{"slug":"art-not-excuse","title":"这照片能得奖？别拿“艺术”当圈子文化的遮羞布！","author":"Thomas看看世界","date":"2023-07-16","wechat":"https://mp.weixin.qq.com/s?__biz=MzI4NDA5MzE5NQ==&mid=2247497731&idx=1&sn=7b72df8bff2442e4d12cebcf0d333a0a&chksm=eb820667dcf58f7195b0a3f65a1cf16d63155e39049f058fbdc70b08239d3365ca821159e2de&scene=21#wechat_redirect","blocks":[{"t":"p","x":"很多朋友都让我点评一下《运河魅影》获奖事件，思来想去，虽然非常得罪人，但我还是直接说结论：","b":false,"xe":"Many friends have asked me to comment on the award-winning \"Canal Phantom\" (《运河魅影》) incident. After much deliberation, although it may offend people, I will just state my conclusion directly:"},{"t":"p","x":"1）《运河魅影》照片整体水平并不高","b":false,"xe":"1) The overall level of the \"Canal Phantom\" photo is not high"},{"t":"p","x":"2）这么大年纪还尝试一些新的手法，摄影师本人并不应该被过多指责","b":false,"xe":"2) At his age, still trying new approaches, the photographer himself should not be overly blamed"},{"t":"p","x":"3）真正应该质疑的是主办方，为何把这样明显的“习作”作品选入大展。这背后折射出的只看关系不看水平的圈子文化不除，中国如何从经济大国走向文化强国？","b":false,"xe":"3) What should really be questioned is the organizer: why select such an obvious \"student exercise\" for the major exhibition. Unless the coterie culture behind this - which values connections over skill - is eradicated, how can China move from an economic power to a cultural power?"},{"t":"img","f":"img-01","w":1080,"h":608},{"t":"p","x":"本周的摄影教程并不是情绪输出，而是会从三个教学维度展开：","b":false,"xe":"This week's photography tutorial is not just venting emotion; it unfolds from three teaching dimensions:"},{"t":"h","x":"1）虚焦模糊的照片可以拍的很美吗？","xe":"1) Can out-of-focus, blurry photos be beautiful?"},{"t":"h","x":"2）如何用动感和虚焦呈现观念与主题？","xe":"2) How can motion and defocus convey concepts and themes?"},{"t":"h","x":"3）摄影史上有哪些有名的模糊作品？","xe":"3) What famous blurred works are there in the history of photography?"},{"t":"img","f":"img-02","w":1080,"h":608},{"t":"p","x":"教程中会引用Henrifilm，anissadphotography，Todd Hido，布列松，卡帕，爱德华施泰钦，曼雷，杉本博司，深濑昌久等等摄影师的模糊作品为案例。","b":false,"xe":"The tutorial will cite blurred works by photographers such as HenriFilm, anissadphotography, Todd Hido, Bresson, Capa, Edward Steichen, Man Ray, Hiroshi Sugimoto, and Masahisa Fukase as case studies."},{"t":"p","x":"到底这组作品获奖是因为\"艺术\"还是因为其他原因，看完你也能对类似照片做出客观公正的评价啦。","b":false,"xe":"Whether this set won the award because of \"art\" or for other reasons, after watching, you will be able to make an objective and fair assessment of similar photos too."},{"t":"h","x":"视频","xe":"Video"},{"t":"bili","bv":"BV1dh4y1j7fj","bpic":"bili-1","bt":"这能得奖？别拿“艺术”当圈子关系的遮羞布！"},{"t":"p","x":"这一篇是上面视频的图文整理。一组虚焦模糊的《运河魅影》入选大型摄影展，引发了「这也能得奖」的争论。Thomas 没有停留在情绪输出，而是把它变成一堂摄影课：模糊的照片可以很美吗？如何用模糊呈现观念？模糊在摄影史里到底是不是创新？下文按这三条线索整理了视频的完整内容与例片。","xe":"This is the illustrated companion to the video above. When a set of blurry canal photographs titled 'Canal Phantom' was selected for a major exhibition, the internet asked: this can win a prize? Rather than venting, Thomas turns it into a photography lesson: can blur be beautiful? How can blur serve an idea? And is blur even an innovation in photographic history? The notes below follow those three threads with all the example images.","b":false},{"t":"img","f":"v01","w":852,"h":480},{"t":"h","x":"01 事件回顾与三个问题","xe":"01 The Incident and Three Questions"},{"t":"p","x":"先说结论：这组《运河魅影》整体水平并不高，但虚焦模糊的手法本身不是问题——模糊同样可以拍得很有创意、很有美感。