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Thesis Writing , still so much to polish for my final project !!! One of the most busiest month , focus focus focus
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| 透過拍照更瞭解彼此 |
這些照片都是他誠實的觀察，「你們要怎麼想，我沒有辦法強迫你」張雍說。攝影是他眼睛的延伸，像在先前他拍家人的作品《雙數》和《第二個童年》中，可以看見他的專注。攝影像是「在理解別人的故事中，來認識你自己。」他說，街頭攝影是最準的，看到菜市場、腳會停下來，會轉頭，故事在哪裡，如何被嗅到，那些是最直接的反應。他說「我過我的生活，跟我想見面的人見面、當人的丈夫，當爸爸，攝影師只是我很多身份的其中一個身份，就那麼簡單，攝影師不用無限上綱。」
他的作品裡頭，感情都是直接了當的，「我寧願讓攝影畫面自己說故事。」他說，不需要一篇很長的論述，而是讓作品直接與觀者對話。他也不是那種計畫性的攝影師，他說：「如果有計畫的話，那不會是攝影，而是計畫生活，對我來說，攝影不是創作。」因為他認為攝影能夠有大方向，但在生活中要保有彈性。攝影更像是拿一個遙控器，說著「暫停，讓我再看一次」，然後再做事後的整理。和大多數的攝影師一樣，張雍專注於眼睛所看到的畫面，但他的照片時常伴隨著文字，但並不是如圖說一般的，詳細敘述這張照片。張雍以波蘭導演奇士勞斯基（Krzysztof Kieslowski）的作品為例，提到他作品的空靈感與音樂有關。他也覺得攝影散文集裡頭的文字有一種節奏感，是一種聲音，「文字像是音樂，是我覺得舒服的韻腳，噠噠噠、嗒嗒嗒嗒。文字是旁白，是一個層次、一個畫外音、一個敘事。」
These photos reflect the truth as Chang sees it, because as he says, “I cannot forcefully change the way you think.” Photography is Chang’s eyes. He photographs his family and its importance to him is demonstrated in his previous works MIDVA and Childhood Once More. Photography is like getting to know yourself through learning about other people’s stories. Street photography is the most accurate example—you stop by the traditional market, look around, use your name; there’s a story there—how do you smell it out?— that is your most immediate reaction. According to Chang, “I live my life and meet with people I’d like to meet. I am a husband and a father, and being a photographer is only one of my many identities. It’s just that simple; the role of a photographer does not need to be exaggerated out of proportion.” The emotional content in Chang’s work is fairly straightforward, and he would rather let photography do the story-telling. His work does not require lengthy explanations, as the images can directly communicate their meaning.
Chang is not the type of photographer who plans everything out, either. If he were to do so, “I would plan out my life and not my photography.” As Chang says, “Photography is not a creation to me.” He thinks it cannot be planned, but you can get the big picture by being flexible and trying to keep up. Photography is more like holding a remote controller, saying “pause, let me see that again,” and doing post-hoc sorting. Chang focuses on what he sees with his own eyes. His photos are often accompanied by captions, but they are not the type that typically gives an account of all the details regarding the photo. He points out that the sense of ethereality in Polish Director Krzysztof Kieslowski’s works is related to music. He believes that captions to photographs likewise should be imbued with rhythm and sound. He comments, “I love writing that has the metric flow of music or poetry; da-da-da, ta-ta-ta-ta. A caption should serve as a voice-over, a different level, an off-screen voice, a narration.”
design Magazine 設計雜誌
April. 2017
我一定要到現場去—專訪攝影師張雍
SIMON CHANG | I HAVE TO BE THERE.
text / Eric Weng
editor / Fran Hsiao
Update: I think the site has crashed from all the traffic. Here is the text of the post. Or go here: http://imgur.com/BYpU0SE?r
-------- start post --------
ATTENTION SEEKING KID – KEOW WEE LOONG
writing & imagery by:
ARKADIUSZ PODNIESIŃSKI
18 lipca, 2016
People interested in Fukushima have almost certainly heard of the ‘sensational’ post by Keow Wee Loong, a 28-year-old man from Malaysia who claims that he travelled illegally around Fukushima’s ‘no-go’ zones. It turns out, however, that his story is almost completely fabricated. Unfortunately, the story by this man, who hid his face behind a gas mask, was so convincing that people swallowed it whole and it rapidly spread around the world. His story and photos were published in on reputable services like TIME, CNN and hundreds of others. And, as the author himself admits, he gave 34 interviews in a single day. The entire story of his trip through the no-go zones, sneaking through the forest and avoiding the police is a fiction by a man seeking fame and attention, as opposed to the real popularity that he undoubtedly generated.
woo-posts
screenshot of Keow Wee Loong’s Facebook profile – www.facebook.com/uglykiwi and www.facebook.com/KeowPhotography
Keow Wee Loong’s story strongly recalls the story of Elena Filatova, a.k.a. ‘the Kidd of Speed’. This young woman claimed to have made an illegal solo motorcycle trip through the closed, radioactive zone in Chernobyl and hid her face under a motorcycle helmet. In reality, she never drove her motorcycle through the closed zone and all of her photographs were taken outside the zone or during a tourist coach trip, which she went on dressed in motorcycle gear and a helmet.
