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访摄影家陈正军:用有温度的镜头关注现实中的“人”

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《淘汰落后产能》(组照之一)

  灰尘满布的石灰窑、幽黑狭深的矿井、老旧不堪的厂房、因爆破而瞬间坍塌的烟囱……这些原本零乱无章的工厂车间与建筑工地,在摄影家陈正军的镜头下,巧妙地组成了一个个“有意味”的场景。而在这些画面中,正在劳作中的“人” ,永远是聚焦的中心。“摄影是观察和记录世间人与人、人与物、物与物之间的瞬间聚合又刹那消失的变幻组合,这是摄影区别于其它艺术形式的重要特征。 ”陈正军说。

  对于摄影,陈正军早已动念。他曾在印刷行业工作近20年,常与图片打交道,加之喜欢翻阅《解放军画报》等杂志,早在内心埋下了摄影的种子。陈正军坦言:“虽忙于工作,但生活中的不少场景、画面却无时不让我蠢蠢欲动。 ” 2012年7月,陈正军正式踏上了摄影之路。

“人”永远是拍摄的主体

  对陈正军而言,摄影是一条感受人性的道路。“纪实摄影的核心不是‘影像’ ,而是‘人性’ 。活生生的、浸透着喜怒哀乐与酸甜苦辣的‘人’ ,永远是我拍摄的主体。 ”陈正军说。他曾专司企业破产重组三年,深知底层工人的酸甜苦辣。因此,在陈正军看来,只有让视觉语言回归到普通劳动者身上,影像里才会有诚意的尊重、真实的记录、情感的流淌,也才会使图片中真实的劳动者“有艰辛,而没有痛苦” 。

  既然“人”永远是拍摄的主体,那么如何在镜头里表现人物,便成为是否能拍出“有灵魂”的好作品之关键。 《灰窑里的人生》是陈正军坚持拍摄了6年的题材,他回忆道: “当时刚开始摄影,缺乏经验。即使戴了口罩,但石灰厂二氧化硫浓度过高,很快我便感到头晕和胸闷。加上环保和现场条件的限制,企业老板和工人也不愿接受拍摄,只好无功而返。后来我意识到,要想拍好这个题材,必须先融入劳动者群体。 ”于是,他从一开始的“全副武装”变为不戴口罩、带着情感去拍。他给工人们送去碳酸饮料,听他们诉说家长里短,还会组织影友帮扶有困难的工人。“为突显他们的工作特性,越是恶劣的天气,我越赶着去拍。无论是最酷热的夏日还是最寒冷的雪天,我都坚持用镜头真诚地陪伴工人的喜怒哀乐。 ”他说。

  这段拍摄历程让陈正军明白,只有倾注真情实感,才能使镜头带有“人”的温度。 “摄影人要先放下相机,放低姿态,真正走进百姓的内心世界,这样才能拍摄出有血有肉、触动心灵的摄影作品。 ”陈正军说。

大国重器:“沅安号”盾构机(组照之一)

在摄影的路上“高烧”不止

  虽然距真正开始“扛起镜头”仅六年,但陈正军已创作出了诸多优秀的摄影作品,这些作品或聚焦于社会发展的重要环节,或关注易被大众忽略的现实状况,受到了广泛关注。在2014年至2016年间,陈正军曾连续获得“湖南省摄影突出贡献奖” 。

  陈正军的摄影作品主要以纪实为题材。“纪实摄影是以记录社会现实为主要诉求的摄影方式,是思想上的震撼力、视觉上的冲击力与艺术上的感染力的‘三合一’ 。 ”陈正军认为,绝对的真实性、细节的丰富性、动人的艺术性,这是纪实摄影应遵循的基本原则,更重要的是,“纪实摄影作品并非小众精英们茶余饭后‘把玩’的对象,而是面向全体大众,针对社会问题提出警示,并唤醒人们的良知” 。

  《淘汰落后产能》是陈正军最早拍摄的一组纪实摄影作品。面对当下资源紧缺、生态环境破坏严重的现状,淘汰粗放落后的生产方式,势在必行。于是,陈正军敏锐地将镜头聚焦到了产业升级过程中的“阵痛”上。他坦言,这一拍摄过程让他在情感上陷入了两难:“一方面,淘汰落后生产工艺,强制关闭粘土砖瓦窑,是时代发展的必然。另一方面,窑厂关闭后,在厂里摸爬滚打多年的工人们,能否重新找到让他们养家糊口的天地?然而,历史是发展的,淘汰落后事物是不可避免的。作为摄影人,我们只能用发展的眼光去客观记录,并在摄影的语境中坚守艺术准则。 ”

《最后的火柴人》(组照之一)

  除纪实摄影外,陈正军也擅于民俗摄影,并尝试用摄影“手艺”留住传统手艺。他拍摄了《即将消失的传统手工艺》系列专题,其中,《最后的火柴人》把制作火柴的民间传统技艺,以照片的方式保存了下来。这组作品引发了热议,受到多家媒体转载,颇具社会影响力。对此,陈正军谈道:“作为摄影人,我们有责任和义务,用影像的传播方式抢救和记录传统手工艺,让传统手艺人、千年的技法重新进入人们的视野。虽物是人非,但影像永恒。 ”当然,“民俗摄影也是纪实摄影的一部分,两者有着共同的特征——既要真实记录,更要艺术表达。 ”陈正军强调。

  在这样一个高速发展的社会里,摄影所扮演的角色愈发重要。可以说,摄影人是时代脉搏的触摸者,更是时代发展的记录者。对此,陈正军表示:“摄影师要具有时代担当,要用我们独特民族文化的摄影语言,创造出具有穿透力和影响力的作品。 ”如此,他还像打了“鸡血”似的乐此不疲,在摄影的路上“高烧”不止。

