Chapter 2 Part 2 Image-1

The huge administrative structure, strict industry barriers, and lack of local vision have cultivated our deep-rooted single-painting thinking, single-photography thinking, and even single-creation thinking-we are all "one-eyed dragons" who do not squint.I once took my "one eye" to New York to pay homage to the classics of painting. Over time, I opened another eye to the cultural landscape there, and saw a big horizon beyond painting—but my eyes didn't brighten for long. When I came back to China, my eyesight was dimmed by the crowd of one-eyed people around me, so I could only talk and write, arguing the truth, so I have the following discussion.Looking back recently, I don't understand video culture after all. Fortunately, I stopped and turned aside and didn't elaborate, because too many monographs have been written in the front.If readers really want to open their eyes, they may wish to find more special books. There are much more translated works on video culture on the market than before.

Shanghai, 1949, Cartier-Bresson.At that time, Shanghai had just been liberated, and this PLA sentry stood guard on the street. He was young and handsome. He had just rested from the war and was not yet used to the metropolis of Shanghai. No. Reading Rosset's Chinese War Photography When I returned to the United States to visit relatives during the winter vacation, I couldn't help but go to the Metropolitan Museum of Art.Exit the museum through Madison Avenue, which is the time-honored upper-class stores and gallery district in New York. Even if a pair of leather shoes cost thousands of dollars in fashion shops, nowadays, the leather surface of women's shoes can be made into flesh red, sapphire blue, or fluorescent pink green. So elegant and beautiful.I watched and walked, unintentionally paying attention to the new tricks of New York fashion in the past two years after returning to China. Suddenly, in the stone wall of a mansion facing the street, I came across this Chinese man who was sitting in the trench in the photo. Soldier, blood streaming down his face, dying, the outdated black and white of the black and white photo indicates that it was taken during World War II.

Stop reading: Photographer Barney Rosset, on the second floor of the mansion is exhibiting his photography exhibition entitled "China at War, 1944-1945".The exhibition room is small, with steel windows and fine wood floors. Shanghai has a lot of old-fashioned buildings in the imperial era. Nowadays, many businesses have turned them into luxury restaurants. Who would use them as a photography gallery, and the hangings are old Black and white photo.The frame is so expensive that I don’t realize it’s so elegant. A middle-aged, good-looking gallery owner who claims to be Hungarian, came from the inside to accompany me to watch nearly thirty photographs on the four walls—I have written The galleries in New York are usually empty—he said that Rosset is still alive, and this batch of photos has never been exhibited. This is his first exhibition, and half of the works have already been sold.

Note the preciousness of Rosset's albums in his autobiography in his later years.There is a story in which he was on the way from Kunming to Guiyang with the army. He took a "elegant" Chinese female refugee with him in a chariot. Unexpectedly, the woman asked him out afterwards, accompanied by her parents solemnly, and entered the house to enter the account. Dedicating one's body to him is a thank you for saving your life.Calculating his age, the American soldier was twenty-one years old, with a handsome face.This article was published in the sixth issue of Shanghai "Art World" in 2002.

This is the unbelievableness of New York: I encountered China again in Manhattan, China’s south-central region—rice fields, hills, barefoot farmers, soldiers’ corpses… also on Madison Avenue, and I have seen Ann in several photography galleries in the past ten years. The original photos of André Cortes, Cartier-Bresson, and Robert Capa are old and yellowed, and they were taken during World War I and World War II. They are all famous works in the history of photography, and some originals are extremely small, about It’s just the original size of 120 film, and the price tag is 20,000 U.S. dollars——“BEAUTIFUL! BEAUTIFUL!” The audience murmured, and the photo was also bloody and messy, with European corpses. Bart wrote such a sentence in "Chamber of Light": " A dead body is a dead body, but a living one." Rosset's photos all indicate that he took the wounded "National Army" soldier, and the dying anti-Japanese hero sitting frontally has a good appearance. What happened to life?If it is alive, it will be suppressed after liberation, because he is not "our army"... And the home that was bombed behind the Guiyang woman must have been completely changed several times in the past 60 years. The new building may be a karaoke hall.

