精华 人文--Happy/Snappy

俺也凑个热闹.
俺觉得, 摄影是门视觉艺术. 而艺术是不分层次的. 但是, 与音乐(作曲), 绘画不同的是, 不是每幅照片都是艺术作品. 很多职业摄影师拍的一些东西, 狗仔队的偷拍; "傻瓜"到此一游等, 就不能算艺术.
摄影应该是不拘形式和手段的. 后期加工是摄影不可忽略的一部分, 不论是传统的各种暗房处理, 还是数码时代的Photoshop CS. 没有一个摄影大师是不重视后期处理的. 但是, 后期的最高境界, 是让人根本看不出来, 还对摄影作品叹为观止.
任何摄影形式都需要摄影师对摄影对象有一定的认知. 包括对景物, 动植物的长期观察, 与模特的情感沟通等. 好的人文, 纪实类摄影作品之所以较为难得, 是因为, 对摄影对象的认知, 要在一刹那完成, 这不仅要求摄影师的摄影技巧要十分熟练, 更重要的是, 要对社会有十分敏锐, 深刻的洞察力, 和一颗爱心.
个人看法...

BTW, 谢谢星星. 他们是: 小黑, 小白, 小花, 和小红. (含两只著名镜头的别名. :D ).
 
recommend a very good pix:
upload%5Cimages%5C200506%5C1509_696599621D03.jpg
 
最初由 阿瓜 发布
俺也凑个热闹.
俺觉得, 摄影是门视觉艺术. 而艺术是不分层次的. 但是, 与音乐(作曲), 绘画不同的是, 不是每幅照片都是艺术作品. 很多职业摄影师拍的一些东西, 狗仔队的偷拍; "傻瓜"到此一游等, 就不能算艺术.
摄影应该是不拘形式和手段的. 后期加工是摄影不可忽略的一部分, 不论是传统的各种暗房处理, 还是数码时代的Photoshop CS. 没有一个摄影大师是不重视后期处理的. 但是, 后期的最高境界, 是让人根本看不出来, 还对摄影作品叹为观止.
任何摄影形式都需要摄影师对摄影对象有一定的认知. 包括对景物, 动植物的长期观察, 与模特的情感沟通等. 好的人文, 纪实类摄影作品之所以较为难得, 是因为, 对摄影对象的认知, 要在一刹那完成, 这不仅要求摄影师的摄影技巧要十分熟练, 更重要的是, 要对社会有十分敏锐, 深刻的洞察力, 和一颗爱心.
个人看法...

BTW, 谢谢星星. 他们是: 小黑, 小白, 小花, 和小红. (含两只著名镜头的别名. :D ).


I could not agree more! We share the same opinion.

attached is a great photo! It takes years of hard work to get there, I believe.
 
介张片子人物的分布,瞬间,表情捕捉的都很好。
看起来像fuji RDPIII, 但觉着这个焦段不太好。一般来讲人文焦段集中在28-35-50之间,太短就散,太长就有隔离感。这张焦段看起来不止28,像24。:)
 
此DX在 色天地 上是农村题材人文作品的 :cool:
他的器材: canon300d efs18-55mm f3.5/5.6 ef50mm f1.8  ex70-200mm f2.8
 
Photography is "the art of not pushing the button"--弗兰克。霍瓦特。

近来处于休整期,多看了一些东西,感觉看大师的访谈,回忆录比看他们的作品对自己更有感触,因为从他们的对话中我可以直接的跟他们的思想接触,更直截了当一些,也就少走些弯路。
这是一位法国女记者采访Frank时的对话片段:

. Bensaïd(记者)
Like the continuity of considering photography as "the art of not pushing the button"? What exactly do you mean by that?

