曾敏雄
Tseng Miin-Shyong
微光漸漸 Little light, Little more ( 2010 - 2020 )
肖像攝影家在拍攝的當下，具有非常大的權力，這權力來自於被拍攝者意識到自己的外表將被以照片的形式固定住並且有可能流傳於外時，總想留下自己最美麗的樣貌，於是他不得不與攝影家合作甚至於妥協在攝影家的想法之下。
意即肖像攝影家的權力是來自於被拍攝者對於建構美麗外在形象的渴望！
當年我在拍攝「台灣頭」肖像作品時，攝影家不管是在專業背景，社會地位甚至於年紀...等等條件，都與這些各領域頂尖人物的被拍攝對象有著不小的落差，即便如此，「台灣頭」在拍攝當時，我仍舊具有一定的權力，被拍攝者多半仍舊願意配合，只求彼此能合作，拍攝出一張好的肖像作品。
等到我在拍攝「微光漸漸」之時，攝影家與被拍攝者的角色地位恰好與「台灣頭」有了180度的轉變，這些眼睛看不見或是高度弱視的小孩子，理當對於我的鏡頭更沒有招架之力，換句話說，攝影家在這樣的拍攝場合，主導權幾乎達到最高，被攝者無法或是也不知道該如何反抗！
「老師，我們眼睛看不見，照相叔叔把我們拍得再漂亮有什麼用？」幾年前，當我在教室內聽見小朋友天真的問著老師這句話時，彷彿被石頭擊中，從那時候開始，我再也無法拿起相機拍攝這些看不見自己外貌的小孩子。
是啊！他們看不見我拍他們的照片，拍得再好又有什麼用呢？
直到兩年前左右，當台灣開始知道有著一位盲眼小小鼓手的奮鬥故事時，媒體蜂擁採訪，在新聞中，我看見了呂岳駿的阿公很慎重地將多年前我所拍攝呂岳駿小時候的照片放在家裡的畫面，這時我才意識到，即使小孩子本身看不見，然而我所拍攝的照片對他們的家人來說，仍舊意義非凡！我也想起了那位住在竹山的阿嬤，每天要花六個小時的交通時間辛苦的將孫子送到學校的過程，多年前我拍下了阿嬤在路上騎著摩托車載著孫子的畫面....
於是，我深刻的理解了一個攝影的道理：「紀實攝影的作品是必須回頭看，它的意義才會產生！」
這兩年，我又可以拿起相機拍下他們的身影，甚至架起了攝影布的背景，請這些小孩子選擇自己想要合照的同伴，當他們站在由我所佈置的環境與燈光前，雖然這是一個攝影家主控的完美場合，我卻將攝影的主導權交還給他們，他們要坐要站，要動要靜任由他們，正因為他們既不知道自己的外表也不知道漂亮的照片有何用，所以攝影家在此理應謙卑地交出肖像攝影的主導權。
於是，當這些小孩子笑的時候我拍下他們高興的樣子，當他們不知所措時在照片裡看起來就是不知所措，當小孩子沈重時，我也拍下了他們沈重的樣子！
他們就是真實的他們！
感謝所有被拍攝的小孩子，家長，老師以及校方對於我的信任！
《Little light,Little more 2010 - 2020》
Portrait photographers have very large powers in the moment they are shooting. This power comes from the fact that the photographed person is aware that their appearance will be fixed in the form of photos and may be transmitted outside. They always want to leave their most beautiful. As a result, he had to collaborate with photographers and even compromise on the photographer's ideas.
That is, the power of the portrait photographer comes from the photographed person’s desire to construct a beautiful external image!
When I was shooting the portrait of “Face’s Talk”, photographers had no shortage of gaps in the professional background, social status, age, etc. So, at the time of the shooting of “Face’s Talk," I still had some power. Most of the photographed person were still willing to cooperate and only asked for cooperation with each other to take a good portrait.
By the time I was taking "Little light,Little more" the position of the photographer and the photographed person was exactly 180 degrees with the “Face’s Talk”. These eyes cannot be seen or are highly visually impaired children. They deserve to me. The camera does not have the power to parry, in other words, photographers in this shooting occasion, the predominance is almost the highest, the photographed person can not or do not know how to resist!
"Teacher, we can't see it. What's the use of uncle photographing us to be beautiful again?" When I heard a child ask the teacher innocently in the classroom a few years ago, I felt like I was struck by a stone. At the beginning of time, I can no longer pick up the camera to take the children who can't see their appearance.
Yes! They couldn't see me taking their pictures. How good is it to take?
Until about two years ago, when Taiwan began to learn about the struggle story of a blind-eyed little drummer, the media flocked to the interview. In the news, I saw Lu Yuejun's grandfather cautiously taking my photos of Lu Yuejun's childhood at home as many years ago. I realized that even if the children couldn't see it myself, the pictures I took were still of great significance to their families! I also remembered that the grandmother who living in Zhushan took six hours of traffic every day to send her grandson to the school. Many years ago I photographed grandmother riding a motorcycle and carrying her grandson.
As a result, I deeply understood the truth of photography: “The work of documentary photography must be looked back, and its meaning will come into being!”
In the past two years, I can again pick up the camera to take pictures of them and even set up the background of the photographic cloth. Ask these children to choose the companions they want to photograph, when they stand in front of the environment and lights that I have arranged. Although this is a perfect occasion for photographers to control, I will return to them the dominance of photography. They must sit and stand and they must be allowed to leave them. It is because they neither know their own appearance nor know. What is the use of beautiful pictures, so photographers should humbly submit the dominance of portrait photography.
So, when these children laughed, I took pictures of them happy. When they were overwhelmed, they seemed to be overwhelmed in the photos. When the children were heavy, I also took their heavy look!
They are the real ones!
Thanks to all the children, parents, teachers, and the school for their trust in me!
