集錦簡說 郎靜山

[中文] [English]
 集錦簡說    郎靜山 
天地間萬物並育,包羅萬象,此現實也,但造化出諸自然,美與不美,未能選擇,欲求其盡善盡美,必透過藝術,此意匠集錦之法所由產生。照相為現實,因機械限制,往往不能差强人意,又非在人工製作法上另覓途徑不可,此集錦之法所由產生。

中國繪法,數千年前已集藝術之大成,其妙處乃巧奪天工,以現實之事物,作超乎現實之現求其道,乃為集錦循其規格,取舍萬殊,任人欲為也。靜山集錦照相,以中國畫理為詣歸,採用 CONPOSITE 西方集錦之名,自一八四八年始用於瑞典人所製之人像,其背景多至用三十張底片,其初如何集合保油製溴素照片而成,絕非靜山集錦之法。又西方之 MONTAGE 乃剪貼拼湊而成,亦稱新興藝術,其意義似相同,而實際不同也。亦絕非静山之法也,靜山集錦之法,係集合多數底片之一部而集合,專以放大時遮避要部份光線射入溴紙﹔畫面則須求得與吾人自見之印象相同,使之遠近清晰,層次井然,目標顯着。

集錦照相之研究,須分二部,一為技術,一為藝術,製作之先,須類別草• 木、花、鳥、蟲、魚家禽、野獸、人、物、水、石、山川、天象、隨時觀察形態變化。攝影時留取一部或拾取全景,將底片分類而存儲之次須將底片之厚薄,以溴紙反差性能為對象,分別一、二、三、四、五號… 等反差,予以註明,以備放映時之應用,乃因露光可以多次,顯影則不可局部. 如能用多種性能之紙,以濾光鏡調整其反差者,極為適合集錦放大之用。(POLYCONTRAST) 最後則須將所攝物象或以時令,或以光線之來源,或以事物之動態。或以角度之左右上下,或以透視之遠近,亦須於底片上加以識別。

在放映前之準備可分下列幾個程序﹔
第一﹔欲作一幅集錦求章法之適合,或者上,或者下,或左、右、前後,均事先胸有成竹,或先經營一草圖。

第二﹔檢視各須要之底片,若取某某一部份,則其不需要者用塗紅法,或用墨紙逃避,使露光部份孔隙不致過於大小不合。

第三﹔檢查一切應用之工具,不可或缺,準備齊全,方可順利進行放映之方法。

第四﹔在底片厚薄未經註明,或物體大小未經審定,則不妨先行試為放映一次,各底片以同一露光時間。同一焦點,視其結果如然後決定,例如放映各底露光同以二秒鐘時間,詳審其結果,色調或需放長或縮短必須調整,至於物體大小,則必伸縮放大鏡箱,換取焦點,以為調整。又須注意者,焦點遠近與露光有密切關係,時間亦須加以伸縮調整。

第五﹔放映底片多用局部,不要部份,業經塗紅者,放映時則不需其他手術。若須保持原底無損一,用逃避法。則放映時將不需要部份光線遮避,其法以墨紙剪成孔隙,其大小任意所持於手持動法,則可不見邊緣集合之痕跡。在初未嘗試此方法者,往往以為底片湊合,放印之邊緣,有一痕跡。殊不知若用手轉動,則放印應有千萬痕跡,亦必不顯著。若露光得宜,結合之處,天衣無縫。

第六﹔畫面銜接之處,用黑白錯綜,或左右上下相映,或遠近烘托。

第七﹔章法必以主題為先,若者為陪襯。若者為背景,若者為呼應,何為行列,何為前趨,亦預為安排就緒。

第八﹔或用光線集中,或用線條集中,或用事物集中,或用情調集中,以增神采。此為成功之要素。

以上簡則此即集錦放大之大概也。

 


Introduction of Ji-Jin (Photomontage) (Long Chin-san)

Nature allows all species to be nurtured and cared for, and accommodates a great variety of different ecological phenomena. This is the reality and natural creation is destined to come from nature, whether the species is beautiful or not: the species itself cannot make a choice. Therefore, perfect goodness and beauty can only be achieved through art. This is the origin of the artisan composite method. Photography itself is also a reality, it will be limited by machinery, and it is often impossible to achieve 100% perfection, so it has to find other ways through  artificial methods. That is the origin of the Ji-Jin (photomontage) Method.

