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Subject: from http://imagecoffee.net/cipdb/n.htm#


Author:
wi ngb
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Date Posted: 03:24:14 09/02/05 Fri
In reply to: wing b 's message, "from milk.com" on 03:15:37 09/02/05 Fri


「關於新客觀主義攝影,這是種被極端清楚印相所描繪的寫實主義,堅持用光線消除陰影來創造銳利輪廓,強烈地解釋被攝的對象。而且這些被挑選實際的物體主題,有著明確定義的造型,就像它們本身一樣。」這是1929年評論家Wilhelm Kästner總結新客觀主義攝影的一段話,而這段話也同時指出新客觀主義和美國約略相同時期的純粹攝影(Straight Photography)的相似之處。

新客觀主義(Neue Sachlichkeit, 德文,英譯為New Objectivity,也有人中翻成新即物主義)這種思潮最早是出現於1923年德國表現主義後期的美術社團,最早是展覽會名稱。新客觀主義是對一次大戰(World War I)的反動,腐朽社會的批判,影響所及不僅僅是繪畫,當然還有攝影。

新客觀主義的攝影師們並不像畫家一樣具有較完整的組織活動,而因此繪畫作品對當時的攝影也有著決定性的影響。而這所謂的影響,是對早期攝影美學上主觀認知的轉移,也就是「畫意攝影主義(Pictorialism)」對攝影的操作。新客觀主義攝影清晰地定義,強調光線的在作品中的結構與角色,與化學沖洗程序和光學原理。新客觀主義和同年代在歐陸發展出的「新視覺(New Vision)」相互互補地刻畫出新攝影的輪廓。

新客觀主義的攝影師中最活躍的莫過於Karl Blossfeldt,奧古斯特•桑德(August Sander),Albert Renger-Patzsch,和Hans Finsler等人。他們鏡頭的目標常常對準了自然、工業、當代社會,而在這些都是連作的系列作品中最著名的如Karl Blossfeldt的植物與蕨類特寫,桑德的「時代的臉孔(Antlitz der Zeit, 1928)」等等,而他們所記錄發展的圖像學(iconography)包含了當代都市與獨立的物體。而和新客觀主義的畫家一樣,這些作品也故意地模糊了記錄和美學的界線。新客觀主義攝影影響深遠,包含了美國攝影大師愛德華•威斯頓(Edward Weston)的特寫作品,以及Charles Sheeler, Ralph Steiner, Karl Struss等人,甚至日本30年代的攝影師Yasuzo Nojima都受到這種思潮的影響。(文:一瓢飲)

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side stories, feel free to have a lookwin gb03:38:35 09/02/05 Fri


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