Abstract
In the history of artistic photography, from the decisive moment put forward by the French photographer Henri Cartier-Bresson to “Sleeping by the Mississippi” by American Alec Soth, photography itself has gone through a period from grasping the moment to a more subtle observation, from a 135mm film to an 8x10 large format camera, it is evident that a transformation has already underway in contemporary photography. This paper starts with the history of contemporary artistic photography, followed by analyzing the cause of the transformation and combining examples of large format artists to study how conceptive ideality was placed into their works. Therefore, it concludes the main characteristics of the conceptive ideality in contemporary photography.
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