Hair Highway

August 31, 2016 2016年8月31日

 

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Studio SWINE is a collaboration between Japanese architect Azusa Murakami and British artist Alexander Groves. Their projects and videos explore the themes of regional identity and the future of resources in the context of globalization. Hair Highway is an imaginative project looking at China as the world’s largest importer of tropical hardwood and biggest exporter of human hair. The documentary asks the unprecedented question: What if you could use human hair as an alternative to diminishing natural materials?


设计工作室Studio SWINE由日本设计师 Azusa Murakami 和英国设计师 Alexander Groves 联合创办,其项目和影视作品旨在探讨地域特征以及在全球化背景下的资源发展方向。他们最新的创意作品——《Hair Highway》意在向中国,这个世界上最大的热带硬木 进口国和头发的出口国,提出一个先锋性的问题:人的头发能否加以运用而替代日益减少的自然资源?

The stunning short film documents the global hair industry in Shandong province, but also reveals the possibility of creating objects by combining human hair with a natural resin, which reveals human hair’s potential to be turned into sustainable, handcrafted and highly decorative items. The film is a beautifully executed and thought-provoking look at China’s controversial relationship with its natural environment, whilst also drawing attention to its history of producing unique, original, artisan craft.


这段令人惊艳的短片记录了中国山东省的全球化头发产业链条,同时也展示了头发与天然树脂创意性结合的可能性,反应了人类头发成为可持续性资源以及转化为精致的工艺品的潜力。短片制作精良,并对中国引发争议的自然环境问题进行了深刻的思考与探讨,但另一方面,也向人们展现出中国制造业古朴的工艺特色和悠久历史。

By combining these unlikely matched components, Studio SWINE has created a composite material that provides a sustainable alternative to diminishing natural resources. The outcome is a selection of elegant household pieces; their design evokes the palettes of tortoiseshell and a grain resembling that of polished horn or exotic hardwoods that are inspired by the 1930’s Shanghai-deco style.


通过结合那些看上去风马牛不相及的元素,Studio SWINE创造出一种复合材料,为地球日益减少的资源带来可持续的替代品,并用此材料设计出一系列雅致的家居用品系列。其设计在色彩上,让人联想到玳瑁壳;在纹理上,则似受20世纪30年代上海装饰风格影响的抛光牛角,或者异域硬木。

Neocha Selects is a curated selection of some of the most inspiring and innovative video content from Asia. To see more stories like this, click here. To see original Neocha videos, click here.


Neocha Selects为来自亚洲地区内最具启发性和革新性的视频内容精选。查看更多类似文章,请点击此处。查看Neocha原创视频,请点击此处

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Instagram: @studio_swine
Vimeo~/studioswine

 

Contributor: Ruby Weatherall


网站studioswine.com
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Instagram@studio_swine
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供稿人: Ruby Weatherall

Hisham Akira Bharoocha

August 30, 2016 2016年8月30日

Ex-member of the Providence noise rock bands Lightning Bolt and Black Dice, Hisham Akira Bharoocha is also known as a multi-disciplinary visual artist. Half Japanese and half Burmese, Hisham moved around often in Canada, the U.S., and Japan with his family as a kid; his parents had the “American Dream” to make it out West, he says. Some of his artistic output includes some spectacular collages that he started to produce after he graduated from the Rhode Island School of Design (RISD) in Providence, Rhode Island. Neocha recently got to chat to Hisham about what inspires his stunning collage work in an exclusive interview below.


プロビデンス出身のノイズロック・バンド、ライトニング・ボルトとブラック・ダイスの元メンバーであるHisham Akira Bharoochaは、学際的なビジュアルアーチストとしても知られています。日本人とビルマ人との両親の間に生まれたヒシャムは、家族と共にカナダ、アメリカ、日本を転々とする幼少期を過ごしました。両親は、西洋で一旗揚げるという、いわゆるアメリカンドリームを抱いていたと彼は言います。彼のアート作品の中には、ロードアイランド州プロビデンス市のロードアイランド・スクール・オブ・デザイン(RISD)卒業後に制作を始めた見事なコラージュが見られます。今回のNeochaの独占インタビューでは、目を見張るようなヒシャムのコラージュ作品にインスピレーションを与えるものが何なのかを語っていただきました。

Neocha: When did you start doing collages?

Hisham: I started making collage-style notebooks when I was at art school. They were scrap books filled with photos and other things from my day to day life. I was influenced by Shinro Ohtake, Yamataka Eye, and Peter Beard, who all also made collage scrap books. After graduating from RISD, I found myself with not enough money to buy film, process the film, make prints, etc., so I started making collage as artwork as it was much cheaper to make. The reality of my situation drove me to make this kind of found image collage work. 


Neocha: コラージュを始めたのはいつ頃ですか?

Hisham: アートスクール在学中にコラージュスタイルのノートを作り始めました。これは、日常生活の写真を始め、様々な出来事が詰まったスクラップブックでした。私と同じようにコラージュのスクラップブックを作った大竹伸朗、山塚アイ、そしてピーター・バードに影響されたのです。RISDの卒業後はフィルムを買ったり、現像したり、印刷する資金がなかったので、はるかに安上がりなコラージュ作品を作り始めたのです。当時の生活が、このような既存の画像を集めたコラージュ作品を作るきっかけとなったのです。

Neocha: What is the concept behind some of your collages? Are they done in a series or sporadically?

Hisham: The concept comes from my fascination with how human minds are all wired differently and my collages are a visualization of how surreal the mind can be. Our viewpoints on what we experience through our senses is skewed are all based on our cultural background, life history, and mental affiliations to objects based on our upbringing. One’s mental architecture can be vastly different from another person’s. My collage work references dreams, daydreams, and meditation as well. 

Sometimes they are created as a series, mostly because a group of them were made at a certain time in my life where a few topics were at the forefront of what I was thinking about. But they are sometimes created sporadically, since I may be working more on mural paintings or drawings. I work on all mediums at the same time usually. 


Neocha: ヒシャムさんのコラージュにはどのようなコンセプトがありますか?シリーズ、それとも単発的に制作しているのでしょうか?

