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"Eat melon conference"
Ant next door class - Huang Jing online sharing meeting sound version
Special Thanks:
Voice finishing: Above the roses
Text: Sichuan - Wang Yanqiu
Hello, good evening everyone. I am Huang Jing, today I very much welcome everyone to come to the "Eat melon conference", and thank you Ling Hu for giving me such an opportunity, just when I first met Ling Hu, the ants could only sit at one table. Unexpectedly, it has now developed into such a large scale.
The reason for today's sharing meeting is that I have a new photography album called "Melon Field", but I may not plan to talk too much about books, because this is actually very good at reading books. I want to tell you more about some of the things behind this book, and the topic may be farther away. Let me first send out these four small outlines for this evening, and I will speak according to this outline.
Why is my creative style still the same after all these years?
Analyze the content of each small book of the new book "Guatian"
Why make a picture book?
Why do I have so much trouble making albums?
First, my creative method, why has it been like this for so many years?
Well, first of all, the first one is to talk about my way of creating, why many people ask me such a question, that is, why I have been shooting this way for so many years, many people ask me, do you change in the end, do you want to try something new. Do you want to jump on something and so on, a lot of friends, or you may have a private discussion.
Tonight I'm probably the first to talk about one of these, and one of the reasons why I've been doing it all along.
First of all, I want to say that in fact, I think that in fact, I have changed, I don't know if everyone has this feeling, I think I have changed a lot, in two steps, it is this change and unchanged these two points.
First of all, what is unchanging? What remains unchanged is that you can see the black and white film, and then 135, the same or use this 135 small camera, portable this small camera, and then still this tone is more special such some of the films, and then the particles are quite large, these are unchanged, these things are unchanged, so what has changed?
In fact, I think that I have been changing all the time, and from my heart, I am actually changing. In fact, the biggest problem is that my biggest problem in so many years is actually that I have changed but I have not admitted that I am changing, which is a key. I just don't know if you have such a feeling, that is, we are very accustomed to maintaining a state that you feel good. It's that you may be ecstatic to feel that you are in a good state now. For example, I didn't shoot much this month, but I made very good films, and I made very good films. Or maybe I've won awards for these films recently, or they've been recognized by a lot of people and so on. This is what you might think, or you yourself would think is a good state.
But the state of this thing is intermittent, it can not be said that it has always been like this. In fact, you are changing all the time, because even physically speaking, you are ten years old, you are not the same person you were ten years ago, your cells have completely changed. For example, during this period of time, you will definitely come into contact with different people, you will see different things, and you will accept new knowledge of this information. Then your body will change, that is, to become old, or to become stronger and so on. Then what gets sick, then the things that come across, the changes in your job, the changes in the weather, and so on, it's impossible for you to stay the way you were.
So in fact, change, is your change is your normal.
Many people will say the same thing, that is, change is unchanged. It's that everything is changing, so you can't stay that way. When you don't bear it, when you don't admit this change in yourself, then your change will become a bad state, because you don't recognize him, you don't bear him, so he will become a very bad state. You feel less than you used to feel. But in fact, if you accept him, if you embrace this change, you will be very relaxed, you will be very comfortable to accept this change. And you can see some flashes in this change. You will feel that you are getting better, or that you are getting more and more. Your whole emotion, your knowledge, your overall feeling you will feel better.
So I think the main problem of all this is whether you have embraced this change of yours, rather than saying that some people will say that you are not in this state now, not as good as before, you may be in a hurry to maintain such a state, maybe everyone is actually like consumption, that is, eat this dish tired, and then will tell you, you this menu should be changed, how you should change it, it is equivalent to saying that in fact, everyone is tired of eating a dish and wants you to go to another dish. But this is not necessarily your real natural spontaneous change, but for the sake of others to feel tired, and then you have to make a change, which is also a situation. It is this kind of "change" for me, maybe I have tried a few times, I am definitely still young, I will definitely feel tired of eating, and then I will go, I will also try to do other "dishes", and then find that it seems that it is not something I am good at, and it seems that I spontaneously feel that I should understand, I should make some changes, I should accept some changes.
So since I started my teaching career since the pandemic, because it's okay to stay at home, and then I started to want not to take an online class. Then in the process of teaching this online class, I definitely need to prepare for the lesson, because of the reason for the lesson preparation, I will start to read some of the books of the brief history class, and in the process of reading this brief history book, I found this very good.
Suddenly, all of this scattered knowledge points before me were strung together. After stringing it together, I will find that I will have a feeling about the whole whole thing, including art, including history, including this kind of human being. Well, when I feel the whole picture, I will find that in fact, this context is really important. And it is every historical node, we see the brilliance, see the brilliant art artists, he is actually a how to say? It's all a process. Then it goes to a certain vertex, like an ocean wave, and it will have such a vertex highest point and then go down again. But the whole thing has a process, that is, from this point to another, there is a development in the middle, and everyone will have a place in history, he will have a place there.
