家門口的風景 《西湖表情》

西湖表情

邵大浪 攝並文

如果每幅作品的平均曝光以1/30秒計算，那麼將這組西湖作品的曝光時間累計充其量也不超過區區幾分鐘，但這組作品的拍攝卻歷經我整整30年的時間。

自1986年來杭州求學，爾後留在高校從事攝影專業教育工作，我最喜歡的事情就是在空餘的時候背著照相機靜靜漫步於西湖畔，用我的心悄悄地與她交流、對話。當然，作為一個攝影人，這些年我也沒有少跑神州大地，領略種種湖光山色和民俗風情，但是我內心知道，這些走馬觀花似的遊歷和拍攝，是根本無法和我對西湖的這份深情和執著所相提並論的。

攝影與生俱來具有紀實和表意功能。在人類視覺文獻記錄活動中，攝影責無旁貸地擔當起見證歷史、推動社會進步的重任；而在以攝影為媒介的藝術創作中，攝影富有意義的是能夠體現光影、抒發真情、牽引想像和思考。如果說我在創作前期追求以精緻唯美的影像展現我眼中的西湖，那麼，現今我更注重透過西湖表象，表現我心中的西湖意蘊。

我始終認為我手中所抱的不是一架只有複印功能的照相機，而是一架充滿想像力和創造力的照相機。在無數的朝朝暮暮、晴晴雨雨中，我背負沉重的照相機和三腳架沿著西湖孜孜追逐我的西湖心像。我有過成功的喜悅，也有過無從表達的迷茫，但我沒有放棄，我時常提醒自己，真正的意蘊不僅僅在於被攝對象本身，也在於攝影者自身的學養與境界。

我特別喜歡寧靜、平和的西湖。我的快門都是在極其自然而放鬆的狀態下啟動的。我偏愛黑白攝影，在創作中我儘力摒棄浮華的色彩誘惑，而運用黑白影像與彩色現實之間所固存的距離感塑造出作品的理性之美，以簡練質樸的黑、白、灰色調錶現出我的西湖心像。黑與白是色彩的兩個極致，它代表著最簡單，卻也蘊含著最豐富。雖然西湖被人稱頌「濃妝淡抹總相宜」，但在我看來，西湖的美不在於喧嘩和熱鬧，也不在於色彩繽紛，而是在於素雅與靜謐。以黑白影像表現西湖，既體現了西湖的無限豐富，也表現出西湖無限豐富被抽象之後呈現出的一種簡約，能夠使作品「少一點敘述，多一些想像；少一點白話，多一些詩意。」

我一直使用膠片拍攝西湖。自30年前父親手把手教我在暗房裡放大出第一張黑白銀鹽作品開始，我就深深著迷於傳統黑白相紙上所呈現出的純美而豐富的黑、白和灰色影調。觀賞優美的黑白影調，感受豐富細膩的灰階層次，不僅是視覺的愉悅，更是一種精神享受。當傳統黑白攝影逐漸式微，周圍影友紛紛將膠片相機轉手或束之高閣時，我卻初心不變，堅守著屬於我自己的那一方黑白天地。

當今飛速發展的數碼影像技術，不僅使數碼攝影的操控越來越便捷，影像實時顯現，省時省事，而且，一旦發現拍攝時控制不當，甚至還可以馬上重新拍攝。不可否認，這是數碼攝影的優點，但或許也是它的缺點。它容易使攝影者呈現出快門按得越來越頻繁、而思考卻越來越少的傾向。使用膠片攝影恰恰相反，攝影者往往要經過深思熟慮，才會啟動快門，而且，拍攝之後還需要經過膠片沖洗和照片放大等原始而複雜的操作與控制，才能獲得最終的影像。膠片攝影這種全手工式操控，將攝影者的身心與拍攝對象及其影像緊緊交融在一起；而費時費力的影像獲取則更讓攝影者在創作過程中以虔誠之心禮敬拍攝對象。