Hisham: コンセプトは、人間の心がそれぞれどのような異なる形で繋がっているのかという点への強い関心から生まれ、コラージュ作品には、心がいかに超現実的なものかがビジュアライズされています。私達が感覚を通じて得られる視点はぼやけていて、これは育ち方に基づく文化的背景、生活史、そしてオブジェクトとの精神的な結び付きによって異なります。人間は、一人ひとりの精神構造が大きく異なります。作品の中には、夢や白昼夢、そして瞑想をテーマにしたものもあります。

時には、人生のとある時期に考えていたことが真っ先に浮かんだものをいくつかのトピックとし、シリーズ化した作品もあります。ただ、壁画や線画の制作に徹していたため、単発的な作品もあります。と同時に、普段は考えを伝えるための手段として作品を手がけています。

Neocha: What materials do you use? Anything special or notable about your creative process?

Hisham: Until very recently I was using only found imagery for my collage work. That grew out of my photographic background, being interested in documenting moments that happen in the world that I am not imagining but just come upon – found moments. In my own collage-making process, I am constantly amazed and inspired by strange images I come upon which I cut from old books I find at the thrift stores. When I photograph, I am amazed to happen upon a situation that I could not have imagined myself, which leads me to want to make an image using a camera. In this way, I feel collage making is an extension of my fascination of the strange world we live in.

I have recently started using my own photographs in collages, and it has definitely changed the way the finished collages feel to me, since there is a reference to my own experiences and impressions I carry home in the photographs. I like that they reference a personal experience but they are very different from my earlier collage works. I still use found images in my collages, but at this point I haven’t really been mixing found imagery with my own photographs. 


Neocha: どのような素材を使っていますか?ヒシャムさんの制作プロセスで特筆または注目すべき点はありますか?

Hisham: つい最近まで、既存の画像のみをコラージュ作品に取り入れていました。これは、私の想像によるものではなく、この世で起きた瞬間的な出来事を記録に残すことに関心がある、写真家としての歴史から生まれたものです。浮かび上がったその瞬間を残すのです。コラージュ制作のプロセスでは、古本屋で見つけた本から切り抜いた奇妙なイメージに驚かされ、インスパイアされることがあります。写真を撮る時は、想像もしなかった状況との偶然の出会いに驚き、そこからカメラを使ってイメージを作るという思いに駆られます。これによりコラージュ制作は、私達が住む一風変わった世界への魅力を伸ばすものだと感じています。

最近は、撮影した写真をコラージュに取り入れることで私自身の体験や印象の片鱗が見せられるため、コラージュへの仕上げに対する思いが大きく変わりました。個人的な体験が元になっていたとしても、初期のコラージュ作品とは大きく違う点が気に入っています。今でも既存の画像をコラージュに使うことはありますが、既存の画像と私の写真を合わせて使うことはほとんどありません。

Neocha: Who are some of your creative influences? What inspires your collages?

Hisham: I mentioned some names earlier, but I remember being so in love with Russian propaganda poster art from the communist era, as well as some artists like Tadanori Yokoo, Dieter Roth, Man Ray, Maholy-Nagy, Henry Darger, Adolf Wolfi, Gabriel Orozco, Rosemary Trockel, Lothar Tempel, Tony Oursler, Sol Lewitt, Robert Irwin, Richard Tuttle, John McCracken, Frank Stella, James Turrell, Blinky Palermo, and Ann Truitt – to name a few off the top of my head. As a teenager, I was super into skateboard graphics from the 80’s and 90’s especially Jim Phillip’s graphics. These artists inspire me not only for my collage work, but for all the other types of work I do, which include mural paintings, performance, sculpture, and so on. 

I’m also very much inspired and influenced by my friends that I went to art school with, like Ara Peterson, Brian Chippendale, Bjorn Copeland, Whitney Bedford, Jim Drain, Dan Colen, and Joe Bradley – to name a few. I am still very inspired by my friends in New York. Going to studio visits is very inspiring. I feel lucky to get to go to galleries and museums regularly here. 


Neocha: ヒシャムさんの創造力に影響を与えた人物は誰ですか?コラージュにインスピレーションを与えるものは何でしょうか?

Hisham: 先ほど何人かの名前を挙げましたが、旧ソ連・共産主義時代のプロパガンダポスターアートであったり、横尾忠則、ディーター・ロス、マン・レイ、モホリ=ナジ・ラースロー、ヘンリー・ダーガー、アドルフ・ウォルフィ、ガブリエル・オロスコ、ローズマリー・トロッケル、ローター・テンペル、トニー・アウスラー、ソル・ルウィット、ロバート・アーウィン、リチャード・タトル、ジョン・マクラッケン、フランク・ステラ、ジェームズ・タレル、ブリンキー・パレルモ、そしてアン・トゥルイットといったアーチストにハマっていたことが頭に浮かびます。十代の頃は、80年代から90年代にかけてスケートボードのグラフィックス、特にジム・フィリップスのグラフィック作品にハマりました。これらのアーチストは、コラージュ作品だけでなく壁画、パフォーマンス、彫刻など、私が手掛けたあらゆる種類の作品に影響しています。

また、アラ・ピーターソン、ブライアン・チッペンデール、ビョルン・コープランド、ホイットニー・ベッドフォード、ジム・ドレイン、ダン・コーレン、ジョー・ブラッドリーなど、アートスクール時代の仲間達にも大いに触発され、影響を受けています。ニューヨークの友人達からは今でも大いにインスパイアされています。スタジオに足を運ぶ際はとても良い刺激になります。ここでは定期的にギャラリーや美術館を訪れることができ、とても幸運だと思っています。

Neocha: As you are also a musician, what role does music play in your visual artwork? Any relation?

Hisham: The creative process is very similar. It can start with a gesture, one mark with a brush, one cut-out shape in blank space. One mark leads to another. One drum hit or note on a guitar will lead to the next and very quickly you will have a beat or a melodic line. It may start with a gesture but usually a concept can be discovered during the process of creation.  

Most of my visual work feels rhythmic. I try to create compositions that keep your eye moving across a surface, so the viewer has the experience of movement when looking at an image. I like cyclical rhythms in my music and I try to create visual work that expresses that kind of feeling, like a rhythm where you can’t tell where it starts and ends. I want my visual work to feel like a non-religious mantra, not so much like a sentence with a start and ending. 


Neocha: ヒシャムさんはミュージシャンでもありますが、ビジュアルアートでは音楽がどのような役割を果たしていますか?繋がりはありますか?

