在巴黎度过的最后一个夏天,我以一种惜别之情流连街头。在八十二路公交车上,看见窗外的景色,按下快门,将巴拿马草帽、赋闲的救火车、巴黎随处可见的咖啡馆压制成扁平的像。女孩穿过马路,融为一枚深色侧影。整理照片的时候,这般动机模糊的照片被翻看和重看的几率却远大于任何具体的面容。以拍摄照片作为生活记录的伊朗导演阿巴斯,在自己摄影展的自述里说,他从来没有专门 The last summer I spent in Paris, I walked the streets with a farewell. On the 82nd bus, you can see the scenery outside the window and press the shutter to suppress Panama’s straw hats, idle firetrucks and cafes in Paris everywhere. The girl crosses the road and melts into a dark silhouette. When organizing photos, the chances of such motivated photos being looked up and re-examined are far greater than any specific face. Abbas, an Iranian director who took photographs as a living record, said in his photo exhibition self-report that he had never specialized