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7月17日 <Uncommon Places> 后记 ~~~~ Until I was twenty-three I lived mostly in a few square miles in Manhattan. In 1972 I set out with a friend for Amarillo, Texas. I didn't drive, so my first view of America was framed by the passenger's window. It was a shock. I would be in a flat nowhere place of the earth, and every now and then I would walk outside or be driving down a road and the light would hit something and for a few minutes the place would be transformed. Color film is wonderful because it shows not only the intensity but the color of light. There is so much variation in light between noon one day and the next, between ten in the morning and two in the afternoon. A picture happens when something inside connects, an experience that changes as the photographer does. When the picture is there, I set out the 8x10 camera, walk around it, get behind it, put the hood over my head, perhaps move it over a foot, walk in front, fiddle with the lens, the aperture, the shutter speed. I enjoy the camera. Beyond that it is difficult to explain the process of photographing except by analogy: The trout streams where I flyfish are cold and clear and rich in the minerals that promote the growth of stream life. As I wade a stream I think wordlessly of where to cast the fly. Sometimes a difference of inches is the difference between catching a fish and not. When the fly I've cast is on the water my attention is riveted to it. I've found through experience that whenever--or so it seems--my attention wanders or I look away then surely a fish will rise to the fly and I will be too late setting the hook. I watch the fly calmly and attentively so that when the fish strikes--I strike. Then the line tightens, the playing of the fish begins, and time stands still. Fishing, like photography, is an art that calls forth intelligence, concentration, and delicacy. Stephen Shore, 1982 1月2日 野外拾回的小诗今天林路的博里读到了一篇介绍王苗和她的这本《野外拾回的小诗》影集的文章。这本影集是王苗在八十年代中的作品，曾经以幻灯片放映的形式在各地展出，并配上了音乐与顾城和北岛为这些照片所写的诗文，引起了很大的反响。摘几个照片附在最后。
兴致所致，又百度了一下，找到了几篇访谈。其中谈到70年代末80年代初中国摄影界的生机勃勃，四月影会，当代摄影沙龙，自然社会人影展...令人心向往之。
送人玫瑰，心有余香 -- 王苗访谈 摘自陈小波的博
李晓斌：用镜头见证时代 摘自光明网
四月影会 -- 自然 社会 人 摘自鲍昆的博
人民摄影：著名摄影家胡武功的心路历程 摘自网易（不过明显这个是陈小波老师的访谈，网易不知道从什么地方抄来的）
10月27日 Alec Soth: Dog Days, Bogotá "After completing the work for his first book, Sleeping by the Mississippi, in 2002, Alec Soth traveled with his wife to Bogota, Colombia, to adopt a baby girl. The baby's birth mother had given the new parents a book filled with letters, pictures and poems for their daughter. "I hope that the hardness of the world will not hurt your sensitivity," she wrote. "When I think about you I hope that your life is full of beautiful things." While the courts processed the adoption paperwork, and with these words as a mission statement, Soth set about making his own book for his daughter. Soth writes, "In photographing the city of her birth, I hope I've described some of the beauty in this hard place." This beauty makes itself apparent through ramshackle architecture, the companionship of animals and the perseverance of the human spirit. But Soth's photographs also transcend the simple description of beauty, roaming through a cast of strays, tough souls and small hints of hope." --Review at Amazon "2002年，当Alec Soth完成《Sleeping by the Mississippi 》的拍摄后，他和妻子来到了哥伦比亚的Bogota，收养当地一名女婴。在等待法院办理收养手续的期间，Alec Soth和妻子在Bogota生活了两个月。 “孩子的生母给了我们一本书，满是留给孩子的信、照片以及诗，她在信中和孩子说，‘愿世事的艰辛不要伤触你的心灵，当我想念你的时候，我会希望你的生命满是美丽的记忆。’” Soth夫妇接受了另一个母亲的期望，同时，Soth也决定，为自己的新女儿写一本书，“当我拍摄她出生的城市时，我希望能够让她看到这贫瘠之地暗藏的美丽。” 《Dog Days, Bogotá》是一本描述美丽、坚强，以及希望的书。" --http://leica.org.cn/read.php/303.htm 小z闷骚推荐~ 9月10日 Alec Soth: Sleeping by the Mississippi (zz)
经由小天天同学的提醒，赫然发现这个专辑原来也是Alec Soth的。很久之前看过，只觉得好看，并不知道摄影师是谁。 静溢迷人的大幅相机和光怪陆离的取景，让人想起什么却又不知要想起什么。 仿佛跟着摄影师做了一个个清晰却无法触摸的梦。 Alec Soth: Sleeping by the Mississippi 9月9日 Leica 中文站 (zz)http://www.leica.org.cn/index.php
包含丰富的莱卡相机、镜头的信息。大概出于莱卡相机与纪实摄影说不清道不明的渊源，这个站点也非常关注纪实摄影的前沿讯息，有很多非常up-to-date的介绍。z叔强烈推荐～ 7月7日 向右曝光数码相机该如何曝光才能获得最好的图像质量？Expose to the Right. 原作于Luminous-Landscape发表 http://www.luminous-landscape.com/tutorials/expose-right.shtm 在豆瓣的“爱摄影”小组里发现的一个中文译本: http://www.douban.com/group/topic/1087726/ 大意就是尽量将你照片中的高光（最亮的部分）放在直方图的右边界，但又不溢出。因为直方图中最右边的部分，感应光线的层次最多。能纪录的层次越向左边越少。所以曝光基本靠蒙，还是有一定道理的。 当然更准确地说，良好的曝光，应该是把你照片中的主题尽可能的放在直方图的右边，因为有的时候你并不关心溢出的高光。 这篇文章为这种做法提供了具体的依据和讨论，值得一看：） 3月1日 Liberty第一次玩倒接微距，AF Nikkor 35/2 反接 Minolta MD 50/1.4. 俺没有转接环，就用手握着两个镜头反接在一起，好在两个镜头体积都很小，口径也相似，倒也不成问题。35/2的对焦马达十分强近，我手握着另一个镜头顶在前面也丝毫不影响它的对焦。 没有好的灯光，于是就在Photoshop里狠调一把curve，颜色都不连续了：）  2月21日 Canon 30D谣言四起之后，终于亮相了。跟20D相比，没有D200之于D70那样令人眼前一亮，但加入了3.5%的点测，也着实令人心动不已啊。开始攒钱了，争取年底升级哈~ http://www.dpreview.com/news/0602/06022114canoneos30d.asp 下周是PMA2006，各大厂消息应该都不少。佳能除了30D，还放出了EF-S 17-55 f2.8 IS，看来是要在1.6x上越走越远了;又升级了85/1.2，大红圈怪物标价2100刀；还有S3 IS，黑色机身，看起来比S1,S2酷多了。 尼康放出了一只105/2.8vr的1:1微距，也是相当的震撼；DC领域推出了L2,L3,L4,P3,P4,S5,S6....这号编的…… 柯美前一段宣布彻底退出相机市场，不久之后即宣布一并退出今年的PMA。想着我的一堆Minolta手动头，真不是滋味  |
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