But that's not what I'm going to write about. Cortez has never been to China.The Chinese images left by Bresson and Capa, I have albums with me, and I regard them as treasures.Kapalai, when the Anti-Japanese War broke out, he snapped a shot of a city in Wuhan where people gathered in panic and looked up at the sky during the air raids. Officers and soldiers crossing the Yellow River... There is a rare photo, which is extremely vivid. It is Zhou Enlai during the split between Ning and Han. He was young, wearing a crumpled Chinese tunic suit, standing close to the door, with a resolute and stern expression. A moment when two KMT colleagues were negotiating a stalemate—Zhang Guotao recalled the first time KMT-CPC cooperation broke down, and unpurified Communist Party members hurriedly evacuated from the Wuhan government. Everything, especially when the camera is in Capa's hands.Looking at it for a long time, in this photo, Zhou Enlai is not the prime minister talking and laughing, but his face is haggard, and his serious expression reminds me of the official "Cultural Revolution" documentary footage released in recent years: the prime minister is surrounded by Red Guards, his lips are burnt Let me persuade everyone... Bresson.Chinese friends who care about photography must have noticed the batch of classics he shot in Beijing and Shanghai when the regime changed hands in 1948-1949.Big time!How could the compelling Chinese aura in the eyes of this French "ghost guy" be so accurate?In front of the Kuomintang soldiers, an old man from Beijing who came from nowhere (with a simple and honest appearance and a sad expression, he played the teahouse owner), and the man who had just occupied Shanghai and was not allowed to break into the houses, sat alone in the gap between the bungalows and buried his head Soldiers of the People’s Liberation Army who sort out their military uniforms (with his qualifications, he will at least be the branch secretary of a factory in the future)... Every picture is a Bresson-style composition, and every picture is Chinese history. This Chinese history, unexpectedly See life directly in French photography.

Marc Ruboud is also a Frenchman, a veteran of the Magnum Institute of Photography. The two most impressive pictures, one is the middle-aged Republic of China woman wearing a cloak on the street, wearing lipstick, walking on the road after liberation, about 1950s Well, a lost jewel in the sea, such a character could occasionally be seen on the streets of Shanghai before the "Cultural Revolution".The other is a reservoir construction site, full of people. The ragged young man in the foreground, wearing a pair of glasses, is likely to be the newly released "rightist" element in his twenties.

In most images of Chinese photography, "China" is not credible and cannot be seen, and the same is true for our movies and paintings.Why do Westerners see China more clearly than we do?It is said that the lens is extremely objective, I hope so.We all take pictures: do we know how to "see"?Comrade An Yi sighed several times, saying that the translation of literature does not convey the meaning of the words, but you are better at painting, there is no problem of translation. Her argument is naturally that "visual art" is a "world language", and "understand it" at a glance. "——Bitter!Every time I wanted to argue, I finally fell silent.The tragedy witnessed by Rosseter's works (so tragic that it is somewhat intimate, as if I knew this young man, the double tense of this picture, and Barth's words first: "He is dead, he will die"), I just I have never seen it in the war photography in China during the same period. He is a reporter with the army, and we also have reporters with the army, and they all have eyes.Xu Xiaobing, an old revolutionary photographer, took a picture of a fallen Eighth Route Army soldier in the trench with a violent corpse. At close range, it is only the head, which has been dead for a long time.By the way, we are not allowed to publish such photos, which only came out recently and are collected in Xu's photography album. The truth is absolutely true, and you can "understand" it at a glance, and you will be shocked - it's just not "beautiful", just like a criminal Archival records are not regarded as photographic art or artistic photography.Rosset's works can be called "BEAUTIFUL!" Yes, beautiful, there is no need to "translate", when he suddenly saw the shot soldier in the trenches, no one needed to translate for him - the so-called "beautiful", Does it refer specifically to "beautiful" things?I think this photo of a soldier, the soldier in this photo, is very beautiful. I call it beautiful because I have respect for history and photography.

