# AFTERIMAGE PHOTOGRAPHY

> Afterimage Photography is an independent photography journal and visual archive by photographer GuoJing, exploring street photography, documentary work, visual culture and photography history.

这是一个关于摄影、观看、摄影书、摄影师与器材的多语言个人博客。文章链接指向与网页内容对应的纯 Markdown 版本。

## Articles

- [Something Was There: Photography and Presence in the Age of Generative Images](https://afterimage.photography/post/en/something-was-there-photography-and-presence-in-the-age-of-generative-images.md): en; Yet photographers do not play with their plaything but against it.
- [そこに何かがあった ― 生成画像時代の写真と存在](https://afterimage.photography/post/ja/something-was-there-photography-and-presence-in-the-age-of-generative-images.md): ja; それはそこにあった。そして、私もそこにいた。
- [在场 - 生成式图像时代的摄影与存在性](https://afterimage.photography/post/zh/something-was-there-photography-and-presence-in-the-age-of-generative-images.md): zh; 摄影师并不是简单地「玩」相机，而是在与它对抗。
- [HOW I LEARN - Daido Moriyama](https://afterimage.photography/post/en/how-i-learn-from-daido-moriyama.md): en; Photography does not have to surpass the past every time. By continuing to press the shutter, the body and its emotions can turn ordinary life into evidence of survival—and lead us back from self-doubt into living.
- [HOW I LEARN - 森山大道](https://afterimage.photography/post/ja/how-i-learn-from-daido-moriyama.md): ja; 写真は毎回過去を超えなくてもいい。ただシャッターを切り続ければ、身体と感情が平凡な日常を生存の証へ変え、自己否定の中からもう一度生活へ連れ戻してくれる。
- [HOW I LEARN - 森山大道（Daido Moriyama）](https://afterimage.photography/post/zh/how-i-learn-from-daido-moriyama.md): zh; 摄影不必每一次都超越过去；只要继续按下快门，身体与情绪就会把普通日常变成生存的证据，也把人从自我否定中重新带回生活。
- [HOW I LEARN - Robert Rauschenberg](https://afterimage.photography/post/en/how-i-learn-from-robert-rauschenberg.md): en; When even discarded objects can become art, photography is no longer merely a record of reality on a particular medium. By refusing to repeat ourselves, everything in life can become a new possibility for expression.
- [HOW I LEARN - ロバート・ラウシェンバーグ](https://afterimage.photography/post/ja/how-i-learn-from-robert-rauschenberg.md): ja; 廃棄物さえ芸術になるなら、写真は特定のメディウムに現実を記録するだけのものではない。自己反復を拒むことで、生活のすべてが新たな表現の可能性になる。
- [HOW I LEARN - 罗伯特·劳森伯格（Robert Rauschenberg）](https://afterimage.photography/post/zh/how-i-learn-from-robert-rauschenberg.md): zh; 当废弃物也能成为艺术，摄影便不再只是某种介质上的真实记录；拒绝重复自己，才能让生活中的一切重新成为表达的可能。
- [Today’s Art — Reading Notes](https://afterimage.photography/post/en/taro-okamoto-todays-art-reading-notes.md): en; Reading Taro Okamoto’s Today’s Art, this essay explores why art exists, what genuine innovation means, and why art belongs to everyone—not only trained artists and experts.
- [『今日の芸術』読書ノート](https://afterimage.photography/post/ja/taro-okamoto-todays-art-reading-notes.md): ja; 岡本太郎『今日の芸術』を読みながら、芸術が存在する理由、本当の創造とは何か、なぜ私たちは「わからない」ことを恐れるのかを考える。芸術は専門家だけの特権ではなく、常識を破り、自由な自分をつくり直すための行為である。
- [冈本太郎《今日的艺术》读书笔记](https://afterimage.photography/post/zh/taro-okamoto-todays-art-reading-notes.md): zh; 阅读冈本太郎的《今日的艺术》，重新思考艺术为何存在、什么才是真正的创新，以及我们为什么害怕“不懂”。艺术不是少数专家的特权，也不必精巧、漂亮或令人舒服；它是每个人挣脱常识、确认自由并重新创造自我的行动。
- [Not Here — Reading Notes on The Depth of Silence](https://afterimage.photography/post/en/mark-strand-edward-hopper-reading-notes.md): en; Reading Mark Strand’s Hopper through Gas and Cape Cod Evening, this essay reflects on light, distance, solitude, and photography: What are we really photographing?
- [ここにはいない——『静寂の深み』読書ノート](https://afterimage.photography/post/ja/mark-strand-edward-hopper-reading-notes.md): ja; マーク・ストランドの『Hopper』を手がかりに、《ガス》《ケープコッドの夕暮れ》に描かれた光、距離、孤独を読み解き、絵画と写真、見ることの意味を問い直す。「私たちは、いったい何を撮っているのだろう？」
- [不在这里 - 《寂静的深度》读书笔记](https://afterimage.photography/post/zh/mark-strand-edward-hopper-reading-notes.md): zh; 阅读马克·斯特兰德的《寂静的深度：霍珀画谈》，从《加油站》《科德角的傍晚》中的光线、距离与孤独出发，重新思考绘画、摄影与观看：我们拍的究竟是什么？「不在这里」，但可以看到。
