冬日摄影不寂寞

进入冬季,许多影友都感叹说:"没什么题材可拍",按道理讲,瞎忙乎了一年也该休整一段时间了.我经不起寂寞的困扰,还是想拿起相机来"捣鼓"点什么. 有条件的影友,北上拍"冬韵",或南下拍云、贵红土地,民风民俗之类的题材.工薪影友趁着冬闲在家中同样可找到适宜自己的题材去创作,也能得到乐趣,因为在我们四周处处充满着神奇美妙的景象,甚至足不出户就可以大显身手.     

摄影月赛

说明:把您的照片发给我们,让大家一起来欣赏,说不定下一期您的照片就能在我们的杂志上发表!还有机会赢取奖品!心动不如行动,赶快拿起相机,记录多彩生活,和大家一起分享吧!。版权:本刊投稿者在投稿的同时,均视为已经同意承诺其为作品的创作者, 且为创作该作品之目的,其已获得充分的授权。任何剽窃、抄袭志附送的CD并不再支付额外的稿费。     

摄影救了我

我有高级职称,按老规定55岁便退休了,感到非常委屈和抱怨,心情非常恶劣,随后得了很多病,高血压、冠心病、肝、肾囊肿、类风湿、腰椎尖盘突出、白内障.为了治病,我到老年大学学摄影.从头学起,我是健康第一,量力而行.去不了远处就在附近拍,拍不了名山大川就拍小街小河.拍不了名人靓女就拍普通老百姓,相机随身带.     

纵论数码摄影发展现状

摄影界流传的俗语从表面上看不无调侃，可仔细想想颇有道理，如“有一个哈苏就是半个摄影家”，因为当你在用哈苏相机拍摄时自然会比较认真地经营画面，控制曝光等，一旦养成习惯，照片质量高了，当然就像半个摄影家了。还有一说也很有意思：“自从AF相机诞生后，再也没有摄影家了”。此说认为摄影器材的高科技含量已将需耗时钻研摸索的曝光和对焦等技术都交与相机完成，要拍摄到技术上完美无缺的照片几乎已无任何障碍，也就是说现代科技的发展，使得“摄影家”的优势大大减弱，此说也不无道理。但是数码摄影的普及则更是带来了一番全新的景象，它的迅速发展使摄影活动真正做到了前所未有的大普及。     

富士专业摄影胶卷介绍

在今年十月上海举行的中华人民共和国第八届全国运动会上，富土专业摄影胶卷被指定为专用胶卷，这对提高富土胶卷在中国的知名度，无疑是个极大的成功。专业胶卷是制造厂商为专业摄影家的需求制造的，它在色平衡、反差、感光度等照相性能的允许偏差和色彩的鲜艳饱和度等方面，比一般的业余摄影胶卷有着更高的要求。专业胶卷大都是在彩色乳剂生产线上经过严格筛选出来的，具体做法是在每一段制造过程中都有一个质量控制目标和被认为可以接受的允许偏差，如业余胶卷可接受的色平衡允许偏差为±10cc黄（略高于或低于标准黄色，但仅在并排比较时…     

摄影创作前景运用

在摄影艺术创作中 ,决定一幅作品能否引人入胜 ,表现形式的好坏始终是一个重要因素。艺术创作在于创新 ,摄影创作怎样去突破一般化、雷同化 ,我认为关键就是在“新”字上去动脑筋。要想使拍出的照片做到新颖 ,不落俗套 ,就要敢于突破千篇一律的老一套 ,这包括树立创新的思想来安排前景。因为前景在一幅画面中如果安排布置得合理的话 ,不仅可以起平衡画面、装饰画面、引导视线的作用 ,还能进一步渲染主题、丰富画面的情景 ,最终使作品更加完美而新颖。●《赏春》摄于初春上午 ,是运用画面下部 2 3处拍摄大面积花卉作为前景的范例。为了拍好…     

我玩摄影

我的"糟糠之妻" 1987年初,我用买电冰箱的钱"娶回"我的"结发妻子"--国内组装的启侬CM5相机,从此,我便开始"恋爱"摄影.CM5成为我的好帮手,她帮我迈进摄影的大门,我与她相互配合,我拍的第一张照片以及后来在报刊上、影展上刊登、入选的第一幅作品均为CM5的功劳.CM5独自伴我3年,让我感受到摄影的许多妙趣.     

产品摄影与现代设计

“邀请一位非常熟练的产品设计师来帮助你摆放产品的位置,是绝对至关重要的。”一位国外的著名商业摄影师如是说。事实上,对于产品摄影来说,设计师所起到的作用并不仅限于此。     

35毫米袖珍相机的专门摄影模式

照相机设置专门摄影模式始于35毫米单反相机。这种把与某种题材拍摄有关的功能全部交由专家事先设定好并在相机上固定下来，在需要时只需摄影者非常轻松地用一个动作就能调出使用的摄影模式，在推出后受到了摄影者们的广泛好评。时隔不久，一些35毫米袖珍相机也引进了这种新颖的专门摄影模式。佳能“小霹雳”S型，柯尼卡AI-BORG型，理光RZ－105ZoomDATE等相机是较早装备专门摄影模式的35毫米袖珍相机。以佳能“小霹雳”S型相机为例，这架相机上设置了一个被称为“最佳影像调节盘”的调控转盘（图1）．专供摄影者选择专门摄影模式。专…     

PHOTOGRAPHY

Disturbingly, one important constituent within the photographic habitus has remained conspicuously absent from most discussions in what has come to be called Post-Photography. This particular, which since the nineteenth century has routinely been considered a key stage in the photographic workflow, is the human photographer. Therefore, this article delineates the presence of the human photographer in photography, its first appearances, its rise to prominence and its subsequent fall. In doing so, it attempts to explain how we taught ourselves to think of photography as a human-centric form of art-making and whether we ought to continue thinking of it as such. It begins with historical accounts of photography’s “machinism”, it then discusses modernist accounts of photography as an act of artistic ingenuity, followed by several modalities that have recently become available through digital and networked technologies. The article concludes with an alternate account of photography today and the likely place of both human photographer and viewer within it in the foreseeable future.     

