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Black & White Photography in
Long after its time had apparently expired, when the time for its most
perfect -its ¡®classic¡¯- realisation had already past, the genre of black and white
photography continues to thrive. Why? What permits its survival into the age of
colour and digital reproduction? I want to suggest that this survival, its
charm and its force, is due to the particular sensitivity of black and white
photography to the representation of time. Just as in the history of art many
effects of meaning are traceable to the painterly use of time, so with the
history of photography.
All photographs have a special relationship with the past, this is
their time of making (insofar has they have a relationship with reality, a
record of a referent) this might be called their first meaning. However the
significance of the image lies in its second or figural meaning and so on the
form of time it represents.
This sense of represented time may come from within time (past, present, future) or from ¡®outside¡¯ time (sacred or surreal). So in temporal terms the black
and white photograph may be said to exist in five broad modalities (after our,
human, experiential relationship to time): Classic (past); Documentary
(present); Oracular (future); Sacred (the outside of time as eternity); Surreal
(the outside of time as the time of dreams, of the imagination). These may be
found in combination in different parts of the photograph, or further nuanced
by other factors (image content, context, title, etc).
The ¡®Documentary¡¯. In Chinese photographic history the most popular
form of the black and white photograph has been the documentary type. If the
¡®classic¡¯ is the dominant aesthetic form of the black and white photograph in
the West (spread through globalisation and its immanent possibilities to the
rest of the world) then in China the position of dominant aesthetic form had
been taken by the representation of the present; the documentary or ¡®realist¡¯
photograph.
Yet how does the documentary photograph work in black and white, when
our everyday reality is normally perceived in colour? Technically the event of
any photograph is always already in the past; in this sense the black and white
photograph¡¯s initial effect of ¡®pastness¡¯ is truer than the colour photograph¡¯s
claim to immediacy – yet this effect would also count against the black and
white photograph to reveal the present. In fact, the black and white format
-the setting apart effect- confers value, in effect reframes the content,
offering it up to the viewer as important, worthy of selection, worthy of our
attention, ¡®newsworthy¡¯ (an extension of the
image-making process itself). Furthermore the lack of colour conveys
thoughtfulness (again the sense of a remove), a seriousness colour images often
seem to lack. The remainder of the present effect is due to the nature of the
image-content itself. We are called to recognise the content as ¡®timely¡¯ in the
sense of present interest or of recent origin, so forestalling the temporal
reading of pastness (as the ¡®usual¡¯ meaning of black and white when opposed to
the presence of colour). These two semiotic aspects of the photographic sign
working together offer us a sense of the event captured, a kind of ¡®present
preserved¡¯ (or ¡®pastness deferred¡¯) where the relatively short time lag can be
forgotten in the construction of a picture of ¡®what is going on¡¯ – a kind of
documentary ¡®event-horizon¡¯ where the time taken for the arrival of the image
can be ignored (the event is chronologically well in the past by the time we
see the recorded image). The black and white image, here with its sense of the
¡®reported present¡¯ or ¡®present continuous¡¯, is the key to the ¡®gritty realism¡¯
effect; to presenting a present which is lacking in colourful embellishment, so
told in ¡®black and white¡¯ – the rhetoric of black and white as the ¡®colour¡¯ of
truth.
In summary, the origin of the documentary image in black and white
photography has bequeathed to us a code, a habit of thought, of reading, that
still remains even in our world of colour reproduction. This code is anchored
however in the lack of immediate presence (lack of colour) of black and white.
This effect is constitutive of the black and white photographic experience and
now (particularly in the West) usually points us away from the image as a
record of recent time (and so to the ¡®Classic¡¯ effect, the past as art, or
other effects such as the ¡®Surreal¡¯ - in effect to the ¡®art photograph¡¯). With
the documentary image however, this lack of presence (lack of colour) is read
as a proof of its existence as a record of the actual, usually recent, past
(black and white as the illusion of directness through indirectness).
An example of the recent dominance of the documentary mode in black and
white photography, can be found in the collection, Photographing China: Highlights of 50 Years of Chinese Photography
(Beijing, CIP, 2006): in the chapter dedicated to black and white photography
called, ¡®Rendition in Black and White¡¯ (pp. 849-863) nearly all of the images
are of the documentary variety (including those of an ethnographic or
anthropological character). Including, for example, Xie Hai Long¡¯s (½âº£Áú) famous work
on the Hope Project, (Xi Wang Gong Cheng, Ï£Íû¹¤³Ì) (pp. 396-399). While examples of this genre
are innumerable, we could single out Hou Dengke (ºîµÇ¿Æ), Wheat
Hands (
The ¡®Classic¡¯: the Past Valourised. The
potential pastness of any black and white photograph is first of all suggested
by its relation to its past history as an event that has always already
happened. Another reminder of the past lies in the history of the genre itself;
black and white was an early stage in the history of the technical recording
and reproduction of the image and so the first language of the documenting of
the past as past. The formal–rhetorical aspect of the black and white
photograph begins with its fundamental contrast with the colour image -colour
as the way we see the world and ends with the temporal ¡®mood¡¯ of the black and
white image as read from its content and its means of expression. If colour
suggest the present, then the distancing effect of black and white configures
the ¡®flavour¡¯ of the past, rendering it as an image seen at one remove - an
image that mimics memory. If the actuality of the past (recorded event) is
foremost, then we are in the realm of the documentary image (the presence of
the past as present): if it is the temporal sense of the past that is to the
fore, then we have a ¡®classic¡¯. The ¡®classic¡¯ effect precisely consists of the
predominance or insistence of this memorial effect. An effect that is
responsible for creating the aura of the past, a sense, or illusion, of
something that has survived; a sense of (ever)lastingness; an island of the
past in the present. A capturing and transport of the past (the presence of the
past as past), this special sense connotes a record (which is actually a
creation) of value. This sense of pastness, of what survives in the memorialising
process is accented in black and white photography, where it comes to mean:
what is worthy of survival. What is valuable; what is ¡®classic¡¯. (As what is
recorded becomes¡ what is worth recording).
