影像: 時代・方位
Image:Time ・ Direction
北京國際攝影周2018學術主題闡釋
Academic Thematic interpretation of Photo Beijing 2018
李樹峰
Li Shufeng
在2017北京國際攝影周“攝影：本來與未來”的主題之後，伴隨著國家和社會的發展，我們在新的歷史方位中，又進入了一個新時代。
After the theme of “Photography: Origin and Future” in 2017 Photo Beijing, along with the development of the country and society, we have entered a new era in the new historical position.
2018北京國際攝影周立足於這個新的歷史方位，打開相機快門，以影像特有的現場性、客觀性、瞬間性和選擇性，面對新時代，呈現新氣象，邁開新步伐。
Based on this new historical position, 2018 Photo Beijing opens the camera shutter, faces the new era, shows a new atmosphere and takes a new step with the unique features of the image,which are on-site, objective, instant and selective.
時代與方位，換言之，就是特定的時空結構。在宇宙這樣的時空結構裡，質量、能量與光相互轉化，量子與存在和意識糾纏不休。萬物因光而被意識，萬象因光而被記錄。攝影與時空問題，既是人類用影像手段把握現實的實踐問題，也是一個常思常新的哲學問題。
Times and directions, in other words, are specific space-time structure. In a space-time structure like the universe, mass, energy, and light transform with each other, and quantum entangles with existence and consciousness. Everything is realized because of light, and every phenomenon on earth is recorded because of light. The issue of photography and space-time is a practical issue that humans use the means of imaging to grasp the reality, and also a philosophical issue that always updates by thinking.
攝影從時間的單向流逝中截取瞬間，同時框取和勒切出局部的現實空間，形成影像。兩者是同時完成的，但是從攝影者的思維活動過程看，二者要分別去操控和把握，並且相互關聯和相互影響。在特定現場，改變曝光時間的設定，會影響光線入射鏡頭的光孔大小，進而影響景深——這個直接關係空間感覺的因素；同樣地，改變鏡頭的光孔大小，即改變成像過程中的景深視域，必然連帶地改變了曝光時間，進而對運動著的現實事物的狀態呈現產生改動，比如瞬間由短變長或者由長變短。由於在每次拍攝中都要考慮時間長短和景深問題，所以攝影過程，就是處理時空關係的過程。
Photography captures moments from the one-way passage of time, while framed and cut partial real space to form images. The two processes are completed at the same time, but from the perspective of the photographer's thinking process, the two must be manipulated and grasped separately,and they are interrelated and influence each other.At a specific site, changing the setting of exposure time will affect the aperture size of the light incident on the lens, which in turn will affect the depth of field—a factor directly related to space sense; similarly, changing the size of the lens's aperture is to change the depth of field in image formation process, which will inevitably change the exposure time, then in turn change the state of the moving realistic things. For example,realistic things suddenly change from short to long or from long to short. Since the time and depth of field are taken into account in each shot, the photography process is the process of dealing with time-space relation.
攝影思維的核心，是對事物發展過程中瞬間的選擇和事物整體中典型局部的選擇。如何用瞬間狀態代指事物變化過程，如何用局部代指事物整體，是攝影者追索的重點。在對瞬間的選擇中，往往體現著人們的時間意識和對事物的認識；而在對局部的框取中，常常指向了價值的判斷和文化方向。
The core of photography thinking is the choice of the moment in the development of things and the selection of typical parts from the entirety of things. How to use instantaneous state to refer to the changing process of things, and how to use parts to refer to the entirety of things is the focus that photographers pursue for.The selection of moments usually reflect people's time consciousness and understanding of things; while the framing of the parts often point to the judgment of values and cultural direction.
