{"slug":"sugimoto-three-lessons","title":"亚洲最贵摄影师？我从杉本博司那获得的三点启发！","author":"Thomas看看世界","date":"2024-04-21","wechat":"https://mp.weixin.qq.com/s?__biz=MzI4NDA5MzE5NQ==&mid=2247499698&idx=1&sn=5f4956ed796c55e448435bbf0b2368a2&chksm=eb8201d6dcf588c04a57e773e7a44d7e7e1deae46b3691430e1aa524a70ada24ad90d19e2b40&scene=21#wechat_redirect","blocks":[{"t":"p","x":"前段时间，Thomas在北京UCCA观看了杉本博司《无尽的刹那》个人回顾展。","b":false,"xe":"Some time ago, Thomas viewed Hiroshi Sugimoto's solo retrospective \"The Infinite Moment\" (《无尽的刹那》) at UCCA in Beijing."},{"t":"p","x":"作为1张照片能卖上千万的摄影师，杉本博司的几十年艺术生涯能给我们什么样的启发？","b":false,"xe":"As a photographer whose single photos can sell for tens of millions, what inspiration can Hiroshi Sugimoto's decades-long artistic career give us?"},{"t":"p","x":"Thomas今天就会分享3点简单直观的收获，没有云里雾里的玄学，而是每个摄影爱好者和创作者都需要的底层思维！","b":false,"xe":"Today Thomas will share 3 simple and intuitive takeaways — no vague mysticism, but the underlying thinking every photography enthusiast and creator needs!"},{"t":"img","f":"img-01","w":1080,"h":1352},{"t":"h","x":"视频","xe":"Video"},{"t":"bili","bv":"BV1Lw4m1U7Nf","bpic":"bili-1","bt":"亚洲最贵摄影师？我从杉本博司那获得的三点启发！"},{"t":"p","x":"这一篇是上面视频的图文整理。Thomas 以受邀媒体身份在北京 UCCA 观看了杉本博司《无尽的刹那》个人回顾展——这位「亚洲最贵的摄影师」一张海景曾拍出上千万元。视频没有去谈艺术市场的运作，而是分享了他几十年艺术生涯中可以迁移到每个创作者身上的三点底层思维，并配上展览与作品的关键帧截图。","xe":"This is the illustrated companion to the video above. As invited media, Thomas visited Hiroshi Sugimoto's retrospective The Long Neverless — \"Endless Moment\" at UCCA in Beijing; the photographer once called \"Asia's most expensive\" sold a single seascape for over ten million RMB. Rather than dissecting the art market, the video distills three underlying lessons from his decades-long career that transfer to every creator, paired with keyframe screenshots of the exhibition and the works."},{"t":"p","x":"先看总览。第一点启发浓缩在这张卡上：好作品需要花时间——而时间的大头不在拍摄，在于策划、编辑与呈现这三大环节（视频 0:57 处）。下文逐一展开。","xe":"Start with the overview. The first lesson is condensed on this card: good work takes time — and most of that time is not spent shooting, but on planning, editing and presentation (at 0:57 in the video). Each is unpacked below."},{"t":"img","f":"v01","w":852,"h":480},{"t":"img","f":"v02","w":852,"h":480},{"t":"h","x":"01 好作品需要花时间","xe":"01 Good Work Demands Time"},{"t":"p","x":"很多人质疑 Thomas 之前「一张照片修四小时」的视频是本末倒置，但看看杉本博司的海景系列：累计拍摄跨越四十年，其中光是为了想清楚「为什么要拍海景、怎么拍海景」，就花了长达五年的时间（视频 1:24 处）。Thomas 把摄影分为四个流程——策划、拍摄、编辑与后期、呈现；多数人只关注拍摄，但它恰恰是占比最少的一环（视频 1:42 处）。","xe":"Many criticized Thomas's earlier video on spending four hours editing a single photo as putting the cart before the horse. But look at Sugimoto's Seascapes: the series spans forty years of shooting, of which a full five years went into thinking through why to photograph the sea and how (at 1:24 in the video). Thomas divides photography into four stages — planning, shooting, editing and post, and presentation; most people fixate on shooting, yet it is actually the smallest share of the work (at 1:42 in the video)."},{"t":"p","x":"呈现这件事，杉本博司做到了极致。看剧场系列的展览时，Thomas 发现每一张照片的银幕都有一种特别的、在发光的感觉——抬头观察，原来顶上真有两盏灯：一盏照亮整个画面，另一盏小型聚光灯，恰好打在照片里银幕的位置上（视频 2:33 处）。而每张剧场照片的银幕大小、位置都不一样，聚光灯就得逐一调整——这种展示层面的构思，正是「呈现」花时间的地方。","xe":"Sugimoto takes presentation to the extreme. Viewing the Theater series in the exhibition, Thomas noticed every screen glowing with a peculiar presence — looking up, there really were two lamps on the ceiling: one lighting the whole frame, and one small spotlight aimed precisely at where the screen sits inside the photograph (at 2:33 in the video). And since each theater photograph's screen differs in size and position, the spotlight must be adjusted one by one — presentation-level thinking like this is where time goes."