Hisham: 制作プロセスがとてもよく似ています。身ぶりであったり、絵筆による印付けであったり、余白から形を切り抜くことから始める時もあります。そして、一つの印から次の印が生まれます。ドラムの一打やギターの音符から次の音色が生まれ、次の瞬間にはビートやメロディーラインが作られます。たとえ身ぶりから始まったとしても、通常、コンセプトが制作プロセスの中で見つかります。

私の大半のビジュアル作品にはリズムが感じられます。作品を見る人がイメージを見た際には動きを感じ、表面全体を見渡すような構成を心がけています。私は自分の音楽の周期的なリズムが好きで、どこから始まりどこで終わるのかも分からない、リズムのような感覚をビジュアル作品で作るように心がけています。始めと終わりがある文章ではなく、宗教性を帯びないマントラをビジュアル作品で表現したいと思っています。

Neocha: Have you come across anything interesting and new happening in the Asia region that has inspired you?

Hisham: I have always been interested in artists from Asia since I grew up in Japan. I like technology-meets-sound artists, such as Ryoji Ikeda – but of course I am also inspired by work by legends such as Lee Ufan, Ai Weiwei, and Park Seo-Bo. I hope that Asian artists can support each other knowing that there are cultural tensions based on what our governments have done to each other during wars and what not, but art should be a place where we can all connect and come together, talk about issues and support each others’ viewpoints. 


Neocha: アジア地域で、インスピレーションの源となるような興味をそそる新しい出来事には遭遇しましたか?

Hisham: 日本で育ったため、アジアのアーチストにはずっと興味がありました。池田亮司のようにテクノロジーとサウンドを融合させるアーチストが好きですが、もちろん、リー・ウーファン、アイ・ウェイウェイ、パク・ソボといった巨匠達の作品にも刺激を受けています。戦争中の政府による行為が原因で文化的な敵対意識があるとはいえ、アートとはお互いを理解し合い、協力し合い、問題について語り合い、意見を認め合うことができ、アジア人同士のアーチストがお互いを支え合う手段になることを願っています。

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Contributor: Leon Yan


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Instagram
: @softcircle
Soundcloud: ~/soft-circle
Twitter: ~/HishamBharoocha

 

寄稿者: Leon Yan

Jiaxi & Zhe

August 29, 2016 2016年8月29日

Jiaxi & Zhe are a still life and architecture photography duo based in New York City. The pair share a profound obsession with the physical form of objects, and the transformative effect that photography has on their personal perception of things. They both believe that photography is the best medium to express their ideas, recognizing it as an unrivaled platform from which to convey their conceptual world to an audience.


位于纽约市的摄影二人组 Jiaxi & Zhe 以拍摄静物和建筑为主,他们都着迷于对象的物理形态,喜欢通过自己的观察和理解,用摄影镜头呈现出事物的不同之面。二人认为摄影是表达他们想法的最佳媒介,是向他人传递他们概念世界的绝佳平台。

Jiaxi Yang was born in Shanghai, and later moved to New York to study at the International Center of Photography; while Zhe Zhu comes from Shenzhen, and graduated from New York’s School of Visual Arts. The pair have both enjoyed successful solo photography careers, but later decided to join forces artistically after working together on a project. Charmed to discover that they have very similar tastes, they view themselves as stylistic soul mates. They describe their creative partnership as being consistently constructive. “We have learned a lot from working together and we continue to learn more,” they say. “But most importantly, we have learnt to respect each other’s ideas and always be open.”


Jiaxi Yang 生于上海,后前往纽约国际摄影中心深造;Zhe Zhu来自深圳,毕业于纽约视觉艺术学院。二人先前各自在个人的摄影事业中如鱼得水,而后通过一个项目的合作,决定在创作上携手并进。共同的审美追求,让二人视彼此为风格语境下的灵魂伴侣。他们表示二人的这段创意伙伴关系向来充满着建设性。“我们在一起工作时都会相互学习,收获良多,并会继续下去,”他们表示,“但是最重要的是,我们学会了尊重各自的想法,也懂得了培养一种更为开放的艺术态度。”

As a duo, they are gradually defining and evolving their style. They have always been interested in design and craft, the rawness of material, and the physical forms of objects, which naturally led them to start photographing still life and architecture with a very distinct design aesthetic. They also admit, “We are both a little shy, so we love being able to spend time with objects to find the best light and angle.” Coming from backgrounds in fine art, they naturally want to maintain a conceptual, minimal approach to their editorial and commercial work. Their sleek, striking images are a stunning reflection of their combined vision.


作为一个二人组合,他们正在不断地确立并发展其风格。他们一直对设计、工艺、材料的原生状态和物体的物理形态充满了兴趣,自然地,他们开始把镜头对准了静物和建筑,表现出一种独树一帜的设计美学。同时,他们坦言:“我们都有点怯生,所以喜欢与物为伴,寻找到最佳光线和角度。”纯艺术的学科背景,让他们自然而然地在编辑性和商业作品里,去保持一种概念性和极简主义的表现方式。他们那些流畅又夺目的影像,正是二人视觉组合的极好映射。

Usually using the same Phase One camera and lens, their creative process is very organic and they regularly improvise on set. Although they do a lot of prep work prior to a shoot they are wary of sets that are too tailor-made or stiff, so try to let things take shape in a natural fashion. They have partially split their roles: Jiaxi is particularly good at art direction, while Zhe is better with the more technical side of things, yet both agree never to rely on post-production to make an image visually compelling or bold.


他们通常使用的是飞思的相机和镜头,创作过程相当有机,常常现场即兴发挥。虽然他们在拍摄前都会做大量的准备工作,但是他们也会谨防拍摄过程变得太过量化和呆板,旨在使作品呈现出拍摄对象最自然的形态。为了更好地合作,他们也有所侧重地进行了大致的分工:嘉茜侧重于艺术向,Zhe更擅长技术性,但是他们又在后期制作上达成共识,认为绝不可依赖其去让一张照片夺人眼球。

Although their work is often conceptual, dealing with block colors, shapes and the interplay of light, they argue that lighting is no longer the most important factor in photography. They take a lot of inspiration from their surroundings in New York City – a place that is full of creative people pushing them to involve themselves in order to be competitive and relevant. They are engaged in a number of interesting projects, such as a recent commission from Fortune Magazine and they also shot a story for Wallpaper last month while visiting L.A. Although they agree that lighting is instrumental in photography for setting the mood, their perception of modern still life photography is much less technical and formal, and much more visually interesting and conceptual. For Jiaxi & Zhe, concept and style is becoming more important today than ever before.