六七十岁的老教授仍愿尝试新的创作手法，值得鼓励和尊敬；真正该质疑的是主办方，为什么把这样明显的习作选入大展（视频 0:59 处）。","xe":"First, the conclusion: 'Canal Phantom' as a set is not strong, but blur itself is not the problem — out-of-focus photographs can be creative and beautiful. A professor in his sixties or seventies still experimenting with new techniques deserves encouragement and respect; what deserves scrutiny is the organizer that selected such an obvious student exercise for a major exhibition (at 0:59 in the video).","b":false},{"t":"img","f":"v02","w":852,"h":480},{"t":"img","f":"v03","w":852,"h":480},{"t":"p","x":"之所以人们对此深恶痛绝，是因为大家痛恨只看关系、不看作品的圈子文化。要客观评价，就得回到三个问题：模糊可以美吗？模糊能为观念服务吗？模糊算创新吗？接下来的章节逐一回答（视频 1:24 处）。","xe":"The public outrage runs deeper: people despise a circle culture that values connections over work. To judge objectively, return to three questions — can blur be beautiful? Can it serve an idea? Is it innovative? The following chapters answer them one by one (at 1:24 in the video).","b":false},{"t":"h","x":"02 模糊可以很美","xe":"02 Blur Can Be Beautiful"},{"t":"p","x":"先看美好的例子：Henri Film 的组片模糊至极，但色彩与情绪都极为出色；Todd Hido 则借雾天和特殊镜头的焦外，把夜色拍得朦胧而忧郁；IPPA 2018 的获奖作品用手机的多重曝光做出了如画般的模糊质感（视频 1:55 处）。","xe":"Start with the good ones: Henri Film's series is blurred to the extreme yet superb in color and mood; Todd Hido uses fog and special lens rendering to make night scenes hazy and melancholic; an IPPA 2018 winner built a painterly blur with multiple exposures on a phone (at 1:55 in the video).","b":false},{"t":"img","f":"v04","w":852,"h":480},{"t":"p","x":"人像也可以不把人拍「实」：用动感与虚焦，一张照片能拍出人物的洒脱飘逸，另一张能拍出内心的情绪——远处模糊的背影配上朦胧的环境，氛围感十足。在当代肖像摄影中，这类手法已经非常常见（视频 2:30 处）。","xe":"Portraits need not be tack-sharp either: with motion and defocus, one image captures a subject's free-spirited grace, another their inner emotion — a blurred distant figure inside a hazy setting is thick with atmosphere. Such approaches are common in contemporary portraiture (at 2:30 in the video).","b":false},{"t":"img","f":"v05","w":852,"h":480},{"t":"h","x":"03 模糊为观念服务","xe":"03 Blur in the Service of Ideas"},{"t":"p","x":"照片未必要美，模糊也可以用来表达观念。同样是拍爱侣，一实一虚两张，Thomas 更喜欢虚的那张——爱到昏天黑地的状态，本就该用模糊来呈现（视频 4:03 处）。他自己拍烂尾楼时也故意用虚焦：万家灯火的斑斓是业主的向往，八九年的等待让这份希望越来越不真实、越来越模糊（视频 4:28 处）。","xe":"A photograph need not be beautiful; blur can carry an idea. Of a couple shot twice — sharp and blurred — Thomas prefers the blurred one: love that turns the world upside down is best rendered as blur (at 4:03 in the video). For his unfinished-buildings project he also chose defocus on purpose: the colorful city lights were the owners' hope, and after eight or nine years of waiting that hope grows less and less real, more and more blurred (at 4:28 in the video).","b":false},{"t":"img","f":"v06","w":852,"h":480},{"t":"img","f":"v07","w":852,"h":480},{"t":"p","x":"杉本博司的《建筑》系列更极端：把安藤忠雄等建筑大师的作品全部拍虚，只为拍出建筑的「魂魄」。