Compared with classic black-and-white photographs such as "Chronicles of the Great Power" and "Yesterday's Hall", Yan Ming shows a more daring and diverse style in "Lost Wall". With his bold and innovative attitude, he gave a new meaning to color photography: "Contrary to the direction of time, he opened up the realm of "The Maiden of Zhu Xianzhen" beyond the visual facts, and pursued a new artistic realm. ”
On a cold and windy winter night on December 10, 2023, Wudaokou PAGEONE Bookstore became a haven of art. At the launch ceremony of "Lost Wall", the famous cinematographer Yan Ming, together with the famous film and stage art director Tim Yip, and the "Punk in the Folk Coat" five-member band Renke and Mao Tao shared their insights on photography and art with the readers. These wisdom-filled and sincere sharing struck a chord with the readers, making the atmosphere cordial and warm.
The scene of the launch ceremony of "The Lost Wall".
Explore the realm of color: transcending reality in its original place
At the event, the host invited Yan Ming to select eight works in "The Lost Wall" to start a perusal reading. The audience is fortunate to see Yan Ming's in-depth analysis of individual works to see his understanding of the art of photography and the formation of his personal style. His work is not just a display of visual images, but also tells stories, conveys emotions, explores memories, and grasps the depth of time through images.
Yan Ming's work "Wooden Horse under the Bamboo Canopy".
In "Wooden Horse Under the Bamboo Canopy", Yan Ming uses strong light and supplemental lighting techniques to capture a seemingly mundane scene, giving it a sci-fi-like three-dimensional feel. This sensitive and innovative use of light shows how he discovers and creates art in his daily life.
Yan Ming's work "Three Friends Sofa in the Cold".
In "The Sofa of Three Friends in the Cold", he depicts the passage of time and the traces of his life by photographing the sofa in the dormitory of an abandoned cement factory. This one showcases his deep insight into forgotten objects and his ability to tell stories from the past through them.
Yan Ming's work "Red Vine".
Yan Ming's work "Beauty".
Red Vine and Beauty embody Yan Ming's observation of the subtleties of life. Whether it's a simple vine pattern or a mural, Yan Ming captures the emotions and stories behind these scenes.
Yan Ming's work "Centralized Storage Bag".
In Centralized Storage Bags, he reveals a broader social and historical context by photographing a detail of an abandoned prison. Such works show that his photography pursues not only aesthetic expression, but also reflection on the past and deep excavation of reality.
Yan Ming's work "Sticky Fly Paper in the Abandoned House".
Yan Ming's work "Big Hands by the Yangtze River".
"Sticky Fly Paper in an Abandoned House" and "Big Hands by the Yangtze River" show how Yan Ming finds unusual beauty in everyday life. His work often revolves around forgotten or neglected scenes, which become imbued with stories and emotions through his lens.
Yan Ming's work "Peach Blossoms on Route 66".
Peach Blossoms on Route 66 reveals his reflections on the natural and man-made environment. These works are not only a record of beautiful scenes, but also a deep reflection on the relationship between human beings and nature.
At the event, Yan Ming also candidly shared how he maintained courage and innovative spirit in the face of challenges. He recounts how he crossed over from a familiar art field to a new realm, and found a new self in the process.
Famous photographer Yan Ming.
As for the transition from black and white to color, Yan Ming believes that it is not only a change in technology, but also an evolution of artistic expression, an exploration related to creativity. In Yan Ming's view, the appearance of "black and white" is actually "lifting" reality upwards, and there is a position closer to "art". And color is "real", the same as reality itself, so the photographer shoots color**, which is to surpass reality in the original reality, which is by no means easy, and he has made a useful exploration. Yan Ming explains his transition from black-and-white photography to color photography and discusses the impact of this shift on his artistic expression. He emphasized that the choice of black-and-white or color photography is a free decision based on creative needs, rather than a rigid attachment to one form. Although he has long adhered to black and white photography, he has a deep desire for change and speculation. He mentioned that the switch to color photography was a bold attempt that brought new creative possibilities and perspectives. Yan Ming shared how he grasps the essence of artistic creation and pursues authenticity rather than cliché beauty.
Yan Ming's photographic creation is not for self-entertainment, but for the hope of the world, and he is willing to admonish and concentrate. Just as he saw the economy in entertainment, he found aesthetics in facilities, and he found history in ruins. It causes people to be stunned, sad, worried, and laugh ......Each image is not routinely carried by him, but from the gaze, the selection of frames, and the collocation of ambient light, there must be an emotional overflow, an extension of the gaze, a confession of spirit, time and emotion.
Yan Ming's work "Copper Lotus".
As for the accurate expression of emotions, this time it is still placed above the ordinary beauty, and the state, environment, atmosphere, concept, etc. are still higher than the beauty. The portrayal of some small scenes of pure matter also pays attention to the characteristics of its aura, and achieves tranquility and restraint, so that simplicity becomes strength, and vocalizes and speaks. Yan Ming took the work "Copper Lotus" as an example, saying that he "should not be deliberately sweet, not a trace of it". He argues that we don't have to impose things like "hygiene standards" on our work, but they can exude their own power. So "Sticky Fly Paper in the Abandoned Room" will enter his lens, because it gives him the motivation to innovate his technique, he said: "I thought that in the future, I would put this ** in a huge painting and hang it in the museum." ”
Regarding the core image of this photo book, the "wall", he once again used "Beauty" as an example to talk about his creative motivation: his predecessors depicted and placed many important and precious things on the wall. In addition to enclosing the wall, it is also a medium for presenting emotions and aesthetics, and a super framework for wrapping life. The projection of life is replaced on it, and it is never cold, but time, space, history, economy and culture are all on it. The remnant wall is not only fascinating about nostalgia, but also about the evolution and transformation of related content, and it can spoil part of the future. The folk nature and modernity of art are exactly what Yan Ming has always kept in mind and focused on grasping. The viewer can feel that the author is revealing hope in a relaxed way, singing the part of the eternal spirit of the East.
