党的十一届三中全会20周年了,此时我想起许多往事。 我从事新闻摄影30多年了,其中有十几年在改革开放之前。摄影区别于电影故事片和绘画的最突出一点是纪实。把现实生活中的社会现象纪录下来,几十年后就可能成为很有价值的资料片。当前“老照片”出版物十分兴盛就说明这一点。在几十年的新闻摄影历程中,我也曾拍过一些有价值的照片,但少得可怜,与我的新闻摄影龄十分不相称。这有手脚不勤的原因,但深思起来,关键在于观念的束缚。 观念与时代大环境分不开。从高指标、共产风、浮夸风,到阶级斗争必须年年讲、月月讲、天天讲,再到史无前例的无产阶级文化大革命。报纸宣传不可能与这个大背景分开。十年动乱中报纸登的照片多半是批判的、学习的画面。那时记者下去,不是从现实生活出发,而是出报纸需要出发,生活里有的,记者无动于衷,生活里没有而报纸需要,想方设法摆布导演、制造画面也得拍出来。报纸塑造记者。以我的几次经历为例: At the 20th anniversary of the Third Plenary Session of the Eleventh Central Committee of the Party, I am reminded of many historical events. I engaged in news photography for more than 30 years, of which more than a decade before the reform and opening up. The most striking difference between photography and film feature films is the documentary. Documenting social phenomena in real life can be a valuable piece of information in decades. This is illustrated by the current boom in the publication of Old Pictures. During the course of several decades of photojournalism, I have also taken some valuable pictures, but unfortunately, they are disproportionate to the age of my news photography. This is the reason why there is no hands or feet, but the key point is that the concept of bondage. The concept and the times environment can not be separated. From the high targets, the communist style, the exaggeration to the class struggle must be said every year, moon and moon speak every day, to the unprecedented proletarian cultural revolution. Newspaper propaganda can not be separated from this general background. Most of the photographs published by the newspaper in the ten years of turmoil are critical and learning images. At that time, the reporter went down instead of proceeding from real life. Instead, he wanted to set out for the newspaper. In life, the reporter was indifferent. There was no need for the newspapers in his life. He tried to find a way around the director and made the pictures. Newspaper shaping journalist. Take my experience as an example: