Page 181 - 第29屆大墩美展專輯電子書

Photography
攝影類

KANG Tai-Sheng

The Photography category of this year’s Da Dun Fine Arts Exhibition received 258 entries, among which, three were overseas
submissions. The preliminary review selected 27 entries, and the final review selected a total of 18 prize-winning works and Selected
Works. The five jurors were WU Jia-Bao, CHIEN Jung-Tai, SHEN Chao-Liang, CHEN Li-Min, and KANG Tai-Sheng. Since the jurors
were all veteran photographers and experienced judges, the review process was conducted with great rigor and efficiency, and the
winning works were selected without any disputes.
In recent years, I have often heard jurors discussing competition related matters at the review of different competitions, and I’d
like to summarize some of my personal thoughts for the reference of aspired future contestants:
I. Single Work and Series: One does not hold an advantage over the other; despite the difficulty of expressing a complete
narrative through a single picture, if the work is exceptional and demonstrates focus and strong visual impact, it can be very
effective. For instance, during a recent newsworthy event where the former U.S. President Donald Trump was shot, photographer
Evan Vucci captured a striking image of Trump, who, despite being covered in blood, is still raising his right hand, showcasing
his strong character. The image is further enhanced by the backdrop of the American flag and Secret Service agents, creating
a perfectly composed shot. This can be considered an exemplary single work that conveys the entire event and its meaning
effectively. On the other hand, a series of works emphasizes unity, coordination, and completeness. Each piece within a series is
an important element with its own place and necessity; and no a single work should stand out or lie flat. A series should blend
elements like color, form, and content into a cohesive work with a unified meaning.
II. Imitation or Submitting a Work in a Series: It is common in judging situations to encounter works that seem familiar or to
hear jurors mention seeing similar or identical works in other municipal exhibitions. The reasons for this are threefold: 1. Imitating
someone else's style or creativity; 2. Submitting a work from one's own series; 3. Repeatedly submitting the same piece. These
actions are unstandable as they may increase the chances of winning, but they are violations of exhibition rules, administrative
problems, and opportunistic behaviors, all of which contradict with the fundamental artistic principle of creative originality.
III. Digital Image Synthesis and Processing: Art exhibitions today no longer restrict image post-processing. However, there are
often cases of excessive or improper use, such as: unrealistic perspective ratios in image synthesis, excessive HDR adjustments
resulting in unnatural light and shadow, overly vibrant color tones, and sharpening that produces a harsh effect.
Due to limited space, I’ll briefly comment on the top three prize winners below:
First Prize-winning “Nostalgia for the Military Village” by CHANG CHIEN Yu-Song is a collage. From a distance, the eye is
immediately drawn to a striking, vibrant red. As one gets closer, it becomes apparent that this is a collection of rusted doors.
Each door once had its own glory, and each has a story to tell. Over time, they have deteriorated, evoking a sense of nostalgia
and melancholy. Despite a lack of compositional pattern and the inclusion of interwoven vines and tree roots, everything blends
seamlessly together, showcasing variations within unity. The concrete work exudes an abstract sense, and despite the old subject
matter, it presents a fresh perspective. It stands out and deserves praise for winning the First Prize.
Second Prize went to “The Torn Earth” by HE Yong-Shun. Earthquakes are a social issue that concerns and terrifies the public.
The artist uses mirrored reflections of distorted urban buildings to metaphorically represent the terrifying scenario of severe
damage caused by a strong earthquake. This approach reflects a concern for society and aims to raise awareness about disaster
prevention. The composition of the photograph is simple yet powerful, and it is highly persuasive.
Third Prize-winning “Silent” by LIN Ju-Chen depicts a forest that harbors and nurtures many animals. Unlike the more masculine
expressions in the previous two works, this photo captures corners people usually overlook in a delicate and poetic manner.
Especially during the hot and humid mid-summer days, the work evokes a sense of coolness and tranquility, reflecting the artist’s
attention to detail and special concern for ecological environment.

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