 

 


"Eliminating backward production capacity" (group photo 1): dusty lime kilns, dark and deep mines, old factories, chimneys that collapsed in an instant due to blasting... These originally disordered factory workshops and construction sites skillfully form "meaningful" scenes under the lens of photographer Chen Zhengjun. In these pictures, the "people" working are always the focus. "Photography is a changeable combination of observing and recording the instantaneous aggregation and disappearance between people, people and things, things and things in the world, which is an important feature that distinguishes photography from other art forms." Chen Zhengjun said. Chen Zhengjun has long thought about photography. He has worked in the printing industry for nearly 20 years and often deals with pictures. In addition, he likes to read magazines such as the PLA pictorial, which has planted the seeds of photography in his heart. Chen Zhengjun admitted: "although I am busy with my work, many scenes and pictures in my life make me ready to move all the time." In July 2012, Chen Zhengjun officially embarked on the road of photography. "People" will always be the subject of photography. For Chen Zhengjun, photography is a way to feel human nature. "The core of documentary photography is not 'image', but 'human nature'. Living 'people' soaked with joys, sorrows and bitterness will always be the subject of my photography." Chen Zhengjun said. He has specialized in enterprise bankruptcy and reorganization for three years, and is well aware of the ups and downs of the bottom workers. Therefore, in Chen Zhengjun's view, only by returning the visual language to ordinary workers, will there be sincere respect, real records and emotional flow in the image, and will the real workers in the picture "have hardships without pain". Since "people" are always the subject of shooting, how to express the characters in the lens has become the key to whether we can shoot good works with "soul". "Life in the ash kiln" is the theme that Chen Zhengjun has insisted on shooting for six years, "At that time, I just started photography and lacked experience. Even if I wore a mask, the concentration of sulfur dioxide in the lime plant was too high, and I soon felt dizzy and chest tightness. Coupled with the restrictions of environmental protection and site conditions, business owners and workers were unwilling to accept photography, so I had to return in vain. Later, I realized that if I wanted to shoot this subject well, I had to integrate into the labor group first." Therefore, he changed from "fully armed" at the beginning to shooting without mask and emotion. He sent carbonated drinks to the workers, listened to them talk about their family's shortcomings, and organized film friends to help the workers in difficulty. "In order to highlight their work characteristics, the worse the weather, the more I rush to shoot. Whether it's the hottest summer or the coldest snow, I insist on using the lens to sincerely accompany the joys and sorrows of the workers." He said. This shooting process made Chen Zhengjun understand that only by pouring real feelings can the lens have the temperature of "human". "Photographers should first put down the camera, take a low attitude and really enter the inner world of the people. In this way, they can shoot photography works that have flesh and blood and touch the soul." Chen Zhengjun said. Heavy weapon of a big country: the "Yuan'an" shield machine (one of the group photos) has a "high fever" on the way of photography. Although it is only six years since the real start of "carrying the lens", Chen Zhengjun has created many excellent photographic works. These works either focus on the important links of social development or pay attention to the reality that is easy to be ignored by the public, which has attracted extensive attention. From 2014 to 2016, Chen Zhengjun successively won the "outstanding contribution award of Hunan photography". Chen Zhengjun's photographic works mainly focus on documentary. "Documentary photography is a way of photography with recording social reality as its main appeal. It is the 'three in one' of ideological shock, visual impact and artistic appeal." Chen Zhengjun believes that absolute authenticity, richness of details and moving artistry are the basic principles that documentary photography should follow. More importantly, "documentary photography works are not the object of" playing "by the minority elite after dinner, but face the whole public, warn against social problems and awaken people's conscience". "Eliminating backward production capacity" is Chen Zhengjun's first documentary photography. Facing the current situation of resource shortage and serious damage to the ecological environment, it is imperative to eliminate the extensive and backward mode of production. Therefore, Chen Zhengjun keenly focused his lens on the "pain" in the process of industrial upgrading. He admitted, The shooting process put him in an emotional dilemma: "On the one hand, the elimination of backward production processes and the forced closure of clay brick and tile kilns are the necessity of the development of the times. On the other hand, after the kiln factory is closed, can the workers who have been struggling in the factory for many years find a world for them to support their families? However, history is developing, and the elimination of backward things is inevitable. As photographers, we can only objectively record with the vision of development and adhere to artistic standards in the context of photography Then. " In addition to documentary photography, Chen Zhengjun is also good at folk photography and tries to retain traditional skills with photography "skills". He shot a series of special topics on the disappearing traditional handicrafts, in which the last matchmaker preserved the folk traditional skills of making matches in the form of photos. This group of works has aroused heated discussion and has been reprinted by many media, with considerable social influence. In this regard, Chen Zhengjun said: "as photographers, we have the responsibility and obligation to rescue and record traditional handicrafts by means of image transmission, so that traditional craftsmen and Millennium techniques can re-enter people's vision. Although things are different from people, images are eternal." Of course, "folk photography is also a part of documentary photography. They have common characteristics - not only true recording, but also artistic expression." Chen Zhengjun stressed. In such a rapidly developing society, photography plays an increasingly important role. It can be said that photographers are not only the touch of the pulse of the times, but also the recorder of the development of the times. In this regard, Chen Zhengjun said: "photographers should have the responsibility of the times and create works with penetration and influence with the photographic language of our unique national culture." In this way, he also enjoyed it as if he had beaten "chicken blood", and had a "high fever" on the way of photography.
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