虽然很虚，你仍能认出光之教堂——模糊到极限却依然站得住设计感，观念与手法严丝合缝（视频 5:26 处）。对比之下，《运河魅影》声称要表现朦胧之美，但蓝色调加模糊动感反而透出恐怖压抑，手法与意图并不匹配（视频 6:15 处）。","xe":"Hiroshi Sugimoto's 'Architecture' goes further: he renders buildings by masters like Tadao Ando completely out of focus, trying to photograph their soul. Even blurred, you still recognize the Church of the Light — pushed to the limit, the design sense survives, idea and method perfectly matched (at 5:26 in the video). By contrast, 'Canal Phantom' claims hazy beauty, yet its blue tones and motion blur read as eerie and oppressive — method and intention out of joint (at 6:15 in the video).","b":false},{"t":"img","f":"v08","w":852,"h":480},{"t":"h","x":"04 摄影史里的模糊：从画意到卡帕","xe":"04 Blur in Photographic History: From Pictorialism to Capa"},{"t":"p","x":"至于「拓宽摄影边界」的辩解——模糊根本不新。深濑昌久的《鸦》大量使用抖动与模糊，拍出迷离、狂躁乃至绝望的心境；画意摄影时代，J. Dudley Johnston 1899 年的《利物浦印象》就是一张著名的「模糊」作品，斯泰肯等人更是刻意用柔焦模仿绘画（视频 5:01 处）。","xe":"As for the defense of 'widening photography's boundaries' — blur is not new. Fukase Masahisa's 'Ravens' leaned on shake and blur to express disorientation, mania and despair; in the Pictorialist era J. Dudley Johnston's 'Liverpool Impression' (1899) was already a celebrated 'blurred' image, and Steichen and peers deliberately used soft focus to imitate painting (at 5:01 in the video).","b":false},{"t":"img","f":"v09","w":852,"h":480},{"t":"img","f":"v10","w":852,"h":480},{"t":"p","x":"再到罗伯特·卡帕的诺曼底登陆：底片抖动、焦点模糊，却比拍实更好——因为它把登陆时刻的生死一线、惊心动魄原样带了回来。1917 年就有人尝试摇动相机的抽象实验，曼雷更有大量模糊的超现实作品。模糊虚焦在现代摄影中随处可见，谈不上个人创新（视频 7:52 处）。","xe":"Then Robert Capa's D-Day: the negative shakes, the focus swims, yet it is better than sharp — it carries back the precipice between life and death on Omaha Beach. Abstract camera-swing experiments existed by 1917, and Man Ray left plenty of surreal blur. Blur and defocus are everywhere in modern photography; they are hardly a personal innovation (at 7:52 in the video).","b":false},{"t":"img","f":"v11","w":852,"h":480},{"t":"h","x":"05 结论：该追问的是主办方","xe":"05 Conclusion: Question the Organizer, Not the Medium"},{"t":"p","x":"所以回到开头：老教授尝试新手法值得鼓励，但把水平不高的习作选入大展，要么暴露了主办方审美的欠缺，要么印证了人们对圈子文化的怀疑——只看关系、不看水平。互联网时代观众并不好糊弄，从美感、摄影史、艺术史任何一个角度评价，这是一组水平很弱的作品，选入大展无疑是在侮辱观众的智商（视频 9:40 处）。","xe":"So back to the start: the professor's experimentation deserves encouragement, but selecting a weak exercise for a grand exhibition either exposes the organizer's poor taste or confirms suspicions of a connections-first circle culture. Internet-era audiences are not easily fooled; judged by beauty, photographic history or art history alike, these are weak works — exhibiting them insults the audience's intelligence (at 9:40 in the video).","b":false},{"t":"img","f":"v12","w":852,"h":480},{"t":"quote","x":"1. 模糊不是原罪：它可以很美，也可以承载观念，但它不是水平不足的挡箭牌；2. 手法要与意图匹配——想拍朦胧之美，就别让色调和动感讲出恐怖的故事；3. 谈创新前先看摄影史：画意摄影、《鸦》、杉本博司与卡帕早就把模糊用透了；4. 