Michael Schmidt： 让被拍主体成为自己
Michael Schmidt 德国摄影师, 1965年，他20岁时开始摄影，感兴趣以柏林作为拍摄主题，采用半记录的方式拍摄西柏林的街道，建筑和人。1976年，他在柏林创立了Werkstatt für Photographie(摄影工作室)
Michael Schmidt is a German photographer. He started to photograph when he was 20 years old in the year 1965, he is fond of using Berlin as the topic. He used a semi-documentary way of shooting to record the streets, buildings, and people of West Berlin. In 1976, he founded Werkstatt für Photographie(Photography studio) in Berlin.
因为给自己定义为记录片风格，Michael Schmidt在拍摄中追求自然透明，让被拍摄主体成为他们自己，这点和Judith Joy Ross 的拍摄方式非常相似。他经常选择正面取景，给主体留下足够的空间来安排这个画面的条理顺序，并且，不引起被拍主体的注意，因此，有评价说他是“善于捕捉瞬间的偷窥大师”。
Because he defined his style as documentary, Schmidt pursued nature and transparency when taking photos, allowing the subjects to be themselves, which is very similar to Judith Joy Ross' way of photographing. He often chose to shoot from the front, leaving enough space for the subject to arrange the orders of the image while not noticing the ones being photographed. Therefore, there are comments saying that he is a "master voyeur who is good at capturing the moment."
Michael Schmidt 尊重主体，但又注重主观和客观的平衡，这是一种成熟。要达到这种平衡，需要足够的时间来形成自己对世界的认知，并总结出自己想表达对世界的看法，有了自己的世界观，找到自己、世界、被拍主体之间正确的关系，才能懂得如何在拍摄过程中对想表达的片段进行选择，并做到透明，也才能通过对图片中元素的安排与组织创作出自己想讲述的故事。要做到这点，靠的不是天赋，而是日积月累的历练。
Michael Schmidt respected the subjects but also emphasized subjective and objective balance, this is a type of maturity. In order to reach such equilibrium, an ample amount of time is needed to form one's understanding of the world and conclude what one wants to express about the world. Only after obtaining a worldview, finding the correct relationship between the photographer, the world, and the subject, can the person know how to select parts that he wants to express in the process of shooting. Additionally, holding a view lets the works be transparent and allowed him to develop the story via factors of images that he wants to tell. To reach this point, it relies not on gifted talents, but on years of experience.
Michael Schmidt 钟爱灰色，在白色和黑色之间创造出完整的色彩语言。按照他的说法，颜色本身就是阴影，黑色是最深的灰，白色是最浅的灰。他拍摄的柏林，连雪都是灰白色的。Michael Schmidt 避免使用极端镜头和方式，在印刷中做到对生活最好的还原。
Schmidt loved gray, he created a complete language of color between the colors white and gray. According to his words, colors are themselves shadows, black is the darkest gray, white is the lightest. Even snows are gray in Berlin under his camera. Michael Schmidt avoided using extreme lenses and techniques, making the best revivification of life when printing.
Berlin-Kreuzberg: Stadtbilder 书中，以一张照片开场，三个人透过树墙的缝隙看城市。此后，公园和城墙（包括环绕整个西柏林的城墙）的景色作为主题反复出现，让我们思考自己是住在花园还是监狱中。
In Berlin-Kreuzberg: Stadtbilder, the book begins with a photo of three people peeking at the city through a wall of trees. After that, parks and city walls(including the iron curtain that surrounded West Berlin) appear repeatedly as the main scene, bringing up whether we are living in a garden or jail.
书中的人物是柏林人，但他们看起来和欧洲、美国的大多数人一样——沉默寡言，寻求最低限度的尊严，甚至幸福。偶尔才会出现容光焕发青少年善意的笑和在阳光下玩耍的景象。
The characters of the book are Berliners, but they are like most Europeans and Americans —— taciturn, persuing the minimum dignity, even happiness. Occasionally there are blazing images of smiles from adolescents and playing scenes under the sun.
在对景观的记录方面，水泥边界的地上从夯实的粘土中生长出的灌木和树干表达出这些原本应该为绿色的地方，现在已经干涸，到处都是垃圾。我们看到这座城市的许多地方似乎正在进行修缮，但因大部分建筑如此没有生气，便使我们知道这将不会有什么变化的。
In the aspect of recording landscape, by the side of the concrete, the bushes and branches grown out of sturdy clay that shows what is supposed to be green, are now dry and filled with trash. The photos show as if the city is under repair in many places but because most of the buildings lacked liveliness, we know that nothing is going to change.
最后，Michael Schmidt用一对截然不同的肖像画结束了他的书，这些肖像是外表机敏而又不友善的年轻人。他们看起来缺乏能力去经受住他必须居住的城市的磨难。但每个人都为我们提供了关心和希望的理由。
Lastly, Michael Schmidt used a pair of completely different portraits to end his book. These portraits are from young people of alert and not unkind appearance. They look like someone who does not have the ability to endure the tribulation of the city that they must live in. However, everyone provided us reason to give care and hope.