Chinese painting reached the highest level of artistic achievement thousands of years ago. Its ingenuity lies in surpassing the original beauty of nature, using realistic things, and using methods that can be used to make presentations that improve uponreality. This is the extent to which the Ji-Jin method can achieve, drawing from various sources of material, and completing a work as people wish. Chin-san's Ji-Jin photography, based on the principles of Chinese painting, adopts the western COMPOSITE method, which is a method started by the Swedes in 1848 when making portrait photos, using up to 30 films  to make the background. Initially, it used assembly of silver bromide photo paper, which is absolutely not Chin-san's Ji-Jin. In addition, MONTAGE in the west is done with cutting-and-pasting and piecing together, also known as nascent art, which seems to be the same as my method, but they are actually different. This is definitely not Chin-san's method. Chin-san's Ji-Jin Method is a combination of collecting and using part of many photos, covered some parts during enlarging and printing, and exposing partial rays to the silver bromide paper. The picture is required to preserve the same image of what I saw by making it all clear and in-focus both near and far, with orderly layers and prominent objectives.

The study of Ji-Jin photography is divided into two parts, one is technology, and the other is art. Prior to making it, you need to categorize grass, tree, flower, bird, insect, fish, poultry, wild animal, people, water, rock, mountain and creek, celestial phenomenon and observe their transformation at all times. Take a partial or whole image while photographing, classify the films accordingly and store them. With the thickness of the films, the contrast features of the silver bromide paper to mark them number one, two, three, four, five, etc., respectively by different contrast features for enlarging and printing. While multiple exposure is possible, multiple developing cannot possibly be done partially. The most suitable paper for Ji-Jin enlarging and printing is multi-features paper: filters can also be used to adjust the contrast (POLY CONTRAST). Lastly, it is also important to mark down the information of the objective being taken on the films, including the time and season, the source of lighting, the movement of things, or the left, right, lifting and bending of the shooting angle, or the nearness or distance of the perspective.

The procedure for the preparation prior to enlarging and printing is as follows:

First, plan and have ready suitable materials of the upper, lower, left, right, front, and back parts for the Ji-Jin Method, or do a sketch first.

Second, inspect all the films needed, and if there is one part that can be used, then the other parts can be covered by red painting method, with inked paper, t to make the exposed part fit in well, and be neither  too small nor big.

Third, check all the applying tools and ensure you are not short of any, be well prepared,  to make the enlarging and printing procedure go smoothly

Fourth, if there is no mark on the films indicating thickness, or  sizes have not been verified, you may try enlarging and printing once with each film at the same exposure time and the same focal point, see  the result and make your decision. For example, enlarging and printing each film with the same two seconds, and inspecting the result, including color tone, or adjusting the length of exposure. As for the objective sizes, operate the enlarger and change the focal point to adjust it. One more thing to pay attention to is that the distance of the focal point is crucial to the exposure, and the time also needs to be adjusted  accordingly.

Fifth, enlarging and printing photos mostly uses part of the film and for those parts not needed, if there is red painting on them, there is no need to make any operation while enlarging and printing. If you don’t want to damage the original film, you may use the cover method. During the enlarging and printing, to cover the light of unneeded parts by using a cut-out inked paper, there is no need for the size to be precise, for you will hold it with the hand-shaking method, so that the traces of the edge of the collages may become invisible. Those who have never adopted this method will think that the films overlapping will certainly leave traces of edges during enlarging and printing. However, they don’t know that if you shake while hand-holding, even though there may be tens of thousands of traces, they will be insignificant. If you control the exposure well, the jointed partswill be seamlesst.

Sixth, the jointed parts of the picture can be offset by interweaving black and white, or projecting left, right, up, down, or offsetting near and far.

Seventh, the subject is more important than the method. Which one should be the backdrop, which one should be the background, which one should be the echo, which one should be the lines and rows, which one should be the forwarding, these are the things that must be preparedin advance.

Eighth, to concentrate with rays, or to concentrate with lines, or to concentrate with things, or to concentrate with moods to enhance the spirit, which is the element that will make it successful.

The above-mentioned guideline summarizes the overview of Ji-Jin enlarging.