Empathy: When a photographer claims to be in love with a model,

Benedetto croce (1866- 1952) expounded his aesthetic views in his works on aesthetics and historical philosophy, just as danto did in "The End of Art" (T he Philosophical? Deprivation of Art) statement:

Generally speaking, few people deny that works of art can convey emotions. The question is whether this kind of communication will be attenuated or misunderstood because of the different roles and modes of communication.

According to Croce's "Empathy Theory", he believes that art is a communicative language, and its guarantee lies in a basic premise: "Everyone has feelings".

What the creation expresses is the product of the combination of the artist's inner feelings and concrete things.

Because human consciousness has the ability to transform sensory experience into imagination, when this ability is implemented in creation, it forms the root of artistic beauty.

I once asked a man like a photographer, "What is the secret of making people beautiful? She said, "The secret is to fall in love with the person you photographed. 」

Artistic creation is the representation of the concept, and emotion is also a factor in the formation of the concept.

Before the photographer picks up the camera to shoot, he may have some idea in his mind, and he wants to shoot a portrait with a certain style and beauty, but when the model stands in front of him, it is very likely that this person is different from the role in his mind.

This may come from the difference between the model and the expected model, or from the mismatch between the scene and the model, and the photographer has a bad grasp of the concept and the real situation.

The last situation often happens, and the training of aesthetics and technology has not yet reached the level, so there is no equipment, but it is impossible to express what you think and feel.

In addition to this factor, the first two factors all show that the photographer's expression of feelings is basically limited, that is, limited by time and space conditions.

This can make us think about why Michelangelo chose stones himself, because when art becomes an activity that goes deep into the real world and takes the real world as the performance field, it will inevitably face the problem of creating materials.

So we understand Croce's feeling when he talks about the artist's inner empathy.

Just like when a photographer expresses "falling in love with a model", he is not limited to some kind of love or irreplaceable love.

It is a projection of inner feelings, mixed with enthusiasm for art itself and self-concept that will soon become a real work.

Moreover, that kind of love for models is not as passionate as in some movies, or it can be used as an excuse for some unscrupulous photographers to hypnotize themselves.

In fact, for example, Ke Jessie once talked about having sex with a photographer during filming and then forming a partner in the book A Space Roamer.

But do photographers have such a relationship and affection for all subjects, or are they part of it? So we can't enlarge the special case into a fact that will happen universally and should be accepted.

In photography activities, love occurs between the photographer and the subject, which must be based on the premise that they have the same love feelings.

But in reality, what we see is that the photographer projects his wishful feelings on the model, or is it really an active emotional activity between the two?

On the contrary, when a model shows her body professionally in the psychological state of "feeling for the camera", this empathy is only consistent with the photographer's empathy, that is, "in order to achieve the most perfect work, it should be expressed as much as possible in thought, emotion and technology".

In the end, what the viewer sees through the photographic works is that the photographer and the model feel empathy for the creative activity itself, rather than being ambiguous with each other.

Only in this way can we develop the necessary conditions for being seen, felt and even understood.

Therefore, photography is indispensable for the tempering of technology, and the study of aesthetic feeling and artistic thought is also a compulsory course for a professional photographer.

As for emotion, it is only one of the elements in the creative process and a necessary and sufficient condition for some expressionist works.