这是一个信息，一个情况，一个模样。有趣的当然是中间列表一段；最后一段是为了完整我才一起引的；除非你是教师要教学生，否则不看为宜。
Eliot Shepard 作为 Hey, Hot Shot! 评委给应征者写的话。
Obviously what you choose to photograph is personal and subjective, and all kinds of subject matter is fair game for the competition. But there are certain genres and subjects which I think place a greater burden on the photographer in terms of originality. They’re submitted often.
* Diptychs or other multiple presentations where the photos do not have a direct relationship to one another. Steer clear of juxtaposition for its own sake.
* Parking lots, lonely shopping carts, gas stations
* Floral still-lives
* Suburban emptiness
* Eerie night photography
* Beds: empty, unmade, and so on
* Moody (nude) self-portraiture
* Meditations on illness or death of a family member
* Shoes and feet
* Loosely edited street photography
* Exuberant Photoshop experiments (Just Say No)
* Rigorously documentary travel photography
Again, this is not to say that any of these things cannot be done, but that they are more difficult to photograph in a way that makes an impression. If this is your terrain – actually, whatever your terrain – it is incumbent on you to be aware of genre cliche and to avoid/subvert/surpass it.
照片像海洋里的水一样多，看照片的方式大致上没有几种。几十年来，Szarkowski 看了什么照片，然后我们就看什么照片；这么说，不很夸张吧。
Talking Pictures
John Szarkowski on the good, the bad and the flat in American photography
By HOLLY MYERS AND TOM CHRISTIE
Wednesday, December 6, 2006 – 12:00 pm
There are few people alive today with more stories to tell about American photography than John Szarkowski, and probably none capable of telling them with quite the same charm. Born in Ashland, Wisconsin, in 1925, Szarkowski took up photography himself at a young age, secured two Guggenheim fellowships and published two books of his own before being tapped by Edward Steichen to take over the photography department at the Museum of Modern Art in 1962. His tenure at the museum lasted nearly 30 years and spanned a decisive period — perhaps the decisive period — in the institutionalization of the medium, a process in which Szarkowski himself played no small part. As U.S. News and World Report proclaimed in 1990, “Szarkowski’s thinking, whether Americans know it or not, has become our thinking about photography.”
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我没读过任何禅佛。似乎苏东坡在禅佛的谈论里是个很提神的元素。
Anyon说：“苏轼乃见道之人，因为一念不慎，枉坠红尘而已，非俗人阿猫阿狗可比。”我暂时不必去知道背后的故事。但Anyon又说：
苏轼跟书法的一些小故事，我也有耳闻，记得他年轻的时候是学二王，老了以后发现还是颜真卿好，就楷书，一笔是一笔毫无花哨。
我就不知道这个书法故事是哪里来的。我知道的是，尽管苏东颇确实是老了（中年吧？）开始（重新吧？）转向颜真卿（还有好几个名字吧？），尽管苏东坡中老年的书风比较更平易自然（黄庭坚说的），但整个故事似乎并不是为构筑“就楷书，一笔是一笔毫无花哨”的禅佛事迹服务的。下面的链接里可以看到苏东坡的书风（图片可点击），老中青都有，且不论是楷是行吧。
姚淦铭：苏轼的书法 | 苏轼的碑 | 苏轼的贴
Anyon谈书法，是因为于坚论信而起的……（不论了。上述两位的Blog回复都要注册，不想做，所以写在自己这里。不能再掺和这些事了，否则离禅佛越来越远。）
【补充】Anyon在那篇后面又有续论：
从世间法的角度看苏轼的字，就会有点“隔”的感觉。
推论吧，Anyon？因为苏轼乃见道之人，未见道的人见了他的字就应该隔起来，——是这么推出来的吧？
就流行而言，宋四家一向是超女。句号。（——即使这样，我知道，也应该能用禅佛的话语把这故事圆回来，所以睡觉。）
味道不错。不知怎么回事，强制我装到C:，但速度还是很快。那个我担心大占资源的Live Filter，似乎运作也很光滑。新功能几乎没试。
因为现在只是调校照片，所以更关心方便性的改进和更新。发现一个：比如Level工作面板打开的状态下，照样能够激活、切换其他面板或菜单，甚至能够设置相关面板。
现在的界面，最理想的显示器是宽屏。工具和面板的安排，将使鼠标点击量大幅度增加；食指没疼过的可能体会不到，但是别小看这一点。
要紧事忘了说。这个Beta会向你要CS2的序列号，我给了，但提示是错的。这样，只能玩48小时。后来依无忌上的方法，把
…\Program Files\Adobe\Adobe Photoshop CS3\AMT 下面的
application.sif 的后缀改掉，就是让CS3读不到这个文件。现在看似乎就这么“破解”了，不知道48小时之后会怎么样。还有个省力的方法，还是在无忌同一个贴里，有一个绿色的、可能是汉化过的版本，有人在用着，说是没问题。
【补充】48小时之后了，很好。另外，没听别人说有被强装C:的情况，但我也不想重装了。
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