{"slug":"leica-loba-2023-documentary","title":"中国摄影师获奖！2023徕卡奥斯卡·巴纳克奖解读，人文纪实怎么拍？","author":"Thomas看看世界","date":"2024-06-02","wechat":"https://mp.weixin.qq.com/s?__biz=MzI4NDA5MzE5NQ==&mid=2247499935&idx=1&sn=04f4ac2e12dbfc2bb923176ffa6d3619&chksm=eb823efbdcf5b7edc92e242aa1b882f9e3792999afce960c6ccb80a40f5d49a565ef7f71ea17&scene=21#wechat_redirect","blocks":[{"t":"p","x":"徕卡奥斯卡·巴纳克奖是一个水平相当高的世界性人文纪实类摄影比赛。","b":false,"xe":"The Leica Oskar Barnack Award is a world-class documentary and human-interest photography contest of a very high standard."},{"t":"p","x":"在今天的摄影教程中，Thomas会和大家一起赏析和学习2023年的两组获奖作品。","b":false,"xe":"In today's photography tutorial, Thomas will appreciate and learn from the two groups of winning works of 2023 with everyone."},{"t":"img","f":"img-01","w":800,"h":800},{"t":"p","x":"这些照片都是取材于摄影师身边，摄影师利用减法统一了组图的视觉风格，又绞尽脑汁的让每张照片看起来完全不一样，最重要的是他们都体现出了一种人文的关怀，这些细节都非常值得摄影爱好者们学习。","b":false,"xe":"These photos are all drawn from the photographers' surroundings. The photographers used subtraction to unify the visual style of each series while racking their brains to make every photo look completely different. Most importantly, they all embody a humanistic care — these details are very worth learning for photography enthusiasts."},{"t":"h","x":"视频","xe":"Video"},{"t":"bili","bv":"BV1jn4y1974p","bpic":"bili-1","bt":"中国摄影师获奖！2023徕卡奥斯卡·巴纳克奖解读，人文纪实怎么拍？"},{"t":"p","x":"这一篇是上面视频的图文整理。2023 年的徕卡奥斯卡·巴纳克奖（Leica Oskar Barnack Award）把全场大奖颁给了 Ismail Ferdous 的《Sea Beach》，把新人奖颁给了 Ziyi Le 的《New Comer》。Thomas 在视频里完整赏析了这两组作品，这篇图文把其中的看点与门道整理成文字，并配上视频关键帧截图，方便收藏回看。","xe":"This is the illustrated companion to the video above. In 2023 the Leica Oskar Barnack Award gave its main prize to Ismail Ferdous's \"Sea Beach\" and its newcomer award to Ziyi Le's \"New Comer\". Thomas walks through both winning series in the video; this article turns that commentary into text, paired with keyframe screenshots for easy reference and collection."},{"t":"img","f":"v01","w":852,"h":480},{"t":"img","f":"v02","w":852,"h":480},{"t":"h","x":"01 获奖两组：海滩与新移民","xe":"01 Two Winning Series: the Beach and the New Comers"},{"t":"p","x":"第一组《Sea Beach》来自常驻纽约、出生于孟加拉国的摄影师 Ismail Ferdous（视频 0:49 处）。他回到家乡最南端的科克斯巴扎尔海滩——孟加拉国最著名的海滨度假地——在冬天的每个正午，用闪光灯拍下海滩上的芸芸众生：游客、渔民、小贩、白领，千奇百怪的人生在这片沙滩上轮番上演。","xe":"The first series, \"Sea Beach\", comes from New York-based, Bangladesh-born photographer Ismail Ferdous (at 0:49 in the video). He returned to Cox's Bazar in the far south of his home country — the country's most popular seaside resort — and photographed the crowds on the beach at noon every winter day, with flash: tourists, fishermen, vendors and office workers, all manner of lives playing out on this strip of sand."},{"t":"img","f":"v04","w":852,"h":480},{"t":"p","x":"第二组《New Comer》则把镜头对准中国大城市的年轻人（视频 1:49 处）：正在青年期的他们，面对工作、爱情和生活的种种，有着迷茫而复杂的情绪。比如下面这张，旁边的人都在看手机，只有他直视镜头，一种「他者」的疏离感扑面而来（视频 8:59 处）。","xe":"The second series, \"New Comer\", turns the lens on young people in China's big cities (at 1:49 in the video): in the midst of youth, they face work, love and life with confused, complicated emotions. In the frame below, everyone around is looking at a phone while he stares straight into the camera — an outsider's sense of estrangement (at 8:59 in the video)."},{"t":"img","f":"v11","w":852,"h":480},{"t":"h","x":"02 统一：组照的减法","xe":"02 Unity: Subtraction in a Photo Series"},{"t":"p","x":"两组作品第一个值得学的点是「统一」。