本文主旨在於探討當代攝影實踐中蘊含的作者概念。此一提問的來源在於，晚近影響深遠的作者理論中，大多還是停留在論述或觀念層次。比如傅柯談論的「作者功用」是作者之名在論述中的作用。然而，作者在創作中到底做了什麼，有什麼樣的實踐，他如何透過其實踐成為作者？本文並將探討在攝影這個特定的藝術類型中有什麼樣特定的實際作為，而不只是侷限於使用書寫作為理論構造的模型。在討論的過程中，也會涉及作者形像在影像再現中的建構問題。以上是本文關切的問題。為了回答它們，本文首先會針對攝影領域中各種和作者性有關的問題側面進行初步探討，接著會以德國當代攝影家史楚斯（Thomas Struth）作為一個較精密討論的例證，並期待在最後的結論裡邁向具有實踐意義的當代作者概念。

The central theme of this paper is the conception of author implied in the contemporary photographic practice. The origin of this interrogation comes from the observation that the recent influential theories about the authorship are elaborated still only in the sphere of discourse or concept. For example, the function of author, advanced by Foucault, is to explain the working of the proper name of the author in the discourse. And yet, what actually is doing an author in his creative work, what kind of practices, and how he becomes an author through these practices? These question will be discussed through the examination of the photography as a specific medium, in the place of writing which is generally where the theoretical model is constructed. In the discussion, how the practices of author are represented in images will also be examined through examples. These are the questions raised here. To answer them, the first part of the paper will explore the complexity of the authorship in the photography in its different aspects, and in the second part, go through a much more detailed examination of the practice of German contemporary photographer Thomas Struth as a concrete example, hoping in the concluding part, advance towards a contemporary conception of authorship in relation with artists’ practice.