- [HOW I LEARN - Joel Meyerowitz](https://afterimage.photography/post/en/how-i-learn-from-joel-meyerowitz.md): en; A photographic breakthrough comes not only from technique, but from how we see the world and approach life. When photographers learn to trust life, they become the true medium between reality and the image.
- [HOW I LEARN - ジョエル・マイロウィッツ](https://afterimage.photography/post/ja/how-i-learn-from-joel-meyerowitz.md): ja; 写真の突破口は、技術だけでなく、世界を見る姿勢や人生との向き合い方からも生まれる。人生を信じるとき、写真家自身が現実と写真をつなぐ本当のメディウムになる。
- [HOW I LEARN - 乔尔·梅耶罗维茨（Joel Meyerowitz）](https://afterimage.photography/post/zh/how-i-learn-from-joel-meyerowitz.md): zh; 摄影的突破不只来自技术，也来自观看世界与面对生活的方式；当摄影师学会相信生活，自身便成为连接现实与照片的真正媒介。
- [HOW I LEARN - Egon Schiele](https://afterimage.photography/post/en/how-i-learn-from-egon-schiele.md): en; A work does not have to be attractive, but it should have the power to remain unforgettable. Beauty may be found in what is rough, unfinished, and unsettling.
- [HOW I LEARN - エゴン・シーレ](https://afterimage.photography/post/ja/how-i-learn-from-egon-schiele.md): ja; 作品は「きれい」でなくても、忘れられない力を持つことができる。本当の美は、粗さや未完成、不安を呼び起こす表現の中に潜んでいるのかもしれない。
- [HOW I LEARN - 埃贡·席勒（Egon Schiele）](https://afterimage.photography/post/zh/how-i-learn-from-egon-schiele.md): zh; 作品不一定「好看」，但必须拥有让人无法忘记的力量；真正的美，有时正藏在粗粝、不完整与令人不安的表达里。
- [HOW I LEARN - The Humor of “Death by Selfie” by Martin Parr](https://afterimage.photography/post/en/the-humor-of-death-by-selfie-by-martin-parr.md): en; A photograph can be imperfect and still be irreplaceable within a project.
- [HOW I LEARN - 『Death by Selfie』のユーモア](https://afterimage.photography/post/ja/the-humor-of-death-by-selfie-by-martin-parr.md): ja; 一枚の写真は完璧でなくても、プロジェクトの中では替えの利かない一枚になりうる。
- [HOW I LEARN - 《Death by Selfie》的幽默 by Martin Parr](https://afterimage.photography/post/zh/the-humor-of-death-by-selfie-by-martin-parr.md): zh; 一张照片可以不完美，却仍然是项目里不可替代的一张。
- [HOW I LEARN - What “Last Call” Teaches Me About Projects](https://afterimage.photography/post/en/how-i-learn-from-last-call-project.md): en; How do ordinary airport moments become a compelling photographic project? Through individual images, sequencing, color, and composition, this essay examines time, tension, and visual structure in Harry Gruyaert’s Last Call.
- [HOW I LEARN - 『Last Call』から学ぶ写真プロジェクト](https://afterimage.photography/post/ja/how-i-learn-from-last-call-project.md): ja; 空港の何気ない瞬間は、どうすれば生命力のある写真プロジェクトになるのか。単写真、シークエンスのリズム、色彩と構図から、ハリー・グリエール『Last Call』の時間と緊張感を読み解く。
- [HOW I LEARN - 从《Last Call》学习摄影项目](https://afterimage.photography/post/zh/how-i-learn-from-last-call-project.md): zh; 机场里的普通瞬间，如何成为一套有生命力的摄影项目？从单张照片、项目节奏到色彩与构图，解析哈里·格鲁亚特《Last Call》中的时间、紧张感与视觉结构。
- [Interview with Tatsuo Suzuki](https://afterimage.photography/post/en/interview-with-tatsuo-suzuki.md): en; How does Tatsuo Suzuki see street photography, Tokyo, and the human face? He discusses Japanese photographic language, urban loneliness, leaving a stable career, VoidTokyo, and the need for photographers to offer new perspectives.
- [鈴木達朗インタビュー](https://afterimage.photography/post/ja/interview-with-tatsuo-suzuki.md): ja; 鈴木達朗はストリート写真、東京、そして人の顔をどう捉えているのか。日本写真の言語、会社を辞めた理由、都市の孤独、VoidTokyo、写真家に必要な新しい視点について語る。
- [铃木达朗采访](https://afterimage.photography/post/zh/interview-with-tatsuo-suzuki.md): zh; 铃木达朗如何理解街头摄影、东京与人的面孔？从日本摄影语言到辞去稳定工作，他谈论直接拍摄、城市孤独、VoidTokyo，以及摄影师为何必须提供新的视角。
- [Why Photography Criticism Matters](https://afterimage.photography/post/en/why-photography-criticism-matters.md): en; Why are a master’s photographs praised when you cannot see what makes them good? From the art market to researching photographers, this essay explores how criticism builds judgment and helps us find our own photographic path.
- [なぜ写真批評は重要なのか](https://afterimage.photography/post/ja/why-photography-criticism-matters.md): ja; なぜ巨匠の写真は評価されるのに、自分には理解できないのか。芸術市場、批評の意味、写真家を調べる方法から、写真批評が判断力と自分の撮影の道をどう育てるかを考える。
