了解日本摄影史或听说过罗伯特·弗兰克的摄影师朋友，大概都知道“主观纪实摄影”，一种与传统客观纪实有明显区别的摄影艺术形式。在当下的世界摄影艺术潮流中，西方更偏向于传统客观纪实及艺术摄影，而日本因为战后一大批摄影大师的努力和崛起，最终以“主观纪实摄影”为世界摄影史留下了浓重的一笔。

中国摄影史其实并不短，只是由于社会环境等各种因素制约，最终摄影大国在摄影艺术发展历史上泛善可陈，甚至在资讯全球化的时代连亦步亦趋都还谈不上。在这里不应否定历来少数华人摄影师在全球摄影历史发展进程中进行了非常有益和卓有成效的探索，甚至有些从思想到创作实力都达到了国际水准。但放到整个大环境里去考量，他们的成绩和影响力仍显得势单力薄。

本人非科班出身也无意另起山头，只是在深入摄影这个领域里后，深知散兵游勇式的创新和努力，很难让华人摄影艺术的整体水平有所提升。首先，这个充满物欲的世界对摄影师的诱惑实在太多太多；其次，就像当年日本摄影界如果没有“VIVO”和“Provoke”这两个当时很“另类”且都短命的摄影组织的话，应该没有日本摄影今天的辉煌。

今天的摄影和艺术，似乎很近但又似乎很远。我们日常所见的绝大部分摄影照片就跟麦当劳的薯条一样一下肚瞬间就没感觉了。什么样的摄影作品能够在历史上留下印记呢？在盖棺定论之前的当下人似乎都没有发言权，但我们可以也应该去努力，把我们想留存下去的东西创作出来。这样的创作就像深藏在家中的传家宝一样，自己熟悉又宠爱但外人却不一定有感。如果能把各自的“宝贝”集中起来，或许我们真的小则可以创造一个市场，大则影响潮流。

“非常摄影”，其实应该理解为非“常摄影”，“非同寻常的摄影”。因为天天充斥着我们眼球的绝大部分都是麦当劳的薯条而不非“传家宝”。那什么算是“非同寻常的摄影”呢？就个人目前的认知，把镜头只作为自己表达真情实感的工具，不拘泥于形式且充分表达个人思想观点情感的摄影作品，才是我所设想的“非常摄影”。这样的作品不懂的人也许会觉得垃圾甚至怀疑摄影师是否会拍照。但就像杰克逊·波洛克或卢西安·弗洛伊德等大师的艺术作品那样，艺术不再是为了愉悦人的眼球，而是要揭示部分的人性，摄影艺术同样如此。

“非常摄影”可以包括很多现在已可定义的内容，如纪实摄影，街头摄影，艺术摄影，摄影装置，甚至是NFT，不一而足。只要是我们没想过的，都可以尝试都可以探索，这也是我个人创作实践的指针。当然，“非常摄影”这个弱小的平台希望有更多执着但不被常人理解的摄影师加入进来，真正的为自己心中的艺术理想而努力。

征稿说明：

1、本次征稿不限主题，任何题材的摄影作品都可以投稿，不仅限于上文提到的主观纪实摄影、艺术摄影、摄影装置、摄影NFT等。当然如果是传统纪实摄影特别是商业摄影，那入选的可能性就会小很多。

2、主要针对华人摄影师征稿，也欢迎其他国家的摄影师投稿。当然，即使你不认为自己是摄影师，只要有合适的作品也欢迎你来投稿。

3、可以这么理解：对投稿没有客观的评价标准，但要说一点标准也没有当然不是，那就是一看好像哪里见过的作品，基本不考虑采纳。

4、“非常摄影”初期也许只是个在线展览，或者是一本摄影专辑，取决于征稿效果和作品满意度。正常运转起来后，《非常摄影》将固定为每个季度一辑。所有入选摄影师的摄影作品没有稿费，主办方也不向摄影师收取版面费。

5、如投稿摄影师未提前申明，即视为自动确认其提交的摄影作品《非常摄影》主办方有权在不支付任何费用的情况下进行出版、展览等所有商业行为，但不包括售卖摄影师投稿摄影作品的版权销售行为。

6、每位摄影师需提交个人照片1张，不超过300字的个人简历，并注明目前的常驻地；

7、每位摄影师最多可提交5幅原创摄影作品或一组主题摄影作品，每幅作品需标注标题、创作地点及年份等基本信息，同时需提交作品原创版权声明(如涉及人物肖像权请一并提供肖像权授予证明)；

8、作品图片以JPG格式提交，分辨率为300dpi，单张图片大小不超过5M；

9、作品提交邮件主题请标明“参加《非常摄影》第一辑征稿”提交邮箱为：wowahh@gmail.com ；征稿截止期限为：2022年7月31日

发起人介绍：

黄华，媒体工作经历20多年。2013年开始画抽象水墨，后来转向数码绘画（很像现在的NFT），2015年正式专注摄影，聚焦于纪实摄影。2019年起参加欧美中各类展览数十次。自费出版《Athens in the Shadow》和《Wild Beijing》两本摄影集。发表《忘掉决定性瞬间吧》、《中国摄影艺术：向“东”还是向“西”？》、《为何国内摄影爱好者对主观纪实摄影作品无感》等摄影专业文字数篇。

Open Call for "Extraordinary Photography”ISSUE 1

Photographers who know the history of Japanese photography or have heard of Robert Frank probably know "subjective documentary photography", a photography form that is significantly different from traditional objective documentary photography. In the current trend of world photography art, the West is more inclined to traditional documentary and art photography, meanwhile Japan, due to the efforts and rise of a large number of photographers after the Second World War, finally left a strong legacy in the world photography history with "subjective documentary photography".

