内容提要
前言
克里斯托•弗菲利普斯
这个展览有两个目的：一是为了把各种风格的优秀摄影家召集起来，二是为了吸引大家关注世界范围内摄影从胶片时代到数码时代的转变。就像每一位摄影师都了解到的那样，数码摄影的飞跃进步已经改变了摄影师制作，编辑，整合和发布照片的方式。
参展的摄影师都亲身经历了胶片摄影到数码摄影的转变，但是对于这种转变，他们的处理方式却是非常自我的。当他们被分配到时间紧急的杂志拍摄任务，大多数人都会选择快速容易的数码摄影。比如说：摄影师彼特•门策尔在2003年完全放弃了胶片摄影，选择了数码摄影，而且自此之后再也没有拍过一张胶片。“我不会再回到胶片的时代”他如是说。毛罗•达加提说当他需要拍摄数千张照片的时候，就选择数码摄影，因为高昂的胶片和处理过程使得其他的方式都不可行。鲍尔•卡策尔，从另一方面说，当他知道自己的照片要出版的时候会选用数码摄影；但是当他的最终目的是大幅的展览照片，而且这些照片会被博物馆或者收藏家收藏的时候，他就会选用能捕捉微妙质感的胶片摄影。最后，一些摄影师发现他们被photoshop这样的后期处理软件所吸引。迪迪埃•吕夫说，在他接受数码摄影之前，每个晚上都无事一身轻，现在，他会坐在电脑前检查并且修改照片。
为了完整理解摄影转变的意义，我们需要知道，自从1939年摄影技术发明之后，摄影技术一直在剧烈改变和进化。事实上，我们可以说，摄影已经现代化——摄影媒介已经被再发明，而且和现代新技术连接起来。举例来说：20世纪初，打印技术的进步第一次使得图片和印刷能在一页纸上面完成。这种发展使得多种多样的照片出现在印刷品上面：报纸，杂志，书籍和海报等。如今，随着世界范围内网络的普及，数码媒介开始挑战印刷媒介，而且，数码文化的快速发展鼓励更多的摄影师去发现图片制作和图片发布的可能。
现在摄影师有机会把他的作品展示给世界上不同地区的不同观众。许多参展摄影师的照片经常出现在文字刊物和电子刊物上，比如法国《世界报》，法国《巴黎竞赛报》，美国《时代周刊》，德国《镜子》，西班牙《国家报》，英国《观察家》杂志。但是他们也发行自己的画册，同时也经常在画廊和博物馆展出作品。几乎每一个摄影师都有自己的个人网站，里面展示着他们的得意之作。为了好好利用现在的数码氛围，他们不仅要关注照片本身，还有网站设计，照片排版，还有相关的文字介绍。
看起来很明显，之前只是单纯的数码摄影，而现如今摄影进步重塑了数码摄影，并且进入了和世界网络媒介整合的新时代。尽管摄影在变，但其最重要的特性却一直没变。事实上，视觉清晰，情感共鸣，信息细节比网络环境更加重要。网络环境展现的是文字，动态的画面和音乐的融合。在这种喧嚣里，照片的视觉质量 比以往更加重要。因此，摄影会一如既往的吸引有才华的爱好者，找到宣泄浓烈的个人感觉的方式。就像其中的一个参展摄影师瑞罗拉•赛义多娃提醒我们的一样：“不管一个人使用怎样的相机，捕捉和传递有深度的照片依然是最重要的。”
Introduction
by Christopher Phillips
This exhibition has two main aims. First, it brings together the images of a group of diverse and extraordinarily accomplished photographers. Second, and just as important, it calls attention to the shift from film-based photography to digital photography that is now taking place around the world. As every professional photographer is aware, the continuing advances in digital technology are radically changing the ways that they produce, edit, organize, and distribute their images.
The photographers in this exhibition have all personally experienced the transition from film-based photography to digital photography, but they have responded to this change in highly individual ways. When they have magazine assignments with a tight deadline, most of them find that the speed and ease of digital photography makes it an obvious choice. Photographer Peter Menzel, for example, reports that he switched entirely from film to digital image-making in 2003, and that since that time he has not shot a single roll of film. "I would never want to return to film," he says. Mauro d'Agati says that he employs digital photography for projects that require shooting thousands of images, because today the high cost of film and processing makes any other method financially impossible. Paul Kranzler, on the other hand, uses digital photography when he knows that his work will appear only in published form; but whenever his final goal is to make beautiful large-scale exhibition prints that will be purchased by museums or private collectors, he relies on film because of its ability to capture more subtle tonalities. Finally, some photographers have found themselves attracted to the new possibilities opened up by digital post-production software such as Photoshop. Didier Ruef notes that before his adoption of digital photography, he usually had his evenings free for relaxation; now, he says, he sits in front of the computer at night examining his new images and seeking ways to technically improve them.
