{"slug":"photoshopped-still-documentary","title":"PS过的照片，还能叫纪实摄影吗？","author":"Thomas看看世界","date":"2022-08-28","wechat":"https://mp.weixin.qq.com/s?__biz=MzI4NDA5MzE5NQ==&mid=2247495953&idx=1&sn=d5ba413d159d3fb71bf97d51dc89e6f6&chksm=eb820f75dcf586638542db307668100f6c8df2cf5e31ede4f9eb531a1f640396161ea6dcbabe&scene=21#wechat_redirect","blocks":[{"t":"p","x":"一张后期调色过的照片，能叫纪实摄影吗？","b":false,"xe":"Can a photo color-graded in post still be called documentary photography?"},{"t":"p","x":"一张PS合成的照片，也能叫纪实照片吗？","b":false,"xe":"Can a composite Photoshopped photo also be called a documentary photo?"},{"t":"p","x":"一张请演员摆拍的照片，还能叫纪实吗？","b":false,"xe":"Can a photo staged with actors still be called documentary?"},{"t":"img","f":"img-01","w":1080,"h":608},{"t":"p","x":"今天的摄影教程中，Thomas会和大家探讨一个很有意思的话题。","b":false,"xe":"In today's photography tutorial, Thomas will discuss a very interesting topic with everyone."},{"t":"p","x":"或许看到最后，你会对艺术纪实和传统纪实，产生更多的思考。","b":false,"xe":"Perhaps by the end, you'll think more deeply about artistic documentary and traditional documentary."},{"t":"h","x":"视频","xe":"Video"},{"t":"bili","bv":"BV1fB4y1x7uJ","bpic":"bili-1","bt":"PS过的照片，还能叫纪实摄影吗？"},{"t":"p","x":"这一篇是上面视频的图文整理。一张后期大幅调色的照片能算纪实摄影吗？一张 PS 合成、场景和模特都是专门安排的照片呢？这期教程里，Thomas 借着当时重庆山火中一张合成照片引发的讨论，聊了聊「真实」的两个层次，以及为什么他认为这类照片不属于新闻纪实、却可以称为「艺术纪实」。","xe":"This is the illustrated companion to the video above. Can a heavily color-graded photo still count as documentary? What about a PS composite where the scene and models were all specially arranged? In this tutorial, prompted by the debate around a composite photo that circulated during the Chongqing wildfire, Thomas discusses the two levels of \"truth\" and argues that while such photos are not news documentary, they can deserve the name of \"art documentary\".","b":false},{"t":"p","x":"先看核心观点的框架。视频 1:35 处的这张要点页，把「真实」拆成了两个层面——物理的、瞬间的、细节的真实，与内涵的、时代的、深度的真实。整期内容的论证都建立在这张图上。","xe":"First, the core framework. This slide from 1:35 in the video splits \"truth\" into two levels — physical, momentary, detail-level truth, and conceptual, era-level, depth-level truth. The whole argument of the video is built on this one chart."},{"t":"img","f":"v01","w":852,"h":480},{"t":"h","x":"01 一张合成照片引发的讨论","xe":"01 A Composite Photo Sparks the Debate"},{"t":"p","x":"话题的由头是当时的新闻：重庆山火期间，一位摄影师合成了一张致敬奔赴前线的摩托车友的照片，在传播过程中，这张照片渐渐丢失了「合成」的信息，大家都以为这是真实拍摄的场面；直到摄影师亲自澄清（视频 0:56 处）。有意思的是评论区的反应——大家并没有过多反感（视频 1:10 处），而这与我们平时一谈到 PS、一谈到后期，就觉得它破坏摄影真实性的直觉态度形成了鲜明对比。","xe":"The trigger was a news event: during the Chongqing wildfire, a photographer created a composite photo as a tribute to the motorcyclists riding supplies to the front line. As it spread, the photo gradually lost its \"composite\" label — everyone assumed it was a real photograph — until the photographer himself clarified (at 0:56 in the video). The interesting part was the comment section: people were not particularly offended (at 1:10 in the video), which stands in sharp contrast to our usual instinct that Photoshop and post-processing destroy photography's truthfulness."},{"t":"img","f":"v02","w":852,"h":480},{"t":"h","x":"02 真实分两个层次","xe":"02 Truth Has Two Levels"},{"t":"p","x":"为什么会有这样的区别？Thomas 认为，真实其实分很多层次：一方面是物理上的真实、瞬间的真实、细节上的真实；另一方面是内涵上的真实、时代上的真实，或者说一种深度上的真实（视频 1:33 处）。一个最简单的问题：物理上真实的照片，内涵就一定真实吗？","xe":"Why the difference? Thomas argues that truth has many levels: on one side, physical truth, momentary truth, detail-level truth; on the other, conceptual truth, truth to the era — depth-level truth (at 1:33 in the video). Here is the simplest test: does a physically truthful photo necessarily carry truthful content?"