Then you will feel that what we are doing is actually a very small, very subtle and subtle thing, don't think about what you can do. I'm probably we're just working on such a job for the next node as a pass, our little by little this change, we don't need much of this span of change. We just need to have a little bit of change. You don't need to say how much you want to contribute or how, as long as you have a little bit of progress, a little bit of change, then it may become a bridge to your next node, you will act as a bridge.
After reading it, I will feel that my things actually need a good context, everything is all changes, all the direction of this change is natural, it must be from the heart so natural to happen.
For example, for example, maybe my pursuit some time ago was based on my feelings at the time, the things that I felt good at the time, and then slowly imitated, and then went to the other side. But at the next node, many people may actually change a direction, he will change a form, another direction, another direction of this kind of direction to work hard. But in this way, it is actually equivalent to you returning to your origin, that is, if you imitate a person, then after you imitate him, this imitation is an easy thing. If you look for the next node, you are not naturally developing your second step, but if you are going to imitate another person who is more popular or different. Then you may lose the first step that you took before imitating this person, you will waste this first step, and then you will not develop the second step, and you will go back to the first step in the other direction.
All I hope is that my change will not be too great. Little by little, I will make an adjustment based on what I see at each stage, according to what I learn at each stage, according to the thing that I aspire to at each stage, and then make an adjustment, instead of completely abandoning the previous thing.
For example, impressionism and post-impressionism, everyone knows that post-impressionism is actually very anti-Impressionism, and there are many, many statements against Impressionism. But why is it called Post-Impressionism, because he has inherited a lot of Impressionist things, and then including this relationship between ancient Greece, and then the ancient Greeks and the Egyptians. There is also this relationship between the Renaissance and the Middle Ages, and there are many, many such examples in history, that is, even if he opposes him, at the same time he is using these parts of the achievements of these predecessors that they are against. So he is not completely abandoned, he must be on the basis of your front, you make a series of adjustments, not completely this abandonment, completely this kind of imitation of this feeling of another person.
So I think the four novels in my new book are a manifestation of one of my four stages. Including my previous book, "Record", which was the earliest one, and then the second book was called "Three Three Two Two", which actually reflected a change. And then this crisp third book is now this "Melon Field", and we let him simply divide it into four small books, that is, it becomes my four small stages, of course, there will be a lot of works that may not be the best, but I will present it in it. It's because I actually want to show you that a whole vein is a process, not just a vertex, and this is why I don't seem to have changed much now, but in fact the change is quite large. In fact, I have always disliked using words or words to introduce my works. Because I think that if we look at the photos and we can't understand each other and communicate with each other, this should be an ineffective communication. If you want to explain it in words, it is a compromised communication. So I've been reluctant to state this work, but today I may be able to remind you to take a look at this change in this one and look at it in detail.
Second, analyze the content of each small book of the new book "Melon Field"
Now I'm going to show you what these four little books are about
Now the one I'm sending to you is the first of my four little books, how do I distinguish between these four little books? That is, there will be some numbers on it that may not be understood by everyone, and that number is my number from the first few volumes to the first few rolls of film, and everyone will know what the order is, and this design is also an idea of the designer.
At first this volume number was just for my convenience to find an index of the picture. But then the designer thought it was very interesting, so he turned the album into an archival one. So this number becomes an important design element. These four series actually gave me a feeling that he was a name for me, the first one was called "Mud Flavor", which was my pursuit when I took this batch of photos, so to speak, and the word used is the word "pursuit".
I don't know if it's not a result, I don't know if I've pursued it or not. But this is my, can represent my pursuit during this time, in the end to pursue it? In fact, everyone looks at everyone's different feelings, and I will not say more about this.
This is the first book in which there are more than seventy photos in each book, which is the longest period I have experienced. It's these four books, and then he probably has the most volumes. What can one of my pursuits of this period of time be? How did I pursue a "mud smell"? You should have heard that I read that mr. Mu Xin's book has mentioned a word called "the salt taste of the earth." Then my "mud smell" is actually based on this. Well, you can search for what is the original taste of the earth, in my opinion, it is actually a kind of grounded and emotional humanity. Then there is such a feeling of taste.
Because before that, it was the stage of "Three Three Two Two", which was actually a stage after the award. At that stage, a little bit like I just said, I was trying to keep winning, hoping to get the same picture as before, or even better than before. But in this way, the whole person will freeze, the whole will start you may be very habitual to find some rules, find some rules to take good pictures, and these important popular subjects, you may go very stylized to reproduce this state, but in fact, this is not going to work. I definitely know the problem. "Three Three Two Two" is one stage in dealing with this problem. At this stage of this "mud smell", it may be a little more relaxed than before. Because it seems that in life, I actually see a lot of things. I'll show you what influenced me at the time.