纪实摄影是客观的吗？必须承认，所有摄影作品都带有一定程度的主观性，因为在哪里拍、如何拍源自于人们的选择。Michael Schmidt 拍摄的柏林的照片，是他选择想要展示的片段。当他把街头一间阴暗房间的窗户和一辆正行驶在街道黑暗尽头的敞篷货车组织起来时，他是有含义的——暗示着多么凄凉的瞬间。当Michael Schmidt选择了一个主体——一棵特定的树、一个孩子或一条街道之后，他通常会采取既不中立、又不引人注目的方式，让主体成为自己。
Are documentary photographs objective? We must admit that from any works that are produced, there must be a certain level of personal opinion because whether to shoot at what location and how to make the photos depends on the choices that people make. Michael Schmidt's Berlin is just parts that he wanted to show. He had a meaning when he combined a view to a dark room's window with a view to the van that is driving on the dark end of a street —— implying a bleak moment. When Michael Schmidt chooses a subject —— a particular tree, a child, or a street, he often applies an unneutral, unnoticeable way that allows the subject to be itself.
客观性与主观性在摄影中并存，Michael Schmidt的基本原理是尊重，对主体本身的尊重，对本身具有说服力的事物给予尊重，并努力做到主观与客观的平衡。
Objectivity and subjectivity co-exist in photography, Schmidt's basic principle is respect, to the main subject, to the things that are already persuasive, and try hard to achieve subjective and objective balance.
《远方的视觉》摄影作品集 征稿启事
"Distant Vision" Photography Portfolio Announcement for Contribution
出版单位 Publishing Unit：
美国国际摄影师联盟(AIPU)
American International Photographer Union(AIPU)
征集类别 Categories：
社会生活、风光自然类、艺术创意类摄影作品。
Social Life, Landscape, Artistic Creation photographic works
征稿时间 Collection Time：
截止2022年3月31日
Until March 31, 2022
作品集出版时间（预计）：2022年7月
Estimated Publishing Time of Portfolio: July 2022
作品集规格 Specification of Portfolio：
1，210X260MM
2，每个版面不超过4幅作品 No more than four pieces of works on a page
3，带国际书号（ISBN）Has International Standard Book Number(ISBN)
参加要求 Requirements of Participation：
1, 参展作品风格不限
- No limits on the styles of work
2, JPG格式，每幅作品大于5M，分辨率300dpi以上。投稿作品一律不人为添加边框、水印、文字；纪录类作品除对影调、色彩进行适度调整(可整体调为黑白)和构图剪裁外，不得对原始影像进行修改。
- In JPG format, every piece of work has to be bigger than 5M, higher than 300dpi. The works should not have any added frames, prints, text; documentary works should not have any edits to the original image except for modification on shadows, color(can be fully black and white), and composition(cropping).
3, 组照注明（组照）字样，并按先后顺序编号。
- Group photos must include the words "Group Photo", and must be numbered in order.
4, 投稿者必须在邮件中按照以下格式提供信息：
- Contributors must provide information in the following format in the email:
作者真实姓名：
Artist's Real Name:
作品题目：
Work Title:
作品创作时间、地点、摄影设备及必要文字说明：100字以内
Time, Location, Equipment, and other necessary explanation: in 100 words
作者通讯地址：
Communication Address:
联系电话：
Phone Number:
邮箱：
Email:
微信号：
WeChat ID:
5, 投稿作品不得侵犯他人的著作权、肖像权、名誉权、隐私权。若有第三方对图片中的人、建筑或其他事物提出权利方面的声明或不满，投稿者应对图片引发或可能引发的法律事务承担全部责任，出版方不承担因入选作品所致的所有纠纷而产生的法律责任。
- The submitted works cannot violate copyrights, portrait rights, reputation, the privacy of others. The publishing unit is not responsible for any legal affairs that arose from a third party regarding the images' people, buildings, or other things. The contributor is accountable for all the responsibilities.
参加方式 Ways to Participate：
1，专业、业余摄影师、摄影爱好者均可以参加。
- Professional, amateur, photography enthusiasts are all welcome.
2，投稿方式：请发作品到如下邮箱：
aipuny2016@yahoo.com
- Please email the works to the above address.
3，经过审核通过后，入选作者将收到费用支付通知。
- After approval, selected artists will receive a notice for a fee.
4，入选作品集费用：
- Fee of selected works
80美元/版面 (会员:70美元/版面)
80 USD/page (Member: 70 USD/page
可按当时汇率以人民币支付
Can be converted to RMB according to the exchange rate of the time.
*本次活动解释权归美国国际摄影师联盟所有。
The American International Photographer Union has the Right of Interpretation in this event.
欢迎收藏作品/ Welcome to Collect Works
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END
整理/ Organize：Lisa
编译/ Cindy & Mary
审核/ Celine & Louis
制作/ Produce：AIPU
AIPU工作微信 /Work WeChat：AIPU-2015
欢迎加入美国国际摄影师联盟会员
Welcome to join the membership of the American International Photographer Union (AIPU)
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