创意与思维——风光摄影实践

蓬蒿人

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蓬蒿人

读了一代大师WESTON的文章，虽然写于70年前，但至今读来仍感觉其不朽性。尽管文章的主旨是批评当时流行的画意摄影，但在谈到摄影创作时，以下论述堪称经典！
   
Until the photographer has learned to visualize his final result in advance, and to predetermine the procedures necessary to carry out that visualization, his finished work (if it be photography at all) will represent a series of lucky—or unlucky—mechanical accidents.
      Hence the photographer's most important and likewise most difficult task is not learning to manage his camera, or to develop, or to print. It is learning to see photographically—that is, learning to see his subject matter in terms of  the capacities of his tools and processes, so that he can instantaneously translate the elements and values in a scene before him into the photograph he wants to make.
   
   WESTON的文章让我看到一位大师对于他的艺术，不仅是敬业，甚至可以说是一种尊重和执着。

蓬蒿人

62 《砖厂春色》

蓬蒿人

对很多人来说，以大自然为题材的风光摄影缺乏所谓“人情的趣味”（human interest）。它不像以人文社会为题材的作品，有一个可以直接和观众沟通的故事或情节。除非是摄自一个众人熟悉的景点或是一幅具有相当震撼力的画面，它难以得到观众普遍的认同。这使得它的拍摄有一定的难度。

蓬蒿人

63 《天与地》

蓬蒿人

以大自然为题材的作品所表现的，缺乏可以直接和观众沟通的故事，也不像人文题材那样可以“立竿见影”地表达摄影者的社会观，这类作品的含蓄和深度，使它对于一般人来说，似乎缺乏与日常生活有关联的社会价值，也难以激发人们七情六欲的感受。但是正因为中国传统文化里的宇宙观，这样的题材用在中国文化和艺术领域里，却是可以用来反映（从而引申出）创意者对人文关系的观察和他个人情操。通过人格化的发挥，产生出具有人性含意的引申。

蓬蒿人

64 《日落云生》

蓬蒿人

在实物成像的直接摄影里，创作的第一步并不像写文章和绘画那样在于构思，而是在于现场观察所带来的启发。

蓬蒿人

65  《野花》

蓬蒿人

The photographer was thought to be an acute but non-interfering observer--a scribe, not a poet. But as people quickly discovered that nobody takes the same picture of the same thing, the supposition that cameras furnish an impersonal, objective image yielded to the fact that photographs are evidence not only of what's there but of what an individual sees, not just a record but an evaluation of the world. It became clear that there was not just a simple, unitary activity called seeing (recorded by, aided by cameras) but "photographic seeing," which was both a new way for people to see and a new activity for them to perform.