尽管,在处理色彩碰撞、形态呈现和光影交织上,他们的作品常常很概念性;但是,他们认为光影不再是摄影最重要的因素。浸润于纽约文艺圈,他们没少受到启发,这个聚集无数创意人才之地也在不断推动他们的进步和提升,以提升其竞争力和影响力。他们还参与了不少有趣的项目,比如近期来自《财富》杂志的一个项目,以及上个月去洛杉矶时为《Wallpaper》杂志拍摄的一个故事。即使他们认同光影在摄影中对制造氛围的辅助作用,但是他们理解的当代静物摄影中,已经更少关乎技术和教条,更多的是视觉上的趣味和理念的延伸。两人都表示,当前的摄影,理念和风格比以往任何一个时期都要更重要。

Websitejiaxiandzhe.com
Instagram: @jiaxiandzhe
Tumblr: jiaxiandzhe.tumblr.com

 

Contributor: Ruby Weatherall


网站jiaxiandzhe.com
Instagram: @jiaxiandzhe
Tumblr: jiaxiandzhe.tumblr.com

 

供稿人: Ruby Weatherall

Duck Fight Goose

August 26, 2016 2016年8月26日

 

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The Shanghai-based experimental electronic music group Duck Fight Goose was formed in 2009 initially as a rock band, when Han Han approached 33 and Panda about starting a new band. At that time, their early music was influenced by neo-psychedelic rock, experimental music, and math rock. In 2013, a new drummer Jean Baptiste joined the group, replacing the original drummer Damen, who had moved to Austin, Texas. Soon after that, the band also started experimenting with synths, DAW software, and different ways of producing electronic music.


成立于2009年的鸭打鹅,是一支上海的实验电子音乐组合,始于韩涵找33与熊猫组建一支摇滚乐队。他们早期的风格深受新迷幻摇滚、实验音乐,以及电子摇滚的影响。2013,新鼓手Jean Baptiste加入乐队,以替代移居美国德州奥斯丁的原鼓手大门。随后不久,乐队也开始尝试合成器、DAW软件,以及不同的电子乐制作方式。

Take a listen below to a few new select tracks from Duck Fight Goose:

Duck Fight Goose – Indifferent

Duck Fight Goose – A Nation of Disillusion

Duck Fight Goose – Lucky Star


请试听以下来自鸭打鹅的精选曲目:

鸭打鹅 – 无差别

鸭打鹅 – 幻灭国度

鸭打鹅 – 幸运星

Seven years after forming, the group has just released their second full length album, named CLVB ZVKVNFT. The title comes from an actual nightclub in Zurich, Switzerland named Club Zukunft, that the group visited when they were on tour in Europe in 2014. Translated it means “club of the future” but inside the club, the décor is actually very 80s. Han Han explains, “The 80s were when contemporary electronic music, as we now know it, was born – but this decade for us still felt especially human and analog.” So for the group, the name was a good fit for the new record, in that it encapsulated the thinking behind their sound perfectly.


乐队成立七年之后,他们发行了第二张全长专辑《未来俱乐部》,又名《CLVB ZVKVNFT》。专辑名字来源于乐队2014年欧洲巡演时演出过的一间酒吧,这间酒吧位于瑞士苏黎世,叫做“Club Zukunft”,翻译过来的意思就是“未来俱乐部”。尽管有着一个这样的名字,但事实上,这个地方的内部装潢极具上世纪80年代的风格。韩涵解释道:“那80年代的时候呢,实际上是当代的电子乐的一个开端。但是呢,这个年代可能就是特别人性的一个年代。”所以,对于乐队来说,这个名字再适合这张新专辑不过,同时也高度概括了他们在音乐背后的思考。

Over the years, the group’s sound has evolved very dramatically to incorporate more experimental electronic sounds and textures. Drummer JB says, “it is very difficult to give a predefined style to our music. There is a lot of mixing of things that we are doing, and we have a lot of influences – so there isn’t a clear style.” Han Han tells us that overall they have two main influences: one is progressive electronic music (along the lines of Aphex Twin, Clark, or Venetian Snares), and the other is the type of rock music that the band has always played. For Panda, despite their many evolutions in style, there is still a kind of continuity in their discography, as they have always set out to be an experimental band from the very beginning.


多年以来,乐队不断融合新的实验电子音质和风格,曲风变化奇大。鼓手JB表示:“很难用一种既定的风格来描述我们的音乐。我们混合了太多我们正在探索的东西,而且我们也深受各方面影响,所以并没有一种明确的风格。”韩涵对我们说,总体上看,作用于乐队的有两大影响: 一个是现代电子乐 (这一派的代表人物有Aphex Twin、Clark,和 Venetian Snares),另一个就是乐队经常表演的那种摇滚乐。对于熊猫来说,虽说他们的曲风多经演变,但始终有一种连续性贯彻于他们的音乐专辑中,因为从乐队成立之初,他们就旨在打造一个实验型的乐队。

They like to describe the band’s style as trying to merge the human and analog, with a sound that was produced electronically with machines. The group doesn’t believe in producing music solely from computers or software, as it can easily end up sounding too precise and simple. Han Han says that the group hopes to merge the two styles, and in the process still “try to keep all the interesting and groovy elements”. As for future developments for DFG, the band would really like to see themselves evolve into more of a performance group with more experiential and visual elements incorporated into their live performances – and function less like a conventional band. For 33, it is always uncertain what the future may hold, but she feels that the current direction the band is embarking on is an exciting and interesting one. Duck Fight Goose’s new album CLVB ZVKVNFT is out now and available for download on iTunes.