组照要有一致的形式感，靠的是摄影师主动做减法：Ferdous 只在冬天、每天正午、阳光明媚的时刻按下快门，而且全部使用闪光灯，所以整组照片的色调与光线高度统一（视频 2:50 处）。他不拍日落，也不拍蓝调夜景——只要插进一张这样的照片，整组看起来立刻会杂乱。","xe":"The first lesson from both series is unity. A coherent series comes from deliberate subtraction: Ferdous pressed the shutter only around noon on sunny winter days and always used flash, so the color and light across the whole series are remarkably consistent (at 2:50 in the video). He shot no sunsets and no blue-hour nights — a single such frame would make the whole series feel chaotic."},{"t":"img","f":"v07","w":852,"h":480},{"t":"p","x":"Thomas 自己拍《微光》系列时也是同样的逻辑：所有照片都在晚上拍。让一组照片形成统一的形式，很多时候就是要「挑天气、挑光线」，不符合的天气和光线干脆不拍。第二组的统一则体现在比例、色彩与情绪上：全身照、半身照保持一致的幅度；年轻人有快乐、迷茫、愤怒的各种瞬间，选取哪一种情绪来呈现，本身就是一场重要的减法（视频 3:46 处）。","xe":"Thomas followed the same logic in his own \"Glimmer\" (Weiguang) series: every frame was shot at night. Making a series cohere often means choosing your weather and light — and simply not shooting when conditions don't match. In the second series, unity lives in proportion, color and emotion: full-body and half-body framings stay within a consistent range, and choosing which emotion to show — joy, confusion or anger — is itself a crucial act of subtraction (at 3:46 in the video)."},{"t":"img","f":"v08","w":852,"h":480},{"t":"h","x":"03 变化：拒绝类型学的捷径","xe":"03 Variation: Refusing the Typological Shortcut"},{"t":"p","x":"统一不等于重复。Thomas 提醒，很多人拍组照喜欢走类型学的捷径——几十张照片构图几乎一模一样，但并不是所有题材都适合类型学表达，人文纪实恰恰需要更丰富的变化（视频 4:24 处）。想象一下在海滩上拍不同的人，很容易拍成「所有人都站着看镜头」的重复画面，而 Ferdous 照片里人物的动态极其丰富。","xe":"Unity does not mean repetition. As Thomas points out, many photographers take the typological shortcut — dozens of frames with nearly identical compositions — but not every subject suits typology, and documentary series especially call for richer variation (at 4:24 in the video). On a beach it would be easy to end up with the same \"everyone standing and staring at the lens\" picture over and over; Ferdous's subjects, by contrast, are full of movement."},{"t":"img","f":"v03","w":852,"h":480},{"t":"p","x":"上面这张卖棉花糖的小贩，半身构图让粉色与粉色呼应，色彩被突出到极致；另一张里是母亲与父亲分别带着孩子的背影；还有拾贝壳的人——他背后正好是一块青色的正方形，身前又形成一个红色的三角形，构成非常美的视觉结构（视频 5:27 处）。拎着拖鞋、西装盛装的人，提着手提包的年轻人背影，每个细节都在讲故事。","xe":"The cotton-candy vendor above uses a half-body composition echoing pink against pink, color pushed to its purest; another frame catches a mother and a father from behind, each carrying a child; there is also the shell picker — a cyan square right behind him and a red triangle forming in front, building a beautifully structured visual geometry (at 5:27 in the video). A man in formal attire carrying his slippers, the back view of a young man with a handbag — every detail tells a story."},{"t":"img","f":"v05","w":852,"h":480},{"t":"p","x":"再比如戴着墨镜骑马的人，现代与传统的元素在他身上交融，格外夸张也格外有趣；被人捡拾收集起来的海星，让照片的内涵更丰富；外国游客用半身照呈现，不是呆呆地看镜头，而是低头看见脚下小动物时微笑的瞬间；渔民收网整理渔具的瞬间，连人带环境与工具一起被拍下来（视频 6:38 处）。每一张的切入点都不一样，这正是组照里最难得的「不重样」。","xe":"Then there is the man riding a horse in sunglasses, modern and traditional fused in one figure — exaggerated and delightful; starfish gathered by collectors add layers of meaning; foreign tourists appear in half-body frames, not staring blankly at the lens but smiling as they notice small creatures at their feet; the fishermen are caught mid-haul together with their nets, gear and surroundings (at 6:38 in the video). No two frames take the same approach — the rarest quality in a series: never repeating itself."