},{"t":"img","f":"v03","w":852,"h":480},{"t":"img","f":"v04","w":852,"h":480},{"t":"p","x":"我们不必都办展览：发朋友圈时想想文字怎么配、怎么讲出一个更动人的故事；发九宫格时，选九张同色系、同风格、彼此有微妙联系的照片精心编排，而不是随手一放——这些都是触手可及的「呈现」（视频 2:57 处）。","xe":"We cannot all stage exhibitions: when posting to WeChat Moments, think about the words that accompany the images and how to tell a more moving story; when posting a nine-grid, pick nine photos of the same palette and style with subtle links between them and arrange them with care, instead of dumping them at random — these are presentations within everyone's reach (at 2:57 in the video)."},{"t":"h","x":"02 策划才是时间的大头","xe":"02 Planning Is Where the Hours Go"},{"t":"p","x":"策划阶段要问自己：为什么我要拍这样一组照片？它对我真的重要吗？需要哪些技术？杉本博司花了五年才摸索出拍海景需要什么天气、什么时间、什么光线，以及暗房要用什么技术，才能完美呈现这种干净的画面（视频 4:12 处）。即使是纯旅行拍照，也可以在出发前策划地点、找参考图、在地图上研究不一样的视角，并为阴天雨天准备备用方案（视频 4:30 处）。","xe":"In planning you must ask: why do I want to shoot this series? Does it truly matter to me? What techniques does it demand? Sugimoto spent five years finding out what weather, what hour, what light the Seascapes require, and what darkroom craft would deliver such immaculate images (at 4:12 in the video). Even for pure travel shooting, you can plan locations before departure, gather references, study the map for unusual angles, and prepare fallbacks for rain and overcast days (at 4:30 in the video)."},{"t":"p","x":"更看不见的积累在于资源：拍摄佛像项目时，他提前七年反复申请才最终获得许可；而在此之前几十年积累的资本与名声，都在为这份申请背书（视频 5:28 处）。Thomas 接触过的优秀人像摄影师也是如此——提前写好脚本：服装、道具、模特表情引导的幅度、参考图与色系，这些策划时间直接决定了现场成片的差距。","xe":"The invisible accumulation is resources: for his Buddha project he applied repeatedly for seven years before permission was finally granted, and the capital and reputation built over decades beforehand all stood behind that application (at 5:28 in the video). The fine portrait photographers Thomas has met work the same way — scripts written in advance covering wardrobe, props, how far to direct the model's expression, references and color palettes. That planning time is exactly what separates the results on set."},{"t":"img","f":"v06","w":852,"h":480},{"t":"img","f":"v07","w":852,"h":480},{"t":"h","x":"03 忠于内心，结合时代","xe":"03 Stay True to Yourself, Ride Your Era"},{"t":"p","x":"第二点启发：知道选择比努力更重要，方向错了就是白干。杉本博司的很多作品都有宋代绘画、日本绘画的影子；而几十年里他始终围绕「时间」这个概念发散——海景的永恒、放电场的瞬间、关于真实与虚假、关于历史、关于生与死（视频 6:12 处）。正因为所有作品都服务于他真正感兴趣的话题，最终才沉淀成了他的个人 IP。","xe":"The second lesson: choice matters more than effort, and the wrong direction wastes everything. Much of Sugimoto's work carries traces of Song-dynasty and Japanese painting; across decades he has riffed on one concept — time: the eternity of the Seascapes, the instants of the Lightning Fields, meditations on the real and the fake, on history, on life and death (at 6:12 in the video). Because every series serves a subject he genuinely cares about, they condensed into his personal IP."},{"t":"img","f":"v08","w":852,"h":480},{"t":"img","f":"v09","w":852,"h":480},{"t":"img","f":"v10","w":852,"h":480},{"t":"p","x":"初学者最容易犯的错误是模仿：模仿者会完全进入对方的语境，忘记结合自己所处的时代、国家特色与个人经历去变化——这非常致命。同时他的作品也紧扣时代：海景明显受当时美国极简主义思潮影响，符合当代艺术拍卖市场的潮流，这也是作品能卖出高价的原因之一（视频 7:24 处）。