一组《城市之殇》,五位摄影师,无一例外地表现了城市体验中的感伤情绪;并且,都在试图以一种“感觉的景观”去表达某种反思的意图。从他们的创作目的不难看出,这些作品并不是要以“记录”的手段为我们采集标本,而是要通过“制造”的行为构建起若干特定的样本。区别在于,后者显然是要通过主动性的消减、添加、对比、堆积等手段,强调思考的角度与显现个体的立场。虽然就最后的结果而言,作品之间的差异颇为明显,五位作者的趣味也不尽相同,但均在不同程度上反映出近年来在风景——景观摄影中比较突出的主观视角和精英立场。总起来讲,评价这类作品关键是两点:首 A group of “urban coffins” and five photographers, all without exception, present sentimental sentiments in the urban experience; and they are all trying to express a reflexive intention in a “landscape of perception.” It is not hard to see from the purpose of their creation that these works are not intended to collect specimens for us by “recording” but rather to construct specific samples through “making”. The difference is that the latter is obviously to emphasize the perspective of thinking and the manifestation of individual’s position through such measures as reduction, addition, contrast and accumulation of initiative. Although the differences between the works are quite obvious as far as the final result is concerned, the five authors have different tastes, all of which, to varying degrees, reflect the prominent subjective perspectives in landscape-landscape photography in recent years and Elite position. To summarize, the key to evaluating such a work is two points: first