But that's not what I want to write about. From time to time, I am willing to show the above-mentioned photography to new and old friends who are painting in junior high school, but they seldom get appreciation and response. They casually flip through and continue chatting. In the former Shanghai dialect, it was called "wood skin skin".It is said that Capa and Bresson's photography exhibitions came to Beijing in the 1980s and were exhibited at the Working People's Cultural Palace, but they did not seem to leave any memories or sayings for fellow painters.Another example is the photography of Fang Dazeng, a young man in the Republic of China during the Anti-Japanese War, which was also discovered and introduced by Taipei photographer Ruan Yizhong. It was published in the 1990s and was not transmitted back to Beijing until the 21st century. I don't see any special attention from our "art world".The "Old Photos" series of Shandong Pictorial Publishing House is endless. Its purpose is to restore historical memory, and its merits are immeasurable. However, it is not as good as the humanistic level and artistic value of photography art. It is shallow, with a bunch of indistinguishable emotional text attached, the photos are like illustrations, and the printing is crude, and the fragmentary layout method has lost the solemnity of the photographic works. Every time I see it, I feel it is a pity.

I have been teaching in a college for the past few years, and I don’t want to talk about color sketches, so I proposed “Western Viewing Tradition” as the title, and I will talk about European realistic painting, 19th century photography, and 20th century film in three sections. It means that "photography" is by no means as simple as "photograph".What qualifications do I have to talk about photography, but if you ask everyone, our undergraduates and graduate students of the Higher School of Art are completely ignorant of the history of photography.Who is Bresson?What is the "decisive moment" of photography?The more than 300 future "visual artists" in the class are unknown.Invited by various schools, I wishfully appealed to art colleges and art museums to establish video majors and photography studios as soon as possible to enlighten video art and viewing culture, but the response was very small. An art student in the south asked me cutely: Do you like photography? , should we also like photography?

I am speechless, but the current practice of Chinese painters is that nine out of ten rely on photographs.Yes, photography is still just a photo in our minds. I really don't know what to say in this manuscript.Or it may be a long story, but a long story cannot be short.I would also like to thank Shanghai "Art World" for introducing the photography culture of today's world every issue, with quite readable text.I came across Rosset's photography collection in New York today. Although he is not well-known, his Chinese images are definitely not inferior to those of Capa and Bresson in the past.These photos speak for themselves, and the author's words contain many precious historical details, so I don't need to comment on them, but I would like to compose this incomprehensible essay. May 20, 2002 Part Two Images Section 8 The Seriousness of Photography, Serious Photography (1) " one In order to pay homage to the authentic works of famous paintings, I went to New York in the early 1980s. I didn’t know that there would be tens of thousands of photographic works waiting for me in this big city. , I witnessed many of the photographers in this talk in Manhattan who came out of nowhere and became famous: Cindy Sherman, Nobuyoshi Araki, Baudrillard, Gaskell, Kruger, Goldin... 1986 Midsummer, my birthday, coincided with the first edition of Golding's "Ballade of Sexual Dependence". My younger brother who loves photography specially bought this album for me. In the first year of the new century, when I returned home, Tianjin Customs conducted a routine inspection.Dozens of boxes of books and picture albums were ordered to be dragged out of the big iron gates of the overseas containers, unpacked one by one, and exposed to the bright sunshine of the motherland.My heart was beating and sweating, hoping not to be confiscated.Fortunately, fortunately, after the customs officers whispered and discussed, only one volume was decided to be detained, which was the first edition of Comrade Golding's photo album.They didn't ask why a woman in the album was beaten black and blue, and they didn't know that it was the author herself.They repeatedly looked at some of the photos of naked men and women—whether in New York or Beijing, there are men and women lying, curling up, smoking, silent, and in a daze every day when they have nothing to do or after sex——"Human body? , It’s okay! You are engaged in art,” an official explained politely, “but the state has regulations.” Do you want to tell Golding about this scene?She is the same age as me, snake, so, this year she knows her "destiny". two Photography always reminds me of New York.In the first few years, André Cortez, who will be ninety years old, is even alive and well. His apartment is at the north end of Washington Square in downtown New York. Years later, he was seen on TV walking around the square, holding his hands. Camera, wish