To fully understand the meaning of photography's transformation into an essentially digital medium, we need to remember that every since photography was invented in 1939, its technology has constantly changed and evolved, often in dramatic ways. In fact, we can say that photography today remains a modern image-making medium precisely because it has been regularly reinvented and linked with other new technologies. For example, in the early years of the 20th century, advances in printing technology made it possible for the first time to reproduce a photographic image alongside typography on the same printed page. This development resulted in an outpouring of new kinds of photographs made to appear in print media: newspapers, magazines, books, and posters. Today, with the spread of the world-wide Internet, digital media have begun to challenge print media, and the rapid growth of digital culture has encouraged many photographers to seize the new possibilities for image-making and image distribution.
Photographers now have the opportunity to present their work to very different audiences around the world. Many of the photographers in this exhibition regularly publish their images in both the print editions and on-line editions of international magazines and newspapers such as Le Monde (France), Paris Match (France), Time (US), Der Spiegel (Germany), El Pais (Spain), and The Observer Magazine (U.K.). But they also publish their own books, and sometimes they show framed prints in gallery or museum exhibitions. Almost all of these photographers now have their own websites on the Internet, where they display their images in ways that they have chosen. To take full advantage of this new digital environment, they have had to involve themselves not only with the creation of photographs but also with the details of website design, image sequencing, and the preparation of written texts to accompany the images.
It seems inevitable that photography's current evolution will reshape it into a medium that is primarily digital and is completely integrated with the multimedia world of the Internet. Yet although photography is changing, its most important characteristics remain the same. In fact, the visual clarity, emotional resonance, and extraordinary informational detail of the still photographic image take on an even stronger value in the Web environment, which is often a confusing mix of graphics, moving images and sounds. Amid this chaos, the unique visual qualities of the photographic image stand out more powerfully than ever. For this reason, photography will continue to attract talented men and women who find it a medium uniquely suited to convey an intense, personal vision of the world. As Zilola Saidova, one of the exhibition's participants, reminds us, "No matter what camera one uses, the most important thing is to capture and deliver images with deep content."
前言
别样瞬间
雷哈•比利先生是当今土耳其摄影界冉冉升起的一颗璀璨的新星。这颗星给我们带来的是视觉、感官的双重震撼。上至旋转舞，他捕捉到了人类旋转艺术的顶级瞬间；下至大众百姓普通生活的一窥，他都表现的淋漓尽
雷哈先生的摄影作品题材广泛，手法新颖别致，用光准确，人物动态表情丰富，让我们领略到艺术家的真谛。
特别是静态物体和昆虫类作品达到了极高的艺术造诣。这在以往的作品中不多见。
古老文明且风光明媚的土耳其造就了这样一位睿智、犀利、感性、认知的优秀摄影师。
Special Moments
Reha Bilir is a rising Turkish photographer who vibrates our visual and sensory senses. He is capable of capturing the brilliant moments ranging from climax of Turkish whirling dance to a glance at folk life.
Reha’s pictures involve widely spread topics, and convey the heart of an artist with his fresh technique, precise use of light and abundant moves of his objects.
Reha is extremely successful in still life and insects’ works, which are rarely seen before.
This is a wise, incisive, sensational and rational photographer from Turkey, a land of history and landscape.