Everyone sees that it is Mr. Mu Xin's book, which is basically my life-saving book. Because whenever this state is not right, or there is no confidence in myself, that is, the six gods and no master, I may look at Mr. Mu Xin's book. It's like medicine inside, like medicine to me, it's supporting me.
And then I did an exhibition, an exhibition by the French architect Le Corbusier. And then this one also had a very big impact on me. Later, I went to Germany to study, saying that it was a study tour, but in fact, this is dropping out of school, so I came back without finishing my studies. In Germany, I also see a lot of art galleries and museums. Then you can see that there is a work by the Bechées, and there is this one in Germany that I saw this first photographic album, called "The Pencil of Nature", and there is also looking at these buildings of Le Corbusier and so on, in fact, the influence on me is that I really think that these people are very skilled, very skilled, but they don't use, but they actually pursue those very "turbid" things. Like what we Chinese talked about is actually very "cloudy" things, but this "turbidity" just started I think it is very simple, that is, cute is over. But then it turned out that this "turbidity" was actually completely different from cuteness.
There is also a director named Roy Anderson, and the feeling of his work is also to give me the feeling that they are looking for something more fundamental, or the so-called salt of the earth, that is, the salt taste, the salt taste of people. Then the salty smell of things, and then put all this salty smell, the taste of the source of the earth. So my pursuit has become a "mud smell", probably the same meaning, to put it bluntly, is the meaning of grounding. But I think this period of time is only a stage of mine, this is my pursuit, not a result, I am working very hard to do this. One of the traces of the process is these pictures of mine, and you can go and look at these pictures of me, think about what I said, what I saw and what I was affected by, and then think about it.
This is the second book, the second book is called "Russia", that is, Russia or the former Soviet Union, why did I take this name? A lot of people will be curious and think this is something you shot in Russia? Actually, I have never been to Russia. Why is this series called Russia? Is it because what am I pursuing during this time? My pursuit during this time was something that I was trying very hard to understand, to understand, to understand this was Russia, the Soviet Union, and Russia, which was very good, very surprising to me, one of their designs, their literature, their art, their paintings and so on.
This coincidence in Russia is also because of the exhibition of Le Corbusier that I mentioned earlier, and after seeing the exhibition that Le Corbusier needs, I will find that Corbusier's paintings are very similar to Picasso's. And then I looked for it, and then I found this group of people like Malevich and so on, and Alexander. Rochenko and his gang pulled a big string, just followed the vine to touch the melon like this, and found that this gang of modern art, they are actually very similar. But before I didn't know why there was very little contact with the Soviet Union, about these cultures in Russia, that is, I knew less about it, and this time suddenly gave me a big shock. Well, the shock first came from me buying a couple of copies of a Canadian he went to photograph at a Soviet-era bus stop.
This shocked me. Yes, it's a completely different feeling than I usually think of during the Soviet period. Every one of his stations is special, completely different and very cute. Dig deeper from here. Later you see this painting of Malevich, and then there are those designs of Rochenko, and so on.
And then there's all sorts of futuristic buildings, which are some of the things that I really like to delve into. Then there's literature, and yes, literature, and that's certainly Tolstoy, Pushkin, and Dostoevsky, all of which are must-reads. Was it really fascinating at the time that there was music that was this kind of music from the former Soviet Union, and russian music. And then the Russian music fascinated me very much. The typical example is this old Shaw, Shostakovich, and these were my pursuits at the time.
Surely I bought a lot of Russian cameras, so this series was shot with Russian cameras. It's completely really what you have to understand and really use it. And then take it apart and look at its design, look at its ideas, and so on, and these things are very fascinating to me. So this paragraph is basically a pursuit like this.
This is the third part of the photo called "mood light", originally this is called "moon light". Yes, but because of a small mistake in the design, I changed the N to D. But I see that this topic seems to be more appropriate, just a pun on such a meaning.
This stage is actually equivalent to a stage where I am relatively dark and not in a good state. So in fact, the whole thing you will feel a little bit darker, because at that time, in fact, I had some things happened all day and night, and then the state was not very good, the whole day and night were reversed, and then I couldn't sleep at night, I couldn't wake up during the day, basically it was such a state.
So when I go out to take pictures, the sunlight is basically gone, just by the light of the street lamp, and then the moon everyone can see that there is a moon, and then there is no tripod, basically holding it and loving how to land, basically such a state. Then the main influence on me during this time is the kind of art that is more mournful, really mournful.
