摄影资料馆 › 摄影师
李·弗里德兰德
Lee Friedlander
基本资料
- 生卒
- 1934 年 7 月 14 日 生
- 国籍或地区
- 美国
著作与自传
摄影画册
以上只列初版年份；再版、译本和修订版见各书页面。自传和访谈里的说法是摄影师本人的陈述，不等于经独立核实的史实。
风格解读
以下是 FilmAnalysis 编辑对其作品整体的概括，是解读，不是史实记录。
把社会景观塞进同一个画框：橱窗反光、电线杆、招牌和栅栏互相抢位置，他自己的影子还常常横在画面里。1967 年和温诺格兰德、阿勃丝一起参加现代艺术博物馆的新纪实展，后来又隔着租来的车的车窗拍美国。
- 色彩
- 黑白。
- 构图
- 密集、破碎的画面，电线杆和画中画框把视野切成好几块。
- 光线
- 普通日光，硬朗的影子，常常是他自己的。
- 影调
- 完整的影调，中灰偏多。
- 质感
- 锐利，颗粒细，全景深。
- 情绪
- 冷幽默、拥挤、面无表情。
资料来源
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Photography Library › Photographers
Lee Friedlander
李·弗里德兰德
Facts
- Life
- born 14 July 1934
- Nationality
- American
Books and writings
Photobooks
First-edition dates only; reprints, translations and revised editions are on each book's page. What autobiographies and interviews say is the photographer's own account, not independently verified fact.
Style, as we read it
An editorial summary of the body of work by FilmAnalysis: interpretation, not historical record.
The social landscape crammed into one frame: reflections, poles, signs and fences all fighting for space, with his own shadow often lying across the scene. Shown with Winogrand and Arbus in MoMA's New Documents (1967); later he photographed America through the windows of rental cars.
- Colour
- Black and white.
- Composition
- Dense, fractured frames; poles and frames inside the frame cut the view into pieces.
- Light
- Plain daylight, hard shadows, often his own.
- Tone
- Full tonal range, mid-grey heavy.
- Texture
- Sharp, fine grain, deep focus.
- Mood
- Wry, crowded, deadpan.
Sources
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