前言
袁东平《精神病院》的拍摄始于1989年，摄影家先后前往北京、天津、贵州、湖南、四川、广西和新疆的精神病院拍摄。九十年代初期作品公开发表后，在摄影界，甚至在美术界产生了较大的影响。有评论认为是当时中国少有的“极具温暖厚实之人文气息”、“对主题的选择和揭示达到一定深度的” 专题摄影作品。
袁东平拍摄于“精神病院”围墙里的照片的公开发表，在中国引起了有关摄影伦理的讨论，如对被摄对象隐私的保护、被摄对象匿名的权利和拍摄者的权益、照片采用的方式方法和摄影家发表照片的权限等…鉴于中国影像传播领域法律法规的缺失，《精神病院》在今后有关摄影伦理的争论中，还将作为中国最典型极端的案例，长期地受到关注和讨论。
1993年，《精神病院》获美国 “年度新闻摄影比赛”（POY）优秀奖，这是中国大陆摄影家第一次在这个国际重要的报道摄影比赛中获奖。随后作品作为中国优秀的报道摄影，纪实摄影，早期观念摄影和先锋摄影的代表作，到国内外展出，为西班牙瓦伦西亚现代艺术博物馆和广东美术馆收藏。
Yuan Dongping began to shoot the pictures known collectively as "Asylum" in 1989. He photographed successively in Beijing, Tianjin, Guizhou, Hunan, Sichuan, Guangxi and Xinjiang. The photos were published in the early 1990s and had a fairly greatly impact on the photographic circle and even the entire fine arts circle. Some critics said they were dedicated photographic works that “carry a very warm and thick atmosphere of humanities”, which was rare in China at that time, and “they reached a degree of profundity in the choice and revelation of the theme.”
The publishing of the pictures taken by Yuan Dongping in the mental hospitals gave rise to a discussion about photography ethics, involving issues such as the privacy of subjects photographed, their rights of anonymity, the photographer’s rights and benefits, the methods for photo use, and terms for authorized publication. As the law and regulations pertaining to the spread of images are still in want in China, the picture Asylum will expectedly continue
前言
吴家林1969年开始接触照相机，自学摄影。他特有的敏锐和视觉表达，组构出充满着“决定性瞬间”画面，无意中成就为马格兰图片社布列松影派在中国最典型的代表人物。吴家林照片中“这些丰富的景象排列在一个看上去自然，但也同时又是十分精细的框架内。”（马克• 吕布语）。因此，吴家林是最早也是最普遍地得到国际同行认可的中国摄影家之一，他还是第一位获得美国琼斯母亲基金会国际纪实摄影奖（1997年），入围布列松摄影基金奖的中国摄影家。
1993年，《云南山里人》出版后，在美国休斯顿国际摄影节、巴黎国际摄影节、纽约国际摄影中心 、德国赫尔腾国际摄影节、法国蒙特利尔法布耶艺术博物馆，俄罗斯SAMARA美术馆、莫斯科现代艺术博物馆、瑞典斯特哥尔摩艺术博物馆、香港艺术中心和台湾举办展览。1999年入选纽约“光圈”（APERTURE）基金会《中国，人民共和国50年》大型影展及画册，英国PHAIDON 出版社《世界100位摄影新锐》BLINK画册、《布勒松的选择》影展及画册，并在汉堡德国自由摄影家协会(BFF)国际摄影年会介绍摄影作品，上百幅作品被收藏。
Wu Jialin began to play with the camera in 1969 and taught himself photography. His unique sensitivity and visual expression, with compositions of his pictures full of the "decisive moment”, made him inadvertently the most typical representative of the Magnum Photo Agency’s Bresson photography school in China. In commenting on Wu Jialin’s photos, Marc Riboud said these rich images were placed in a naturally looking but fairly refined framework. Wu Jialin was one of the earliest and most universally recognized Chinese photographers by international peers. He was the first Chinese photographer to receive the United States Mother Jones International Documentary Photography Foundation Award (1997) and was nominated for the Cartier-Bresson Photography Foundation Award.
Since its publication in 1993, Yunnan Mountain People was exhibited at the Houston International Photography Festival, the Paris International Photography Festival, New York International Center of Photography, German Hultén International Photography Festival, the Montreal 法布耶Art Museum in France, Russian SAMARA Art Gallery, Moscow Modern Art Museum, Stockholm Art Museum in Sweden, Hong Kong Art Center and in Taiwan. The work was selected in 1999 for the grand exhibition and album titled “China, A Republic of 50 Years”, which was sponsored by the APERTURE Fund in New York, as well as included in the BLINK picture album " World Top 100 Emerging Photographers " published by the British PHAIDON Press, and in “the Choice of HENRI CARTIER-BRESSON” photography exhibition and picture album. He lectured at the International Photography Annual Conference organized by the Germany Free Photographers Association (BFF) in Hamburg. More than a hundred of his photos have been collected.（文章来源：《上海国际摄影周暨上海第十届国际摄影艺术展览》）
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