Then there was a record label called ECM. A lot of neoclassical and jazz in ECM sounded more mournful to me. But this kind of mourning is actually another kind of life force that I feel, which is also good, and then let you sink. Because this state may have been uncomfortable at the time, but in retrospect, this state is actually very good. It is to look back, when you no longer have this gloomy mood, you go back to the works at that time, you will find that in fact, it is still very nutritious in it.
This is to say that everyone may be familiar with it, this is Munch's work, his "Moonlight" and "Man on the Beach", Munch, everyone may see his "Scream" when you think of it. But in fact, before he went crazy, there was only a series of such psychological changes, a series of such psychological changes. You can look at all his paintings in its entirety and you can see his whole vein. In the end, why he was able to draw "The Scream", in fact, there are many, many such changes, and this is a period in the middle of it.
The second painting is also called "Moonlight", so part of the reason I took this name is because he is a gloomy and very strong feeling. This is the gloomy feeling I could feel at the time. So in fact, the state is not good, don't be depressed, don't say like anyone, a torch burns the photo, or you completely give up your own things during this time, in fact, there is no need, it is also a process. You may look back at it with a different feeling, and there may be a lot of things that you can and can't feel at that time when you are in a bad mood.
Okay, and then this is the last part, and that's Little Star, and that's little star. The little star series is actually an inheritance, that is, it is just moonlight, after seeing the moonlight is the little star, why did it take this name?
In fact, there is a very realistic reason is that I used a new method of rinsing, which will have some crystals in it, and there will be many small dots. Then at first I thought it was strange why there were always such impurities and dirty things. But then I thought it didn't matter, it was good, it was actually very good, so I named it Little Star.
It is because of this little bit, the pursuit of this time, in fact, I am not very clear now, because I am too close to myself, because it is too close to the current time, probably this thing more than a year ago, about a year ago, the epidemic and these works in the epidemic. He is actually a result of my change.
It's that my pursuit has changed again, and my pursuit has become less like the dark feeling it had before. I suddenly the whole person may be because of the reasons of life, the whole person began to shine, began to calm up, it should be said, more calm. Then my focus may turn into something smaller and more nuanced.
And then at this time, I actually think what is my biggest gain? It's that I was able to shoot naturally. Because before, there were actually some situations that you felt were forced or pushed to observe. But now it seems that I am not worried, that is, lazy, lazy, lazy, lazy, I can't go out to observe.
This may be one of the final results of the epidemic at home, that is, the whole personality has changed. Now in fact, I am not in a hurry to observe, not too anxious to shoot, and I may have had such a feeling before, that is, it is not easy for me to go out for a trip. And then when I go out, I'm sure I'll have to bring something back and so on.
But now it seems that it doesn't matter, you can stay at home, you can also go out, it doesn't matter if you shoot it after you go out, it doesn't matter if you don't lift the camera. Instead, his whole focus on him might be more real. It's something that really moves me, or something that really touches me, that I raise my camera to shoot.
But even after your whole mood shift, it doesn't affect my shooting volume. I still shoot the same amount, but I can see more of this effective observation, so this is a feeling I have had during this time.
And as I said before, at the time of the epidemic, I read a lot of brief history books.
Then it will give me a whole new understanding and feeling, and then string together some of my scattered knowledge. After stringing them together, there will be another kind of mood in it. So the impact of my filming these things is that many people say that there is no theme. But in fact, there is still a hidden theme in it, but he is not explicitly saying it, he is silently influencing my observation of such a theme.
Third, why do you want to make a picture album?
In the third and fourth parts, I will knead them together and say, that is, why do I make albums, I will first show you these albums that I have made.
This was the first album I made when I graduated from college, it was called "Recall", and at that time, my idea was actually very simple, and I didn't say what I was going to do with the album at that time. At that time, this was for the job search, that is, I graduated, I wanted to find a job, and then I thought about what portfolio I wanted to print anyway, or I would simply invest a little more. I made a picture book, and it was cheaper to print simply, so I printed 500 copies for him. Then when I submitted my resume, I threw it away to show my sincerity, and finally found that it was completely invalid, because I voted for about 100 copies, but I still didn't find a job.
So the original intention is actually very simple. But the reason why I wanted to make a picture album, maybe one of the hidden reasons was that when I was in college, across from guangmei, it had a street that sold that kind of printed defective products, and then there were many, many albums in it. About photography, about design, about art, you can find it there, because it is a defective product, so it is very cheap. Then now there is no more, but at that time I often went to look for some albums. Therefore, this album has a kind of subtlety buried in my heart for me. This thing is definitely better than looking at it on the Internet, which is buried in my heart. So when I choose a way to show myself, when I choose a way to show myself, I also choose this form of the album. So I did it at the time, and after I did it anyway, I felt that it wasn't that difficult. Because as long as you do it for the first time, you will feel that it is not so difficult, and you will continue to do it well.