The first generation of Chinese photographers either were, or have
become, ¡®classic¡¯ in their mode of presentation almost regardless of the genres
they favoured. Chen Chuanlin (³Â´«ÁØ), Guo Xiqi (¹ùÎý÷è), Hu Junlei (ºú¾ýÀÚ) and Lu Shifu (ÂÀÊ©¸£) all offer landscape (or hua niao) images in which the sense of conserving (or making) a
valued past joins art historical progress in producing the classic effect. Another historically important photographer
employing the classic mode is Lang Jingshan (Àʾ°É½), Master
of Photography: 1892-1995 (Beijing, 2003). In the next stage in the history
of Chinese photography we can find an example of the official ¡®classic¡¯ style
from before the period of ¡®opening-up¡¯ in the works of Sha Fei (ɳ·É), The Collected Photography of Sha Fei
(Beijing, 2005) – the ¡®classic¡¯ effect of these ¡®sacred documentary images is
an effect in part due to the passing over of that particular horizon of
expectations. The changing ¡®effects¡¯ of these images are also a reminder that
the history of aesthetically or formally superior black and white photographs
is to become ¡¯classic¡¯ over time (as with the images of Edward Weston or the
Family of Man collection in the West, all originally conceived as
¡®documentary¡¯). More recently the classic or past effect has been reintroduced
into China as one of a variety of available effects, as, for example, in the
work of Zhang Hai Er (Õź£¶ù), Gao Bo (¸ß²¨), Adou (°¢dou), Cai Weidong (²Ìණ)and Han Lei (º«ÀÚ).
The ¡®Sacred¡¯. Often found supporting the classic black and white
photograph is a sense of the sacred. The picture is felt as ¡®timeless¡¯ – as if
transcending history. However this sense of the sacred is a sense ¡®this side¡¯
and not a pointer to a place ¡®elsewhere.¡¯ Access to the outside of time proper,
a pointing to the impossible category of ¡®not time¡¯ is found by reading space
as pointing to another time, a time outside of time, eternity. This effect can
be signaled by: the sky, the heavens, an upward movement or diagonal (the
image¡¯s bottom right to top left) or line of sight, an empty space, white space
(or black space) and the varieties of horizon. The reference point is
impossible, is eternal; the genre is the ¡®Sacred¡¯. This visual rhetoric is
found in Western as in Eastern painterly traditions, and both traditions feed
into the history of Chinese photography. So when Hong Lei (ºéÀÚ) in Han Tsungwoo, Han Lei, Hong Lei
(Beijing, 2006, Plates. 17-44) explores the space traditionally left empty at
the top of the landscape (shan-shui)
painting, we are referred to the outside of time that is the symbolic value of
such spaces in Western and Chinese art. So certain landscapes by Feng Jianguo,
in Vision of the West (Beijing,
2007), Lang Jingshan, Master of
Photography: 1892-1995 (Beijing, 2003) and Han Lei, Strange (pp. 31-47) while strongly redolent of the ¡®classic¡¯
photograph, also strongly suggest the rhetoric of eternity in their evocation
of Nature as sacred, as natural home to the Sublime.
The second genre reference to the sacred can be found in the portrayal
of the ¡®micro-sacred¡¯: the genre of finding transfigured moments in the
everyday, in unlikely places and details. This discovery of the sacred in the
details of passing life is also to be found in more intimate examples of the
landscape genre and in the hua niao hua (literally,
¡®flowers and birds¡¯ paintings, the nearest traditional Chinese equivalent to
the Western ¡®Still Life¡¯ and the decorative images that it has inspired).
Indeed decorative forms, patterns and images can also be read as carrying a
trace of the eternal in their formalisation, their ideal status as measured by
their distance from the concrete and temporal.
The ¡®Surreal¡¯. In some ways this form is as old as experiment and
juxtaposition in photography and had already achieved in the ¡®thirties the notoriety
that has given this category its name, ¡®Surrealism¡¯. This is the genre of the
unusual, the de-familiarised, or un-canny (familiar, at home, yet frighteningly
¡®not-at-home¡¯, so unfamiliar). Recently exemplified in the surreal back and
white images of the internationally renowned Japanese photographer, Kon
Mitchiko, where fish and vegetables configure human and other forms – resulting
in an art of strange anthropomorphism whose effect upon us can only take one
name¡ the ¡¯Surreal¡¯.