不知不覺拍攝西湖已30年。30年的時間不算長，也絕非短。30年的相守和情感，不是這組作品就可以畫上句號的。

我會繼續我的西湖。

一個人的西湖

鄭幼幼 /攝影評論家，浙江攝影出版社編審

我們往往習慣於日常所見，在凡俗美景之外難以發現其他東西。但邵大浪先生卻能在所有人的西湖面前發現獨屬於他一個人的西湖。穿越時間，他的西湖黑白影像貫通了一條幽深的隧道，從傳統寧靜的唯美，到漫溢個人氣息的情緒，到超越時空的非物式，直至張揚的觀念表現。

這些影像與我們慣常的觀看不同，既當下又非當下，既熟悉又陌生。歷史感在這些景觀上投下深深的影子，它們借黑白幻出無數的色階、影調，化身一株樹、一座橋、一角亭閣、一片水、一張憂悒的椅子、一塊怪異的倒影。我們分不出它們到底是西湖的景物還是另一些魔幻的東西。這些日常在邵大浪先生的影像中都蘇醒過來，一個個成了精怪的存在。

邵大浪先生早期的作品突出影調，在唯美寧靜中透出平和的畫意，這類作品追隨亞當斯、韋斯頓以來傳統的攝影理念，在美學與技藝之間達到精緻的平衡。但在嫻熟駕馭這類作品的同時，邵大浪先生已經開始創作的轉向，他的第二類作品開始瀰漫著對西湖獨特的個人情緒。

首先，景物開始從場景中游離而出，出現的經常是給人印象強烈的小品，比如一條面朝湖水的椅子，一張湖邊的桌子，一截樹榦，它們嘆息著，有點寂寥，又悄悄地說著話流露自己的情緒。這種用局部景物表現西湖的手法使得西湖不像物，而是顯得非常擬人。作者投射的西湖像一個沉思者、悠遊客，時而落入孤寂中，時而又顯出超然的沉思。這種沉思源於場景強烈的缺失感所引發的聯想與思考。最初這一手法是很具象的，用分離局部，為小品投射強烈的個人情緒來完成創作意圖，但這種具象手法在邵大浪先生的創作實踐中一步步走向抽象成分更豐富的超現實表現，進而轉化為超越時空的非物式。

邵大浪先生的第三類風格往往與他的第二類風格交纏在一起。因為最先超越時空的思考通過個人情緒瀰漫的小品來啟發，但接著邵大浪先生給出一種更成功的設置——人物的缺席與缺席之後的重新出場。第三類作品的代表作是幾張有人物在場的照片：一個在西湖邊低頭慢行的路人；水廊上用長時間曝光定格的兩個模糊的人影；朝著一座橋急急而行的一雙剪影。無論是用強烈情緒暗示的人不在場的場景，還是人缺席後反而更具符號感的重新出場，都塑造了超現實之感。它或者利用空間引發時間進程，或者把時間進程轉變成空間存在，從而把不可避免的歷史變遷轉化為神秘的當下構成。這種成功的設置彷彿聯通了一個神秘宇宙，令我們迫近永恆的時空法則。

如果說這種帶著超現實之感的非物式基本上還注重美學與技藝之間的精緻平衡的話，那麼在觀念表現壓倒審美要求的第四類作品中，抽象成分已經成為重要的表現手段。張揚的觀念時刻準備在必要時搗碎所有的美學與技藝的慣常要求，所有的手段以闡發創作者的意圖與觀念為前提，影像中出現了大面積突兀的黑色前景，攪動著不安，令傳統的審美規則幻滅於一個有關西湖的幻像中。

關於西湖，記憶瀰漫，在某些方面，時間越久，意味著某個空間儲藏著越多的回憶。邵大浪先生用30餘年的時間來表現西湖的表情，進而更深入地延伸出西湖的心靈視像，詮釋了他對西湖執有的一種近乎魔怔的攝影式觀看和獨特情緒。

也許「一個人的西湖」，是最合適的呈現方式，因為西湖與黑白攝影，都需要拍攝者和觀看者以自己的體驗來闡釋。

One Man』s West Lake

Youyou Zheng

Critic of photography, Senior editor of Zhejiang Photography Press

We are usually accustomed to things we see every day, but difficult to discover anything beyond ordinary beautiful scenery. Different to others, Mr Shao can find out his personal part of West Lake which belongs to the public and it is visited by everybody.