Frank :
One difference between photography and painting (or drawing, or other forms of art) is that it takes no talent, and practically no effort, to get an image on film. A modern camera - as the one we are using right now - takes care even of focusing and exposure.All my efforts are spent in holding back. The reason for holding back is not only to spare some film - it's like storing my energy, or rather my expectation; it's letting the image I want take shape in my mind, by the very act of refusing the images I don't want. Until the moment when I recognize, in the viewfinder, the image that I want to see - and then there is no holding back any more.
还是个瞬间的概念;我觉得不是你在扑捉瞬间,而是瞬间在那一霎那感染了你,扑捉了你,那么这一瞬间就不是定格,而是释放;拍风光是你在等那令你激动不已的时刻/拍人文时你所要扑捉的也是那种决定性时刻,但它们都一个相同点(这里我是指你的作品),那就是在按下快门前,你心里就大致有一个感觉,觉得这就是你想要的,也正是这个感觉促使你去按下快门。这就是我所理解的:Photography is "the art of not pushing the button"

谈到布勒松时,他说自己刚开始时是布勒松的believer,但后来就成了一个heretic,原因?(其实某种意义上heretic才是最伟大的believer:-))
他说:

He(布勒松) prescribed certain rules: never employ artificial light (like flash); never use extreme lenses (like wide-angles or tele-lenses); never reframe; never interact with the situation you photograph. But I don't believe that the greatness of his photography comes from following these rules - in fact I know it doesn't, because none of the photographers who followed them has done anything comparable to his work.
这让我想起了几个月前看的另一段关于布勒松的访谈,被采访者是David Alan,另一位玛格南的杰出摄影师,在这个问题上看来David与Frank是持不同意见的,我觉得Frank的观点我比较支持,因为David自身就以善于与被拍摄对象沟通闻名,用他自己的话,他为了拍一个普通的酒吧招待,可以花一下午在那个酒吧里喝酒聊天,然后很不经意的摸出自己的m6(他称之为二次大战时的老货),在征得对方许可后,才开始拍摄.

上面是自己做的一些笔记,算是观后感吧.其实人类的很多发明是对自己肢体或原体的延伸:第一位用木棍击赶野兽的山顶洞人,是把木棍看成自己手臂的延伸/车轮是自己双腿的延伸,尽管车轮的形状千奇百态/写作是自己记忆和声音的延伸/相机则是自己眼睛的延伸...而ps更像是巧克力蛋糕上的草莓.. :-), 我是说这一切都需要作者极大的想象力.
 
最初由 startrack 发布
Photography is "the art of not pushing the button"--弗兰克。霍瓦特。

近来处于休整期,多看了一些东西,感觉看大师的访谈,回忆录比看他们的作品对自己更有感触,因为从他们的对话中我可以直接的跟他们的思想接触,更直截了当一些,也就少走些弯路。
这是一位法国女记者采访Frank时的对话片段:

. Bensaïd(记者)
Like the continuity of considering photography as "the art of not pushing the button"? What exactly do you mean by that?

Frank :
One difference between photography and painting (or drawing, or other forms of art) is that it takes no talent, and practically no effort, to get an image on film. A modern camera - as the one we are using right now - takes care even of focusing and exposure.All my efforts are spent in holding back. The reason for holding back is not only to spare some film - it's like storing my energy, or rather my expectation; it's letting the image I want take shape in my mind, by the very act of refusing the images I don't want. Until the moment when I recognize, in the viewfinder, the image that I want to see - and then there is no holding back any more.
还是个瞬间的概念;我觉得不是你在扑捉瞬间,而是瞬间在那一霎那感染了你,扑捉了你,那么这一瞬间就不是定格,而是释放;拍风光是你在等那令你激动不已的时刻/拍人文时你所要扑捉的也是那种决定性时刻,但它们都一个相同点(这里我是指你的作品),那就是在按下快门前,你心里就大致有一个感觉,觉得这就是你想要的,也正是这个感觉促使你去按下快门。这就是我所理解的:Photography is "the art of not pushing the button"

谈到布勒松时,他说自己刚开始时是布勒松的believer,但后来就成了一个heretic,原因?(其实某种意义上heretic才是最伟大的believer:-))
他说:

He(布勒松) prescribed certain rules: never employ artificial light (like flash); never use extreme lenses (like wide-angles or tele-lenses); never reframe; never interact with the situation you photograph. But I don't believe that the greatness of his photography comes from following these rules - in fact I know it doesn't, because none of the photographers who followed them has done anything comparable to his work.
这让我想起了几个月前看的另一段关于布勒松的访谈,被采访者是David Alan,另一位玛格南的杰出摄影师,在这个问题上看来David与Frank是持不同意见的,我觉得Frank的观点我比较支持,因为David自身就以善于与被拍摄对象沟通闻名,用他自己的话,他为了拍一个普通的酒吧招待,可以花一下午在那个酒吧里喝酒聊天,然后很不经意的摸出自己的m6(他称之为二次大战时的老货),在征得对方许可后,才开始拍摄.

