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尤金·阿杰之后的百年街头摄影史,竖着卡蒂埃-布勒松的超现实主义观看、罗伯特·弗兰克的社会反讽、盖瑞·维诺格兰德的个人化影像三面大旗,旗帜之下,虽然镜头无数,但近30年来却少有真正的突破,直到阿历克斯·韦伯推出他的大型展览和摄影集《光之苦》。这个展览集韦伯1978年以来30年的街头照片,且全是彩色的,这一下就把自己与三位前辈区别开了。而韦伯那双超毒的眼睛,将抽象、印象、意象、想象汇于一个瞬间的影像,更展示了当代街头摄影中极为少见的感受和呈现功力。他对色彩十分偏爱,但超越单薄的视觉感受,直指色彩的文化内容。韦伯认为,生活、文化和政治在色彩中交融、交错、对撞、冲突,抓住了一个地方的色彩,就能触碰到这个地方社会文化的核,揭示出那个地方的人性;因此,摄影就是用照片对色彩的世界做出回应—所有这些,成就了第四种街头摄影的伟大探索,韦伯的照片堪称这一类别的最新典范。
Eugene Athe after a hundred years of street photography history, vertical Cartier-Bulleson’s surrealist watch, Robert Frank social irony, Gary Venor Grande’s personalized image of the three sides, Under the banner, despite the innumerable footage, there have been few real breakthroughs in the last 30 years until Alex Weber launched his large-scale exhibition and photo album “The Pain of Light.” This exhibition set Weber’s street photographs of the past 30 years since 1978, all colored, which in turn differentiates itself from the three predecessors. Weber’s super-toxic eyes converge abstract images, images and imagination into an instant image, demonstrating the extremely rare sensations and presentations of contemporary street photography. He is very color-oriented, but beyond the thin visual experience, directed at the color of cultural content. According to Weber, life, culture and politics blend in color, stagger, collide, clash, and grasp the color of a place so as to touch the nucleus of this local social culture and reveal the humanity of that place. Therefore, photography Is to respond to the world of color with photos - all of which made the fourth great exploration of street photography, Weber’s photographs the latest in this category.