This is the second album I made called "Three Three Two Two". At this time, I was looking for a designer, this designer is a good friend of mine for many years called Tang Zhijie, the internet name is Baksi. He actually knew me very well, and then he also knew my state at that time, so I asked him to be a designer, and this album was also very well designed, and I liked it very much. So the opportunity to make a second album was that I felt like I was in college for four years, and then I made a picture book. After graduation, it was "Recall" and then it was four years, and then I made the album "Three Three Two Two".
After four years of "Three Three Two Two", I made this album like "Melon Field", so I feel that maybe four years is a psychological time for me. As far as I said in the interview before, it is how long I can stay up, and if I don't clean up the room, it may be four years, I can not clean up the room. And then in four years I'll go clean up completely, and that's how it feels.
Coming out of the album is actually very similar to cleaning up the room, because after you shoot it, you are piled up there, you are piled up on your hard disk. He is actually like you buy something back and pile it up in a corner, it is actually its role, it gives me this kind of how to say the effect, may be less, you may have forgotten it. But when you go to the album and then sort it out, you will find that this head is like a treasure, it will hide a lot of fragments that you have forgotten this kind of fragment, you have forgotten this kind of small state of mind, or some of your observations, things you like, and so on, it is very much like you suddenly in a bag that you have not opened in ten years, and then find a pile of money. It's that feeling, and then it's going to be very happy, and it's also an opportunity for you to choose a new film.
So why go through so many years to choose a film? In fact, it has a good benefit, that is, maybe you take this picture at the moment, you don't feel good, why? Because you actually have a lot of demands at the moment, you have a lot of requirements, for example, I bought a new camera, I want to see if the effect is good. Well, then if it doesn't work well, then you think the picture is not good, or maybe I recently liked a photographer whose composition is very good, and then I'm going to learn. But maybe your recent photo may be because the composition is not as desired, so you will throw it away. This is the kind of obsession in the present moment, and then it will cause you to feel that this picture is not good. But after several years, your obsession has faded, you don't remember what you were minding at that time, and then you may look at it again, and it may abandon this superficial demand, and it will reveal its original luminous place, which is why I have to choose and choose after so long.
So after four years, I suddenly have a very strong desire. If you want to put out another album, then it comes out. The album of "Melon Field" that everyone sees, and this album of "Melon Field" are also four volumes and four years. But this time there will be a lot of photos, more than 380 photos, almost 400 photos. So I divided it into 4 volumes, otherwise it would be painful for everyone to turn it up. "Three Three Two Two" is more than 150 photos, and everyone is already very painful. So why are there so many photos this time? In fact, my shooting volume has not actually increased, but what I hope is to show everyone more of my process, a process of my pursuit.
Fourth, why do the albums I make are so troublesome?
The fourth question is why my albums are so troublesome, in fact, I have just answered almost everything. Even people who have bought "Three Three Three Two Two" may know that he is difficult to flip and difficult to put. It's folded, and it's so long that it falls to the ground when you're not careful, and then it's hard to put away and it's easy to break.
But this one actually I think. I don't think it's a hindrance, because it's not an industrial product, it's not a mass-produced thing, it's an experimental, it's an experimental product that has a purpose. The experiment of "3322" was because I was working at the art museum at that time, so one of the main themes given to me by the designer was that this album should be displayed like an exhibition wall. So when the last album comes out, it's like opening it up and you'll find that it can be shown in two, four, six, or even longer. In fact, it is a concept that implies a wall. So that's one of the main reasons. I may have run for that reason, and then I gave up what convenience, what sense of reading, and so on, and I gave it up.
But this time of "three three two two", in fact, I have to take into account, because I always have to improve, I will turn it into four small books, and then go to facilitate everyone to read, and it is also this kind of paperback book. Then he may feel a little too perfunctory. So there is a very delicate book box outside, so these four small books are packed in the book box, which still looks very exquisite. But one of the troubles is also due to the fact that he has too many photos, and there are really too many photos. So I'm suggesting that you don't read it all in one sitting, you can read one book first, then read another book after a while, and then read another book after a while. This may feel a little better, and after reading it all at once, you may be a little bit unbearable and will feel very bored. In fact, there is no need to be like a symphony, many symphonies are very large works. But we can segment him, give him chapters, and go and listen.
【Question Session】
Q1: Hello Teacher Huang Jing, you are the only Chinese photographer to win the Leica-Oscar Award, what are your thoughts now when you look back at the photos of the Oscar winners? If you were asked to vote again, would you do anything to change?