上面是自己做的一些笔记,算是观后感吧.其实人类的很多发明是对自己肢体或原体的延伸:第一位用木棍击赶野兽的山顶洞人,是把木棍看成自己手臂的延伸/车轮是自己双腿的延伸,尽管车轮的形状千奇百态/写作是自己记忆和声音的延伸/相机则是自己眼睛的延伸...而ps更像是巧克力蛋糕上的草莓.. :-), 我是说这一切都需要作者极大的想象力.

I think both concepts here are true. I heard great photographers spent a great deal of communicating with their models. I think that serves two purposes: 1> to understand the model (character, personality, mood, background etc.), the photographer thus, can accurately predict, prepare therefore capture the moments. 2> to ease the nerve of the model. I found people tends to be camera-shy. I think when photographing human, interaction between the photographer and model plays a crucial role.

I don't have much experience on this type of photograpy. But those were what i found when I did portraits. Obviously, the photo above has gone beyond my current ability. With luck, maybe, I can get something like that. but I think getting that photo really takes a lots of practice before hand.

Great post, Startrack!
 
最初由 startrack 发布
Photography is "the art of not pushing the button"--弗兰克。霍瓦特。

近来处于休整期,多看了一些东西,感觉看大师的访谈,回忆录比看他们的作品对自己更有感触,因为从他们的对话中我可以直接的跟他们的思想接触,更直截了当一些,也就少走些弯路。
这是一位法国女记者采访Frank时的对话片段:

. Bensaïd(记者)
Like the continuity of considering photography as "the art of not pushing the button"? What exactly do you mean by that?

Frank :
One difference between photography and painting (or drawing, or other forms of art) is that it takes no talent, and practically no effort, to get an image on film. A modern camera - as the one we are using right now - takes care even of focusing and exposure.All my efforts are spent in holding back. The reason for holding back is not only to spare some film - it's like storing my energy, or rather my expectation; it's letting the image I want take shape in my mind, by the very act of refusing the images I don't want. Until the moment when I recognize, in the viewfinder, the image that I want to see - and then there is no holding back any more.
还是个瞬间的概念;我觉得不是你在扑捉瞬间,而是瞬间在那一霎那感染了你,扑捉了你,那么这一瞬间就不是定格,而是释放;拍风光是你在等那令你激动不已的时刻/拍人文时你所要扑捉的也是那种决定性时刻,但它们都一个相同点(这里我是指你的作品),那就是在按下快门前,你心里就大致有一个感觉,觉得这就是你想要的,也正是这个感觉促使你去按下快门。这就是我所理解的:Photography is "the art of not pushing the button"

谈到布勒松时,他说自己刚开始时是布勒松的believer,但后来就成了一个heretic,原因?(其实某种意义上heretic才是最伟大的believer:-))
他说:

He(布勒松) prescribed certain rules: never employ artificial light (like flash); never use extreme lenses (like wide-angles or tele-lenses); never reframe; never interact with the situation you photograph. But I don't believe that the greatness of his photography comes from following these rules - in fact I know it doesn't, because none of the photographers who followed them has done anything comparable to his work.
这让我想起了几个月前看的另一段关于布勒松的访谈,被采访者是David Alan,另一位玛格南的杰出摄影师,在这个问题上看来David与Frank是持不同意见的,我觉得Frank的观点我比较支持,因为David自身就以善于与被拍摄对象沟通闻名,用他自己的话,他为了拍一个普通的酒吧招待,可以花一下午在那个酒吧里喝酒聊天,然后很不经意的摸出自己的m6(他称之为二次大战时的老货),在征得对方许可后,才开始拍摄.

上面是自己做的一些笔记,算是观后感吧.其实人类的很多发明是对自己肢体或原体的延伸:第一位用木棍击赶野兽的山顶洞人,是把木棍看成自己手臂的延伸/车轮是自己双腿的延伸,尽管车轮的形状千奇百态/写作是自己记忆和声音的延伸/相机则是自己眼睛的延伸...而ps更像是巧克力蛋糕上的草莓.. :-), 我是说这一切都需要作者极大的想象力.