真正需要回答问题的，永远是选片的机制，而不是尝试新事物的老人。","xe":"1. Blur is no sin: it can be beautiful and can carry ideas, but it is no alibi for weak work; 2. Method must match intent — if you want hazy beauty, don't let the palette and motion tell a horror story; 3. Before claiming innovation, read photographic history: Pictorialism, 'Ravens', Sugimoto and Capa exhausted blur long ago; 4. The one who must answer questions is always the selection mechanism, not the old man trying something new."},{"t":"h","x":"高清视频：","xe":"HD video:"},{"t":"p","x":"https://www.bilibili.com/video/BV1dh4y1j7fj/","b":false,"xe":"https://www.bilibili.com/video/BV1dh4y1j7fj/"},{"t":"h","x":"PPT","xe":"PPT"},{"t":"img","f":"img-03","w":1080,"h":608},{"t":"img","f":"img-04","w":1080,"h":608},{"t":"img","f":"img-05","w":1080,"h":608},{"t":"img","f":"img-06","w":1080,"h":608},{"t":"img","f":"img-07","w":1080,"h":608},{"t":"img","f":"img-08","w":1080,"h":608},{"t":"img","f":"img-09","w":1080,"h":608},{"t":"img","f":"img-10","w":1080,"h":608},{"t":"img","f":"img-11","w":1080,"h":608},{"t":"img","f":"img-12","w":1080,"h":608},{"t":"img","f":"img-13","w":1080,"h":608},{"t":"img","f":"img-14","w":1080,"h":608},{"t":"img","f":"img-15","w":1080,"h":608},{"t":"img","f":"img-16","w":1080,"h":608},{"t":"img","f":"img-17","w":1080,"h":608},{"t":"img","f":"img-18","w":1080,"h":608},{"t":"img","f":"img-19","w":1080,"h":608},{"t":"img","f":"img-20","w":1080,"h":608},{"t":"img","f":"img-21","w":1080,"h":608},{"t":"img","f":"img-22","w":1080,"h":608},{"t":"img","f":"img-23","w":1080,"h":608},{"t":"img","f":"img-24","w":1080,"h":608},{"t":"img","f":"img-25","w":1080,"h":608},{"t":"img","f":"img-26","w":1080,"h":608},{"t":"img","f":"img-27","w":1080,"h":608},{"t":"img","f":"img-28","w":1080,"h":608},{"t":"img","f":"img-29","w":1080,"h":608},{"t":"img","f":"img-30","w":1080,"h":608},{"t":"img","f":"img-31","w":1080,"h":608},{"t":"img","f":"img-32","w":1080,"h":608},{"t":"img","f":"img-33","w":1080,"h":608},{"t":"img","f":"img-34","w":1080,"h":608},{"t":"img","f":"img-35","w":1080,"h":608},{"t":"img","f":"img-36","w":1080,"h":608},{"t":"img","f":"img-37","w":1080,"h":608},{"t":"img","f":"img-38","w":1080,"h":608},{"t":"img","f":"img-39","w":1080,"h":608},{"t":"img","f":"img-40","w":1080,"h":608},{"t":"img","f":"img-41","w":1080,"h":608},{"t":"img","f":"img-42","w":1080,"h":608},{"t":"img","f":"img-43","w":1080,"h":608},{"t":"img","f":"img-44","w":1080,"h":608},{"t":"img","f":"img-45","w":1080,"h":608},{"t":"img","f":"img-46","w":1080,"h":608},{"t":"img","f":"img-47","w":1080,"h":608},{"t":"img","f":"img-48","w":1080,"h":608},{"t":"img","f":"img-49","w":1080,"h":608},{"t":"img","f":"img-50","w":1080,"h":608},{"t":"img","f":"img-51","w":1080,"h":608},{"t":"img","f":"img-52","w":1080,"h":608},{"t":"img","f":"img-53","w":1080,"h":608},{"t":"img","f":"img-54","w":1080,"h":608},{"t":"img","f":"img-55","w":1080,"h":608},{"t":"img","f":"img-56","w":1080,"h":608},{"t":"img","f":"img-57","w":1080,"h":608},{"t":"h","x":"对于这次事件你怎么看？欢迎大家在评论区留言讨论~","xe":"What do you think about this incident? Feel free to leave a comment and join the discussion~"}],"titleEn":"This Photo Won an Award? Do Not Use \"Art\" as a Fig Leaf for Coterie Culture!"}