Huang Jing: To clarify, it is not the Oscar Banak Award, it is the Oscar Banak Newcomer Award, and the Newcomer Award is still different for this. Then you say how it feels to look back at these photos, these photos are great, I must still feel very good, but it still belongs to the pursuit of that period. It is not the pursuit of this period. So if I take another picture like this now, I might not be very satisfied. But that pursuit at that time was a very good piece of work, otherwise I would certainly not have voted like that. If I go back to that year, I will definitely still vote for this group of works. But if it were for now, I would certainly not be voting for this group of works. At that time, the pursuit paid more attention to the sense of form, and paid more attention to this so-called sense of stage. And then this sense of ritual, the pursuit of that feeling. But now I don't pursue such a sense of form. So the pursuit is different, but it's all photos that I like very much.
Q2: I followed the teacher's ins, your ins has a lot of photos taken by the mobile phone, how does the teacher think about digital photography, or mobile phone photography?
Huang Jing: This seems to me from a very early age. At that time, after I started having a smartphone in 14 years, I began to use my mobile phone to take pictures, but it was actually very early. But because this seems to be a different way of sorting, it has not been organized into a work to be published. But in fact, I have been shooting, but I have not published it, so people don't know. Then ins is actually a collation platform for me, that is, I shoot well, I may send it. In the next few years, if you need to use or need to publish a picture book or something, you may look for photos of this kind of mobile phone from here.
So I didn't use the digital camera, I didn't use it much. In addition to work. Probably because there is no one that is more convenient, or a digital camera with a relatively high value, otherwise I may also use it. These two cameras still don't seem very convenient, but now there is actually a plan, that is, I may organize my digital photos in the near future for a release, because just last few months, I have successfully sold a batch of digital works, and some people have collected them. Then the phone is actually really convenient. Why I didn't pay attention to it before is because I always feel that the picture quality of this mobile phone is how it is, and it just can't print the work. But then I found out that in fact, even if I zoomed it out, after the digital zoom, its pixels were actually very low. But because everyone may feel bad about a feeling called digital smearing. I found this smear to be very interesting, he is actually very good-looking, much better than the square. So now that I have no such concerns at all, I feel that the work of the mobile phone is also OK, and I can accept such a change, and it has become a very good thing.
Q3: Do you develop your own works (including color)? Are the photos in the book a bottom sweep or a darkroom enlargement work, or both? What do you think is the difference between bottom sweeping and re-output and directly enlarging the work in the darkroom?
Huang Jing: Yes, in fact, I washed it myself. What does the problem of scanning and zooming in actually say? It actually doesn't have any conflict, it's all the same, it's all output. In fact, my main post-production effort is placed on the development, that is, the development of the negative, my amplification is actually for my own work, I just put it straight out, I have not carried out the dark defense of the addition and subtraction of light, at most adjust the contrast, did not add light and subtract light to change the light and shadow of this work or something. So there is basically no difference between scanning out and zooming out, which is different from other photographers, because other photographers may have to do this darkroom by hand, and then the feeling of coming out and the PSP is definitely different, so they will pursue this first. But actually I don't matter, because what I scan and release is basically the same. So he doesn't have much to do with it. This time these works are all scanned works. But because this time it is very expensive to use this FM network. There is also the technology of four-color printing. So he's actually almost comparable to the negative magnification that I think is completely comparable.
Q4: When Mr. Huang Jing took pictures, did he think about the meaning of photography? What is the value orientation of your work?
Huang Jing: I definitely want to think about this, but it is definitely not something I thought about when I was shooting, and he didn't have time to think about this thing when I was shooting. But after the shooting, you idly lie in bed and brush the mobile phone or something, in addition to brushing the mobile phone, it must be a question that will definitely think about this meaning. But there is no answer to this, there is no answer to this. Every time you think about it, it will be different. It doesn't have to be a conclusion, that is, your thinking process is actually more important, that is, I don't want to say what it is, what the meaning is. Just because the meaning is obvious, you get happiness, and this is meaningful enough.
But the value orientation thing has actually been said a lot in my sharing. It's that I have some, many aesthetic pursuits. My aesthetic pursuit, I may express in a way, not expression, is to explore, may use the way of photography to explore, I am more interested, more comfortable, so I will use photography to explore this matter, to reflect these, is to explore the aesthetic fun I pursue, like this.
Q5: Hello teacher, as a photographer who became famous very early, how do you manage yourself, and if so, how do you support yourself as a photographer?
Huang Jing: When it comes to running this, you may be asking the wrong person. Because I'm a very unsophisticated person. If you change to someone else, you may have gone to heaven a long time ago, not like I am now, that is, I am still in a contradictory stage, I have no other skills except taking pictures, I just don't seem to do other things very well. So I can only support myself as a photographer now, and then this is forced.