- [为什么摄影评论如此重要](https://afterimage.photography/post/zh/why-photography-criticism-matters.md): zh; 为什么大师的照片被认为是好照片，而你却看不懂？从艺术市场、评论的意义到研究摄影师的方法，理解摄影评论如何帮助我们建立判断，并走出自己的摄影道路。
- [How to Make Good Photographs](https://afterimage.photography/post/en/how-to-make-good-photographs.md): en; Do blur, sharpness, and camera settings really define a good photograph? Through composition, humor, self-expression, everyday photography, and visual reading, this essay explores how to recognize beauty and make images with substance.
- [よい写真を撮るには](https://afterimage.photography/post/ja/how-to-make-good-photographs.md): ja; よい写真は、ぼけ、解像感、カメラ設定で決まるのか。複雑な構図、ユーモア、自己表現、日常写真、写真を読むことから、美を発見し、内容のある写真を撮る方法を考える。
- [怎样拍出好的照片](https://afterimage.photography/post/zh/how-to-make-good-photographs.md): zh; 好照片真的取决于虚化、锐度和相机参数吗？从复杂构图、幽默瞬间、自我表达、日常摄影到阅读照片，重新理解怎样发现美，并拍出真正有内容的照片。
- [Images of China and Its People](https://afterimage.photography/post/en/photos-about-china-and-chinese-history.md): en; Were the Chinese people of a century ago truly different from us today? Through late Qing photographs in Images of China and Its People, this essay examines form, content, foreign observation, and the enduring power of documentary photography.
- [中国と中国人のイメージ](https://afterimage.photography/post/ja/photos-about-china-and-chinese-history.md): ja; 百年前の中国人は、現在の私たちと本当に異なっていたのか。清末の写真集『中国と中国人のイメージ』から、形式と内容、外国人の中国観察、時間の中で残る記録写真の力を考える。
- [中国与中国人影像](https://afterimage.photography/post/zh/photos-about-china-and-chinese-history.md): zh; 百年前的中国人与今天真的不同吗？从《中国与中国人影像》的晚清照片出发，重新理解形式与内容、外国人的中国观察，以及纪实摄影在时间中的真实力量。
- [What Are We Photographing When We Photograph Wastelands? — New Topographics](https://afterimage.photography/post/en/what-about-new-topographics-photography.md): en; Why can wastelands, industrial remains, and ordinary urban buildings become “good photographs”? From German New Objectivity and Paul Strand to landscapes reshaped by industrialization, this essay explores how New Topographics changed the way we see land and cities.
- [荒地を撮るとき、私たちは何を撮っているのか——ニュー・トポグラフィックス](https://afterimage.photography/post/ja/what-about-new-topographics-photography.md): ja; なぜ荒地や産業遺構、ありふれた都市建築が「よい写真」になるのか。ドイツ新即物主義、ポール・ストランド、産業化が生んだ失われた地形から、ニュー・トポグラフィックスの視線を考える。
- [当我们在拍荒地的时候，我们在拍什么——新地形摄影](https://afterimage.photography/post/zh/what-about-new-topographics-photography.md): zh; 为什么荒地、工业遗迹和普通城市建筑也能成为「好的照片」？从德国新客观主义、保罗·斯特兰德到工业化塑造的失落地形，理解新地形摄影如何重新观看风景与城市。
- [The “Language” of Photography](https://afterimage.photography/post/en/the-language-of-photography.md): en; Why can the same flash and street-photography techniques produce entirely different images? Through Bruce Gilden, Nobuyoshi Araki, and Martin Parr, this essay considers how photographers move beyond imitation and style to find a language of their own.
- [写真の「言語」](https://afterimage.photography/post/ja/the-language-of-photography.md): ja; 同じフラッシュやストリート写真の技法から、なぜ異なる写真が生まれるのか。ブルース・ギルデン、荒木経惟、マーティン・パーを通して、模倣やスタイルを超えた、自分自身の写真の「言語」を考える。
- [摄影的「语言」](https://afterimage.photography/post/zh/the-language-of-photography.md): zh; 为什么相同的闪光灯和街拍技巧，会产生完全不同的照片？从 Bruce Gilden、荒木经惟与 Martin Parr 谈起，寻找超越模仿和风格、真正属于摄影者自己的「语言」。
- [Deconstructionist “Misreading”](https://afterimage.photography/post/en/miss-understanding-of-deconstructivism.md): en; Does a photograph belong to the artist’s intention or the viewer’s experience? From “the death of the author” to the idea that all reading is misreading, this essay explores interpretation, uncertainty, and the limits of photographic meaning.
- [脱構築主義の「誤読」](https://afterimage.photography/post/ja/miss-understanding-of-deconstructivism.md): ja; 写真の意味は作者の意図に従うべきか、それとも見る人の経験に委ねられるのか。「作者の死」と「すべての読解は誤読である」から、写真における正読、誤読、不確定性、解釈の前提を考える。
