Do you really understand what Japanese photography is?
- Dec 02, 2019
- 2 Comment(s)
Photography, after all, has something to do with aesthetics. Learning photography is also to cultivate aesthetics. Whenever you imitate others and follow the wind to take some photos of feeding your eyeballs, do you occasionally stop to think, what is the significance of doing so? Is it such a simple thing to refine and create beauty? After thinking about it, don't you want to explore the deep connotation behind it?
Input the two keywords "Japanese Series"+ "Photography" into the search engine, and you will soon get a bunch of pictures that teach people how to take fresh style: reduce contrast, reduce saturation, color matching must be fresh, preferably a little overexposed. However, this is only the superficial form of the Japanese system, rather than the essence of the Japanese system, and the end result is only to produce a bunch of homogeneous photographs that are similar in shape but different in spirit.
The Japanese system is not an affectation, not an empty image, not a mere tone without content, not to mention the fact that it is young and full of screen.
Since we want to talk about Japanese photography, we should start from the source. In fact, the history of the introduction of photography into Japan is very similar to that of China. The starting point is the invasion of Western imperialist forces in the nineteenth century. Japan was forced to open its ports and end its policy of lock-up. Photography is one of the exotic products that have taken root with the invasion of European and American cultures. But Japan's modernization process is smoother than China's, less affected by foreign invasion and continued civil war (for example, in the Tokugawa shogunate era before the Meiji Restoration, Japan enjoyed 240 years of peace). As a result, Japan has been more effective in preserving traditional culture, and the development of photography in Japan has also presented a unique and national style - soft and rigid, perhaps the so-called chrysanthemum and sword.
During the Second World War, Japan, as a defeated country, was bombed by atomic bombs. These historical events formed a lingering haze in the hearts of Japanese people. In addition, in the early post-war period, they became a semi-colony of the United States, and their economy was in a state of complete disrepair. As a result, young Japanese photographers at that time showed strong feelings of sadness, violence and rebellion in their works.
Everyone knows well about the older generation of Japanese photographers, not only Morishan Avenue, Barren Wood Jingwei, but also a far-reaching impact on the whole history of Japanese Photography - Dongsong Lighting, known as the "postwar photo giant". As a representative figure of that era, Dongsong Lighting photographed a large number of Japanese postwar works. The 1960s was also the golden age in Japanese photography history. Photography at that time was inseparable from society and times. Photographers never avoided social reform and national unrest, so they also produced a lot of impact. Works.
Said so much, not to study the history of Japanese photography, but just to let you know that the so-called Japanese system, in addition to Xiao Qingxin, there are more different schools and styles.
From China to Japan, the aesthetic conception which has taken root and evolved is mainly embodied in the following two points.
The etymology itself is similar to the word in Chinese, not a very positive word. By the 14th century, influenced by Zen Buddhism and so on, the concept began to be positively evaluated, thus integrating into the aesthetic consciousness of Japan. For example, the meaning of "Ao Bi" in the tea ceremony is not only rough, but also simple in appearance but rich in texture and will to pursue beauty. And Tazhao play, as written in The Second Record of Mountainous Zong, is also called "the poor tea man" who "does not hold on to one thing, but possesses consciousness, effort and technology". When Qian Zongdan arrived, a single "abusive species" Fu Ne-qia pulled out and shook barium to forgive him.
It can be seen from this that the "widow print" steals the beauty of "nothing" after the universal meaning of the secular beauty. Zen's thought of "there is nothing at all" makes the "imprint" embody all the existing forms of beauty. In short, it refers to an intuitive way of life, emphasizing the discovery of beauty in imperfection and accepting the natural cycle of life and death.
The word silence was not a particularly beautiful concept at first. The ancient books such as The Grass in vain recorded that the word had a strong meaning in the ancient books. In the era of Shichong, the concept gained considerable attention in the world of haiku, and was incorporated into the artistic forms such as Nengle, and began to be theorized. "The abuse of wiping is not neon and restoring the quilt. Don't decorate it, just point to the spirit of its origin.
The photograph of Lunzo Kawabata has a faint feeling. It seems to say nothing, but it says everything.
Beauty implied, but not expressed. Before the Meiji Restoration, Japan was mainly influenced by Chinese traditional culture. In the field of aesthetics, the combination of "art" as a skill and "Tao" as a principle forms the idea of "art and Tao". Among them, Hege was once regarded as the most important part of Yidao. Fujihara Juncheng (1114-1204) is the author of The Thousand Years Collection, and his son Fujihara (1162-1241) is one of the authors of The New Ancient and Modern Collection. They think that skill training is very important, but only by focusing on skill, the principle or "Tao" will be weakened. Therefore, he advocates transcending the training of pure skills and pursuing the cultivation of internality in order to achieve the realm of "mysterious beauty".