I was there too.A photographer friend promised to take me to him, and soon his obituary appeared in the New York Times. Mr. Bresson, who wrote to Kertesz and called him his teacher, is still alive today, and he is almost a hundred years old. Four years ago, he saw someone taking pictures of his album at the "Rezzoli" bookstore in New York, which broke his innocence. An example of someone who wants to be photographed, and the subject is an old brand camera.An old clerk said to me beamingly: Bresson is suing the author for this. It seems that the old man is still very angry and very young. The photography museums of the Metropolitan Museum of Art, the Museum of Modern Art and the Guggenheim Museum have long-term exhibitions of photography classics from the 19th century to contemporary times, which are the enlightenment places for me to understand the history of photography.My studio is located near Times Square, at the intersection of Sixth Avenue and Forty-third Street. Review the masters and introduce newcomers.There, I got acquainted year by year with several times as many new and old photographers as in this interview: Brassai, Manuel, Latik, Vicky, Meprathorpe... Of course, there is also Robert Carr Pa's solo exhibition, Capa is not dead at all, his image is like a violent slap in the face, slapping me. Am I in the same city as the works of these great men?Whenever I wander around the "IPC" hall, I always dream like a dream, how wonderful it would be if my buddies in China could see these photos one day! three The year after returning to China, I was invited to set up a text column for Shanghai "Art World". Only then did I notice that this magazine, which was looked down upon by art experts, not only published serious photography works including nude figures, but also important photography works in the world. Expert presentations and interviews.What joy!I am grateful.This is the highlight that should have appeared in art publications. Yes, "The human body is okay!" What is very relevant is that I don't know if there are other magazine series introducing world photography in junior high school?In the professional photography magazines I have read, although there are sporadic contemporary photography topics, the rest are mostly beautiful "photographs" rather than "photography culture". The year before last, I was called to a newly built one in the suburbs of Nanjing. Lecture by the School of Photography, what I saw in the aisle was still the "People's Pictorial" landscape photos: mountains, bamboo rafts, flowers against the light... It cannot be said that it is not "photography" - when I say "photography", of course I do not mean the so-called Wonderful photos from "Art Photography" and thousands of magazines.If you agree, may I call the photographs in this book "serious photography"? ——I told my classmates that day that there are still many things you can do and should do. Few of the group of painters paid special attention to photography.In the past few years, I have admired and had the honor to meet several outstanding photographers. They are a group of animals wandering outside the system: they are alienated from the "Photograph Association", and they are failures or rebels in art colleges.They are marginal, hardworking, but blessed: if they are really ready to dedicate their lives to photography, and photography to life. Now, "Art World" is going to collect and publish this book of interviews with world photographers and a large number of pictures of their works. Are those worldly men and women lying bored in front of Golding's lens included?I'm like dreaming again. Four I don't know whether it was too early or too late. In the early 1980s, Mr. Ruan Yizhong from Taiwan, together with his family members, started the enlightenment of Western photography culture across the Taiwan Strait with a large number of translations and interviews—of course, all in traditional Chinese. In 1995, I found his private studio, photography bookstore and photography magazine on a floor in Taipei, and paid tribute to him face to face.The year before last, I paid tribute to Mr. Chen Chuanxing of Tsinghua University in Taiwan in Beijing, and I benefited greatly from his dialogue with Ruan Yizhong.He studied in France, specializing in video, drama, philosophy and history. He has listened to Barthes' lectures and is a student of Derrida. Ruan Yizhong's speech focuses on the social and moral standpoint of photography, while Chen Chuanxing's expression grasps the cultural meaning of photography.The former text entered the mainland a few years ago, has anyone noticed it?I believe that people who are as enthusiastic as Ruan Yizhong and as calm as Chen Chuanxing are interested in enlightenment have already appeared and spread around us. There are not many, but not many.I would like to express, or rather, pay tribute to them in advance. For example, Mr. Fang Dazeng, a Beijinger who has been completely forgotten by history and has no bones left.One of his works—Under the Chinese sun, a peasant strips clothes from a soldier's body in the loess at the beginning of World War II—would deserve to be displayed near Cortez or Capa.It was the same Ruan Yizhong who found a large number of negatives collected by Fang Dazeng's family for more than half a century from Beijing