他们喜欢把自己的乐队风格描述为,通过用机器经由电子化手法制作出来的乐声,进而尝试将人性的音乐和机器的音乐进行的一种结合。在制作音乐上,这个乐队并不信奉对电脑或者软件的单一使用,因为这种方法下产生的音乐易显得过于精准和单调。韩涵表示他们的乐队希望融合那两种风格,在过程中仍然“尽量去保留所有有趣的和groovy的元素”。至于未来发展,相对于传统乐队,鸭打鹅希望,在将来他们可以发展成为在现场演出中结合更多的试验性和视觉性元素的一支表演团体。对于33来说,乐队未来走向如何不得而知,但是她认为目前的发展方向是非常有趣和振奋人心的。目前,鸭打鹅的新专辑《未来俱乐部》已发布,可前往iTunes下载。

iTunes: CLVB ZVKVNFT
Douban
: ~duckfightgoose
Facebook: ~duckfightgoose
Bandcamp
: ~duckfightgoose

 

Contributor & Videographer: Leon Yan
Photographer: Banny Wang


iTunes: 《未来俱乐部》
豆瓣
: ~duckfightgoose
脸书: ~duckfightgoose
Bandcamp: ~duckfightgoose

 

供稿人与视频摄影师: Leon Yan
图片摄影师: Banny Wang

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The Barn & The Bunker

August 25, 2016 2016年8月25日

FLASKGroup and GREEN & SAFE have joined forces and unveiled a new food and beverage project in Shanghai’s Xintiandi. The concept for this collaboration came about when GREEN & SAFE took notice of FLASKGroup’s previous cocktail project, Botanist, which introduced the idea of “farm-to-bar” to Shanghai, a twist on the “farm-to-table” concept that GREEN & SAFE is rather well-known for. The new space that houses both brands is split into two distinctively different areas. The first area is The Barn, which is operated by GREEN & SAFE and offers a rich selection of delicious organic food. Hidden within The Barn is The Bunker, a military-themed speakeasy bar operated by FLASKGroup.


FLASKGroup和GREEN & SAFE携手打造了全新餐饮概念店,于上海新天地正式亮相。FLASKGroup旗下的鸡尾酒酒吧Botanist,是在上海首次将“农场到酒吧”的创意店,一向秉持“从农场到餐桌”发展理念的GREEN & SAFE留意到这个项目,双方一拍即合,决定携手合作。两品牌联手的新店,在空间上一分为二:The Barn和隐藏于其间的The Bunker,前者由GREEN & SAFE经营,提供琳琅满目的有机美食,后者由FLASKGroup管理,是以战时防空洞穴为灵感而设计的地下酒吧。

The Barn and The Bunker dramatically contrasts each other in terms of aesthetics and ambience. The Barn is a large open space, warm and inviting, illuminated with a combination of natural light and amber artificial lighting. The Bunker, on the other hand, has a darker feel and can only be reached through a hidden entrance from the dining area. Like many bars, The Bunker opts for dimly lit, atmospheric lighting. Many tools and items (like ammunition crates) are used to decorate the space, which adds to the feeling of being in an actual bunker. Paying homage to FLASK, their first speakeasy bar, this new space uses infusion bottles and actual flasks as part of the decor.


The Barn和The Bunker在美学设计和氛围打造上形成鲜明对比。The Barn空间开阔,自然光和琥珀色灯光融合为一种温暖色调,非常吸引人。The Bunker就完全走另一个路线,其入口隐秘于就餐区某处。这里一如多数酒吧,灯光昏暗,气氛暧昧。其内部诸多装饰的工具和摆件,如弹药箱等,都让酒吧里的人仿若置身于真实碉堡内。为了致敬他们旗下的第一家地下酒吧FLASK,他们还使用了输液瓶和真正的酒壶作为装饰品。

The Barn is a gigantic industrial-style space with an open kitchen and a second floor. Much like the other GREEN & SAFE locations, there’s a marketplace offering fresh organic produce and a deli counter. Directly above the dining area, large cuts of aged Iberico ham dangle overhead from the raised ceiling. These hams would almost appear to act as part of the decor, but they’re actually available to order from the menu. One of the new and most interesting offerings of this new space are their cones, which comes in four different flavors. One of the cones is made with wild mushrooms, truffles, and cheese; another uses caviar, smoked salmon, and onions; the third variety uses the aforementioned Iberico ham, which is paired up with quail egg and chili; and lastly, there’s a cone made with wild prawn, egg salad, and seaweed. More filling and heartier dishes like grilled Boston lobster and different cuts of M6 Wagyu beef can also be found on the menu. And of course, many classic dishes from the other GREEN & SAFE locations are also available here.


The Barn有着一个开放式厨房和现代化的loft隔层,是极具工业风的巨大空间。与GREEN & SAFE旗下众多店面相似,这里也有提供新鲜有机食材与熟食的市集。就餐区正上方的天花板上,悬挂着一条条伊比利亚火腿,它们不仅是装饰,也可随时作为食材端上餐桌。这里最有意思的产品当属他们最新推出的四味甜筒,分别用不同食材制作:一个由野生蘑菇、松露和奶酪而做;另一个用鱼子酱、烟熏三文鱼、洋葱做料;第三个则是伊比利亚火腿再配上鹌鹑蛋和辣椒;最后一个甜筒混合了野生虾、鸡蛋色拉和海藻;每一支的味道都让人称绝。菜单上还有波士顿烤龙虾、M6神户牛肉等丰盛的大餐。当然,GREEN & SAFE其他店的经典菜肴也能够在这里找到。

Combining the seasonal cocktails found at Botanist, along with the prohibition style drinks and classic cocktails from FLASK, and a selection of all new drinks inspired by GREEN & SAFE, The Bunker is described by FLASKGroup as an amalgamation of their best drinks from the last few years. In the “Seasonal” section, the cocktails were made by using the all-organic fruits from GREEN & SAFE’s own farm. The cocktails in this section tastes lighter and feels more refreshing, a flavor profile that perfectly complements many of GREEN & SAFE’s salads and finger foods. With their “FLASK signatures”, a selection of prohibition-style cocktails made with a local twist like the Far East Manhattan made with homemade longan jujube juice, their aim is to transport patrons back into the original FLASK off of Shanxi South Road from the initial sip. The “G&S Inspired” section is completely dedicated to this collaboration with GREEN & SAFE, with cocktails designed around some of GREEN & SAFE’s top-selling dishes. A few of the most noteworthy drinks from this section are: Carrot Cake Conquest, a drink that was created with GREEN & SAFE’s carrot cake in mind; Sourforce, a mouth-puckering drink that uses White Wine Balsama vinegar and Casanova Balsamico vinegar; and Licorice Tea Break, a cocktail made with Egyptian licorice tea syrup, plums, and pear juice. Of course, there are also mocktails made with the same fresh ingredients.