If it were true, I wouldn't have used photography to support myself if I had other skills and talents. Now it's basically a state that I feel more comfortable with myself, which is teaching. I will feel comfortable through teaching, and I can help people, and then I can have a job and an income to continue to support me in this photography, and I can't take other business jobs like this. But now I've recently been helping a publisher take some of these kinds of photos like National Geographic, which is also a new attempt on my part. I may have disdained that kind of photo before, but when you take it yourself, you will find that it is really difficult, this is really difficult, don't think that you can shoot well, so I am learning to shoot that kind of thing, and then it is also a new attempt, and there is also a still income.
Q6: Do you feel like a professional photographer? What do you think is the biggest difference between a professional photographer and an amateur photographer?
Huang Jing: The key is why do you want to share this? Whether you are professional or amateur, in fact, there is not much difference, that is, you can shoot on the line. But I have to support myself by teaching and helping people shoot things, so I should be considered professional. If that's the case, then if I don't get an order during this time, and then I don't sell my work, and then no one comes to me for a lesson, then I may be an amateur photographer, so this I just don't depend on me, depends on my clients, depends on my people, and that's it.
Q7: Please ask the teacher to talk about the idea of album photo editing, can you give a few specific examples to show you the connection between the photos in the album?
Huang Jing: How to say this thing about editorial thinking? In fact. I don't know how to tell you, that is, which specific group how to edit, in fact, it is not so detailed. This is all in my opinion, I am already a handy hand, that is, when I see which one, I will snap and pile it up, and then feel that it is not right, just adjust it, and then change it, basically belongs to a feeling of this thing. But if you want to learn this, if you want to learn this editing course, I guess I will have to give you two hours here. So I have this online course, you can go and see it. It's really hard to finish talking about it. If you want to practice such a casual way of editing, you may still have to practice. There are also some, which may still have to be practiced systematically, not to say that a few sentences can have such an editorial idea. This is the most important. Let's go see more of other people's works, and look at other people's albums. Also, I have a class on this, so you can take a look.
Q8: I feel that many of your recent works have narrowed the perspective, are you not using 35mm to 50mm? Why?
Huang Jing: Right, right, speaking of which, I can tell you about this in detail. Something that may seem unimportant, but in fact it has a lot of meaning in it.
I did go from this 28 to 35, and now to 50, and I remember saying very categorically that a friend said that the older you are, the narrower your perspective will be. Then you see that the master all uses 50, and then you may change 50 later. At that time, I was still very dismissive, and I thought that I used it well, why should I change it? Those 50 are so hard to use so narrow, right? This was an idea I had at the time, but then slowly I was wrong myself. I found out I was wrong, and it was true that I was getting older and starting to have a narrower perspective. This is also actually from almost four years ago, I have begun to vaguely, I think 35 is a little wide, that is, I actually have a theory that what kind of lens I think to use depends on a distance you find your point of interest, I find that my point of interest slowly becomes longer.
So slowly this focal length should actually be lengthened accordingly, because my habit of observing has changed. But because of some inertia, there is some reluctance to acknowledge this change. So I was still very insistent at the time, using 35 for a while, but then I found that there was no need to bar this, there was no need to say, I felt that I could only use one focal length, so I changed 50 lenses to try. So over and over again, this is not a smooth process. It's not that one day when I pat my head, I say I use 50, and then I use it, or there will be some discomfort, and it may take a year or two to go back and forth. Then use 50, then use 35, or both of them are back, and slowly transition to this one that directly uses 50, because you will still want to keep the original state.
You are still reluctant to accept the new state, but in the end you can still change, you can still admit your own change. This is also a very interesting process, through this small behavior, seemingly not to experience this kind of behavior, in fact, will affect themselves a lot. A small act of yours will have a big impact.
Many people do not pay attention to this kind of small action on hand. Because everyone may feel that the behavior that affects people is the thought, and the thought is important. Then this little act doesn't have to hang teeth are all the same. But in fact, all these small habits will in turn affect your thinking, will affect your thinking. Your mind and then influence your action, it is like this, cyclical, not simple. You feel that your spirit can be greater than some, that your spirit can affect all of your actions, and this is very subtle.
Q9: I feel that you are shooting everyday things, photographing the extraordinary things of ordinary things will continue to feel bored, how to adjust the state is better?
Huang Jing: If I get bored, I won't go on anymore, because there's no need to live with myself. If you're bored, you won't shoot anymore, so I'm sure I won't be bored. If you're bored, then you just don't approve of me, we just have communication barriers. So this one doesn't matter.
So ordinary things are everyday things, it is around us, every day we will feel things, will use will go to the surrounding things. So you don't pay attention to these things, what do you pay attention to? Are you so ambitious, running to something else, just completely away from some extraordinary things of your own life to record? Or what? So I think even though maybe later I'll have some other things that are really not ordinary to shoot. But I will always pay attention to ordinary things, which is the norm. This is like rice, you can skip rice, just rice is boring. You're bored eating rice alone, but if you're sure you have to have a staple food every day, you eat a staple food every day, right? But this is not a boring thing, it is a norm.
