"But while photographers are perpetually urging each other to ber bolder, a doubt persists about the value of realism which keeps them oscillating between simplicity and irony. between insisting on control and cultivatiing the unexpected , between eagerness to take advantage of the complex evolution of the medium and wish to reinvent photography from scratch Phototgraphers seem to need periodically to resist their own knowingness and to remystify what they do."(On Phototgraphy)
Ｃompared with art, photography is unique for the relation with mechanism. That's the reason so many peoples who study science like photography more than liberal art students. When discussion with lenses, serial number of cameras. they feel like they are doing
research of cars. Many photographers, however, tend to use old cameras to make photographs like handmade artworks.
影跟其他相比，有很奇特的地方，就是影跟器的。很少像影科技密不可分，以至於很多理工阿宅比起文科阿宅更喜影，他、型，那就像研究汽或模型一。但同，也有多影大可使用比原始落後的相，以持影那工品的感，或，某人的痕。
Susan Sontag believed it involves an ambivalent attitude toward photography. On the one hand, photographers want to present the world precisely. On the other hand, photographers try to use cameras to express "self".
珊桑塔格背後涉了矛盾的心，一方面影希望精的描世界，追求真。另一方面，影又影最能表性。
Both declarations could be hear in Taiwan, but neither of them don't deviate from the original sense. About the mechanisms manias, they don't care about reality at all.
在台我也得到法，可事上都了。譬如到了器械狂，上不是了反映真。因他的主格都很似（他甚至一起追逐影地），而真每人自去的。另外在台也有人使用老相，喜心眼看世界。但是他的格也很似，因他不真的心人，他只是想呈一的。有的候我在一人身上看到法，既追逐器械，又心，但是一都不奇怪。
是什你有法在台真的原因。因所有的西都原的子。所有的西只是了持一氛。的氛、的氛、生的氛。而且越是看起是道，全力以赴的人，越是有一相似的。像我那，我看到好多作者，小，影也是看很多，各理也能琅琅上口。文也非枯燥趣。可是看久了，你就得他都很像，他非真的心某或人生的，他只是喜一文的。我很怕我成那子。
外什就不？不是他比明。而是因那本就是他的西，那些理，在他的生活文化之中是具的西，至少市的是具的。只要一下他方文化，他上就呈前述那於氛而非真的衷。
到最後在上看起真正有展的人，要不就是很的心自己的，要不就是在界之中。只有方法可以逃所不在氛，那所有人一好一的氛。
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