Belinghai
0 photographer, now lives in Guiyang, has some common scenery and books he often reads, and runs a comedy club.
movie "The Last Night on Earth ", "George at the Southern Station " Stills Photographer
Publication: Photography Collection "TREEVIA Tree Things"
Photography Bai Linghai | A never-dissipated "fog"
- Interview and writing/Liu Siyuan
- Picture provided/ Bering Sea
- This article is written for the "Natural Growth FOTO Improvisation Competition". It was first published in the "Natural Growth Art Project"
@Bering Sea
One day, a distance from Marco Polo told Kublai Khan about a city named Melania he had seen. Later, he repeatedly described a bridge with one stone.
Finally, Kublai Khan asked, "But, which stone is supporting the bridge?"
"The entire bridge is not supported by this or that stone, but by a bridge arch formed by stones." Marco replied.
Kublai Khan pondered for a while, and then asked, "Why do you always talk about stones to me? For me, only bridge arches are the most important."
"Without stones, there will be no bridge arches." Mark answered.
This is Calvino In " Invisible City ", the name of Marco Polo tells us - continuous cities, hidden cities, light cities... one after another, with different personalities, colorful, absurd and bizarre and graceful.
If Beringhai was the storyteller, I guess that when he faced Kublai Khan, an ambitious and world-oriented ruler, he might present pictures from him, saying, "Khan, this is the first city, this is the second city, this is the third city... You see, I don't have much to say."
s sweat all over the place, and finally, he raised his head with confusion on his face and asked: "But why are they all trees?"
This is also the first question I asked the photographer Bai Linghai.
@Beringhai
Grow like a plant
Beringhai has seen many trees, just like we have seen many people.
trees look like they don't want to complicate with you humans or empathize with you far-fetched and empathetic.
Beringhai said that he gave all the portrait observations that should have been left to people to the tree. As for him, he is not good at photographing people and cannot photograph people's expressions, I think that's just because he prefers to conversations with trees than people.
For this reason, he published a book that specifically talks about small things related to trees. Bering Sea created a name for it - treevia.
At first, even he himself did not realize why so many trees appeared in his camera. When an editor was discussing publishing matters with him, after sorting and refining it, he realized that the "tree" was indeed the thing he paid the most attention to, intentionally or unintentionally.
@Beringhai
Beringhai once troubled his work style problems, because except for people, he was very interested in everything and all styles, and did not have the usual pursuit of a certain "motif" in his creation.
"Those trees can have no theme or style, they just stay there with peace of mind and don't want to fight for anything." He understands the trees he wants to express in this way.
Despite this, in the exploration of such a concept, Beringhai gradually showed his unique expression characteristics, such as the "circulating" theory in Chinese philosophy, which embraces each other and generates each other, thus forming an internal bypass interaction and reciprocating work.
This seems to be similar to the growth characteristics of plants. Canetti made a wonderful statement for this. His general idea is that compared with the fighting nature of humans and animals, plants have no wildness. Their dreamy and slow nature makes their growth without any trace. The flowers of plants are their consciousness, so they have countless lives. Compared with the singularity of human life, the soul of a plant has infinite life.
The artist's creation has a little bit of a plant blossoming feeling.
Beringhai did not think about what relationship it had with the tree, so he went to romanticize, de-spiritualize, and materialize to take photos. Human art is for people to see, and can only please people and yourself. The so-called closeness to nature and living with nature, this kind of anthropocentric sense of superiority is undoubtedly a kind of arrogance.
Regarding the tree photographed by Beringhai and his attitudes about the trees, it means " is not clear but has clear ". He believes that art works frequently and widely ask questions about essential issues, but often fail to resolve them.
This seems to be like the trees he unconsciously photographed in the early days, one after another, but a forest is connected.
@Belinghai
Invisible city
Belinghai is a native of Guizhou. He has "arrogant love" . From his personal aesthetic point of view, it can be called a perfect place.
He describes the fog in Guizhou, is very evil and wild.
And they are forever shrouded in his "Guizhou-style" work expression: The secret realm of empty people, the washed-up color, a scene that looks like a story or an accident has just ended, and may be about to happen, along with the rich decadence in the secret realm, mysterious and horrifying.
Belinghai has photographed many cities, but they all seem to have Guizhou attributes. Perhaps in his impression, the "fog" in Guizhou has never dissipated.
under his lens, there is a rare sense of design. He believes that many objects and scenes are already shocking enough, and there is no need to compete for the sense of existence with strong and bright colors and exquisite compositions.
@Belinghai
watched the movie " Roadside Picnic " directed by Bi Gan , and Beringhai was deeply moved. Later, he also participated in the film work and took stills for films such as "The Last Night on Earth" directed by Bi Gan and "The Party at the Southern Station" directed by Diao Yinan .
@Beringhai Stills of the movie "The Last Night of the Earth"
@Beringhai Stills of the movie "The Last Night of the Earth"
@Beringhai Stills of the movie "The Last Night of the Earth"
@Beringhai Stills of the movie "The Party at the South Station"
@Beringhai Stills of the movie "The Party at the South Station"
@Beringhai Stills of the movie "The Party at the South Station"
@Beringhai Stills of the movie "The Party at the South Station"
@Beringhai Stills of the movie "The Party at the South Station"
@Beringhai Stills of the movie "The Party at the South Station"
@Beringhai Stills from the movie "Gelebration at the Southern Station"
Under the cover of the identity of "stills master", Beringhai, who once said that he could not take good photos, presented a more stunning and charming work.
He observed the state of many creators being in the creation from a very close distance, believing that the reason why they were able to take those touching stills was his sensitive capture of "atmosphere".
The set has a strong sense of design. What he considers is not to revolve around the actor himself, but to place the actor in a scene that echoes props and lights. When the actor's emotions and expressiveness are accurately presented, a good still is born. How to crawl the "ambient" of
?
"As long as you stand in one place, look at it for a long time, and look carefully, its infinity and richness will slowly grow like a plant." This is also an important lesson that Beringhai learned during his college years abroad.
He was deeply impressed by a photography creation class that lasted for a whole year. The teacher asked the eight students in the class to vote for a shooting location, and then went to shoot one day every week for one year, and finished all seasons. The essential question discussed in this class is, can
be considered boredom as the object itself? The place was almost photographed in the first two months, so what should I take in the remaining 10 months?
"When you face a subject, you need to use what you have learned throughout your life to show it, because there is no other stimulation. The same place and the same person, it is very challenging."
@Beringhai
A kind of viewing
Calvino also told a short story about Marco Polo playing chess with Kublai Khan in "The Invisible City".
Kublai Khan cannot concentrate on the chess game, but is confused by the reasons for playing chess. The result of each chess game is either win or lose, but what is the winning or losing? What is the real bet? The opponent is a general, and the winner's hand knocks the king down aside, leaving nothingness: a black square, or a white square.
Marco Polo said, "Shan, your chessboard has two kinds of logs embedded in it: ebony and maple . The square you are looking at is cut from the annual rings on the trunks that grew in the drought years. Do you see how its fiber tissue is arranged? Here you can see a faint numb tumor, which means that a bud has tried to sprout in an early spring, but the frost at night makes it wither."
" There is a fine hole here: maybe it was the nest of insect larvae , but it is not a woodworm, because woodworm As soon as one comes out, it begins to erode trees. The caterpillar chews on leaves, which is the culprit that the branch is picked out and cut off... This edge is carved by the carving master with a semicircle to connect with the next square and highlight it..."
A small piece of smooth and hollow wood can interpret many principles, which surprised Kublai Khan. Yes, Marco Polo is already talking about the ebony forest, the rafts, docks and women standing against the windows carrying wood downstream...
Regarding viewing, these are probably two typical thinking, one is Kublai Khan's sharp and in-depth conceptual thinking, and the other is Marco Polo's focused and interesting entity thinking.
Just like our era where it is highly concentrated in short videos, When conceptualized rapid strafing becomes a habit and a way of cognition, perhaps we will lose the ability to stare, The ability to identify someone and something in the noise of the crowd, and to identify a never-dissipating "fog" in an infinite or small place.
Belarus must have experienced the confrontation of these two thinking. But he gave the answer, of course this was not given by language. In his works, has his own judgment that he does not compromise or gives in.
@Beringhai