從影像與現實的關係看，攝影中的時空分“現實時空”、“影像時空”和“閱讀中的心理時空”三個層面，也是一種傳遞式的關係。 “影像時空“，在“現實時空”和“閱讀中的心理時空”之間架起橋樑。在“現實時空”和“影像時空”之間，有一個攝影者，他的時空觀和對現實的觀看方式，決定著現實內容在影像中的呈現方式；在“影像時空”和“閱讀中的心理時空”之間，有一個編者，他的知識結構和對待公眾的態度，決定著影像的命運。在以上三個時空在傳遞過程中，不同的作品效果不同，有的衰減，有的增強。
From the relationship between image and reality, the space-time in photography is divided into three dimensions: "realism space-time," "image space-time," and "psychological space-time in reading", which is a transitory relationship. “Image space-time” creates a bridge between “realism space-time” and “psychological space-time in reading”. Between "realism space-time" and "image space-time", there is a photographer, his view of space-time and the way he views reality determines the way in which reality contents are presented in image; between "image space-time" and "psychological space-time in reading", there is an editor, whose knowledge structure and attitude towards the public determine the fate of the image. During the transmission of the above three space-time, different works have different effects, some are attenuated and some are enhanced.
在現實、影像與社會公眾心理中，這兩個“人物”——攝影者和編者，在“影像時空”的生成和傳播兩個環節中發揮關鍵作用，前者為我們從現實中攝取影像的碎片，後者把影像碎片組合編輯起來，成為文化產品。作為北京國際攝影周，也是這兩種“人物”合作的結果。我們期待著，攝影周營造出的“影像時空”，作為豎立在現實和社會公眾之間的牆，是用特殊玻璃製成的，一方面讓我們更加看清楚現實，一方面能夠折射攝影者和編者的文化觀。
In reality, image, and public psychology, these two "figures" - photographer and editor - play a key role in the generation and transmission of "image space-time". The former captures the fragments of images from reality. The latter compiles image fragments to become cultural products.Photo Beijing is also the result of the cooperation between the two “figures”. We expect that the "image space-time" created by Photo Beijing as a wall erected between reality and the social public is made of special glass. On the one hand, we can see the reality more clearly. On the other hand, it can reflect the photographer and editor's cultural view.
影像，因其時代性和方位感，彷彿成為豎立在現實和社會公眾之間的玻璃牆。我們期待的攝影是：既如實地觀看世界，對地球和宇宙增加學術認識；同時誕生更多以中國文化的目光看待事物，利用現實時空營造我們的藝術時空的影像，從而與西方的影像藝術形成平等對話。在一個特有的影像文化場中，在場者都能穿越文化的隔膜，剔除不同階級和不同民族之間的偏見，打破各種阻隔，使“影像時空”穿越“現實時空”，從而使不同國家和民族更加相互理解，使人類更加緊密地聯繫在一起。
The image, because of its epochal character and sense of direction, seems to be a glass wall erected between reality and the social public. The photography we expect is: to look at the world as it is and to increase academic understanding of the earth and the universe; At the same time,to create more images that see things in the eyes of Chinese culture and use real-life time-space to create our artistic time and space, and thus form an equal dialogue with the image art of the West.In a unique image cultural field, all presenters can cross the cultural barriers, remove the prejudice between different classes and different ethnic groups, break various barriers, and allow “image space-time” to traverse “realism space-time”, thus enabling different countries and nationalities understand each other more and make people more closely connected.
李樹峰
李樹峰， 北京國際攝影周學術主持人、中國藝術研究院攝影藝術研究所所長、研究員。多次擔任全國性和國際性影展評委，創立國內和國際“攝影家大PK”活動，創立中國國際攝影雙年展和中國攝影家響沙灣國際攝影周。擔任《中國大百科全書·攝影卷》(第三次修訂)主編，著有《攝影式觀看》《攝影藝術概論》《看與見一攝影小札》《視覺百年澳門攝影》等攝影專著。2009年獲中國攝影金像獎(理論評論獎),2014年被評為文化部“優秀專家”。
北京國際攝影周
PHOTO BEIJING
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