Photographer _ Liu Junyang _ Basic Information

Liu Junyang, Tujia photographer, 1965, a native of Qianjiang, Chongqing, is an official in the system and a member of Chongqing Photographers Association. Liu Junyang is very diligent. He devoted almost all his spare time to photography, which is naturally much better than those photographers who are so-called amateurs or even just talk and don't practice, which is also the key to his rapid technical improvement. Liu Junyang is eager to learn. In the year when I started the advanced photography training class, he was not absent from every class and every comment, and he also traveled around, listening to lectures by masters such as Deng Wei and Suo Jiulin, and observing famous film festivals such as Lianzhou International Exhibition and the 24th National Exhibition. This is a good way for him to constantly revise himself, increase his artistic reserve and improve his creative thinking. Liu Junyang did it on purpose. He not only shoots, but also is good at thinking, concerned about society and ready to help others. This is the requirement and inevitable choice for photographers to improve their personal quality when their photographic works reach a certain level.

Photography creation is a kind of practice, a process of self-improvement and a photographer's spiritual journey. Rich and vivid images are sung in the photographer's mental journey, giving out his own deep voice, which is expected by the world.

In recent years, his works began to appear frequently on the Internet and the mainstream photographic media in China, causing widespread concern. "Half the Sky" and "Miao Township Incident" were published in China Photography magazine; "Home in Qianjiang" and "Big World in the Palm" were published in the magazine "Popular Photography"; Works such as "Hard Training" and "Fundamentals" were published in China Photography; Colorful Life was selected for the 16th Chongqing Calligraphy Art Photography Exhibition; Miaoxiang event was selected for the 20 13 Guizhou Fanjingshan International Photography Exhibition; "The Shopkeeper's Lunch" won the first prize of the recent "Popular Photography" collection; In the just-concluded 20 13 first "tianyi mobile phone cup" national photography exhibition, his "good news" won the highest honor-the gold collection award.

2

Liu Junyang has been fond of photography for a long time, but his works rarely attracted my attention a few years ago. In the past, he liked to shoot some natural scenery, flowers and beautiful models. What once impressed me was the number of shooting routes of general official photography groups and salons, playing with petty bourgeoisie and pursuing aestheticism and happiness. However, over the past year or so, there have been obvious changes in his works, such as observing social ecology, thinking about people-oriented consciousness and paying attention to people's livelihood. In other words, there are more ideological and spiritual things in his works, new changes have taken place in the context, the tension of language has been obviously enhanced, and his works have shown more intriguing things. Seeing the development and changes of Liu Junyang's photography in recent years reminds me of the theme of the 20 13 Lianzhou International Photography Annual Exhibition-farewell experience.

In the era when art gradually degenerates into production, and with the crazy growth of photographic pictures today, our artistic experience is constantly criticized and criticized. We need to bid farewell to the past and experience, rebuild the details and evaluation system of photography theory, re-examine our lenses and works, and rethink what we take photos for. What impact does it have on the progress of human civilization and our lives? This year, Liu Junyang may have experienced such thinking, change and even pain.

The saddest thing about any kind of artistic creation is to keep repeating yourself. Narrative style, language interest and theme orientation have become the burden of many photographers. Every photographic work is the emotional code of the photographer's inner world. They feel that the road ahead of them is getting narrower and narrower, they feel that they can't keep up with the changes of the times, they feel that their world has no secrets, and even it is difficult to make a sound to other people's works. At this time, what photographers should do is, like Liu Junyang, to bid farewell to experience decisively and find a creative direction that is more suitable for their own expression and more conducive to social development and progress. Or bid farewell to the sky without a way out, or bid farewell to the way out without a sky and start over.

three

Contemporary art no longer emphasizes the sense of form and decoration and no longer supports formal purism. Since 1970' s, photography has turned to look at visual art with a critical eye, and has begun to emphasize the expression of ideas and critical practice. Those so-called authorities and masters who make the rules of the game of photography art according to their own experience can actually laugh it off and aim our lens at the problems and dilemmas faced by mankind. This is the responsibility of photography as a contemporary art, and it is also the essence of photography. Even if photography is not regarded as art, it's no big deal. Liu Junyang's works have obviously undergone such changes, especially from his collection "Post Station" which won the "Popular Photography" award, we can see such "farewell" and "progress".

"Half the Sky" is the first work published by Liu Junyang in China Photography (No.44, 20 13), and it is one of several professional media recognized by the photography circle for the first time, or it is strictly called the first work. The work was shot in a small winery in Zhuoshui Ancient Town, Qianjiang, Chongqing, which is a traditional brewing workshop. In the simple workshop built of cement bricks, the fog rises, and the woman in red works in the fog, shoveling distiller's grains from the hip flask. In front of the wide-angle mirror, this big hip flask occupies half of the picture, and the visual image of this half flask is a woman's "half the sky". The sense of form and spatial effect are the "experience" that the author has never given up, and may also be the reason why the editor chose this work. Giving up the "experience" of "companionship" enhances the loneliness of the content, and highlights the China women's ode "Women hold up half the sky". This work was later published in China Photography No.9, 20 13.