},{"t":"img","f":"v06","w":852,"h":480},{"t":"h","x":"04 对撞：沙滩上的传统与现代","xe":"04 Collision: Tradition and Modernity on the Sand"},{"t":"p","x":"这组照片的深层主题，是孟加拉国作为发展中国家传统与现代的对撞。有人西装革履、提着公文包，不像来度假，倒像来出差或团建；有人穿着皮鞋被海浪追打；人们的穿着从保守的传统服饰到盛装打扮再到朋克风格一应俱全，有人蹲在沙滩上捡小螃蟹和小贝壳，远处则是豪华的酒店与公寓（视频 7:13 处）。","xe":"The deeper theme of the series is the collision of tradition and modernity in Bangladesh, a developing country. Some arrive in suits with briefcases — less like vacationers than business travelers or a corporate retreat; some get chased by the waves in leather shoes; dress ranges from conservative traditional clothing to glamorous outfits to punk styles; some crouch to pick up tiny crabs and shells while luxury hotels and apartments rise in the distance (at 7:13 in the video)."},{"t":"img","f":"v09","w":852,"h":480},{"t":"p","x":"传统与现代的对撞、消费主义与传统文化的冲撞，在这片沙滩上表现得淋漓尽致。画面里还有南亚海滩特色的遮阳伞椅、破败的水房，处处透着地域特色——它和欧美的海滩、中国的海滩都不一样，摄影师把这种「唯一性」拍了出来（视频 7:56 处）。","xe":"The clash of tradition and modernity, of consumerism and traditional culture, plays out in full on this beach. Sun-umbrella chairs unique to South Asian beaches and a dilapidated pump house give the pictures their strong regional character — unmistakably different from beaches in Europe, America or China. The photographer captured that uniqueness (at 7:56 in the video)."},{"t":"img","f":"v10","w":852,"h":480},{"t":"h","x":"05 New Comer：道具与光线的隐喻","xe":"05 New Comer: Metaphors in Props and Light"},{"t":"p","x":"拍年轻人的家是很难的，稍不留神就会千篇一律。Ziyi Le 的办法是利用房间本身的道具，结合人物的情感与状态。有张照片的主人公是主播，环境直接说明了职业；另一张表现失业者的照片里，椅子前两条腿折了、歪倒在一边，恰恰隐喻了他此刻倾斜失意的人生状态（视频 9:12 处）。","xe":"Photographing young people at home is hard — the results easily blur together. Ziyi Le's solution was to use the props already in each room, woven together with the subject's emotions and state. In one picture the subject is a livestream host, and the environment tells you the profession; in another, about a jobless man, the front legs of a chair have snapped and toppled over — a metaphor for his tilted, dejected place in life at that moment (at 9:12 in the video)."},{"t":"img","f":"v12","w":852,"h":480},{"t":"img","f":"v13","w":852,"h":480},{"t":"p","x":"最精彩的是这张用光教科书般的照片，画面里一共出现了三种光：第一种是电脑屏幕，给脸打了光；第二种 Thomas 猜测是手机，照在墙壁上形成亮面，把人从昏暗背景里凸显出来；第三种是打开窗户，让楼外的灯光映射进来（视频 9:57 处）。复杂的光线结构，正好隐喻人物复杂的情绪，表情却依然自然舒服。","xe":"The most brilliant frame is a masterclass in lighting with three distinct sources: the first is the computer screen, lighting his face; the second, Thomas guesses, is a phone aimed at the wall, creating a bright plane that lifts the figure out of the dim room; the third is the open window, letting in lights from the building outside (at 9:57 in the video). The complex light structure mirrors the character's tangled emotions, while his expression stays natural and at ease."},{"t":"img","f":"v14","w":852,"h":480},{"t":"p","x":"这两组照片背后是实打实的时间：《Sea Beach》经过了四年的创作；《New Comer》里每个人自然的状态，也不是一句「能不能拍张照」能拍到的——摄影师花了大量工夫找到不同的人，慢慢沟通，成为朋友，让对方放下警惕（视频 10:52 处）。这样的人文纪实不是街头浅层的抓拍，而是直达人的本心、直达时代内核的观看，也是徕卡奥斯卡·巴纳克奖把两个奖项颁给这两位摄影师的原因。","xe":"Behind both series lies serious time: \"Sea Beach\" took four years to create, and the natural states in \"New Comer\" were never achieved with a quick \"may I take your picture\" — the photographer invested enormous effort finding different people, talking with them patiently, becoming a friend, letting them drop their guard (at 10:52 in the video). This kind of documentary photography is not superficial street snapping but a way of seeing that reaches the heart of a person and the core of an era — exactly why the Leica Oskar Barnack Award honored both photographers."},{"t":"quote","x":"1. 组照先做减法：统一天气、光线与拍摄时刻，情绪与景别也要取舍，形式感是约束出来的；2. 统一之中必须求变：拒绝类型学捷径，用动态、视角、色彩和道具让每张照片不重样；3. 道具与光线是隐喻的语言：一把歪倒的椅子、三重光源，就能写出人物的处境与情绪；4. 人文纪实靠时间直达人心：四年的拍摄、长期的沟通，被摄者放下警惕，照片才会自然。","xe":"1. Subtract first in a series: unify weather, light and shooting time, and be selective with emotions and framing — coherence comes from constraint; 2. Seek variation within unity: refuse the typological shortcut, using gesture, angle, color and props so no two pictures repeat; 3. Props and light are the language of metaphor: a toppled chair or three light sources can describe a person's situation and mood; 4. Documentary photography reaches the heart through time: four years of shooting and long-term communication let subjects drop their guard, and the pictures become natural."},{"t":"h","x":"比赛作品网址：","xe":"Contest works website:"},{"t":"p","x":"https://www.leica-oskar-barnack-award.com/en/","b":false,"xe":"https://www.leica-oskar-barnack-award.com/en/"},{"t":"h","x":"全部教程列表：","xe":"Full tutorial list:"},{"t":"h","x":"全部摄影教程目录 (2024.4.16更新)","xe":"Complete Photography Tutorial Index (updated 2024.4.16)"},{"t":"h","x":"高清视频：","xe":"HD video:"},{"t":"p","x":"https://www.bilibili.com/video/BV1jn4y1974p/","b":false,"xe":"https://www.bilibili.com/video/BV1jn4y1974p/"},{"t":"h","x":"获奖作品","xe":"Award-Winning Works"},{"t":"img","f":"img-02","w":1080,"h":608},{"t":"img","f":"img-03","w":1080,"h":608},{"t":"img","f":"img-04","w":800,"h":800},{"t":"img","f":"img-05","w":640,"h":800},{"t":"img","f":"img-06","w":640,"h":800},{"t":"img","f":"img-07","w":800,"h":800},{"t":"img","f":"img-08","w":800,"h":800},{"t":"img","f":"img-09","w":800,"h":800},{"t":"img","f":"img-10","w":800,"h":800},{"t":"img","f":"img-11","w":800,"h":800},{"t":"img","f":"img-12","w":800,"h":800},{"t":"img","f":"img-13","w":800,"h":800},{"t":"img","f":"img-14","w":800,"h":800},{"t":"img","f":"img-15","w":640,"h":800},{"t":"img","f":"img-16","w":800,"h":800},{"t":"img","f":"img-17","w":800,"h":800},{"t":"img","f":"img-18","w":800,"h":800},{"t":"img","f":"img-19","w":800,"h":800},{"t":"img","f":"img-20","w":800,"h":800},{"t":"img","f":"img-21","w":800,"h":800},{"t":"img","f":"img-22","w":800,"h":800},{"t":"img","f":"img-23","w":1080,"h":608},{"t":"img","f":"img-24","w":1080,"h":608},{"t":"img","f":"img-25","w":980,"h":800},{"t":"img","f":"img-26","w":980,"h":800},{"t":"img","f":"img-27","w":980,"h":800},{"t":"img","f":"img-28","w":980,"h":800},{"t":"img","f":"img-29","w":654,"h":800},{"t":"img","f":"img-30","w":654,"h":800},{"t":"img","f":"img-31","w":980,"h":800},{"t":"img","f":"img-32","w":980,"h":800},{"t":"img","f":"img-33","w":980,"h":800},{"t":"img","f":"img-34","w":980,"h":800},{"t":"img","f":"img-35","w":980,"h":800},{"t":"img","f":"img-36","w":980,"h":800},{"t":"img","f":"img-37","w":980,"h":800},{"t":"img","f":"img-38","w":980,"h":800},{"t":"img","f":"img-39","w":980,"h":800}],"titleEn":"A Chinese Photographer Won! 2023 Leica Oskar Barnack Award Explained — How to Shoot Documentary and Human-Interest Photography?"}