FLASKGroup表示The Bunker所提供的鸡尾酒是他们到目前为止的集大成之作。在The Bunker你能找到这个品牌所能提供最好最全的饮品单:Botanist酒吧的招牌“Seasonal”鸡尾酒,FLASK的经典鸡尾酒和带着禁酒时代特色的饮品,当然也有受到GREEN & SAFE启发而推出的一系列新款饮料。在“Seasonal”鸡尾酒制作上,所需原料均来自GREEN & SAFE农庄里的有机水果。这个系列的鸡尾酒口味清爽,让人感觉十分清新,搭配GREEN & SAFE餐厅里的沙拉和精致点心,可谓相得益彰。带着禁酒时代特色的鸡尾酒“FLASK signatures”如远东曼哈顿使用自制龙眼枣汁一样,也带着当地特色原料加入酒中,希望从品酒的第一口就能让人回到FLASKGroup在陕西南路的第一家酒吧的感觉。“G&S Inspired”则是为了献给合作搭档GREEN & SAFE而推出的鸡尾酒系列,特意围绕GREEN & SAFE菜单上最受欢迎的菜肴进行调制,特别值得推荐的几款有:以GREEN & SAFE的胡萝卜蛋糕为创意源泉的胡萝卜蛋糕的征服;加入Balsamico有机红酒醋和白葡萄醋调制而成,带着酸甜口感的爱吃醋特勤;还有用埃及甘草糖浆、李子以及梨汁混合调制的甘草茶休息特区。当然,还有不少完全采用新鲜蔬果而调制的无酒精鸡尾酒。

When creatives come together and collaborate, the result is often unexpected and impressive. This is no exception when it comes to the food and beverage industry. Kevin Yu, one of the founders of FLASKGroup, says, “FLASKGroup is experienced when it comes to beverages, and GREEN & SAFE is experienced when it comes to food. We definitely felt like this project was going to be a strong collaboration.” By playing off one another other’s strengths, this new collaboration is undoubtedly on the fast-track to becoming a force to be reckoned with in Shanghai’s food and beverage scene.


当不同的创意碰撞并融合,往往产生让人意想不到的惊喜。美食与饮品的相遇当然也不例外。FLASKGroup创始人之一Kevin Yu表示,“FLASKGroup拥有丰富经营酒吧经验,GREEN & SAFE在美食界纵横多年,我们绝对相信此番合作定能成功。”两大品牌联手,各自发挥行业优势,无疑将加速全新的概念店进入正常的发展轨道,成为上海餐饮业界引人注目的新兴品牌。

Address:
22 Taicang Road, 181 Alley
Huangpu District, Shanghai
People’s Republic of China

Phone:
+86 021-63860140

Hours:
11am ~ 2am

 

Contributor: David Yen
Images Courtesy of The Barn & The Bunker


地址:
中国
上海市 黄埔区
太仓路181弄22号

电话:
+86 021-63860140

营业时间:
11am ~ 2am

 

供稿人: David Yen
图片由The Barn与The Bunker提供

Leather & Ride

August 24, 2016 2016年8月24日

 

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French brothers Ben Barras and Guillaume Barras have always been fascinated with motorcycles. They started riding at the early ages of six and nine. But their interests weren’t limited to motorcycles; they started surfing, skateboarding and snowboarding. But after moving to Hong Kong, while also working in the extreme sports industry, the Barras brothers continued to improve and refine their skills in designing and manufacturing motorcycles.


Ben Barras和Guillaume Barras這對法國兄弟一直迷情於摩托車。他們於年僅6歲和9歲時就開始摩托車騎行了,而後這個興趣漸漸泛及到衝浪、滑板和滑雪。搬到香港居住之後,在極限運動行業工作之餘,Barras兄弟在設計和生產方面持續拓展著他們的技能。

It was their unrelenting passion for motorcycles that inspired them to open Angry Lane in 2012. Initially, they only sourced and sold parts for bikes, but as time went on, they noticed that Hong Kong had a developing niche market for custom-built bikes. Having custom modifications on motorcycles is one way for many riders to express their individuality. Everybody that visits the shop is seeking something unique – a customization that can express their individuality in such a large city.


正是對摩托車那種持續不斷的激情,讓他們最終在2012年開辦了Angry Lane。最初,他們只收集和銷售摩托車部件,但是隨著時間推移,他們注意到香港的定制摩托車市場有著越來越壯大的發展空間。對摩托車進行改造是騎行者對自己的個體特點的一種表達。所以到店的客人都在這裡看到獨特的一面,那就是在茫茫大都市人海中,他們可以通過定制來表達自身的個體特質。

People interested in custom-built motorcycles can range from bankers to students, but a unifying middle ground is that all of their customers lack the time, tools, and expertise to complete the motorcycle themselves. “In places like the U.S., there are common spaces or garages where people can rent tools and work on their bikes. Custom bike building is still a relatively new thing in Hong Kong and people here just don’t have the space to do things themselves,” says Guillaume.


從銀行業者到學生,對定制摩托車感興趣的人群甚為廣泛,但是他們的共同點都是缺少時間、工具以及相關的專業知識去親手完成這樣一輛摩托車的製作。 “在美國這樣的地方,人們可以在公共空間和自家車庫租工具,自己動手做車。摩托車定制在香港還算一件新新事物,只是這裡的人們沒有空間來操作這個事。”Guillaume說道。

Riding apparel is an integral part of the motorcycle subculture. Leather has always been synonymous with riders, and are designed for both protection and fashion. “It was a natural progression for us to move towards apparel production. Drawing from our expertise in design and manufacturing, Black Needle creates pieces that are timeless and of high quality. We use only the best quality fabrics and leather.”


騎行服是摩托車亞文化不可分割的一部分。皮革一直就是摩托車騎行者的代名詞,在設計上也是型格和功能兼具。 “對我們來說,開始著手於服裝產品是個很自然的事。有著我們在設計和生產方面的特長,Black Needle創作出來的單品都是高質的,不會隨著時間流逝而遜色。我們只用最優質的布料和皮革。”

Angry Lane and Black Needle are located in the super trendy and burgeoning suburb of Wong Chuck Hang, an area popular with the creative community and fashion designers, and full of art studios and large industrial spaces. Their studio houses a range of custom-built bikes and speciality bike apparel that visitors are welcome to peruse. Since the two moved into this area a few years ago, they have watched the rapid progression of the creative industry within the neighborhood. Ben says, “This is a good place and we don’t see ourselves moving – unless it is into a bigger space in the area.”


