i*****e
发帖数: 123 | 1 构图好呢，还是意境好呢，还是色调好？我只觉得那个人物有点意思，谢谢分析。 | T*******a
发帖数: 23033 | | a*f
发帖数: 5682 | 3 我几年前第一次看到这张照片的时候也有类似的问题。好在我是在Sally Eauclaire写
的‘The New Color Photography’书里看到的。
她在书里有比较的介绍。我就扫描一下供大家看看
Of the principal color photographic formalists, Stephen
Shore has most successfully adapted Evans’s objectivity
and aesthetic autonomy. Yet unlike Evans, who so ably
absorbed the significance and sensuousness of his sub.
jects, recognizing the potent ambiguities in the real, Shore
avoids mythic possibilities for purely pictorial meaning.
Whether photographing deserted intersections, dirt roads,
parking lots, esplanades, or Monet's gardens, Shore's par-
adigms are order, balance, and serenity. Objects, shadows,
and intervening spaces provide Shore with vital compo-
nents of co-equal visual significance.
Shore likens the visual tension of his best photographs to
the “constant pressure” maintained by trout fishermen.
”
When you're casting you have to time your cast so that
the fly on the end of your line settles gently onto the
water, thus giving the trout the impression that it’s
biting at the real fly. It's a tricky procedure to master,
and the key to it, the way experts explain it, is constant
pressure. It's a feeling of the line on the rod tip that is
always there. Without constant pressure the timing
falters, and so does the fly line, leaving the caster with
a disconnected, where-did-it-go feeling. Of course,
it’s very possible to take pictures without constantly
paying attention to every decision that needs to be
made, but my experience was that when my attention
wandered and I started making decisions automatical-
ly, there was something missing in the pictures and l
was left with that where-did-it-go feeling?
“
By adjusting and readjusting his framing, Shore strives to
eliminate every visual loophole and inconsistency. None-
theless, he avoids obvious solutions. inexplicable, instinc-
tive adjustments guide Shore's works.
Shore's fugal tactics are evident in plate 6. The basic
motif is the chevron shape, which appears twice in the
forked tree branches; once in cast shadows; in the perspec-
tive retreat of white lines in the walkway; in the legs of the
pedestrian; and so forth. Other repeating elements appear,
such as the instances of yellow-orange, which inhabit vari-
ous spatial regions of the composition. Unlike many less
sensitive photographers who appropriate a conspicuous item
and seek one or two recurrences of it, Shore's application of
fugal methodology is less obtrusive and more thorough. The
almost spiritual sense of balance and quiet harmony that
his best photographs contain derives from the sensuous
effects of cumulative, rhythmic motifs that remain well
integrated, even camouflaged within the continuum of
recorded data. Close examination may reveal fugal relation-
ships between various elements, but the individuality of any
motif is superseded by its role in the pictorial whole. Conse-
quently, the effect, not the technique, predominates.
Shore constantly strives to keep the edges “alive.” | a*f
发帖数: 5682 | 4 如果觉得太罗嗦的话，我的理解是Sally Eauclaire认为Shore在这里追求的是画面中众
多元素纷繁却保持和谐以及宁静感。
【在 a*f 的大作中提到】
: 我几年前第一次看到这张照片的时候也有类似的问题。好在我是在Sally Eauclaire写
: 的‘The New Color Photography’书里看到的。
: 她在书里有比较的介绍。我就扫描一下供大家看看
: Of the principal color photographic formalists, Stephen
: Shore has most successfully adapted Evans’s objectivity
: and aesthetic autonomy. Yet unlike Evans, who so ably
: absorbed the significance and sensuousness of his sub.
: jects, recognizing the potent ambiguities in the real, Shore
: avoids mythic possibilities for purely pictorial meaning.
: Whether photographing deserted intersections, dirt roads,
| m******1
发帖数: 19713 | | T********r
发帖数: 6210 | 6 构图的视线引导很喜欢，而且立体感和空间感很强烈。
【在 i*****e 的大作中提到】
: 构图好呢，还是意境好呢，还是色调好？我只觉得那个人物有点意思，谢谢分析。
| l***a
发帖数: 5114 | 7 很奇怪，这一张，虽然房和树都没顶，却没有无不舒服的气闷感觉，是因为楼的微微斜
度？。。。hmmm。。。。
这张也很神奇...同常斜的街道容易歪或者平，这张没有。。。 | s******g
发帖数: 15854 | 8 我觉得换个方式说，用自然存在的景物构建出和谐的几何构型是一种非常高超的摄影技
巧。利用的元素越多，越复杂，实现的几何构型越完美，片子就越成功。就好比这张片
子，貌似内容很多，但是树立的柱状物以及建筑和阴影都很和谐，并且构成几何图案，
在这个几何图案的黄金分割位置是一个生动的人物，所以元素虽多却都为构图服务，这
个极难做到。
【在 a*f 的大作中提到】
: 如果觉得太罗嗦的话，我的理解是Sally Eauclaire认为Shore在这里追求的是画面中众
: 多元素纷繁却保持和谐以及宁静感。
| i***f
发帖数: 10682 | 9 原来你们都拜读过大师啊。我差点冲出来拍砖。
【在 s******g 的大作中提到】
: 我觉得换个方式说，用自然存在的景物构建出和谐的几何构型是一种非常高超的摄影技
: 巧。利用的元素越多，越复杂，实现的几何构型越完美，片子就越成功。就好比这张片
: 子，貌似内容很多，但是树立的柱状物以及建筑和阴影都很和谐，并且构成几何图案，
: 在这个几何图案的黄金分割位置是一个生动的人物，所以元素虽多却都为构图服务，这
: 个极难做到。
| i*****e
发帖数: 123 | | s******g
发帖数: 15854 | 11 伪装有文化不行啊
【在 i***f 的大作中提到】
: 原来你们都拜读过大师啊。我差点冲出来拍砖。
| C******d
发帖数: 1022 | 12 没看出来好。。。
这一张倒是觉得不错，色彩和谐，车子也很整齐
【在 l***a 的大作中提到】
: 很奇怪，这一张，虽然房和树都没顶，却没有无不舒服的气闷感觉，是因为楼的微微斜
: 度？。。。hmmm。。。。
: 这张也很神奇...同常斜的街道容易歪或者平，这张没有。。。
| z***i
发帖数: 1122 | 13 设想一下:
他到了这个地方,看到一个电影院.电影院的招牌是摄影师很喜欢拍的主题.他可以拍张
特写,但那就不是stephen shore了.于是他就后退,加入别的建筑,汽车,路灯,路牌,树,
纪念碑…然后他看差不多了,驾起相机,让竖直线都垂直了.但他觉得右下角有点空,没有
和那黄色的招牌呼应的东西.而这个呼应的东西又不能喧宾夺主,所以不能是人正脸,或
颜色鲜艳的东西.于是他就等到一个上身穿白色,和建筑呼应,下身穿灰色,和地呼应的人
背对他的时候,按下了快门.
设想完毕,呵呵..
【在 i*****e 的大作中提到】
: 构图好呢，还是意境好呢，还是色调好？我只觉得那个人物有点意思，谢谢分析。
| g********r
发帖数: 8017 | |
|
