由於數位攝影透過科技所做的改變和其再現部分往往一樣多，因此，觀眾無論在理念認知、藝術創作、生活實務應用等方面都常有駭人的對話；看似簡單的影像科化，卻表徵了人和機體介面大改變的冰山一角。攝影，長久以來給人印象是簡易的影像工具，無須學習人人都會操作。同樣概念在數位「後攝影」時代是否更普遍？筆者側觀美國攝影教育多年，注意到近年來全美「大學藝術教師聯盟」（CAA）年度教師甄聘活動顯現是：傳統底片型的攝影教師空缺極少，取而代之為熟悉數位影像軟體操作的“數位型攝影教師”。除此之外，許多攝影系也都被收納入跨媒體藝術學程。美國攝影教育界的改變，多少也是台灣現況反應，只是我們還未有永續地前瞻、適宜地的承續。本文以個人對台灣大數位攝影教育現況觀察為底，從教學行政、學生的數位回應，以及教師對數位技術、影像美學的再思等三大方向提出十多要項，建議未來（台灣）攝影教學應以「數位藝術」為精神指標。
In digital photography because the amount of image manipulation and representation are essentially equal, the images elicit a sense of shock when viewed by people from various professions, perspectives, educational backgrounds, or simply in daily life. The image appears simply as if has been translated technologically, but in fact, it symbolizes a significant shift among the relationship between man and machine. For many years, photography gave people an easy way to produce images without having to be formally educated in camera operations. Will this continue in the post-photography age? I have observed American photography education for a long time, and have noticed in recent College Art Association university employment listings, that universities are searching for photography teachers who are equally or increasingly familiar with digital software - a so-called digital photography teacher, instead of a "pure" film-based photography teacher. The changes in American photography education echo what is happening in Taiwan's educational system, but Taiwan has not yet developed a long-term strategic plan to transition from traditional photography education to one that is solely digitally based. This article previously analyzed Taiwanese digital photography education from three aspects: administration preparedness and commitment, student responses, and the teachers' level of understanding about digital technology and image aesthetics. Their teen results were reported. After analyzing the results, I strongly believe that photography education in the near future should place digital art as a target in the entire program.
