FilmAnalysisFilmAnalysis · 照片背后的故事
从照片出发，读一段摄影史。故事和照片之间只是阅读上的联想，不代表照片的作者、相机或实际用的胶卷。
1967 年，MoMA 的《新纪实》展出了阿勃丝、弗里德兰德和温诺格兰德的照片。策展人萨考斯基说，这一代摄影师拍照不为改变社会，而是为了认识生活。
在此之前，纪实摄影常常用来揭示社会问题、推动改变。这三人仍用纪实的方法，拍的却是自己在意的人和街景，三个人的照片也各不相同。
和朋友在同一段街道各拍几张，事先不商量。回来后比较：你们分别在哪里停下，画面边缘切在哪里，离人有多远。同一个地方，不必拍出同样的照片。
「不妨试试」是编辑设计的练习，不是史实。
故事卡与徽章分开收藏。为照片评分仍按原有规则收集徽章。
FilmAnalysis · Stories behind the frame
Read a little photographic history. These connections suggest ways to look; they say nothing about authorship, cameras or the physical film stock.
In 1967 MoMA's New Documents showed photographs by Diane Arbus, Lee Friedlander and Garry Winogrand. The curator, John Szarkowski, wrote that their aim was not to reform life but to know it.
Documentary photography had often been used to expose social problems and argue for change. These three kept its methods but turned them on the people and streets that interested them, and their pictures look nothing alike.
Walk the same stretch of street as a friend and each take a few pictures without comparing notes. Afterwards, compare where you stopped, where your frames cut off and how close you stood to people. One place need not produce one photograph.
"Try this" is an exercise written by the editors, not history.
Diane Arbus · Lee Friedlander · Garry Winogrand
Story cards have their own shelf. Rating photographs still collects badges under the existing rules.