对于我们中的许多人来说，虽然拍照、分享和浏览照片已经成了日常生活中的习惯，但我们与图像的频繁接触并未培养我们在视觉表达上的素养。 这个课程的目的在于通过介绍影响摄影作品的创意、手段与技术，讨论观看照片与真正理解照片之间距离的问题。 在这个课程里，你将近距离观看纽约现代艺术博物馆收藏的照片，聆听从不同角度对照片的解读，以及摄影在将近180年历史中被使用的方式：作为艺术表现的途径、作为科学和探索的工具、作为纪实文献的媒介、作为讲述故事和记录历史的手段，以及作为日益视觉化的文化中一种交流和批评的模式。 学习目标 训练技巧，以便更好地检视和理解照片与摄影图像之间的不同。 发现语境如何影响摄影图像的制作、传播和接收。 学习摄影中各种不同模式的艺术和技术试验和创新。 探讨摄影在日益视觉化的文化中所发挥的作用
1.3 与 Marvin Heiferman 访谈 (可选择中文字幕)
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Del curso dictado por The Museum of Modern Art
透过摄影看世界
45 calificaciones
De la lección
引言 - 通过摄影看世界
“摄影是一种每个人都认为自己在讲的外国语言。” -- Philip-Lorca di Corcia
Conoce a los instructores
Sarah MeisterCurator
Department of Photography
60 or 80% of the activity that goes on in your brain is
about deciphering visual data and visual input that you get.
There are scientists who've done a tremendous amount of research on this, and
it's within 13 milliseconds that you know what a picture is of.
You can look at a blurry picture and you'll know it's a bedroom, or
a kitchen, or a street scene.
You don't need to see detail.
The power of photography is way more complicated than people admit to.
And I think there's psychological and physiological reasons that we
respond to things that we respond to, as well as intellectual and emotional ones.
So it's wildly complicated and it's terrific.
It's great, it's great.
[MUSIC]
>> I loved the title of your book, Photography Changes Everything,
because of course it does.
And I thought maybe we'd start with talking a little bit about that project.
>> So I spent about three years reaching out to almost 100 people,
asking them to think how photography changed what they did.
because I was very interested not in
the power of images as museums often talk about them, but
in terms of the consequentiality of images and how they really transform things.
I was sitting in a room with a bunch of environmental scientists
surrounded by drones.
>> Actual drones?
>> Yeah. >> In the room?
>> Yeah, drones were all there on shelves right?
And we were talking about the project they were doing and
they were showing me the kind of schematic God's eye view down through
the drone's flight path where you could look at every image that the drone made.
And each drone was making 2,000 images a day, right?
And that was all really interesting.
But I turned around and I looked to the people in the room thinking
about Edward Steichen and aerial photography, and I said, does anybody here
ever think about the history of aerial photography as you're doing this?
And they said, no, right?
>> Right.
>> And I thought, well that's a really interesting thing, right?
I mean, photography for the people in that room was a tool.
They didn't care about the history of it and
what got them to where they needed to be in terms of images.
Photography is used by everybody and
everybody uses it for all sorts of reasons.
And images can be beautiful for all sorts of reasons and useful for
all sorts of reasons and consequential for all sorts of reason.
>> Do you think it's important to tell a history of photography or
do you think that that is sort of a 20th century goal?
>> I think it's hugely important to talk about the history of the medium because
it's not quite a universal language.
And the idea that we're all visually literate is not quite true.
We can all probably extract some very basic level of information
from photographs.
But I think you have to learn to understand how images work and
how images are constructed.
Who made the picture, why they make the picture, who edited the picture,
who cropped the picture, who captioned the picture, what pictures did they leave out,
what pictures are being censored.
It's a malleable medium and I think people need to be aware of that.
That's one of the big goals in visual literacy, is for people to understand how
many different ways you can make and use and understand any kind of image.
[MUSIC]
There's nothing like it.
There's no other experience like it.
Because when we're walking around the world,
you don't have time to see everything around you.
For a moment, you can stop something and
look at it in a way that you normally wouldn't see it.
And I think that's part of the real fascination with still photography.
It's kind of very existential, philosophical kind of medium.
It lets you step outside yourself to kind of look at the world in a different way.
[MUSIC]
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