- [解构主义的「误读」](https://afterimage.photography/post/zh/miss-understanding-of-deconstructivism.md): zh; 一张照片究竟应该听从作者的意图，还是属于观看者的经验？从「作者之死」到「一切阅读皆误读」，重新思考摄影中的正读、误读、不确定性与解读的门槛。
- [Why I Photograph](https://afterimage.photography/post/en/why-we-choose-photography.md): en; What is photography, and what should we photograph? An exploration of painting, technique, observation, expression, curiosity, and the reasons we choose to pick up a camera.
- [なぜ私は写真を撮るのか](https://afterimage.photography/post/ja/why-we-choose-photography.md): ja; 写真とは何か、私たちは何を撮るべきなのか。絵画と写真の関係から、技術、観察、表現、好奇心を考え、自分がカメラを手にする本当の理由を探る。
- [我为什么摄影](https://afterimage.photography/post/zh/why-we-choose-photography.md): zh; 摄影是什么，我们又应该拍摄什么？从绘画与摄影的关系谈起，重新思考技巧、观察、表达与好奇心，并寻找自己拿起相机的真正理由。
- [“Despondent” Images in the Photography of an Era](https://afterimage.photography/post/en/loser-as-life-style.md): en; What can photographers do when an era shifts from rapid growth to decline? Through Daidō Moriyama and Hiroshi Sugimoto, this essay examines despondency, decay, and photography as a record of generational memory.
- [時代写真の「陰鬱」なイメージ](https://afterimage.photography/post/ja/loser-as-life-style.md): ja; 時代が高速走行から減速へ移るとき、写真家には何ができるのか。森山大道と杉本博司の作品から、荒涼、退廃、「陰鬱さ」と、一世代の記憶を残す写真について考える。
- [时代摄影的「丧」影像](https://afterimage.photography/post/zh/loser-as-life-style.md): zh; 当时代从高速行驶转为刹车，摄影师能够做些什么？从森山大道与杉本博司的影像出发，重新理解荒芜、颓废与「丧」，以及摄影如何记录一代人的时代记忆。
- [HOW I LEARN - Learning to See with Martin Parr](https://afterimage.photography/post/en/learning-to-see-with-martin-parr.md): en; A good photograph does not necessarily belong in a good project. Instead of fearing that we are shooting “rubbish,” we might try to make better rubbish. Martin Parr’s workshop offers a way to rethink observation, editing, and a photographic language of our own.
- [HOW I LEARN - マーティン・パーから学ぶ観察と表現](https://afterimage.photography/post/ja/learning-to-see-with-martin-parr.md): ja; よい写真が、必ずしもよいプロジェクトに必要な写真とは限らない。「ゴミを撮る」と言われることを恐れるより、よいゴミをもっと撮ればいい。マーティン・パーのワークショップから、観察、選定、自分自身の写真言語を考える。
- [HOW I LEARN - 从 Martin Parr 学习观察与表达](https://afterimage.photography/post/zh/learning-to-see-with-martin-parr.md): zh; 一张好照片，不一定属于一个好项目。与其害怕被说成「捡垃圾」，不如多拍一些好的垃圾——从 Martin Parr 的工作坊出发，重新思考观察、选片与属于自己的摄影语言。
- [Everyday Photography and “CONPORA”](https://afterimage.photography/post/en/conpora-photography.md): en; Of course, if we continue to imitate CONPORA photography, we will fall into another form of imitation. Therefore, establishing our own “language” and “system” is also very important.
- [日常写真と「コンポラ」](https://afterimage.photography/post/ja/conpora-photography.md): ja; もちろん、コンポラ写真を模倣し続ければ、私たちはまた別の模倣に陥ってしまう。そのため、自分たちの「言語」と「体系」を築くことも非常に重要である。
- [日常摄影和「CONPORA」](https://afterimage.photography/post/zh/conpora-photography.md): zh; 当然，如果我们一直模仿 CONPORA 摄影，我们又会陷入到另一种模仿里，所以，建立「语言」和「体系」，也是非常重要的。
- [“Shashin” and Photography in Japan](https://afterimage.photography/post/en/japan-shashin-and-photography.md): en; Perhaps these unsettled conditions, in which major changes continued to occur, also awakened people’s desire for the “real.”.
- [日本の「写真」と写真表現](https://afterimage.photography/post/ja/japan-shashin-and-photography.md): ja; おそらく、この不安定で大きな変化が続く社会状況は、人々の「真実」に対する意識を呼び覚ますことにもつながった。
- [日本的「写真」和摄影](https://afterimage.photography/post/zh/japan-shashin-and-photography.md): zh; 或许这种动荡不安，持续有重大变化的社会状况，也正好唤醒人们对“真实”的追求意识。
- [Deep](https://afterimage.photography/post/en/deep.md): en; What fascinates me most is that through these objects, you can begin to imagine the desires of the people who live here during the day.
- [Deep](https://afterimage.photography/post/ja/deep.md): ja; 昼間の胡同が喧騒と活気に満ちた**「暖」**の風景だとすれば、深夜の胡同は、すべての音が消えた**「冷」**の風景だ。
- [Deep](https://afterimage.photography/post/zh/deep.md): zh; 如果白天的胡同充满了喧嚣和热闹，是一种「暖」的光景，深夜的胡同是则是万籁俱寂的「冷」的光景。