},{"t":"p","x":"答案是否定的。前几年疫情期间，一些西方媒体的报道拍的都是「真实照片」：比如超市里 99% 的货架都是满的，他们却专门挑那一个空着的货架去拍——物理上、瞬间上真实，但从广义的时间、从内涵的真实性上讲，这并不是一张真实的照片（视频 2:18 处）。","xe":"The answer is no. During the pandemic years, some Western media reported with \"real photos\": in a supermarket where 99% of the shelves were full, they would deliberately pick the one empty shelf to shoot — physically and momentarily true, yet in terms of broader time and conceptual truth, not a truthful photo at all (at 2:18 in the video)."},{"t":"p","x":"反过来，很多经典的传统纪实照片，在那一瞬间、一定程度上并不完全真实。二战的许多经典照片都有一定程度的摆拍，比如硫磺岛升旗（视频 2:57 处）；威廉·克莱因那张拿着枪对镜头的小男孩，最初其实是笑着的，是克莱因告诉他「能不能更愤怒一点，能不能更愤怒地用枪指着我」，才诞生了这张摄影史上的经典（视频 3:07 处）。说实话，绝大部分优秀的传统纪实照片更打动我们的，并不是物理上的真实，而是它们对人性、对社会、对时代的刻画，甚至对事件的传播与解决起到的作用（视频 3:27 处）。","xe":"Conversely, many classic traditional documentary photos were not entirely truthful in that instant. A good number of iconic World War II photos involved a degree of staging — the Iwo Jima flag-raising among them (at 2:57 in the video); and the boy pointing a gun at the camera in William Klein's famous frame was smiling at first — Klein told him, \"Can you look angrier? Can you point the gun at me more angrily?\" — and only then was that classic of photographic history born (at 3:07 in the video). Honestly, what moves us most in the great traditional documentary photos is not their physical truth but their portrayal of humanity, society and their era, and even the role they played in spreading and resolving events (at 3:27 in the video)."},{"t":"img","f":"v03","w":852,"h":480},{"t":"img","f":"v04","w":852,"h":480},{"t":"h","x":"03 艺术纪实：另一条路","xe":"03 Art Documentary: Another Path"},{"t":"p","x":"那什么是艺术纪实？视频 3:51 处的这张卡片给出了定义：通过一定创意性的视觉语言和创作手段，去呈现事件和时代的整体面貌、情感特点或者深度思考。它和传统纪实的区别，只是创作方式上的——传统纪实靠真实地定格一张照片，艺术纪实可以用摆拍、创造场景、一定的 PS 后期去呈现广义的社会真实——其追求和内核并未改变（视频 4:01 处）。创作方式的变化，更多是为了注入摄影师个人的视角和想法，以及适应社交媒体时代对单张照片的传播需要。","xe":"So what is art documentary? This card from 3:51 in the video gives the definition: using creative visual language and methods of making to present the overall face of an event and an era, its emotional character, or deeper reflection. Its difference from traditional documentary lies only in the method — traditional documentary freezes a real moment, while art documentary may use staging, constructed scenes and a measure of post-processing to present a broader social truth — with its pursuit and core unchanged (at 4:01 in the video). The changed method serves mostly to inject the photographer's personal perspective, and to meet the social-media era's demand for single images that travel."},{"t":"img","f":"v05","w":852,"h":480},{"t":"p","x":"如今是手机摄影和多媒体视频的时代，平面摄影的纪录功能越来越弱，一张照片想从每天上传的海量图片中脱颖而出也越来越难——这也倒逼摄影师必须注入个人思考、个人视角，进行一些视觉上的处理（视频 4:32 处）。视频里举的例子是摄影师王庆松的置景作品《跟你学》：任何一个有 80 后、90 后应试教育经历的人看到它，都会觉得它极其真实地反映了我们当年的心理状态和整体环境（视频 4:57 处）。","xe":"We now live in the era of mobile photography and multimedia video: still photography's documentary function keeps weakening, and it is harder than ever for one photo to stand out from the ocean uploaded every day — which forces photographers to inject personal thinking and perspective, and to do visual processing of their own (at 4:32 in the video). The example given is the staged work \"Follow You\" by photographer Wang Qingsong: anyone with the exam-oriented education experience of the post-80s and post-90s generations will feel it reflects, with startling truth, the psychology and overall environment of our school years (at 4:57 in the video)."