- 期刊
「私寫真」的發展及其各種實踐
The development and possibilities of ＂Shi Shashin＂
摘要
關於「私寫真」較明確的主張最早可追溯到1950年代的日本，人們常以此代表有關個人主義的攝影題材。在當時日本攝影的巨頭－土門拳，在戰後發起了寫實主義攝影的運動，主張拍攝的內容都應該不帶個人觀點地紀錄，拍攝出事物的原來的模樣，然而50年代末的日本新興攝影團隊“VIVO＂，成員包括：東松照明、細江英公、佐藤明、奈良原一高、川田喜久治和丹野章。雖然他們各人的風格與拍攝題材都有明顯差別，然而他們各自都與土門提倡的寫實主義攝影對抗著。就這樣私寫真的傳統開展了，並持續地發展著在攝影進程中佔有重要的地位。私寫真一詞於近年的快速興起，現今社會有相當一部分的攝影者朝著「私」這個個人層面的思考，作為攝影創作的主要題材。本文章希望藉著以不同攝影師的「私」的面向，討論私寫真的發展及可能性。
並列摘要
The more explicit claims of what so call ＂Shi Shashin＂(Individualism Photography) can be traced back in the Japan, 1950s. People often use this term to represent the photography theme of individualism. At that time, the Japanese photography master Ken Domon launched a campaign of ＂Realism Photography＂ after the WWII. The content of the photography should be recorded without personal opinions, and the original appearance of things. However, in the late 1950s Japan's emerging photography group ＂VIVO＂, their members including Shomei Tomatsu, Eikoh Hosoe, Akira Sato, Narahara Ikko, Kikuji Kawada and Akira Tanno. Although their styles and shooting themes are significantly different, each of the confronted the ＂Realism Photography＂ Ken Domon advocated. Because of that, the tradition of ＂Shi Shashin＂ has been carried out, and it has continued to develop an important position in the photography process history. The word ＂Shi Shashin＂ has risen rapidly in recent years. Today, a large number of photographers in the society are thinking towards the personal level of ＂privateness＂ as the main theme of photography creation. This article hopes to discuss the development and possibilities of using the ＂private＂ orientation by using different photographers as study sample.