有点儿深... :(
 
今天周末没事儿,再来个片断(二)

Joseph Koudelka:

Too often people with some talent go where there is some money to be made. They begin to trade a bit of their talent for a bit of money, then a little more, and finally they have nothing left to themselves. In Czechoslovakia we didn't have many freedoms, and particularly not the freedom to make money. But that led us to choose professions that we really loved. I always photographed with the idea that no one would be interested in my photos, that no one would pay me, that if I did something I only did it for myself.

Joseph,捷克人,航天工程师,后加入马格南社。
看了他的自传,感触很深,他晚上睡在街上,睡袋里,每天早上醒来就对自己说"Joseph,今天有可能是你生命中的最后一天,上街拍照吧",他没有家,没有房子,但有一个爱人.他回去同一个场景很多次,重复的去
,一年,两年..十年坚持不懈地拍同一个场景,用他自己的话,就是要reach its maximum,事件的/他自身能力的.

"Good" is when a situation is at its maximum, and when I myself am at my maximum. It may happen that I reach that maximum the very first time, by chance, and that I return to the place another ten times, over ten years, without being able to do any better. Or that in looking for a certain maximum I find something else, that I hadn't imagined. What matters is my search, my motivation to go further. But I can not sell this way of working to a magazine, I can't expect them to send me ten times to Lourdes, and to have me come back with some photo that has nothing to do with Lourdes!

这种情形发生在无论是他的布拉格之春/还是吉普赛专辑上.

他是靠自己的良心在拍照,只为自己拍照.而在这段采访片断中他作为被采访者和作为采访者的Frank(弗兰克。霍瓦特)有过尖锐的对话:

Frank: You refuse to be the slave of money, the slave of your legend... Are you the slave of something?

Joseph : I am the slave of my mind. I travel alone, I sleep outdoors. Even when I get a lift in someone's car, I separate myself from that person in the morning, and only join up again in the evening. When I arrived in the West, I didn't speak the local languages, so even when I had the money I didn't know how to get served in a restaurant. I'm still unable to write French, I feel like an immigrant worker. I have spent much of my time by myself, with the result that I'm stuck with certain ideas, that may not always fit with reality. I am the slave of these ideas.

Frank Horvat : But don't you think that the real slavery is the one that we choose? Being a slave to money, as I am, is to some extent the result of a choice. The limits of your mind may be something that you have chosen.

Joseph Koudelka : I was born with this mind. It comes from someone who was there before me. But in a certain sense, I chose to be as I am, and it is to this degree that I do not feel it as slavery. It may seem slavery to others, who see me from outside-but for me it's freedom. Which doesn't mean that it couldn't change: now I'm the father of a little girl, and I have to earn money like everyone else. I am fifty years old, it's the time of reckoning. I have done what I wanted, now I have to make good use of the time and energy that are left. Look: all these files contain my contact sheets - which doesn't mean that they contain many good photos, only that I have done a lot of work. It will take years to really look at all that. Even if I fall ill, or if I am immobilized for some other reason, there is plenty of work to be done.

而且他说摄影者要是像他一样尽心努力,也会很有成就的.

附图几张:
1
 
目前来说,风光片对我来说是糖水片,只是个技术活儿。把握好不难。
这也是我为什么钻研人文的主要原因,因为我想将来我的风光片会有一定的思想性,我想找个捷径,因为风光像我这样拍下去,是死路一条,枯燥无味。PHOTO.NET上有很多有为青年就这样消失了,我不想这样。
艺术是寂寞/痛苦的,糖水可以适时的调剂。
就像弗兰克自己说:

Cartier-Bresson once said to me: "You must choose. It's OK to witness reality, as we do, and it's OK to stage, as Avedon does. But one shouldn't combine the two."

但我想我是可以的,至少在某种程度上。
 
下集预告(我会先上点我的新片子,不然就纸上谈兵了)
萨拉。莫恩
 
101。tmy400, d76(1:1稀释),11分40秒,20度。
PENTAX MZ-S, FA 50/1.4.
 
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