Instead of pursuing skills, they seek inspiration from life and turn them into emotional photographs. It's something that people who just stay on the surface and pursue big apertures and fresh tones don't have.
Although Japanese traditional aesthetics is very close to modern Japanese aesthetics, it is not without turning point in the process of development. In 1989, the world's smallest fully automatic camera, big mini, came into being, which boasts compact, easy to use and cheap. The moment attracted the eyes of young women. More and more women are joining the photography circle, taking photography as their daily entertainment, while manufacturers are looking at the emerging market of women. Publishing houses and advertisers are making great efforts to use young women as propaganda, which also makes more women join the photography circle.
Thereafter, some excellent female photographers shined brightly in international competitions, which had a very significant impact on the whole photographic culture. Initially, women who took photography as their own entertainment did not pay much attention to equipment and skills, and took photos casually. Most of the objects were family members, friends and life clips.
This is very different from the way men took pictures at that time. Men generally have more pursuit of skills, more complete inspiration, intentions and shooting plans, while women think emotionally. Closely linked, female photographers have created a larger market, and business opportunities have greatly increased the influence of female photographers.
With the participation of women, Japanese photography has become a new language, changing the way of expression of a whole generation in photography, resulting in the formation of the current Japanese photography trend. When this trend spread to other parts of Asia, everyone rushed to imitate it.
Modern Japanese is based on life, and its focus is not on technology and equipment. I remember when this photo became popular on the Internet, as a photographer, I often saw a lot of "technology is more important than equipment" argument, "This is an AE86 win GT-R race" argument. But the point is not technology!
Others are saying: good equipment is not equal to good technology, the most important thing is technology! I want to correct the idea that equipment is only a low-level thing and can be purchased with money. But technology is also a low-level thing for people, as long as they are willing to take the time to learn, the theory that is difficult to understand will eventually be able to integrate. But what is higher than technology? I think it's inspiration and emotional experience.？。
Inspiration is rare. Only the inspiration from the heart can sublimate the work to a new level. It may be the reaction of simply loving photography, or the reaction of simply liking to be photographed, objects and people. But those are not accidental, but years of hard work, plus a bit of "just the luck of visiting" and the weather and geography can create. Hardship is more precious.
What is higher than inspiration is emotion. In the course of decades of life, no one brings anything here, nor can anyone take anything away. Only the experiences in life are the proof of survival. Happiness is like this, sadness is like this, disappointment, worry, ecstasy, expectation... The positive and negative are emotions.
"If you have a heart or a feeling, you will have regrets." Emotions are people's perception and response to reality when they live in the world.“、，。”――，。
Only by truly experiencing these feelings and showing them can a photograph have a soul. Without these things, the photographer is just a passer-by, just a shutter-press recorder, in which there is no "oneself".
So, those really great photographers either have experienced profound stories or are extremely sensitive to life. Without these past, they are not so powerful, and there is no depth in their works. It is impossible to buy, learn or wait.
Equipment and technology are low-level things, so how can we touch the true face of Japanese photography? Cut it down to its essence, but don't strip it of rhyme, keep it clean and pure, but don't deprive it of vitality. "equipment、，？ ――「，，，。」
Sometimes I wonder why some photographers'works are so flattering that they can't be understood at all. Some photographers are so diligent in launching their works that they have perfect photographic skills, but they can only serve as second-rate photographers.
I used to think it was because of luck, luck, or lack of good marketing skills. Later, I read more biographies and literary works of those photographers. It feels like I'm beginning to understand why - to become a "born" person, first of all, to "join the WTO".
It's like a picture of Samurai Jingwei. I only read his words before I slowly understand his photos. After his wife Yangzi died, the sky became that color in his eyes.
Like the photograph of Ishikawa V-Tree, taking pictures was the most real feeling at that time. When my daughter was told that she had an incurable heart disease at birth, everything would be so truly understood.
Of course, there are many other examples. It was not because there were not enough high-level photographic techniques (the Masters'works were not very technical), but because there was not enough life experience to understand. Perhaps the essence of photography is practice, just like the protagonist in the film, only those who have bitterly passed through life but still have emotions can peep at the Tao of Heaven. The Japanese system originates from the most authentic experience of life.，，。