## Pages

- [About AFTERIMAGE](https://afterimage.photography/page/en/about.md): en; About AFTERIMAGE
- [AFTERIMAGE について](https://afterimage.photography/page/ja/about.md): ja; AFTERIMAGE について
- [关于 AFTERIMAGE](https://afterimage.photography/page/zh/about.md): zh; 关于 AFTERIMAGE

## Photography Collections

- [DEEP](https://afterimage.photography/gallery/deep.md): GuoJing photo collection

## Topics

- [HOWILEARN](https://afterimage.photography/topics/howilearn?lang=zh): zh; 7 articles
- [Interview](https://afterimage.photography/topics/interview?lang=zh): zh; 1 article
- [Post](https://afterimage.photography/topics/post?lang=zh): zh; 14 articles
- [HOWILEARN](https://afterimage.photography/topics/howilearn): en; 7 articles
- [Interview](https://afterimage.photography/topics/interview): en; 1 article
- [Post](https://afterimage.photography/topics/post): en; 14 articles
- [HOWILEARN](https://afterimage.photography/topics/howilearn?lang=ja): ja; 7 articles
- [Interview](https://afterimage.photography/topics/interview?lang=ja): ja; 1 article
- [Post](https://afterimage.photography/topics/post?lang=ja): ja; 14 articles

## Optional

- [完整文章合集](https://afterimage.photography/llms-full.txt): 所有已发布语言版本的完整 Markdown 正文。
- [XML Sitemap](https://afterimage.photography/sitemap.xml): 所有可索引网页及语言版本。