},{"t":"img","f":"v06","w":852,"h":480},{"t":"p","x":"而且正因为这是一组置景摆拍的图片，摄影师可以控制每一个局部——在几米长的原作上，你能看到大量被刻意植入的象征、隐喻和符号（视频 5:21 处）。这种深度和代表性反而更强了。想了解教育制度、了解当时学生的现状，你可以去看纪录片或文献资料；但真正「一图胜千言」的作品，就是这样的照片（视频 5:55 处）。","xe":"And precisely because it is a staged, set-built group of images, the photographer controls every detail — on the several-meter-long original you can find countless deliberately planted symbols, metaphors and signs (at 5:21 in the video). Its depth and representativeness are thereby strengthened. To understand the education system and the state of students back then, you can watch documentaries or read the literature; but the work that is truly \"worth a thousand words\" is a photo like this (at 5:55 in the video)."},{"t":"h","x":"04 火车看中国：真实元素的创意合并","xe":"04 Trainscape China: Creatively Merging Real Elements"},{"t":"p","x":"Thomas 自己这几年在创作《火车看中国》系列。他的原则是：窗外和窗内的景色都经过真实拍摄，不经过任何 PS 的元素修改；但在窗内与窗外的搭配上，会加入创意性的想法（视频 6:08 处）。比如视频 6:27 处这张图，左边是最终成片，右边是两张原图——分别拍摄于同一趟火车的车窗外和车窗内。","xe":"Thomas himself has been working on his \"Trainscape China\" series for years. His principle: the views outside and inside the window are both genuinely photographed, with no PS modification of elements; but in pairing inside and outside he adds creative ideas (at 6:08 in the video). For example, in the image at 6:27 in the video, the left is the final piece and the right shows the two originals — shot respectively through the window and inside the carriage of the same train."},{"t":"img","f":"v07","w":852,"h":480},{"t":"p","x":"为什么要合并？如果只看右上那张原图：一个人挺有意思，但你完全不知道这是在火车上拍的；右下那张原图里行李箱很多、挺有意思，窗外却很普通。合并之后，首先视觉呈现更有冲击力和传播性；其次内涵上有了拓展的空间——窗内为什么有这些行李箱？它们和窗外修路工人的劳动息息相关，窗内与窗外因此在内涵和视觉上都形成了互动（视频 7:19 处）。另外还有很现实的原因：直接在车厢里拍，会有各种反光和景深问题（视频 7:43 处）。","xe":"Why merge them? Look only at the top-right original: the person is interesting, but you would never know it was shot from a train; in the bottom-right original the pile of suitcases is interesting, but the view outside is plain. Merged, the image first gains visual impact and shareability; second, its meaning gains room to expand — why are those suitcases inside the carriage? They connect intimately with the labor of the road workers outside, so inside and outside interact both conceptually and visually (at 7:19 in the video). There is also a practical reason: shooting directly inside the carriage means reflections and depth-of-field problems (at 7:43 in the video)."},{"t":"p","x":"另一张作品里，行李箱上的丝带和窗外的彩虹形成呼应，帽子上的鲜花则和五星红旗在视觉与含义上都形成互动（视频 8:02 处）。这些细节的呼应，都是合并创作才能带来的「立意」。","xe":"In another work, the ribbon on a suitcase echoes the rainbow outside the window, and the fresh flowers on a hat form a visual and conceptual dialogue with the national flag (at 8:02 in the video). Such echoing details are exactly the kind of meaning that merged composition makes possible."},{"t":"img","f":"v08","w":852,"h":480},{"t":"h","x":"05 烂尾楼的微光：大幅调色的情感真实","xe":"05 Glimmer in the Unfinished Building: The Emotional Truth of Heavy Grading"},{"t":"p","x":"他最近拍摄的「烂尾楼的微光」系列，则用到了大幅度的调色。视频 8:23 处展示了原图与成片的对比——对一张照片做传统纪实摄影、尤其是新闻摄影里绝对不允许的、完全的色彩修改。