Angry Lane和Black Needle位於時下廣受追捧並猛速發展的黃竹坑,這裡聚集著大批的服裝設計師、藝術工作室,並擁有寬敞的工業空間。他們的工作室裡收藏著各種定制的機車和各種特製騎行服裝,並歡迎來訪者細細品究。二人搬至此處已有些許年數,他們見證了這片區域創意業一路的發展。 Ben說: “這裡很好,我們不打算再搬動了,除非還是本區域內搬到一個更大的空間裡去。”

Websiteangrylane.com
Instagram@angrylane

 

Contributor, Videographer & Photographer: Mireille Paul


網站angrylane.com
Instagram@angrylane

 

供稿人、視頻與圖片攝影師: Mireille Paul

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Raqib Shaw’s Fantasy World

August 23, 2016 2016年8月23日

The work of Indian-born, London-based artist Raqib Shaw imagines and creates fantastical worlds full of imagery that reflects a unique kind of cultural hybridity. His visually spectacular, and sometimes personal, paintings and sculptures merge iconography from both the East and West.

In recent years, Shaw has borrowed compositions from the work of the Old Masters from the 15th to 17th century – for example, the Italian artists Girolamo Mocetto and Marcello Venusti – reinterpreting and transforming the religious settings from the original paintings with his own imagery. Some of the newly introduced elements include images shot in his Peckham studio in South London, landscapes from his childhood home in Kashmir, some Hindu iconography, and Japanese decorative arts and architecture.

Raqib Shaw sometimes has also appeared as the main protagonist in his paintings in different guises. He has appeared as a joker, a mime artist, and even a ghoul lying in a coffin. The world of Shaw’s paintings is entirely constructed by his imagination and delivered with an injection of underlying black humour.

Shaw explores several dualities by combining elements, such as from Renaissance architecture by Mocetto, stylised landscapes of waterfalls, Japanese landscape paintings, and Baroque architecture by Marcello Venusti. By sometimes injecting his own presence in the painting and in his studio, his work suggests a convergence of reality and fantasy.

Shaw’s fantasy world celebrates a society free of any moral restraints, as in his series of paintings Garden of Earthly Delights, which were inspired by Hieronymous Bosch’s 15th century visionary triptych. Populated with a wide range of hybrid creatures, Shaw portrays a sensational scene of erotic hedonism, with an array of vibrantly painted flora and fauna, and a scene inhabited by figures such as phallus-headed birds, bug-eyed butterfly catchers, reptilian warriors, and monkeys holding parasols.

In both Shaw’s paintings and sculptures alike, he creates narratives that are multifaceted, and disrupt the harmony of the linear perspective. The dualities are everywhere in his work: heaven and hell, eroticism and restraint, transgression and submission, reality and fantasy.

Websiteropac.net/artist/raqib-shaw

 

Contributor: Shanshan Chen

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The Light Collector

August 22, 2016 2016年8月22日

 

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Shot by Mumbai-based filmmaker Dheerankur Upasak, The Light Collector tells the story of Dilish Parekh, a camera collector from India. In 2003, Parekh officially entered the Guinness Book of Worlds Records for having the largest collection of cameras in the world with an astounding 2,634 cameras. Nowadays, his camera collection has grown to approximately 4,500 cameras, and includes many rare and expensive models like the Leica 250 that’s valued at over $80,000 (USD).

Parekh’s story began in 1970, when his grandfather gifted him with cameras. At the time, many of those gifts were cheap models that cost less than $15 (USD) each. This resulted in Parekh’s lifelong obsession with cameras, and as he grew older, his collection of cameras grew with him. Whenever Parekh traveled through India, he would visit the local markets and add new cameras to his collection. His impressive collection has interested camera aficionados from all over the world, but Parekh has turned down all of their offers, saying, “These cameras are my life, I’m not going to sell them as long as I am alive.”

Neocha Selects is a curated selection of some of the most inspiring and innovative video content from Asia. To see more stories like this, click here. To see original Neocha videos, click here.

Vimeo~/dheerankur
Instagram: @dheerankur

 

Contributor: David Yen

A Profile of Dani Bautista

August 19, 2016 2016年8月19日

Dani Bautista is a Filipino videographer and photographer who is now based in Hong Kong. Originally a skateboarder, the sport has hugely influenced his creative pursuits. Offering insight into Hong Kong’s energetic skate scene and some of his travels, his work is an exciting portrayal of youth spent in Asia.

 


來自菲律賓現居於香港的視頻與圖片攝影師Dani Bautista曾是一位滑手,在他之後的創作中也深受其運動經歷的影響。無論是香港充滿活力的滑板場地還是在他旅行中所見所聞,Dani Bautista總能以獨特的視角進行觀察,在其作品中生動刻畫出亞洲青年文化。

His love for skateboarding and photography are inextricably linked; he first picked up a camera because he didn’t know anyone who photographed skateboarding in Hong Kong, and decided he’d be the guy to try. This inevitably filtered into other aspects of his life, and soon after he found himself taking photos and videos of everything that caught his eye.


他對滑板和攝影的熱愛相互之間緊密的聯繫著。他第一次拿起相機正是因為在香港沒有看到有人去記錄滑板運動,他決定親自上陣嘗試。從此一發不可收拾,他始終與相機在一起,並沉迷於用拍照和視頻的方式去記錄生活中的每件事。

 

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He reflects, “When you start out in skateboarding, one of the first things you learn is how to fall. Every time you try something new, you expect to keep falling until you work through your mistakes and land the trick. I try to apply that mentality in whatever I do.” This explains his progressive success behind the lens. “But that’s not all skateboarding has given me,” he says, “The culture, the people, the music – every aspect of it has affected my filmmaking and photography.”


他解釋到,“當你最開始接觸滑板時,你首先要學的就是如何摔倒。同樣地,每當你嘗試新的事物時,都要做好隨時摔倒的準備,直到你從失敗中學會站起來,才能真正通過那些挑戰。我在嘗試任何事情時都會報著這樣的心態。”這段話很好的詮釋了他為何能在藝術這條道路上取得進步與成功。他也說到:“但這並不是滑板帶給我的全部,與它關聯的文化、人文、音樂——藝術等等都影響著我的攝影和視頻創作。”

For Dani, the most important factor in photography is focus: on the subject, the mood, and the story he is trying to tell. He also believes his surroundings have a huge impact on his photography, and so usually uses Micro Four Third cameras because they are the easiest to travel with. He tries to break out of his comfort zone whenever possible, seeking adventure in pursuit of interesting images.


