In these 49 elaborately staged photographs, Crewdson (Twilight) reveals his vision of America in lush and brooding images of dusk, each one bristling with atmosphere: a young boy stares at a naked woman standing in the open door of her trailer; a woman, observed through a motel window, looks at a baby sleeping on the bed; a man stands in a deserted intersection in the rain, his car door open behind him. Although Crewdson's work is frequently interpreted cinematically, and stylistic comparisons are drawn between him and David Lynch and Wes Anderson, in the book's preface, writer Banks argues that analogies to the movies do the photographer a disservice. According to Banks, looking at Crewdson's photographs resembles reading fiction more than anything else; it is not a passive experience (such as watching a movie) but an invitation to actively imagine alongside the artist. Crewdson's sets do boast the budgets and crew normally associated with movies, however, and this collection includes 23 extra pages of set drawings, location shots and images of the actors and props used to create the photographs—perfectly in keeping with a body of work that, as Banks states, tests the limits of realism while making no effort to disguise its artificiality.
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第一次知道 摄影可以像拍大片那样精心搭建布景 选取演员 创造灯光 并进一步深入到编剧、室内设计、人工降雨等领域
评分Gregory Crewdson ，一个把摆拍发挥到极致的摄影师，我觉得与其说是Staged Photography，其实更像是Cinematography。吐槽：他拍的照片怎么有点阴森森的，尤其是室内场景，跟恐怖片里马上就要发生些什么似的，，，
评分第一次知道 摄影可以像拍大片那样精心搭建布景 选取演员 创造灯光 并进一步深入到编剧、室内设计、人工降雨等领域
评分哪里都有不同的梦
评分人们困在这一刻里 没有过去的准备 没有未来的行动
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