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| Excerpt：蘇珊‧宋妲的《論攝影》(黃翰荻譯) 約莫10幾年前接觸 Susan Sontag 的《論攝影》(On Photography)。 當時閱讀的是黃燦然的譯本，而近日借閱較多的黃翰荻作品，才發現他也有翻譯過這部經典評論，而譯作出版的時間更早。 日前入手了這本二手書，以下就來摘要分享 Susan Sontag 在書末附錄的攝影相關引文吧！ 書名：論攝影 作者：蘇珊‧宋妲 (Susan Sontag) 作者：黃翰荻 出版社：唐山 出版日期：1997/10 【Excerpt】 〈引文小輯〉 「對任何一位眞正懂得怎樣用眼睛去看的人，攝影即是生活的記錄。當你看東西的時候，你可能受別人看東西的方法所影響，甚至可能借它們來找尋你自己看東西的方法，可是到頭來你終得把自己由這些方法中解放出來。尼采說：“我剛讀完叔本華，現在我必須擺脫它。”正是同樣的意思。他深深明白別人——尤其是那些擁有奧邃經驗的強力、堅定的人－-的方法，可能怎樣趁隙而入，如果你讓它們進到你和你的視域之間。」 ——保羅‧史川德 Your photography is a record of your living, for anyone who really sees. You may see and be affected by other people’s ways, you may even use them to find your own, but you will have eventually to free yourself of them. That is what Nietzsche meant when he said, “I have just read Schopenhauer, now I have to get rid of him.” He knew how insidious other people’s ways could be, particularly those which have the forcefulness of profound experience, if you let them get between you and your own vision. —Paul Strand 「人的外在形貌是他的內在的肖像，臉是整個性格氣質的表達及顯露，這種揣想本身便具有足夠的或然性，因此是一安全的設定可以繼續下去；由人們一直渴切見到名人這項事實可以支撐這個假設……攝影……爲我們的好奇提供最徹底的滿足。」 ——叔本華 That the outer man is a picture of the inner, and the face an expression and revelation of the whole character, is a presumption likely enough in itself, and therefore a safe one to go on; borne out as it is by the fact that people are always anxious to see anyone who has made himself famous…Photography… offers the most complete satisfaction of our curiosity. —Schopenhauer 人們說阿特傑，把“荒棄的”巴黎街道拍得像犯罪場景一樣，這種說法十分允當，每一犯罪的出事地點同樣都是被荒棄的，爲了建立證據我們把它拍攝下來。隨著阿特傑，攝影成爲歷史事件的衡量證詞，並獲得一隱涵的政治意義。 ——華特‧班雅明 It has quite justly been said of Atget that he photographed [deserted Paris streets] like scenes of crime. The scene of a crime, too, is deserted; it is photographed for the purpose of establishing evidence. With Atget, photographs become standard evidence for historical occurrences, and acquire a hidden political significance. —Walter Benjamin 我到馬賽去，一筆小津貼使我能夠度日，我懷著享受的心情工作。剛發現的萊卡相機成爲我的眼睛的延伸；從我發現它之後，我倆從未須臾分離。整天徘徊在街道上，覺得像上了弦同樣興奮，隨時準備蹦出去，決心設陷阱捕捉生命——在生命的行爲中護持生命。我尤渴望在一張單一的照片裡，攫住正在我眼前開展的某一情境的整個本質。 ——昂利‧卡提葉─布烈松 I went to Marseille. A small allowance enabled me to get along, and I worked with enjoyment. I had just discovered the Leica. It became the extension of my eye, and I have never been separated from it since I found it. I prowled the streets all day, feeling very strung-up and ready to pounce, determined to “trap” life—to preserve life in the act of living. Above all, I craved to seize the whole essence, in the confines of one single photograph, of some situation that was in the process of unrolling itself before my eyes. —Henri Cartier-Bresson 我拍攝我不想畫的（東西），我畫我沒有辦法拍攝的。 ——曼‧雷 I photograph what I do not wish to paint and I paint what I cannot photograph. —Man Ray 一種新的工業已經興起，它對堅定它信仰中的愚鈍，以及摧毀所謂的“很可能已經留傳下來的法國天才的神聖遺風”，貢獻絕不鮮少。習於偶然崇拜的群衆要求一本身有價值的理想事物，並將自己歸屬於它的本性，這是完全可以理解的。至於繪畫與雕塑，已然失卻天眞的群衆（尤其在法國），目前的信條是：「我信仰自然，而且我只信仰自然（背後有許多好的理由支撐）。我相信藝術是自然的準確複製，不可能是別的……因此一種能夠給我們以某種與自然絲毫不爽的成果的工業，將是藝術的極致。」復仇之神爲這些群衆賦予如是的願望，達蓋爾是他的彌賽亞，於是如今群衆對自己說：「既然攝影能給我們吾人所能欲求的精密度的一切保證（這些笨蛋！他們眞的相信），那麼攝影和藝術便是相同的東西了。」