Yan Ming also talked about his choice of filming locations, especially his preference for abandoned spots. He explained that these places attracted him because of their historical and cultural layers. For the transformation of identity, Yan Ming believes that it is the guidance of fate and the pursuit of personal interests. He looked back on his transition from ** to photography, expressing satisfaction and happiness for his current career path. He admits that it is photography that allows him to find completely independent artistic creation, and in the creation of photography, he is no longer controlled by others.
The "Heart of Rock" is an inexhaustible source of creativity
The guests at the scene also talked about the art of Yan Ming photography in their eyes. Mr. Tim Yip, a self-proclaimed "photography enthusiast", has ingeniously selected four Yan Ming's works and expressed his deep appreciation for the latter's photography, especially in the expression of emotions, the capture of memories and the recording of the depth of time.
Yan Ming's work "Wildflowers in Foreigner Street".
Yan Ming's work "Blackened Frame".
Yan Ming's work "The Maiden of Zhu Xianzhen".
He believes that Yan Ming's works are not only visual displays, but also artistic expressions that are deeply rooted in people's hearts and resonate. He feels that Yan Ming is a very lonely person, and his photography is a kind of meticulous artistic exploration, "if a lonely person enters the artistic realm, he will see different things", he pointed out that in the work "Wild Flowers in Foreigner Street", Yan Ming is borrowing scenery to talk about something that cannot be explained. And the thing that can't be said is precisely the one that goes deepest into the viewer's heart and connects with his **. Similarly, in the work "Blackened Frame", Yan Ming captures the most sensitive points of the heart with gloss and frame, and sees through the core beneath the surface. Yan Ming's presence can always be seen in his works, whether he is shooting street scenes, still lifes or people, he is always able to leave his mark on his works. He believes that in "The Maid of Zhu Xianzhen", Yan Ming's subject is not a real person, but he captures its emotions. Yan Ming shows deep emotions and memories through the shooting of still lifes, which is what he admires the most about Yan Ming.
Yan Ming's work "Horse of Shengzhou".
Tim Yip pointed out that true photography is not just about recording time, but also about recording the depth of time. For example, "Horse of Shengzhou" shows how photography can transcend time and bring to the attention of the world what no one has paid attention to in the past. Tim Yip emphasises that photography can transcend realism and bring people a deeper understanding and emotion of things, and Yan Ming is the one who can bring this understanding and emotion.
For Yan Ming's color exploration, Tim Yip believes that black and white photography is an abstract record, while color photography is closer to the real feeling of the scene.
Tim Yip, who is a photography student and whose book "Gaze: Tim Yip's Photography and Life" is about to be published by Guangxi Normal University Press, will present and explain three of his works in more depth to explain his artistic philosophy.
Nishina and Mao Tao of the five-man band also shared the most impressive photos from the perspective of photography art lovers with their unique humor and insight, and asked Yan Ming about his doubts on the spot, so that the audience was a little surprised to learn a lot of interesting creative background and tidbits.
Five-man band Mao Tao.
Mao Tao pointed out that Yan Ming, who used to be a musician, still maintains a "rock heart", which is also the inexhaustible source of Yan Ming's creativity.
In the face of the work "Horse Face", Mao Tao was deeply attracted by the eyes of the horse, and felt the vividness of the animals in ** and the communication with the viewer, and Mao Tao's first impression of "Mountain Temple" was the mysterious and supernatural feeling behind the spirit card. "The Grove with Circumstances" made Mao Tao feel a sci-fi surprise first, as if aliens had really come to this scene.
Gojo Man Band Nishina.
Nishina has an open and multi-dimensional understanding of photography, and he mentions that good photography can trigger a series of associations, digressions, and even misinterpretations in the audience. Photography is not only a use of technology, but also an expression of art, which can show different stories and emotions like magic.
Yan Ming's work "Red Steps".
Yan Ming's work "Red Rockery".
When talking about Red Steps, Nishina compares the image to an oil painting, a metaphor that demonstrates his ability to connect photography to other art forms. He praised Yan Ming's use of color, saying that the scenes he captures with his camera are like paintings drawn by his own hands. For "Red Rockery", Nishina's commentary is more intuitive and personal. The association he mentions with Almodóvar's "High Heels" shows how he felt a connection to the art of cinema in Yan Ming's work, even though Yan Ming made it clear that he did not have the film in mind when he created it. In describing Beauty, Nishina connects it to the theme of The Lost Wall. He also further advanced its historical and cultural levels, seeing them as witnesses of time and bearers of culture.
On this night, the audience witnessed the growth and transformation of an artist, and felt the power and beauty brought by art. Some readers said that this is a journey of the soul, an exploration of beauty and the depth of life.
Written by: Nandu reporter Huang Qian.