對於Dani來說,攝影的重中之重就在於專注:專注於主體,情緒,以及他想表達的故事。他深信個人環境對其攝影創作影響巨大,所以經常使用便於旅行攜帶的微單相機。他一直都力圖走出自己的舒適圈,尋求新的冒險,以呈現出更有意思的作品。

“India is definitely one of my favorite places to shoot,” Dani says, “It’s the most photogenic place I’ve been to. It’s so full of activity and color.” This is beautifully recorded in his Indian photo series, a vibrant selection of colorful compositions. He plans to go back one day, and hopefully to stay a little longer and take more pictures. But for now, he is working on starting his own production company, looking forward to travelling more, learning and doing bigger projects.


“印度絕對是我最愛的拍攝地之一,”Dani說,“那裡色彩濃烈明媚,氣氛熱情活躍,是我遊歷過的地方中最適合拍攝的國家。”他在印度的一系列攝影作品充滿了斑斕色彩的碰撞和活力,美輪美奐。他還計劃日後故地重遊,或許會在那裡待更長一段時間,捕捉更多的美景。不過目前,他正忙於創立自己的製作公司,期待更多的遊歷、學習和參與更大的項目。

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Contributor: Ruby Weatherall


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供稿人: Ruby Weatherall

Through His Eyes

August 17, 2016 2016年8月17日

Ever since acquiring his first camera two years ago, Nathaniel Soon’s passion for photography has continued to bloom. By travelling to rural areas of Asia, away from his home in Singapore, he has fallen further in love with the medium’s simple yet powerful nature, in particular its unique ability to present a personal portrayal of the world around us.


Kể từ khi có được chiếc máy ảnh đầu tiên của riêng mình hai năm về trước, đam mê nhiếp ảnh của Nathaniel Soon vẫn không ngừng thăng hoa. Bằng cách đi đến những vùng nông thôn châu Á, cách xa quê nhà tại Singapore, anh đã dần yêu bản chất đơn giản nhưng mạnh mẽ của nhiếp ảnh, cụ thể là khả năng độc đáo của môn nghệ thuật này trong việc thể hiện một cái nhìn cá nhân về thế giới xung quanh.

Nathaniel approaches his work with the belief that the best images are often the most spontaneous, an impulse that is complimented by his curious personality. This is beautifully represented in his photo series of Sapa, Vietnam. By trekking through the Hoang Lien Sin Mountains of Northwest Vietnam on foot, he was able to document his interaction with the H’mong, Tay and Dao hill tribes that make up much of the local population. He was privy to a number of chance encounters, for example, with the inhabitants of a rural Red Dao village.


Nathaniel tiếp cận công việc của anh với niềm tin rằng những hình ảnh đẹp nhất thường là những hình ảnh bộc phát nhất, một sự bốc đồng được tôn lên bởi bản tính tò mò của anh. Điều này được thể hiện rõ nét nhất trong chùm ảnh của anh về Sa Pa, Việt Nam. Đi phượt đường bộ qua dãy núi Hoàng Liên Sơn ở Tây Bắc Việt Nam, anh đã ghi lại những khoảnh khắc gặp gỡ với các dân tộc H’Mông, Tày và Dao, vốn là những tộc người chính ở khu vực này. Anh cũng có những trải nghiệm ngẫu hứng, chẳng hạn như gặp gỡ một ngôi làng người Dao Đỏ, hoặc một nhóm phụ nữ H’Mông đang chờ chồng trở về từ nương rẫy.

Although he tries not to identify with a specific type of photography, Nathaniel is most interested in the individualistic qualities of portraiture. Despite a personal appreciation of Sapa’s scenery, popular for its undulating terraced rice fields, he did not exhaust his efforts on photographing the natural landscapes, preferring instead to portray its indigenous people. Taking inspiration from Steve McCurry’s work, he experimented with close-up shots throughout the trip, aiming to capture the people he met in the context in which they lived, especially the connections between each tribe, their agriculture and their arable land.


Dù cố không rơi vào một thể loại nhiếp ảnh cụ thể nào, Nathaniel dành sự quan tâm lớn nhất đến tính cá nhân hóa của ảnh chân dung. Dù cá nhân anh đánh giá cao cảnh đẹp của Sa Pa, nổi tiếng với những thửa ruộng bậc thang nhấp nhô, anh đã không dốc hết sức để chụp lại những cảnh thiên nhiên của khu vực này, thay vào đó anh chọn cách mô tả những tộc người địa phương nơi đây. Lấy cảm hứng từ tác phẩm của Steve McCurry, anh đã thử nghiệm với những bức ảnh chụp cận cảnh trong suốt chuyến đi, với mục tiêu chụp lại những con người mà anh đã gặp trong bối cảnh cuộc sống của họ, đặc biệt là mối liên hệ giữa các tộc người, nền nông nghiệp và đất gieo trồng của họ.

In the process of developing his personal style, Nathaniel was drawn to capturing adversity; the stillness of a roadside hawker in comparison with the bustling city, or a Flower Hmong lady clutching both a field hoe and a mobile phone. His travels ignited an interest in the effects of rapid modernization in Asia, as documented through his lens.


Trong quá trình định hình phong cách cá nhân của mình, Nathaniel đã bị thu hút bởi sự tương phản trong nhiếp ảnh; sự tĩnh lặng của một gánh hàng rong bên đường giữa một thành phố náo nhiệt, hoặc một cô gái H’Mông Hoa tay này vác cuốc, tay kia cầm điện thoại di động. Hành trình của anh đã làm dấy lên sự quan tâm về ảnh hưởng của quá trình hiện đại hóa nhanh chóng ở châu Á, như được khắc họa qua ống kính của anh.

Nathaniel accepts the challenges of photography and the unpredictable nature of trying to capture a single moment in time, making it all the more rewarding when he is successful. For now his future plans are perfectly simple: to just keep on travelling, shooting and searching for opportunities to be inspired, and to inspire.


Nathaniel thừa nhận nhiếp ảnh là cả một sự đam mê lẫn thách thức, và chấp nhận sự bất định trong việc cố gắng nắm bắt lại một khoảnh khắc của thời gian. Hiện tại, các kế hoạch tương lai của anh rất đơn giản: đi tiếp, chụp tiếp và không ngừng tìm kiếm các cơ hội để được truyền cảm hứng, cũng như truyền cảm hứng cho người khác.


Trang mạng: maptia.com/nathanielsoon
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Người đóng góp: Ruby Weatherall
Nhiếp ảnh gia: Nathaniel Soon

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