從那一刻起，由於人性共有的自戀傾向，我們整個濁穢的社會，衝過去瞪視著它留在一片金屬上的無趣的、無足輕重的影像……某些信仰民主主義的作家，應該可以從這裡見出一個散佈某種對於歷史，以及對於民衆繪畫的強烈憎惡的便宜方法…… ——波特萊爾 … a new industry has arisen which contributes not a little to confirming stupidity in its faith and to ruining what might have remained of the divine in the French genius. The idolatrous crowd postulates an ideal worthy of itself and appropriate to its nature—that is perfectly understandable. As far as painting and sculpture are concerned, the current credo of the sophisticated public, above all in France … is this: “I believe in Nature, and I believe only in Nature (there are good reasons for that). I believe that Art is, and cannot be other than, the exact reproduction of Nature … . Thus an industry that could give us a result identical to Nature would be the absolute of art.” A vengeful God has granted the wishes of this multitude. Daguerre was his Messiah. And now the public says to itself: “Since photography gives us every guarantee of exactitude that we could desire (they really believe that, the idiots!), then photography and Art are the same thing.” From that moment our squalid society rushed, Narcissus to a man, to gaze at its trivial image on a scrap of metal … . Some democratic writer ought to have seen here a cheap method of disseminating a loathing for history and for painting among the people … . —Baudelaire 「把“事物”在空間以及人的經驗上都拉近一點」這種需要，如今已經近乎是一種「執念」，這種境況就像人們傾向使用照相複製的方法，否定某一特定事件的獨特、或瞬息特質。有一股恆常在增漲的強制力量，把人們引向以攝影特寫的方式來複製他們的對象物……。 ——華特‧班雅明 The need to bring things spatially and humanly “nearer” is almost an obsession today, as is the tendency to negate the unique or ephemeral quality of a given event by reproducing it photographically. There is an ever-growing compulsion to reproduce the object photographically, in close-up … . —Walter Benjamin 一九二一年春，兩部國外剛發明的自動相機安裝在布拉格，這種機器可以在單一的一張照片上複現同一個人的六（或者十，或者更多）個不同影像。 當我拿著這樣的一系列照片到卡夫卡那兒去時，我愉快地說：「只要花三、五個克隆（Krone，舊德國金幣，等於十馬克），一個人便可以得到自己各個不同角度的相，這種機器等 於是一種機械式的『了解你自己』。」卡夫卡淡淡地微笑說：「你的意思是說『誤解你自己』。」 我辯道：「你在說什麼？相機是不會說謊的！」 「誰告訴你？」卡夫卡把頭斜向他的肩膀。「攝影使人們的眼睛專注在表面上。爲了這樣的理由，它晦暗了如光影之戲般經由事物的輪廓散放微光的隱微生命。即使透過最銳利的鏡頭，人們也沒有辦法捉住那隱微的生命，你必須用感情去摸索它……這種自動相機並不能增加人的眼睛，它只是給人們一種怪誕的、經過簡化的如蒼蠅之眼的觀覺。」 ——摘自古斯塔夫‧亞努許的〈卡夫卡對話錄〉。 In the spring of 1921, two automatic photographic machines, recently invented abroad, were installed in Prague, which reproduced six or ten or more exposures of the same person on a single print. When I took such a series of photographs to Kafka I said light-heartedly: “For a couple of krone one can have oneself photographed from every angle. The apparatus is a mechanical Know-Thyself.” “You mean to say, the Mistake-Thyself,” said Kafka, with a faint smile. I protested: “What do you mean? The camera cannot lie!” “Who told you that?” Kafka leaned his head toward his shoulder. “Photography concentrates one’s eye on the superficial. For that reason it obscures the hidden life which glimmers through the outlines of things like a play of light and shade. One can’t catch that even with the sharpest lens. One has to grope for it by feeling … . This automatic camera doesn’t multiply men’s eyes but only gives a fantastically simplified fly’s eye view.” —from Gustav Janouch’s Conversations with Kafka 相機是我的工具，透過它我思考我身邊的每一樣東西。 ——安德烈‧寇特茲 The camera is my tool. Through it I give a reason to everything around me. —André Kertész |
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