Keow Wee Loong’s story is similar. Besides having deliberately created a sensational text and portrait photographs depicting him alone in a gas mask with a shopping basket in hand, it quickly became clear that, in principle, his entire text is dishonest, his trip to the no-go zones untrue and the photographs were taken in areas that everyone can access.
I have visited Fukushima many times to document the destruction caused by the disaster at the nuclear power plant, and so I did not have any major problems identifying the sites where Keow Wee Loong took his photographs. It quickly turned out that all of the photos he took were not taken in the red no-go zones as he claimed, but only in the open green zone (sometimes orange) as well as on Road No. 6, which runs through the Fukushima prefecture. All of these places are open and accessible to all.
Keow-Wee-Loong-map
Map with the locations of places where Keow Wee Loong took his photographs. In order to prevent similar behaviour, the locations of some places are approximate.
The green zone in the town of Namie, where the photographer took most of his pictures, have had this status for at least three years and have been open to all since 1 April of this year. In Tomioka, where Keow Wee Loong also took photographs, these zones were open even earlier. Anyone who wished could enter them freely already a few years ago.
Today, the streets of Namie and Tomioka are full of cars and people, which one cannot fail to notice. In Namie, there is a working police station, a petrol station and the first shops have been open. One can also see a lot of repair crews on the streets of Namie and Tomioka, as well as increasing numbers of curious tourists. Radiation in the centre of Namie is approximately 0.1 uSv/h, and is therefore normal; it does not differ from most other cities in Japan and around the world. One doesn’t need a gas mask there, much less a full-face one. It isn’t necessary to hide from the police or hike through the woods for hours to get to Namie or Tomioka. Anyone who wants to can go there without permission.
Only access to the most contaminated zones, referred to as red or no-go zones, located closest to the power plant and contaminated from the radioactive fallout require a special permit. Contrary to the claims of Keow Wee Loong, he never managed to get to these places. Legally or not. Contrary to what he says, a permit can be obtained in just a week – you just have to demonstrate and justify an important public interest. Evidently, however, Keow Wee Long could not justify any public interest.
Why am I writing about all of this?
My interest is not to trivialise the catastrophic consequences of the failures of nuclear power plants. When I was 14 years old, I had to drink liquid iodine, which would help stop the absorption of the radioactive iodine isotope coming from the damaged reactor in Chernobyl. For these and other reasons, I have devoted the last 8 years to the subject of Chernobyl (I have been there dozens of times), as well as with the subject of Fukushima from the moment the disaster in Japan happened (I have visited 4 times in the past year, spending more than a month in total there). During this time, I have seen the effects of nuclear disasters enough to be opposed to this form of energy production.
I am, however, a strong opponent of seeking sensationalism, 15 minutes of fame and the money that comes with it, which has become synonymous for me with Keow Wee Loong. Photographers and writers of unreliable and inaccurate texts, which are then replicated by hundreds of media outlets around the world, create a false picture of the current situation in Fukushima. This is particularly important here as, in contrast to Chernobyl, the consequences of the disaster are still fresh and painful. To date, nearly 100,000 evacuees are still out of their homes. Many of them are following the progress of the disaster recovery works and often base their decision to return (or not) on media reports.
I think that the international community, Japanese society and, above all, the evacuated residents should have reliable information about the places where they once lived and where I hope they will shortly be able to return.
Arkadiusz Podniesiński
Photographer
www.podniesinski.pl
P.S. I only very rarely ask for my articles to be shared. This is an exception because it’s really important. Share it!
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"I have visited Fukushima many times to document the destruction caused by the disaster at the nuclear power plant, and so I did not have any major problems identifying the sites where Keow Wee Loong took his photographs. It quickly turned out that all of the photos he took were not taken in the red no-go zones as he claimed, but only in the open green zone (sometimes orange) as well as on Road No. 6, which runs through the Fukushima prefecture. All of these places are open and accessible to all."
- Polish photographer Arkadiusz Podniesiński who has photographed Chernobyl and Fukushima No-Go zones for real.
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