艺术摄影师。
具体描述
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。
目录信息
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
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
· · · · · · (收起)
读后感
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用户评价
cool????
评分从翻译到内容，再到内容间的内在联系都差《今日摄影》那本太远了。
评分摄影之后：是一切皆有可能还是万事已难创新？如果说当下已经有一批艺术家开始采取与“决定性瞬间”相反的倾向，而在影像创作中采用指挥似的创作手法。面对即有的大量影像进行创造性借鉴，制作出新的艺术图景，是这本书所选择艺术家的一个共同点。
评分简简单单介绍了一些摄影师和作品。介绍文字太少了。有些觉得不错但是看的不够过瘾，有些觉得很无聊。不少作品能够带来不错的灵感。
评分摄影之后：是一切皆有可能还是万事已难创新？如果说当下已经有一批艺术家开始采取与“决定性瞬间”相反的倾向，而在影像创作中采用指挥似的创作手法。面对即有的大量影像进行创造性借鉴，制作出新的艺术图景，是这本书所选择艺术家的一个共同点。
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