首先,多謝sack童鞋大早不辭勞苦把他辛苦到手的藏書拿來借與我.(見者有份哈哈)
透過sack把書給我時臉上露出的那份好似被R叔攝了的難堪樣,以及R叔出了名的尺度,我接過這本沉重銅版紙大部頭時已做好心理準備.
R叔混跡高街攝影界多年積攢不少"惡名",想必作品的尺度是其中關鍵,當然還有他的各種rumor或scandal.
通本略覽下來.愚認為充滿性暗示的只有那張從側面拍的玲瓏粉藍底小屁屁----R叔在股溝處劃向下→,上簽大名,箭頭結束一筆還未收回,而那"未完成"的一筆下去的竟是那麼的深不可測...你懂的...
卷首語道出了R叔貫徹"Sex, Drug, Rock"的人生理念,也對"王侯將相寧有種乎"的經典問題給出了肯定答案------"son of innovative '60s fashion photographer Bob Richardson".如果這還不夠資格,你應該相信:他生於格林尼治村百家爭鳴的那個年代的1965.他還有個嬉皮的老媽子,在1970離婚後帶他去woodstock燻陶了4年,想必他沒有秘密的外殼下加載的60s之靈魂有一個強大的引擎日後圖解他彪悍的人生.
总角之年開始吸草(你懂得),豆蔻時代天天酗酒,束髮之年開始夾band,弱冠將近始靜脈注射,你說這貨不是live fast嗎?奇怪他怎麼就沒die young捏.叛逆的悟空這次大概跳出了如來的掌心.
"when i started doing nudes," he says, "i'd ask girls if they'd take their clothes off and they'd be like, 'well, you take your clothes off!' and i'd be shy, 'i'm not gonna take my clothes off!' i was also trying to find couples to have sex and take pictures and it was always difficult.. so finally i started to take my clothes off. people in fashion were saying, 'if i see one more picture of a girl with her legs spread.... He's a misogynist, he's a porn guy.'..."
捨不得孩子套不找狼------原來R叔爲了他的攝影大業不得已親自上陣的.而且從這一本赤裸裸的圖集來看,這的確已經上升到一種宣言,坦白,而不是停留在皮囊的情色.有色的是你的眼光.
R叔並不試圖把他的鏡頭前裸露的男女拍得完美,而是讓你清晰地看見人普遍的亞當夏娃本質------不惜用閃光,不藏著也不掖著,一副大老爺們兒拽樣兒之為讓你"睇真的",其實鏡頭後的他是嚴肅嘀.
"My motto is, i'd never ask anyone to do something i wouldn't do myself."------推己及人,可見R叔表達之至真至誠!
然後再往後翻一頁,赫然一張R叔全身只穿長襪白帆魚正拍,撒旦裝飾------頭戴尖角手拿長叉,表情也很撒旦.不是他的三點重點,而是心臟位置的SSA和紅眼.SSA:他夾過很多band,有Signal Street Alcoholics, Invisible Government, Angered Citizen, Baby Fist, Middle Finger,好牛逼的夾band史!紅眼:證實了他那無論誰來他都一視同仁用傻瓜招待的習慣.他絕不是完美主義者------牆角的電插座大大地又搶了一截風頭.
接下來A Conversation Between Two Worlds中Gavin McInnes的第一句話大大印證了我的推測------"One of my favorite things about Terry's photo is the imperfections".
是的它的快門好似按得很隨意,隨意得就像他的牛奶一樣不值錢似的.
Olivier Zahm回應道:"...But more than imperfections, to me, one of my favorite thins in his photo is the perfections of the frame: he is cutting the reality in a sharp, definitive, brilliant line, exacting the moment and movement of life from tis vital flux.this is brilliant and unique...."嗯!看似隨意,其實天才之作每一個角度都是值得推敲嘀!是保質又保量的牛奶!
McInners又回應:"Terry was a feminist because he was making 'ugly' beautiful."與前言的misogynist說唱反調.
Z:"Terry's pictures are never pornographic."又解釋道:"Pornography is the way sex is commercialized by a repressive machine in an isolated ghetto of pictures (on the net, in magazines, films, etc.). Pornography is an industry of repression, a collective enterprise of profit. It's a visual industry which kidnaps sex as a product for frustrated men."這本完全不見時尚大片或好萊塢,名利場的影子,R叔玩的是純粹!所以在對話中被提及最多的詞不是sex或pronography而是honest.
留意看發現其實圖集中很多片子非他所攝,大概是指導助理完成的,他自己則擔當主演.筆者認為正本圖集中有一張黑白portrait先得與整本風格大相径庭------R叔戴墨鏡的大頭照------很潮很高街的說,鬍鬚拉碴,嘴角似笑非笑,很有星范兒.
一張捏碎雞蛋的手,不由地又勾起我對雞蛋與sex間關繫的疑惑(http://www.douban.com/note/118878837/).
看完這本不得不服R叔------一張一泳衣女站在路邊朝比弗利山HOLLYWOOD字雙手比劃中指的圖,使我凝視,不只是晨光還是霞光,從左側斜射在她身上,她仿佛一個"golden eternity",叛逆的永恆,如R叔,並不是depp式hollywood的御用"叛臣賊子",yep!R叔有rebel without a couse的純粹!
夕陽下的moss一張,小幽默的,不說了.
這本R叔的片子雖然幾乎全是G點,沒有幾張能通過censorship,但可以說挺乏味位------沒有美麗的色調,沒有精心設置的場景,沒有優雅的架構,更沒有高壓的舉動,可以說是"紀錄片"的悶啊,可是造成的驚世駭俗效應還是讓主流攝影界不得不側目的.
話說這個時代這麼絢爛奪目地慘白,我們無時不刻在被"扒底".R叔早已跳出被扒的行列,以主動出擊的方式向這個世界發出最赤裸的挑釁.R叔已坦白,從此無可褻瀆.
在尾頁"Thank You To"處有幾個名字亮了:Tom Ford(求解), Kate Moss, Starbucks(不知怎麼也來湊熱鬧了)