F/64 group

相比于跟冰淇淋和避孕套同名的马格南来说，F/64在业内知名度毫不逊色，甚至我个人认为含金量比Magnum更高，但是似乎对于很多小朋友来说这个名字并不太熟稔，所以斗胆介绍一下这个我认为摄影史上最重要的非正式组织之一，F64 group。如果有疏漏请指正。

F64是当时相机的最小光圈，当然现在的135相机镜头跟F64就没几毛钱关系了，大部分我见过的镜头都在F22达到最小。这些“纯粹摄影派”希望借由F64来表达对极致画面的追求。

1932年11月15日，由Edward Weston发起， Ansel Adams, Imogen Cunningham, John Paul Edwards, Preston Holder, Consuelo Kanaga, Alma Lavenson, Sonya Noskowiak, Henry Swift, Willard Van Dyke, Brett Weston等人在旧金山的M. H. de Young Memorial Museum成立了F/64 group。就像最初的马格南由卡帕和布列松作为代表人物一样，F/64由Edward Weston、W. Van Dyke和Ansel Adams作为象征性人物。

当时的摄影并不被艺术界接纳，因而盛行所谓pictorialism的摄影风格。而F/64的发起人Weston则提出摄影要“还原本真”，他认

为"The camera should be used for a recording of life, for rendering the very substance and quintessence of the thing itself, whether it be

polished steel or palpitating flesh." （相机理应用来记录生活，还原事物之精粹，不论是一截不锈钢管还是一具诱人的胴体）。

为了践行这个理念，他们采用F64拍摄，以获得最大的景深和最高的锐度；他们采用晒印成像而不用放大机，采用光面纸而非哑光纸或者艺术用纸（如果看韩度百科注意此处他们写错了，误人子弟什么的）。就像马格南以人文照片著称一样，F64的摄影师用现在的话说就是一群风光狗，当然是一群壕风光狗。在F64小组里最受到提倡的不是决定性瞬间或者走得更近一些，而是就在纽摄最开头的地方所提到的东西：摄影师的眼力。善于从纷繁的环境里挖掘出至美的构图是F64小组摄影师最引以为豪的能力。这种理念带来了一个极为重要的变化，摄影师不再是冲印匠，摄影师的构图和思路成为了主导影像的核心。现在的35SLR都有取景器，甚至很多卡片机和微单也会假模假样的配一个取景器，而鲜有人知道正式F64小组力推之下后来的35相机才都有了取景器。

他们的宣言如下：

The name of this Group is derived from a diaphragm number of the photographic lens. It signifies to a large extent the qualities of clearness and definition of the photographic image which is an important element in the work of members of this Group.The chief object of the Group is to present in frequent shows what it considers the best contemporary photography of the West; in addition to the showing of the work of its members, it will include prints from other photographers who evidence tendencies in their work similar to that of the Group.Group f/64 is not pretending to cover the entire spectrum of photography or to indicate through its selection of members any deprecating opinion of the photographers who are not included in its shows. There are great number of serious workers in photography whose style and technique does not relate to the metier of the Group.Group f/64 limits its members and invitational names to those workers who are striving to define photography as an art form by simple and direct presentation through purely photographic methods. The Group will show no work at any time that does not conform to its standards of pure photography. Pure photography is defined as possessing no qualities of technique, composition or idea, derivative of any other art form. The production of the "Pictorialist," on the other hand, indicates a devotion to principles of art which are directly related to painting and the graphic arts.The members of Group f/64 believe that photography, as an art form, must develop along lines defined by the actualities and limitations of the photographic medium, and must always remain independent of ideological conventions of art and aesthetics that are reminiscent of a period and culture antedating the growth of the medium itself.The Group will appreciate information regarding any serious work in photography that has escaped its attention, and is favorable towards establishing itself as a Forum of Modern

Photography.（这个略长但是言简意赅你们自己看我就不画蛇添足翻译了，语文是体育老师教的，说不出那么有艺术腔调的话来）。

说起F/64 group的源流，就不能不提提Alfred Stieglitz这位摄影师。在画意派盛行的年代，斯蒂格利茨已经开始拿着小型相机在纽约的街头瞎晃悠了。同时，斯蒂格利茨也放弃了暗房加工，选择了直接扩大的方式，力求最真实地还原现实生活。这种观点在如今是否能跟上时代值得商榷，但是在画意摄影越来越脱离现实的年代，斯蒂格利茨无疑起到了振聋发聩的作用。而斯蒂格利茨本人还是一个混圈狂魔，不但组建了摄影分离派社团、《摄影作品》刊物，还开设了291画廊，正是许许多多像斯蒂格利茨这样有钱任性的壕共同的努力，让美国变成了二十世纪现代艺术的中心。也正是在此时开始，美国的摄影风格脱离了欧洲，走上了独立的一条道路。之后摄影批评家Sadakichi Hartmann正式确立了“纯粹摄影”的概念架构。

经由斯蒂格利茨和Paul Strand两代人的发展，纯粹摄影最终在F/64手上发扬光大。与斯蒂格利茨和斯特兰德不同的地方在于，F/64以一个高影响力的组织形式出现，成功地在摄影行业站稳了脚跟。通过对形式主义美的苛求、实验般追求精确的精神和影调上追求卓越的不懈努力，F/64的摄影家们把第二次工业革命后机械时代的乐观主义精神彻底地固化在了摄影中。也使得摄影以精准的还原、丰富的细节和细腻的影调，真正让摄影的人格充实而独立，摆脱了“素描用的简易记录机器”的定位，以现代精神的宠儿的身份踏进了艺术的殿堂。

当然像我这种三流非名著超气人摄影退烧友，到最后肯定还是要黑一下F64的。这个小组最后是怎么解散的呢？1929-1933的大萧条他们没抗住，

苟延残喘到1934年就给跪了。后来随着Edward Weston搬家去了Santa Barbara,Van Dyke搬家去了纽约，这个小组织也就做鸟兽散了。你看看哪怕牛到这种程度的摄影师了，日子该混不下去还是混不下去。

citation：

Hostetler, Lisa. "Group f/64". In Heilbrunn Timeline of Art History.

New York: The Metropolitan Museum of Art, 2000–.

http://www.metmuseum.org/toah/hd/f64/hd_f64.htm (October 2004)