红之外(上、下)(txt+pdf+epub+mobi电子书下载)

作者：范霖

出版社：中国摄影出版社

格式: AZW3, DOCX, EPUB, MOBI, PDF, TXT

红之外(上、下)试读：

Preface

Mr. Fan Lin’s photo album of Infra-red is going to be published. Different from photographic works that we have easy access to, Infra-red is an art collection of infrared photographic works. It takes us into a world paradoxically familiar and strange world where we experience unknown visual shock.

Infrared photography is an ordinary but special branch of various photographic arts. It is ordinary because its imaging principle is no different from other photography, that is, the light upon an object is reflected and becomes an image through the lens of the camera. Early in 1910, people already discovered the special dye which could serve as sensitizer of color infrared and attempted at shooting scenery photos. In World War I, infrared fi lm used for military and scientifi c purposes were invented and gradually used for civilian purposes.

But what fascinates people most about infrared photography is its specialness different from other photography. First of all, the length of the sensitization wave differs. Light is one type of electromagnetic wave and it has wave particle duality. Of the sun’s rays, the part which can be perceived by human eyes is called visible light. The range of its wavelength is from 380 to 780nm or so. And beyond this range, the light whose wavelength is above 780nm and therefore cannot be perceived by human eyes is called the infrared. The same scene, but shot via infrared photography will give an unusual color and feel. Secondly, the equipment for shooting also differs. Special fi lm and CCD or CMOS and the like can all pick up the infrared. But in ordinary shooting, the infrared affects imaging. A great majority of digital camera manufacturers add low pass fi lter to prevent the entrance of the infrared and to enhance the imaging quality. On the contrary, infrared photography tries to prevent the visible light and project the infrared onto the photosensitive elements. Usually an infrared fi lter is added to the lens. Or the low pass fi lter before the photosensitive elements is replaced with an infrared fi lter. Thirdly, the way of shooting differs. Varied image-forming principles make the ways of shooting all the more diffi cult. Technically, focusing control of the lens can deviate; time of exposure slows down; the way is also demanding for photographing spots. Artistically, successful infrared works cannot be satisfi ed with merely striving for different tone and colors. Moreover, they need to discover harmony.

All this is not easy to get by. In the age of fi lm, the specialness of infrared photography gave rise to great diffi culties in shooting, developing and imprinting. Few people, except those who were big fans of infrared photography, were engaged in it; successful infrared photographic works were all the more rare. The popularization of digital photography is benefi cial to infrared photography. But to skillfully shoot and create satisfactory works requires the organic combination of shooting at the first stage and proper treatment at a later stage. What’s more, back-breaking practice, careful thinking and bold innovation are also a must.

Judging from what we discussed above, Mr. Fan and his The Infra-red is a successful exploration and experiment.

Mr. Fan has engaged in photography for ten years. A big fan of oil painting for a long time, Fan is sensitive to colors and his sensitivity plays an immeasurable role in his later photographic creation. Fan Lin came in touch with infrared photography by accident. The peculiar colors and the sense of serenity on the camera screen took his breath away. He was fascinated and began his travel in the realm of infrared photography. The beauty of art lies in discovery and perfect demonstration of that discovery. Fan Lin made his discovery in infrared photography and kept thinking, exploring and practicing. He accumulated both plenty of experience in infrared photography and a handsome quantity of infrared photographic works.

Qi Baishi, master of traditional Chinese painting, once commented that the beauty of painting lies in its resemblance and dissemblance. It is both a philosophical proposition and an aesthetic abstraction. For artists, the comment sheds light on the dialectic relationship between the image and the essence of an object. Traditional Chinese painting is not a simple imitation of the nature. Rather, it is a subjective recreation on the basis of profound understanding of natural objects. In the creative pursuit, the painter expresses his feelings and intentions. In comparison, photography is more about resemblance while it also plays the dual role of producing images and explaining essence like any other aesthetic creation. Wang Bi, a philosopher in the Dynasty of Wei and Jin, proposed his theory about image and essence to the effect that the image of an object and its essence are both connected and in confl ict. Infrared photographic works like The Infrared illustrate exactly the relationship between the two. By employing photographic techniques, this particular work expresses the essence and the spirit of an object while ignoring its image. Moreover, it enriches the photographic art and diversifi es the creative methods.in this way, the work takes on unique character and signifi cance.

What is worth mentioning is that the breakthrough Mr. Fan has made is closely related to Jiaozuo City which has a tradition in photography. I came into contact with Jiaozuo photographers in 2002. That year Jiaozuo held one meeting and two festivals: Tai Chi Annual Meeting, International Tourism Festival and International Photography Festival. The 2002 International Landscape Photography Festival in Jiaozuo was jointly organized by Jiaozuo Party Committee, Jiaozuo People’s Government, Jiaozuo Photographers’ Association and Chinese Photographers’ Association. I had been there many times ever since. I felt the unique vitality of Jiaozuo photographers and their originality through my contact with them. It was in the year 2002 that Jiaozuo photography suddenly rose as a new force in the country. And a series of novel concepts of and achievement in photography had great infl uence in the country. The 2002 International Landscape Photography Festival in Jiaozuo set an unprecedented example of photography successfully promoting tourism. Moreover, its organizational pattern became the model for other cities and even provinces to draw upon when hosting similar events. In 2003, Jiaozuo photographers raised the idea of “photography is also a productive force”, which was an effective indicator of photography serving the local economy in general and tourism in particular and was of great signifi cance to the national photography fi eld. With unremitted efforts on the part of Jiaozuo photographers over the years, Yuntai Mountain rose to fame. In addition it has become a model of win-win for both photography and tourism. Because of photography, Yuntai Mountain in Jiaozuo has become a world known tourist attraction and a sacred place for artistic creation where photographers swarm. The successful promotion of Yuntai Mountain by means of photography helps Jiaozuo photographers secure a position in the country. Now Fan Lin, a photographer from Jiaozuo, takes the lead in publishing a collection of infrared photographic works in the country. His novel creation with unique visual impact brings a pure and fresh air for photographic creation and appreciation. For a relatively conventional inland city, Jiaozuo has witnessed constant achievements in photography in recent years, which, in my view, is inseparable from the local photographers’ distinctive vitality and their innovative spirit.

Chinese photographic art has become a signifi cant force in the development of Chinese cultural cause. To promote its constant development and progress with greater vitality, we need to make exploration and innovation both in theoretical research and productive practice incessantly.

Let’s perceive the brave new world in the invisible light.

As a preface.Li QianguangJanuary, 2012Mr. Li is a party member of Chinese writers’ league, party secretary of the secretariat, secretary of the party branch, vice chairman, general secretary of Chinese photographers association.

云之空

山之灵

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