今天做摄影师，同样要思考怎么让照片搭上短视频的流量——用背景音乐呈现作品，或把拍摄过程、幕后花絮讲给观众听（视频 7:54 处）。","xe":"The mistake beginners make most is imitation: imitators slip entirely into someone else's context and forget to adapt to their own era, national character and personal experience — which is fatal. Sugimoto's work also locked into its moment: the Seascapes clearly carry the influence of American minimalism and matched the tide of the contemporary art auction market — one reason they command such prices (at 7:24 in the video). Photographers today should likewise think about riding short-video traffic — presenting stills with music, or telling the behind-the-scenes story of the shoot alongside the photographs (at 7:54 in the video)."},{"t":"h","x":"04 从记录到表达","xe":"04 From Recording to Expressing"},{"t":"p","x":"第三点启发是 Thomas 老生常谈的话题：摄影早已不只是记录，你需要做出表达。表达不等于必须 PS——完全不做后期也可以，但你要清楚：不做 PS 不是因为摄影不能 PS，而是你的主题用后期去表现会画蛇添足（视频 8:42 处）。反例是给任何风景都 P 一个热气球——为了单纯的视觉效果，与自然氛围极其违和。没有正不正确的表达，只有好不好的表达（视频 9:22 处）。","xe":"The third lesson is one Thomas returns to often: photography stopped being mere recording long ago — you need to express. Expression does not mean Photoshop is mandatory — shooting entirely without post is fine too, but be clear about why: not because photography forbids it, rather that for your subject, heavy editing would gild the lily (at 8:42 in the video). The cautionary example is pasting a hot-air balloon into every landscape — a purely visual effect that clashes horribly with the natural mood. There is no correct or incorrect expression, only good and bad expression (at 9:22 in the video)."},{"t":"img","f":"v11","w":852,"h":480},{"t":"p","x":"杉本博司的放电场系列甚至没有用到相机——直接用高压电轰击胶片底片。没有用相机还算不算摄影？这个问题其实不重要，重要的是你所用的方式适不适合你要做的表达（视频 9:40 处）。如果只是记录，为什么不把一个监控摄像头摆在那儿拍日出日落、拍日月星辰？我们之所以需要摄影师的介入，是因为每个摄影师有不同的内心世界、有不同的想表达的东西——怎么表达、怎么呈现、怎么编辑、怎么拍摄，这才是摄影师真正值钱的地方（视频 10:06 处）。","xe":"Sugimoto's Lightning Fields series never even uses a camera — high voltage is fired directly at film negatives. Is it still photography without a camera? The question hardly matters; what matters is whether your means suit the expression you intend (at 9:40 in the video). If photography were mere recording, why not plant a surveillance camera to capture sunrise after sunrise, the stars and the ordinary days? We need the photographer's intervention precisely because every photographer holds a different inner world with something different to say — how to express, present, edit and shoot is where a photographer's true value lies (at 10:06 in the video)."},{"t":"img","f":"v12","w":852,"h":480},{"t":"img","f":"v13","w":852,"h":480},{"t":"quote","x":"1. 好作品与投入的时间成正比：策划、拍摄、编辑、呈现四大流程里，拍摄只占最小一块，把时间花在别人才看不见的地方；2. 忠于自己真正感兴趣的主题并围绕它长期发散，同时结合时代的形式与流量，才能沉淀出个人 IP；3. 模仿别人时别忘了自己的时代、国家与经历；4. 从记录走向表达：手段不分高低，适合主题才最好——摄影师的内心世界才是作品的根本。","xe":"1. Good work is proportional to the time invested: of the four stages — planning, shooting, editing, presentation — shooting is the smallest slice; spend the hours where others cannot see; 2. Stay loyal to the subjects you truly care about and riff on them for years, while embracing your era's formats and traffic — that is how a personal IP condenses; 3. When you imitate, never forget your own era, country and experience; 4. Move from recording to expressing: means have no rank — what fits the theme is best — and the photographer's inner world is the root of the work."},{"t":"h","x":"高清视频：","xe":"HD video:"},{"t":"p","x":"https://www.bilibili.com/video/BV1Lw4m1U7Nf/","b":false,"xe":"https://www.bilibili.com/video/BV1Lw4m1U7Nf/"},{"t":"p","x":"扫描上面二维码或点击文末“阅读原文”","b":false,"xe":"Scan the QR code above or click \"Read More\" at the end of the article"}],"titleEn":"Asia's Most Expensive Photographer? Three Lessons I Learned from Hiroshi Sugimoto!"}