Q10: In your later works, you feel that the sense of form is getting weaker and weaker, is it a deliberate avoidance of technique? What influenced these changes?
Huang Jing: Actually, this sense of form is a topic that I have also talked to students about recently.
The so-called de-professionalization, the professionalization I am talking about here is not the same as the profession of the professional photographer who just answered the question. The professionalism I am talking about here is that we ordinary people arrange a process for themselves and arrange a program to do something in order to maintain a state. For example, just talk about love, talk about you will have some unhappy you send things, and then go unhappy, how to become a routine. This is professionalization, that is, a professionalization of your love.
Taking pictures is also not to take pictures, or to observe that you will also form a professional. So this is what I call this kind of very procedural thing that you do in order to maintain a sense of form, to maintain a state, to be professional. This is something I think is very harmful. It is very harmful to a person's creation. So I will deliberately avoid it at the beginning, and then slowly I will actually be able to avoid it. Then you will form a habit that there are some behaviors that you feel are inappropriate, that you feel fake, that these are very professional behaviors. Then you will try to avoid it, and slowly you will get used to this self-propelled way.
There are certainly some of the affected. I started out with a picture book that I often admired called french, Discovery of Photographs. It is a French historian. He goes to the trash can and then goes to the how to jump at the flea market to collect the kind of old photos that other people don't want to throw away, which are basically family photos. But inside is that he has no technical content, the focus is also virtual, and there is nothing messy. But the kind of emotion that it contains, that kind of power is a photographer who works as a photographer, and this kind of photographer who wants to take good pictures, this kind of photographer he can't do.
So this has a very big impact on me. And then I recently published a book by Cai Dongdong called "The History of Life", which is also a good example of this, so in fact, I would like to have less of this meaningless formalization of pursuing. So I also wish I could pay more attention to this itself, the emotion itself. But this is not easy for me as a photographer who has undergone so much professional training. So I'm still trying to do this, what do I say about this?
Q11: I would like to know about the teacher's experience in post-production, remember you shared before that you would use very hot water to wash the roll, is this still the case? Why? Can I share the punching method?
Huang Jing: I did use some very special methods to rinse this.
I can even tell you now that one of the several methods I have used, one is a particularly high temperature, then a very high concentration for a short time and a short time, and then this particularly low concentration, and then a long time to force it out. This is all OK, and you can even tell you this data directly, when I tried the highest temperature of 70 degrees, and then its time was very short. It was about a minute, and of course there was a little higher concentration to put it. I tried to use that 1-to-9 concentrate, and then poured it straight in and it took nearly half a minute to wash it. Then I boiled the potion to a low concentration of 1 to 110 or 200 and rinsed it for an hour.
But I'm telling you that it doesn't really work, because I'm going to reconcile it myself according to what I'm taking, which is equivalent to why I can reconcile it this way, because I fully understand the imaging chemistry of this film and so on. I know that it is the temperature, then the concentration, and then the film itself, and this kind of time, and so on, and what it will affect, and after knowing this, then I can understand what I want, which I want to adjust, some parameters that I want to adjust, mainly like this.
Q12: Are there any photographers who have influenced you a lot, and do you think that watching the work of other good photographers is a shortcut to learning?
Huang Jing: Yes, I talked about this problem at the beginning, it is an imitation of you, it must be learning, and if you want to start anything, you must definitely have a stage of learning first. So is this a shortcut? In fact, it is not a shortcut, it is a necessary path, not a shortcut. But what I'm talking about is the second step after you've learned, and the most important step is the second step. The second step is that you can refer to some other photographer and then go and give him some good things, but you can't abandon your original things, imitation is not the most important, the most important thing is how you integrate, don't abandon what you have formed, and then completely abandon to learn from another person. There are actually many photographers who have influenced me, but there are different stages and different people. Recently, you can actually just see that I have influenced me, in fact, it is not photographers, but other fields of these. I've just shared these fields of literature, music, painting, and so on, don't just stare at photographers.
Q13: How does Teacher Huang Jing view color and black and white? Can you share some of your color work?
Huang Jing: It's all good. I'll go and look for it. The colors of the recent days are all for mobile phones.
Q14: Do you have any specific creative plans or plans next? Do you have to wait 4 years to publish a new book?
Huang Jing: I can't say this, I don't know if it's four years later, there is no need to settle down. Just like I just said, I have taken enough pictures one day, the house is messy enough, it is time to clean up, I will produce the next picture book. So planning and planning, living well, is planning to make yourself more comfortable, allowing yourself to create more opportunities, allowing yourself to take pictures, it's as simple as that.
Well, thank you all for listening patiently to me this evening. Well, thank you Ling Fox for hosting, thank you.
END
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