本文以捷克哲學家維蘭．傅拉瑟（Vilém Flusser）技術圖像的概念為基礎，論述照片的物質性以及圖像與手指的關係，如何構成當代攝影書的媒介性。文中首先從「傳統圖像—線性文本—技術圖像」架構對應攝影書當中所涉及的媒介，尤其是作為技術圖像的攝影和作為載體的書冊，並對照尚．布希亞（Jean Baudrillard）於〈擬像的次序〉（The Order of Simulacra）中劃分的三個等級「仿造、生產、仿真」進行論述。其次以義大利攝影藝術家阿爾貝托．維切里（Alberto Vieceli）在2019年出版的《手持照相機》（Holding the Camera）攝影書為例，該書蒐集各式「照相機使用方法」的圖像並進行分類，包括相機使用說明書、器材的廣告傳單、雜誌上的介紹冊頁等，以元圖片的自我指涉方式提供思考書冊（攝影書）與內容（照相機）的關係。最後，則以傅拉瑟將攝影者比喻為遊戲人的角度，探討書冊如何作為技術圖像的機具裝置，以呈現攝影書的媒介性。

Based on the Czech philosopher Vilém Flusser’s concept of technical image, this research seeks to investigate how the mediality of contemporary photobooks is constituted by the materiality of pictures and the relationship between images and fingers. This paper firstly links the framework of “traditional image- linear text- technical image” to the media involved in photobooks, with a special focus on photography as technical images and on books as vehicles, and also applies Jean Baudrillard’s discourse “counterfeit, production, simulation” in “The Order of Simulacra”. Secondly, this paper presents Italian photographic artist Alberto Vieceli’s photobook Holding the Camera (2019) as an example. The photobook collects and categorizes various images of “camera user guides”, such as user's manuals, equipment leaflets, and advertising pages in magazines. It employs metapicture in a self-referential fashion to ponder over the relationship between books (photobooks) and content (cameras). From the perspective of Flusser’s metaphor of photographers as homo ludens, this paper finally addresses how books become the apparatus of technical images, so as to reveal the mediality of photobooks.