His black-and-white images of West Lake cross time and pass through a deep and quiet tunnel from traditional and serene aestheticism to feelings brimming over with personal odor, to nonmaterial that surpasses space and time, up to publicizing conceptional display.

These images are different from ordinary. It looks like to stay at present, and yet not at present; it』s familiar, and yet strange. Sense of history casts deep shadows on the scenic spots, which fluctuates into a variety of shades and tones with the help of color black and white, become a tree, a bridge, a pavilion, an expanse of water, a sad chair as well as a queer reverted image. We fail to distinguish whether they are West Lake sights or some other magic things. However, they have all come round and each of them becomes an existing goblin in Shao』s images.

The early works of Shao highlight tones and show a peaceful mode of painting in serene aestheticism. This kind of works follows traditional photographic concept since Adams, Weston, and reaches a perfect balance between aestheticism and skills. When he skillfully does this sort of works, Shao starts to change in his creative style and his second kind of works begin showing his personal emotion towards West Lake.

Firstly, a sight drifts away from the scenes. It is always a single article that makes a deep impression in people』s minds, such as a chair facing lake water, a table by the lake or a stem. It utters a sigh with a bit of solitary, and meanwhile whispers to reveal its feelings. The artistic approaches to present West Lake by partial sights, and makes West Lake no longer look like a place, but appear very much like a person. The West Lake described by Shao』s casts seems like a thinker or a traveler. Sometimes he falls into loneliness, and sometimes shows an air of detached thinking.

This rumination caused by a strong sense of absent sights triggers associations and thinking. Initially this approach is very concrete, with the separation of local, for the article of projection of a strong personal mood to complete the creative intentions, but this figurative approach in Shao s creative practice step by step moves toward the abstract elements richer surreal performance, and then transforms into transcendental space-time non-formShao s third type of style is often intertwined with his second type of style. Because the first transcends time and space thinking through the personal emotions of the sketch to inspire, but then Shao gives a more successful set - the absence of the characters and absent after the re-appearance. The third class of works is a few pictures of the presence of a person: a slow walk in the West Lake pedestrians; water gallery with a long time exposure of the two vague silhouette; a pair of hurry silhouette toward a bridge. Whether it is a strong mood that people are present or not, or after the absence of a more symbolic appearance of the re-appearance, a sense of surreal has been created. It may use space to trigger the process of time, or transform the time process into space so as to transform the inevitable historical changes into the mysterious current composition. This successful setting seems to be a mysterious universe so that we approach the eternal law of time and space.

If this non-material with a sense of surreal is also largely concerned with the delicate balance between aesthetics and the skill, then in the concept of performance over the aesthetic requirements of Shao』s fourth category of works, the abstract component has become an important means of expression. The concept of publicity is always ready to mash all the aesthetics and skills of the usual requirements, all means to elucidate the creator s intentions and ideas as the premise, the image appeared in a large area of unexpected black prospects, stirring disturbed, the traditional aesthetic rules are disillusioned in a phantom about the West Lake.

On the West Lake, memory is filled, in some ways. The longer the time spans, which means that a space stored more memories. With more than 30 years, Shao expresses the expression of the West Lake and more in-depth extension of the West Lake, interpretation of his crazy watch with photograph and unique feelings about West Lake.

Perhaps 「One Man s West Lake" is the most appropriate way to show, because the West Lake and black & white photography need to be explained by photographers and viewers with their own experience.

微信公眾號「影像國際」

喜歡這篇文章嗎？立刻分享出去讓更多人知道吧！