ten years ago, published them at the southern end of the Taiwan Strait, and passed them back to Beijing several years later. Do Beijingers today know of Fang Dazeng? Fives In the West, there are too many discourses and texts about photography—those who are dedicated to contemporary serious photography in China, those who are not mainstream, must have their own works and insights—this book, I would rather I believe it will be of great benefit to the painters in the middle school and to all those who are willing to open their eyes and watch with their hearts. Out of the pride and prejudice of painting, most visual artists have been blind to the core issues of visual art for decades.Although Chinese painting, sculpture, design, film, drama, television, and even literature have tried to explore various propositions as profound as possible, due to the "industry" awareness of different media and the "professional" barriers of different interests , estranged from each other, even ignorant of each other, almost never touched the serious proposition that photography has been of great concern since its birth. What proposition?Why is that "serious"?I have no idea.But this proposition has always been there, hanging high above the "head" of all visual arts. Whenever I face serious photography, it's like being warned, and I find that I actually don't know what viewing is.I have accumulated countless reasons to defend painting and its residual and dubious value. I think I understand the distinction between painting and photography, just like the law, and keep it as it was before.But photography can always effectively shake me secretly, and give me another pair of eyes to look at painting——photography, because it is higher than painting, even higher than photography—or “no principle”—gives me a more wide stance. But I can't tell what position that is.About art?About society?Or is it about "people"? A monograph on photography was never taught to me.Unlike painting, music, and literature, which have lasted for a long time, reproduced their own theories, and were wrapped in them-photography has no theory.Foucault, Barthes, and Sontag have all talked about photography earnestly, thoroughly and thoroughly, and regard photography as something that needs to be recognized but difficult to comment on.Authoritative photography critic Henry Herman Smith wrote a special article entitled "The Difficulty of Criticism". I am not qualified to talk about photography, but I am someone who continues to be amazed by photography. I am willing to get lost in photography and the text about photography again and again.Really, there is no theory of photography, if there is, it is likely to be scattered in various photographic works and photographic behaviors, or we should listen to the ambiguous insights of all photographers in this book. six Since the birth of photography, the old question has always been there: Is photography art? Clark said he "never had art in mind" when he took pictures. Meprathorpe, in what he calls a pragmatic attitude, also believes that photography is "not art". Bravo said: "It is meaningless to talk about whether photography, painting, sculpture are art. The medium itself is not an essential issue." Biad claimed that his photography was just a "diary", and he wanted to make his work "not exist as art"."A diary is a personal thing, not art," he said. Goldin echoed his meaning, calling his photography a "visual diary." Kohide Hosie simply said that his work "wouldn't care if it wasn't photography".Kruger cares about her work being able to "become an artist's work" from an advertising image.It can be seen that she believes that advertising-that is, the huge by-product of photography-is not art. Baudrillard warned: "The danger is that photography is eroded by art, and it has become art. Although photography has an anthropological illusion, if it enters from the side of beauty, its anthropological characteristics will be lost." It seems that Bresson still considered photography an "art".He belongs to the grandparents of modern art.He said: "My interest has always been in the plastic arts, and photography is just a part of it." Alain Shayag, director of photography at the Pompidou Center in France, confirmed that photography is an art.When he was asked what standards the museum uses to collect photographic works, he decided to use "art", "progress" and "modernity" as the criteria.He said: "It's not about the authenticity of the photo or whether it is faithful to the medium of photography itself, but what new things it contributes to modern art. Photography is a kind of sublation of old culture due to the progress of industrial civilization. The new installation, its own technical advances inevitably beget its artistic advances, and lead to the advances of modern art." He equated the collection of photographic works with painting, and insisted on "uniqueness" and "rarity".He said: "Everyone knows that photos can be copied continuously, but uniqueness and rarity are unavoidable positions we must take out of commercial considerations." Who do we listen to?Who do you trust?The continuous "progress" of "modern art" constantly subverts the existing definitions of art. The question has long been "what is not painting?", "what is not art?" Do your best, but