| 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