"Hard Training" first appeared in the 59th issue of China Photography on 20 13. This work seems to be shot with a fixed focus lens and a large aperture, which is very close to the main body. The contrast between reality and reality created by large aperture shows the relationship between point and surface and the sense of depth, and also highlights the main image. Accurate use of light, strong hands and sweat dripping from chin perfectly reflect the true nature of travel. The serious expression reveals the characteristics of soldiers and successfully depicts the characters. From this work, we can see that Liu Junyang has good photography skills and composition experience.

It is rare for China Photography to publish Hard Training in the next issue, followed by Liu Junyang's Fundamentals. Dark light shooting once again proved his technical skills. This is also a work with a strong sense of form. Under the column foundation, in the deep cave, you can vaguely see the figure of workers. The circle formed by the column hole creates a strong sense of space and rhythm. This foundation is not only the foundation of urban construction, but also the expression of feelings for migrant workers, who are also the foundation of social development in China. From this work, I can see that Liu Junyang, as an official, pays attention to the grassroots people, explains people's livelihood and thinks about human development.

Miaoxiang incident first appeared in China Photography (20 13, 1 1). The shooting angle is also unique, and the composition breaks through and bid farewell to the experience of daily "grand event" shooting. It is still his usual method of fixing Jiao Da aperture, which blurs the "major events" that can't be clear, further highlights the main body, highlights the heads of three Miao women, well depicts the characteristics of Miao women's costumes in villages and towns, and completes the simple and accurate record expression of the works.

The work Colorful Life was shot by me, the author and several other film friends. The works with the same picture have appeared in domestic competitions and exhibitions many times. This work by Liu Junyang was also selected for the 16th Chongqing Painting and Calligraphy Photography Exhibition and won the Excellence Award. In front of a wall, the white wall depicts their pursuit and dream of life. They are not free to create, conceive and express their feelings. They are not for romance, but for life and dreams. The little girl in the picture is the key to the success of this work and the highlight, focus and interest of this photo. The contrast between adults and children, standing and squatting, bright and dark, and the realm of heart and pen also expresses the different weekends or holidays of migrant children. The work truly reproduces the living conditions of migrant workers and also expresses the author's kind, objective and rich humanistic spirit. From these works, I saw the fundamental changes in Liu Junyang's photographic works. He began to face the society, life, his truer heart and the authenticity of photography, and also began a journey to make his works live a new style.

This "World in the Palm" first won the "first-class masterpiece award" in the online world of Popular Photography magazine, and was published in the 20 13 issue of Popular Photography. Later, in the name of "good news", he won the gold collection award in the first "Tianyi Mobile Phone Cup" national photography exhibition on 20 13. This is also the first time that he won a gold medal in the national competition. The work was shot in the warehouse of a steel sales enterprise in Zhengyang Industrial Park, Chongqing. The picture is simple but not simple, and the characters are simple but not monotonous. In summer, this steel ring is where migrant workers take a nap. In the hot season, the weather is much cooler. The polished straw and cardboard in the reinforcement ring can be seen that this is where they often rest. However, the young man is not sleepy. He curled up inside and looked at the mobile phone intently, with happiness and joy in his sweet expression. At this moment, all kinds of experiences in work and life are very substantial.

"The Boss's Lunch" recently won the first prize of the "Popular Photography" micro-collection activity and was allowed to print his first collection for free. The work tells the story of a Spring Festival couplet stall on the eve of the Spring Festival. A little girl watching a stall seems to be hungry at noon. While watching the stall, she is eating sesame cakes with satisfaction. The main characters on the golden section are lifelike, and their eyes are focused on the approaching moment of the new year. The warm red color has a strong flavor of the year, which naturally shows the theme of the work: children have learned the responsibility of life since childhood. This kind of picture is more real and vivid, which is a good way to describe folk customs and express the author's true feelings with vivid narration.

Liu Junyang still has many excellent works for us to think about and move. Through the analysis of some works, we have a general understanding of the changing process of his photographic works, know the basic style of the changed works, and feel the new progress after he bid farewell to his inherent experience.

four

I think the works just analyzed are images of Liu Junyang's farewell to his experience. But this farewell is only a farewell to self-experience, with obvious experience of others or the inherent experience of photography. This should be the reflection that photography left him when he moved on.

Judging from his works, ideas and thoughts are not obvious at a glance. He has retreated behind the image and left his thoughts to the readers. So, is your expression of self-concept really clear? We don't have to finish it, but we can't help but be clear. So I think it should be a direction that he can break through to clarify the inner ideas of each of his works.

I believe that Liu Junyang has been trying to turn spiritual images into mirror images, and he is also trying to turn mirror images into spiritual images. Because in the image, he has been working hard for the later study and research of photography. This mark can also be seen in some of his works. However, I hope that one day, he can integrate his mind with the mirror, forget the so-called PS technology, be less cunning and more natural, return to the original function of the camera, realize free breathing in the image context, face the society in the most primitive and authentic way, face his heart directly, and create more works with archival significance, practical significance and artistic value.

Some people say that photography is a game for people with money and leisure. As a photographer in the system, it is even more difficult to create after work, especially to make a breakthrough and gain something. Liu Junyang has this ability, and not everyone has this ability. I wish him all the way forward and better on the road of photography.