缺点很明确：它破坏了物理上、瞬间上的真实——烂尾楼业主们用的都是太阳能灯，那种灯光是惨白的，没有电灯的五颜六色（视频 8:43 处）。","xe":"His recent \"Glimmer in the Unfinished Building\" series uses heavy color grading. At 8:23 in the video he shows original and final side by side — a complete color modification that traditional documentary, and especially news photography, would absolutely forbid. The cost is clear: it breaks physical, momentary truth — the owners of the unfinished buildings rely on solar lamps, whose light is a pale, washed-out white, without the many colors of electric light (at 8:43 in the video)."},{"t":"img","f":"v09","w":852,"h":480},{"t":"p","x":"那为什么要把灯光处理成暖色调？因为他觉得，这些人在非常困难的环境下仍然有希望、仍然坚持努力地生活，这样的生活状态需要用暖色调的灯光去代表（视频 8:56 处）。也正是这样的创意性视觉呈现，才能让这组图片在社交媒体上得到传播、真正打动人心——而传播一定有利于事件的解决（视频 9:17 处）。后来当地一些业主把头像换成了这组图片，某种意义上说明：这组照片比较真实地反映了他们的诉求、心理状态和内心想法（视频 9:31 处）。","xe":"So why grade the lamps warm? Because Thomas feels that these people still hold hope and keep striving to live in very difficult circumstances — a state of life that warm lamplight can stand for (at 8:56 in the video). And it is exactly this creative visual presentation that lets the series travel on social media and truly move people — and that spread in turn helps resolve the situation (at 9:17 in the video). Later, some of the local owners changed their avatars to these photos — in a sense proof that the series rather truthfully reflected their demands, their state of mind, their inner voice (at 9:31 in the video)."},{"t":"img","f":"v10","w":852,"h":480},{"t":"p","x":"回到最初的问题：PS 过的照片还能叫纪实吗？每个人都有自己的答案。Thomas 最后强调的一点是：无论你继续以新闻纪实、传统纪实的方式创作，还是融入个人的艺术想法和艺术手段，真正称得上纪实的作品，一定是在追求人性的、社会的、时代上的更广义的真实（视频 10:44 处）。就像《火车看中国》，也许某个瞬间并不完全「真实」，但 10 年、20 年、50 年后再看，要了解当时的西藏，这组作品就是真实的（视频 10:15 处）。","xe":"Back to the original question: can a photoshopped photo still be called documentary? Everyone has their own answer. Thomas's final point: whether you keep working in the news-documentary, traditional-documentary mode or blend in personal artistic ideas and methods, work that truly deserves the name of documentary must pursue the broader truth of humanity, society and the era (at 10:44 in the video). Like \"Trainscape China\" — perhaps not entirely \"true\" in a single instant, but look at it in ten, twenty, fifty years, when you want to understand Tibet as it was, the series is the truth (at 10:15 in the video)."},{"t":"quote","x":"1. 真实分两个层次：物理的、瞬间的、细节的真实，与内涵的、时代的、深度的真实——物理真实的照片内涵未必真实；2. 传统纪实也常有摆拍，打动我们的从来是它对人性、社会与时代的刻画；3. 艺术纪实与传统纪实只差在创作手段，追求和内核并未改变；4. 无论手段如何，纪实作品的终极追求是更广义的真实——并能推动事件的传播与解决。","xe":"1. Truth has two levels: physical, momentary, detail-level truth versus conceptual, era-level, depth-level truth — a physically truthful photo is not necessarily truthful in content; 2. Traditional documentary often involves staging too — what moves us has always been its portrayal of humanity, society and the era; 3. Art documentary differs from traditional documentary only in method, not in pursuit or core; 4. Whatever the means, the ultimate aim of documentary is the broader truth — one that spreads and helps resolve the events it depicts."},{"t":"h","x":"高清视频：","xe":"HD video:"},{"t":"p","x":"https://www.bilibili.com/video/BV1fB4y1x7uJ/","b":false,"xe":"https://www.bilibili.com/video/BV1fB4y1x7uJ/"},{"t":"h","x":"其他相关教程：","xe":"Other related tutorials:"},{"t":"h","x":"《从小白到职业，普通摄影师不会分享的学习与创作方法论！》","xe":"\"From Beginner to Professional: Learning and Creation Methodology Ordinary Photographers Won't Share!\""},{"t":"p","x":"《摄影学习的4个阶段》","b":false,"xe":"\"The 4 Stages of Learning Photography\""},{"t":"h","x":"《提升审美？职业摄影师私藏的6大网站分享！》","xe":"\"Want to Improve Your Aesthetics? 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