Question #13

Question 13. Some beginning photographers complain that there is no artistic subject matter in their locale.

Today a central characteristic of imagemaking is not only to create objects (photographs), but also to escape the restrictive parameters of their "objectness" through content. However, it is a common misconception to link content solely with the subject matter being represented. Photographs that affect people may have nothing to do with the apparent subject matter itself, and everything to do with the subsequent treatment of that subject. This realization creates limitless potential for subject matter.

Light and shadow are vital components of every photograph. This was recognized early in the medium's history by William Henry Fox Talbot's image The Open Door (1843), which demonstrated his belief that subject matter was "subordinate to the exploration of space and light." The quality of light striking a subject can reveal or conceal its characteristics, which will make or break a photograph.Light may be natural or artificial, but without the appropriate type of light even the most fascinating subjects become inconsequential. Ultimately, light is a principal subject of every photograph that imagemakers must strive to control and depict. As Talbot stated: "A painter's eye will often be arrested where ordinary people see nothing remarkable. A casual gleam of sunshine, or a shadow thrown across his path, a time-withered oak, or a moss-covered stone may awaken a train of thoughts and feeling, and picturesque imaginings." This is the realization that the subject in front of the lens is not always the only subject of the photograph.

R. Hirsch & J. Valentino (2001)

基本上 Hirsch & Valentino 要说的是，摄影师可以赋予一个物体另一层或另一面的涵义。被摄物的涵义不一定在于其身上，而可以是光和影所引发的思绪，或者物体被编排的方式，或者照片的 post-process。更何况，在你构图的时候你已经给眼前的景象重新定义了。这让人想起画家 René Magritte 耐人寻味的话：This is not a pipe。

Geometric life #1. 2011. Canon G5. B&W conversion from RAW.

Geometric life #2.

Geometric life #3.

Hirsch & Valentino 并没有直接回答自己的问题，但是自问自答的同时却批评了那些埋怨自己没有机会去到漂亮景点摄影的人。这些人忘记了好照片并不一定需要漂亮景色、忘记了每件事物都有被摄的价值、忘记了生活的丑陋也可以很美（试问多少人去肮脏的后巷拍过挣扎求存的穷老头？）、忘记了珍惜近在身边的人。

上面 3 张照片，要表达的是我受困于城市生活中的无奈和纳闷。平常的事物也有被摄价值。也许上面的一番议论，只是我的酸葡萄心理在作怪，因为自己也是个没什么机会旅游去看漂亮景点的人。