PARTICLES AND PHOTOGRAPHY

The technical and commercial developments of photography are outlined. The roles of particles in the black-and-white and color photographic processes are described in terms of the basic technology of photography. The desired properties of particles in photographic systems are also described, several illustrations of photographic particles and of particles in photographic systems are presented. An example of the properties of photographic systems that depend on the particle properties is also presented.     

PHOTOGRAPHY IN THE DIGITAL

Photography in the digitally created or digitized reality is an everyday activity that is rarely discussed in the context of photographic debates. This refers to practices such as in-game photography or, simpler yet, the screenshot. The paper focuses on their history, the specific status and materiality of these images of screens. Their (hi)story begins with screen image photography of measured data on cathode ray tubes and the photographic capture of x-ray screens. Screenshots and in-game photography can be seen throughout this context but they are cameraless and can therefore be understood and discussed within a long history of experimental photographic practices. Should we speak here at all of photography? If so, what is their photographic specificity? Which image of reality do they provide us?     

A SLIT THROUGH PHOTOGRAPHY

Post-war experimental and conceptual photography in former Yugoslavia has only rarely been the subject of detailed study and interpretation. In considering this period, it is necessary to take into account several factors, including the absence of permanent exhibition spaces for photography, the lack of magazines in which photographic themes were presented and discussed, the impossibility of studying the field of photography and, finally, the inadequate knowledge and application of contemporary criticism and theories of photography. Nevertheless, from the mid-1950s onwards it is possible to note a variety of innovations in the field, in terms of both form and subject-matter. This article considers rare instances of institutional support for progressive photography-related events and unique, intellectual-poetic works. After the break-up of Yugoslavia, there is a dominant tendency to nationalize art created in the former state, thus ignoring the specific Yugoslav cultural field as well as the European context. Based on a methodology which surpasses the national (but still acknowledges it) and searches for meaning within the broader socio-political space to which art is referring, the research aims to change the paradigm of the peripheral position and general ignorance of the circumstances under which this innovative practice emerges.     

REFRAMING DOCUMENTARY PHOTOGRAPHY IN CHINA

This paper examines the changing cultural and institutional conditions that have indigenized “documentary photography” in post-socialist China. It highlights the interweaving of intellectual, journalistic, and curatorial interpretations of “documentary.” It argues that the promotion of “documentary” as a genre of contemporary art in this process undermines photography’s claim to truth but is crucial to the reformulation of Chinese socialist realism.     

THE VIRTUAL LIFE OF PHOTOGRAPHY

The premise of this article is that although photography is proliferating and diversifying, we still do not know what it is. In order to find out what it is, we must look at it from both the outside and the inside: we must consider both the condition of photography, and its ontology. New media studies, science and technology studies, and other related fields help to illuminate the condition of photography, or its exteriority. But it is philosophy which enables us to address, directly, and from the inside, the question of ontology. The article proposes that this ontology is one of becoming, not of Being, and that it can be understood through Bergson's terms of memory and intuition. Memory, as an ontology of becoming, constitutes the virtual life of photography, and intuition, as a method of understanding, enables us to apprehend it.     

电子散斑照相技术的研究

本文首次提出电子散斑照相技术的新概念,对散斑图的记录与再现全部由计算机来完成。这一技术既不需要全息干板,显影,定影等照相过程,也不需要光学再现过程,实现了散斑照相的全电子化。因此,该技术不仅可以实时地测量瞬态场,而且不需要暗室及其照相处理过程。这样为散斑照相技术走出先学实验室,实现仪器化创造了条件。有广泛的工程应用前景。本文给出了电子散斑照相的基本原理与实验结果,分析了实验参数对电子散斑照相的影响。     

PHOTOGRAPHY,RACE AND INVISIBILITY

Although colonial troops formed the majority of Charles de Gaulle’s Free French Army, the photographs of the liberation of Paris in 1944 feature mostly white-looking soldiers. This was no coincidence: France’s allies insisted that Paris should be liberated by white troops only. The absence of blackness is particularly significant because the liberation has been an iconic object of national collective memory since 1945. So far, the response to this erasure has consisted in unearthing alternative images demonstrating the contribution of black soldiers. Despite its obvious rhetorical value, this approach leaves intact the alignment between photographic indexicality and race that permitted the exclusion of blackness in the first place. This article, by contrast, builds on recent reflections concerning photography and the ethics of spectatorship to question the forms of invisibility that are produced not just by leaving things out of the frame, but by race itself. Through the formal and aesthetic constructs that sustain the visuality of race, the article explores the symbolic work performed by both blackness and whiteness. Ultimately, it proposes a form of criticism that is both interpretative and performative, revealing not only the role of photographic representations in naturalizing race, but also the way race shapes photographic representations.     

NOTES ON PHOTOGRAPHY AND CULTURAL TRANSLATION

The essay explores issues in the cultural translation of photographic images and ideas, particularly between East and West. Audiences and institutions continue to fall prey to the persistent notion that photography should demonstrate aspects of national identity. This foregrounding of cultural difference inhibits more layered interpretations. The work of cultural translation involves the movement of subjects rather than objects, with dialogue and personal experience essential to understanding. Drawing on the author’s experience working in China, the essay looks to Homi K. Bhabha, Jacques Rancière and 1960s critical pedagogy for constructive terms to shift the perspective of photographic education.