The history of photography in China is actually not short, but due to the constraints of various factors such as the social environment, the photographic powers in the end havenot a good record in the history of photographic art development. It should not be denied here that a few Chinese photographers have made very useful and fruitful explorations in the development of global photography history, and some of them even have reached international standards. But in the overall environment to consider, their achievements and influence are still weak.

I haven’t a professional background, but after sanding into the field of photography, I know that it is difficult to improve the overall level of Chinese photography art through the innovation and hard work of stragglers. First of all, there are too many temptations for photographers in this materialistic world; secondly, if there were no "VIVO" and "Provoke" in the Japanese photography industry, two very "alternative" and short-lived photography organizations at the time , should not have the brilliance of Japanese photography today.

Photography and art, seem close or far away. Most of the photos we see on a daily basis are like McDonald's fries, and can't feel it in an instant. What kind of photographs can leave its mark on history? It seems that people today don't have much rights before they died, but we should work hard to create what we want to keep. Such creations are like family treasures hidden deep at home. They are familiar and beloved by themselvies, but not necessarily felt by outsiders. If we can gather our "treasures" together, maybe we can not only create a market, but also influence the trends.

"Extraordinary photography" should actually be understood as "extraordinary photography”.Because the pictures that fill our eyes every day are mostly McDonald's fries rather than family treasures. So what is "extraordinary photography"? As far as my current cognition,that the lens only as a tool to express one's true feelings and fully express one's thoughts, opinions and emotions. People who don't understand such works may think it's garbage or even doubt whether they are the photographers or not. But like the works of art by masters such as Jackson Pollock or Lucian Freud, art is no longer about pleasing the eyes, but about revealing parts of humanity, and the same is true of photography.

"Extraordinary photography" can include many things that are now definable, such as documentary photography, street photography, art photography, photographic installations, and even NFTs,etc. As long as we haven't thought about it, we can try and explore.Under the weak platform of "Extraordinary Photography", I hope more photographers who are persistent but not understood by ordinary people will join in and truly work hard for their artistic ideals. This is what I envision and what I will work on, and really hope to turn "extraordinary photography" into real.

Submission requirements:

1. The theme is free,no matter what type of photographics can be submitted, it is not limited to the above-mentioned subjective documentary photography, art photography, photographic installations, photographic NFTs, etc. Of course, if it is a traditional documentary photo, especially a commercial photo, it will no more possibility to be selected.

2. The open call is mainly for Chinese photographers, photographers from other countries are also welcome. Of course, even if you don't think yourself as a photographer, you are welcome to contribute as long as you have suitable works.

3. It can be understood in this way: there is no objective evaluation standard for submissions, but not to say that there is no standard at all, that is, works that seem to have been seen somewhere are basically not considered for adoption.

4. In the early stage of "Extraordinary Photography", it may be just an online exhibition or a photography publication, depending on the effect of the solicitation and the satisfaction of the works.After the normal operation, "Extraordinary Photography" will be published every quarter. As long as you submit photographs, we won’t pay manuscript fees to selected photographers and selected photographers won’t need to pay layout fees.

5. If the photographer does not make a statement in advance, it means that he/she agrees and confirms that the organizer of the "Extraordinary Photography" has the rights to use any submitted photographs to all commercial activities such as exhibitions or publishments without paying any fees. , but do not include the sale of photograph’s copyright.

6. Each photographer needs to submit a personal photo, a resume of no more than 300 words, and indicate the current permanent residency;

7. Each photographer can submit up to 5 original photographs or a set of themed photographs. Each photograph must be marked with basic informations such as title, creation place and year, and the original copyright statement of the work must be submitted at the same time (if it involves portrait rights, please together with a certificate of the grant of portrait rights);

8. The photographs should be submitted in JPG format with a resolution of 300dpi, and the size of a single image should not exceed 5M;

9. The submission email should be marked "Participate in the "Extraordinary Photography"ISSUE 1” . Submit email: wowahh@gmail.com; Deadline：31/7/2022

About the sponsor:

Hua Huang, more than 20 years working experience in various medias. In 2013, began to painted Chinese abstract ink pintings, later turned to digital painting (much like the current NFT). In 2015, began to focus documentary photography. Since 2019, participated in dozens of exhibitions in Europe, America and China. Self-published photobooks "Athens in the Shadow" and "Wild Beijing". Published a few professional photography articles such as "Forget the Decisive Moment", "Chinese Photography Art: Toward the "East" or "The West"? ", "Why domestic photography enthusiasts have no sense of subjective documentary photography".