photography cannot live without a camera—although Shayag’s collection policy strictly distinguishes the “original” (VINTAGE) made by the photographer himself from the “modern print” (MODERNPRINT) reprinted by people today—it is difficult for anyone Advances in technology are expected, but so far, according to Jeff Wall, a photographer who created "virtual reality", "digital technology has only changed the second half of the camera." Left: Corpses of soldiers in the trenches.Taken during World War I.Right: Jeff Wall's 1995 "Virtual Reality" light box installation photography works: brain-cracked soldiers who died in battle came back to life, joking and mischief.The original is life-like and large-scale. seven The camera has swallowed countless photographers.On the other side of the moat of the Forbidden City, during the season when famous flowers are in full bloom, I saw groups of photographers holding cameras of various brands to capture the setting sun and aim at the stamens.I heard that a publisher of a periodical in junior high school told the editor: "Don't listen to what photographers say, they are responsible for pressing the shutter." All the photographers in this book are the masters of their tools—or as Bresson said: "People who engage in photography are just the tools of photography." This "tool" does not obey the employer, but photography itself. But the old question remains: who is a photographer?Why do people take pictures? David Bailey said: "I don't like to think of photography as photography." Cindy Sherman, who was not included in the book, said: "I was not interested in being a photographer, and I am not." I believe they are telling the truth.Jean Baudrillard, who was born in philosophy, put it more "theoretical", he said that the reason for his pursuit of photography is to remove the "meaning of things".He claimed that "I am not a photographer" and that photography was "completely an act of losing identity" to him. Daido Moriyama put it bluntly: "I don't like cameras... I don't have the feeling that a camera is a samurai sword." kind of relationship? The motives of several photographers were remarkably innocent.Clark believes that "taking pictures is not important", what is important is "I am photographing young people".Goldin took a selfie in the mirror after being beaten by her boyfriend, in order to keep the life that happened to herself and "tell others".Korean Lin Jun said that he just took "self-portraits" with "other people's faces", which is the "identity confirmation" that is popular in the art circles in China today. Photographers are often people of ambiguous status.In this book, there are at least four or five people who have specialized in painting (Bresson has painted all his life, and I have seen his sketches in his later years, which are very good and very bad). This is a visa issued by the Nationalist Government to Bresson to enter China in 1948 photocopy. When Bresson passed away in 2004, the French commemorative special issue published this historical relic. Some have played with cameras since they were young, some have become monks halfway through, and some have changed careers halfway through—in short, they are highly professional, but they don’t seem to be dedicated to photography—Moffat, Klein, and Bailey both take photos and make movies.Richter studied photography and devoted himself to painting. He said on other occasions: "I use painting to explain photography." Salgado lived like a foreign believer in the "Yan'an Forum on Literature and Art".He is still thinking about the cultural rebellion that spread across France 40 years ago. He said: "The fundamental problem of the student movement in the 1960s should be reconsidered." The expressions of several Japanese people on photography in the book are completely different from each other. Tomatsu Illuminating is determined to find Japan that has not been Americanized in the reality of Japan being Americanized after the war. He wants to use photos to "awaken people's sensibility."Kohide Hosoe manipulated Japanese writer Yukio Yamashima in order to "smash idols"; the latter cooperated with Ruyi. Changfu Jiangcheng lamented that the Japanese "easily forgot the problems left over after the war", and he used a camera to write history.Moriyama Daido and Yushan Kishin, who have urban themes, don’t say a word about the country or history. The former said, "I feel like old friends with any city at first sight", while the latter believes that photography is "cutting out the best parts of the existing world". .And Nobuyoshi Araki said: "As a mood, I would rather believe in photos than words." He said: "Photography is happiness itself, and photography is light and even frivolous." Eight In the photographer's "Rashomon"-style confession, how do we grasp the case, motivation, statement and context of photography?Although there are many schools of Western painting, all of them can be traced back to historical sites and return to their origins, such as Greece, such as the Renaissance, while photography is inherently unruly and wild, forgetting its ancestors after countless classics, and arbitrarily crossing places where other arts stop.If you try to classify or generalize photography, you will encounter countless counter-evidences. Just as the art called "pioneering" and "experimental" intends to ask what is art, serious photography can always be effective in a variety of completely different ways, both asking and Answer, answer and question: what is photography?What is photography? "Record", "witness", "reality", and "moment" are the most common words in photography discourse.In this regard, the camera is naturally unable to shirk its responsibility, as if "original sin".But Shayag said that they collect advertising and fashion photography, but exclude news and documentary photography. The position of "ICP" is quite different. How many photojournalisms I have seen there are full of current events, right and wrong, violence and war. On the morning of the "9.11" tragedy, the famous "Magnum" documentary photography team was having a meeting in Manhattan—it was the providence of photography: they actually met here and now—members from various countries adjourned the meeting after hearing the news and rushed to the scene , a senior female photographer wrote in the exhibition description afterwards: "The crowd is running away, I pass through them, and head towards the World Trade Center." Documentary photography does not seem to prove the truth of "the presence of the camera", but more like an event Happened for the sake of photography—God forged.Isn't this another paradox of "life imitates art". However, when we examine the overall landscape and progress of photography history, we will find that the great documentary classics are only a small part of it. In this talk book, the relationship between documentary and photography, photography and "reality", and the relationship between people and the world are full of precious "paradoxes". These paradoxes go beyond the concept called "morality" by society. It has become the "morality" of photography itself, and this "morality" has also surpassed the history of photography: it seems that every photographer has his own reasonable methodology and photography concept—— Jiang Cheng Changfu said that if photography is used as a "thorough record", it becomes "a synonym for copy".But if you want to "perform thoroughly", you will be "far away from reality".So he had to "shoot while worrying about the narrow gap between performance and recording". Bresson's aphorism: "Photography is concentrating and holding your breath" because reality "is escaping". Nobuyoshi Araki discovered: "What the eyes see is different from what the camera captures", so "the real thing cannot be judged by its appearance". What is his so-called "real stuff"?David Bailey said: "The photograph stands out by itself." Biard's opinion is similar to him: "Something is happening by itself." So he "commits himself to chance in the process of doing it." Jean Baudrillard, who claimed to have "lost his identity" in photography, put it more thoroughly: "The object itself beckons you to come, modestly, to take a picture." He said that when he raised his camera, "it is the 'object' in the work on that side."Yes, if the "object" of "over there" is the World Trade Center on the morning of "9.11", the photographer really "lost his identity", just the lens and the shutter, without imagination. Is this really the case? The imagination of the "9.11" plan came from Hollywood, which is a "factory for manufacturing illusions"-this "factory" has instigated the great ambitions of emerging photography in the past two decades.They construct "reality", make up "objects", and then use cameras. Contrary to Biad's "commitment to chance", Focon's so-called "photographing" photography controls as much as possible, and even "excludes chance". For this reason, he "fabricated a closed space" before shooting, such as Gaske As Er said, "Even if what is photographed is not a real thing, the viewer must be convinced that it must have existed somewhere." The "gene" of painting began to "commit" to photography.In NYC, I was scared out of my wits by Jeff Wall's Super Lightbox photo - hell!A group of World War II soldiers who died tragically, bloody, brain-cracked, jostling and laughing among the mud and stones of the abandoned battlefield--good!I thought: This guy has the ambitions of a classical painter.Sure enough, Wall said: "Photography can work before photography, that is, similar to painting...Photography inherits the way of thinking about painting and continues to do what painting did before the invention of photography." - Fokong himself After drawing some scenes I wanted, I finally decided that only photography can "express it best." Today, when "digital technology rewrites the definition of photography", regarding what photography can or cannot do, Wall asked: "Where is the boundary?" He said, "'Moment' is a possibility to understand photography, 'no 'The Moment' is another possibility for understanding photography...I am interested in the complexities of the medium that we still need to explore." Another set of motives for emerging photography is more direct, more ambiguous, more "political", and more anti-political.This kind of works does not pursue the artistry and classicism of early photography. Photography is "committed" to the paradoxical, paradoxical privateness and publicity. The purpose of Clark's photography is to "go back and turn the past into photographs". Nobuyoshi Araki called photography a "device of memory".