If normally content-led due to its reliance on de-familiarisation
(content of expression),
this category nevertheless uses the temporal qualities of the black and white
image (means of expression) to push its sense of removal in time even further away; from the past
to the very edge of time, into the time of dreams. The surreal-type photograph
is formally identifiable by its tradition-breaking juxtapositions. Structurally
and semiotically speaking we are presented with the double negation of ¡®not-not
time¡¯(neither inside nor outside). Phenomenologically, that is in terms of our
experience, we perceive something ¡®inside¡¯, here before us, which feels ¡®outside¡¯,
outside of the range of our normal experience - perhaps ¡®normally¡¯ limited to
the realm of fantasies or dreams. Both ¡®outside¡¯, but also, ¡®not-outside¡¯. With
no pointers guiding us to the thought of infinity, we are left with an
experience which is just unreal, ¡®this side¡¯ – the ¡®Surreal¡¯ effect.
Perhaps the classic Chinese practitioner of this kind of photography is
Rong Rong (ÈÙÈÙ). See for example Rong Rong and Inri, East Village (Chambers Fine Art,
Seeing the future; the ¡®Oracular¡¯ image. The temporal genre of question
and invitation, amelioration and hope - as well of anxiety and foreboding.
Formally speaking, the future can be found in the abstract, the veiled and
indistinct, in the sense of a lack of presence as bearing future meaning. As
well as the depiction of a situation yet-to-come, such photographs may also
suggest the sense of an ideal, of things as they should or could be, as opposed
to how they are. The black and white image as oracle. Extending this idea, it
is also possible to conceive of the oracular black and white photograph as an
interrogative voice, asking the question, ¡®will it be like this?¡¯
Images with a future deixis, which imply a next stage, or can be read
as a cause to a future effect constitute a direct semantic method of indicating
the future - see the ¡®conjuring¡¯ and ¡®cocoon¡¯ images in Rong Rong and inri, Tui Transfigurations (Timezone 8,
China, 2004. pp.160;162). Effects due to the employment of abstraction and
visions of a limit, or beyond a limit, suggesting the future, can be found in
Hong Lei (ºéÀÚ) in Han Tsungwoo, Han Lei, Hong
Lei (Beijing, 2006. Plates. 18 and 22) where the empty space that dominates
the image can be read as the heading of the viewer; our voyage through life is
taking us, we do not know where¡ Similarly indistinct backgrounds may equally
be read as a referral to an almost forgotten place in our past, or as somewhere
as yet undetermined in the future. Such a suggestive indistinctness is found in
Rong Rong & inri, Beyond (Walsh
Gallery, Chicago, 2005) where empty spaces and figures facing away from the
viewer (that is, facing in the same direction as the implied viewer of the
picture) suggest a looking forward to an open or ideal future (the peak as
future destination is a meaning that can be added to the mountain¡¯s usual value
derived from its traditional sacred meanings).
In contradistinction to other ethnographically inspired photographs, we
have a powerful example of the interrogative voice in black and white photography
in Gao Bo, ¡®Sketch Portrait¡¯, (1996) in ¡®Convection¡¯, (Three Shadows, Winter
2007-8, photographs from the permanent collection). This image incorporates
smearing and handwriting – graffiti or note style, which de-presences the
image, re-presenting it as a source of difficulty (it is important that the
¡®deformation¡¯ occurs on the level of the image and not in the world of the
image, for these temporal effects to come into play). Indeed such a deformation
may combine the tenses (past, present and future) as when we perceive a
pre-existing problem, its presence and the possibility of a solution (or the
continuation of the problem state into future¡). Oracular. The status of a
question posed.
The epochs of Chinese photography, viewed through the lens of their
temporal affiliations, are as follows: 1) Inception to 1949, ¡®classic¡¯ and
¡®art-photography¡¯, (some ¡®documentary¡¯ for news purposes).
2) 1949-1976, ¡®Socialist Realism¡¯, the ¡®documentary¡¯, and its religious
form, where the present is portrayed as eternal (possible due to our
existential sense of being in an ¡®eternal present¡¯, ¡®eternity¡¯ as an extrapolation of this).
3) 1976- 2000, the continuation of ¡®documentary¡¯ and ¡®Socialist
Realism¡¯, with the rebirth of ¡®art¡¯ and experimental forms in the 1980s.
4) 2000 to present, growing influence of ¡®classic¡¯ and ¡®art-type¡¯
effects, especially of the ¡®surreal¡¯ type, as the (formal) experimentation of
the previous period continues. But, interestingly, the ¡®documentary style is
still dominant, even featuring in today¡¯s ¡®art¡® photography format as
background to the ¡®surreal¡¯ detail¡
Black and white photography in
Copyright, Peter
Nesteruk, 2010
About the author. Dr. Peter Nesteruk is a former lecturer in critical
theory, now based in