Conscientious Storytelling 一张照片,一种生活

February 27, 2019 2019年2月27日

It’s a rainy afternoon in Manila, and the few pedestrians who remain in the streets are moving along with hurried steps, desperate to get out of the downpour. Under the cover of a black umbrella, 27-year-old photographer Jilson Tiu is walking along at a much more leisurely pace, seemingly unfazed by the rain; this indifference towards the weather is made more apparent by the uncapped 70-200mm Canon lens on the DSLR loosely slung around his shoulder, gathering droplets of rain with every gust of wind. “Sometimes I wish my camera was as waterproof as me,” he chuckles as he wipes it with a shirt sleeve.


在马尼拉的一个下午,雨正淅淅沥沥地下。街上行人稀少,大都行色匆匆,着急地避开这场大雨。在一把黑色雨伞的庇护之下,27 岁的摄影师 Jilson Tiu 的步伐显得悠闲得多,似乎丝毫未受倾盆大雨的影响。一颗没有掩护的佳能 70-200 mm 镜头和单眼相机就这么挂在脖子上,随风刮来的雨水沿着镜头滴落,更衬托出他对雨天的毫不在意。“有时候,我真希望相机能和我一样防水。”他笑着说,随手用衬衫袖子擦拭相机。

Tiu is a street photographer and photojournalist who’s been covering stories across the Philippines since 2010. He’s worked with media outlets like CNN Philippines, the Financial Times, Esquire, and more. Today, he isn’t on assignment but seems no less purposeful as he makes his way through Tondo, one of the most densely populated parts of Manila. This district houses some of the city’s most derelict slums and is where Tiu was born and raised; it’s also become one of his favorite places to shoot street photography. “There’s so much going on and it’s challenging to frame the scenes around here,” he says, “I feel like my photography gets better every time I visit.”


Jilson Tiu 是一名街头摄影师和摄影记者,从 2010 年开始拍摄菲律宾各地的故事。他曾为多家媒体工作,包括菲律宾 CNN、《金融时报》(Financial Times)、《君子杂志》(Esquire) 等等。他今天没有工作任务在身,但也并非是漫不经心地闲晃在汤都区(Tondo)的街道上。汤都区是马尼拉人口最密集的地区之一,许多被社会所遗弃的贫民窟以此地为家。而这里,正是 Jilson Tiu 出生和成长的地方,最近则成为他最喜爱街拍的地点之一。“这里总是有很多有趣的事情在发生,找寻构图的过程也充满挑战。我觉得每次来这里,我的摄影技术都会进步。”

It’s not just technical skills that make Tiu such a brilliant street photographer, though—he’s been able to avoid a common pitfall of street photography: a lack of authenticity and connection. Although often unintentional, many street photographers falsely represent the individuals they’re capturing. They end up with images that offer a distorted view into the lives of people they know nothing about. And without a real connection between the subject and photographer, the resulting images lack crucial context. This means that the shots only feed into a self-serving narrative the photographer has dreamed up, one that’s completely detached from reality.

As a Manila native, Tiu has an insider perspective that imbues his work with an unmistakable sincerity and empathy. His images present the city as he knows it, a vibrant and beautiful metropolis teeming with untold stories.


作为街头摄影师,Jilson Tiu 的出色之处并不仅限于他的摄影技术。更重要的是,他成功避开了街头摄影一个常见的问题:缺乏真实性和连结性。很多街头摄影师常常会以错误的角度呈现他们的拍摄对象,以至于最终成果反映出的不过是自己一无所知的陌生人的生活切面。如果摄影师和拍摄对象之间不能产生真正的联系,那么也会使照片缺少重要的背景情境。意味着这样的创作,只是一个以自我为中心的叙事者的个人满足,是完全脱离现实的。

身为土生土长的马尼拉人,Jilson Tiu 能够从当事人的角度出发,这让他的作品充满一种无可比拟的真诚和同理心。他的街头摄影真切地呈现出他所了解的马尼拉,一个充满活力的美丽城市,包容着无数不为人知的故事。

Since Manila isn’t often seen in a positive light, his work is a breath of fresh air. The capital of the Philippines is often associated with trash-strewn streets, derelict slums, and in recent years, Duterte’s bloody, inhumane war on drugs. “There’s no denying that, it’s here,” Tiu says. “But there is so much life in Manila. It’s a place where both the positives and negatives of life intertwine, and I want to bring it all out through my photography. I want to change people’s view of Manila not by removing the true, negative aspects of the city but by showing the smiles and hope that coexist alongside these things.”


考虑到那些常和马尼拉联想在一起的负面形象,他的作品相当令人耳目一新。说起这座菲律宾首都城市,人们总会想到垃圾遍地的街道、废弃的贫民窟,以及近年来,因为杜特尔特所发起那场违背人道的毒品战争而成为的一处血腥战场。“这些都是不可否认的事实,确确实实发生着。”Jilson Tiu 说,“但是,在马尼拉有非常多样的生活,光明和黑暗在这里交织汇合。我希望通过自己的摄影,将这些不同面向都呈现出来。我想改变人们对马尼拉的看法,不是靠抹去那些负面事实,而是将与这些阴暗共存的希望和笑容展示出来。”

While Tiu enjoys capturing the city’s charms, his background in photojournalism means that he believes the good and the bad both deserve equal representation, In fact, capturing the ugly truths is often times of greater importance to him. “No matter if it’s the drug war, the pollution, or the city’s congested streets, there’s something to be learned,” he says. “These documentations can help show us the errors of our ways, and remind people—whether they be individuals, communities, or politicians—that we can do better.”


虽然 Jilson Tiu 喜欢捕捉这座城市的魅力,他的新闻摄影背景也使得他相信好的和坏的事实都应该获得平等的展现。对他而言,揭示丑陋的真相往往更具有显着的意义。“不论是毒品战争、污染、或城市拥挤的街道,都能让人们有所启示。”他说。“这些纪录可以帮助我们认识所犯下的错误,并提醒人们,不论是个人、团体或政治人物,我们都可以做得更好。”

As the day winds down and the rain subsides, Tiu begins packing up his camera. Just a few hours on the streets has filled his CF card with hundreds of images. While he’d be happy if he ended up with a few shots he liked from the day, it’s not a big deal if he doesn’t. Rather than being driven by a need to “get the shot” at all times, he finds that it can be more meaningful to just appreciate moments for what they are. Grinning, he says, “Sometimes the greatest scenes are the ones you see when you don’t have your camera.”


随着狂风逐渐平息,雨水也逐渐消退,Jilson Tiu 收起了他的相机。在街上游荡的几个小时已经让他的相机记忆卡多了数百张图片。如果有拍到让自己满意的照片,当然很值得高兴。但即使没有,也无所谓。他并不是怀着“拍到好照片”的意图在拍摄的,他觉得单纯去感受那些时刻的存在更耐人寻味。他咧嘴笑道:“最好的画面往往出现在你亲眼看到,但手边却没有相机的时候。”

Website: www.jilsontiu.com
Instagram: @jilson.tiu

 

Contributor: David Yen
Chinese Translation: Olivia Li


网站: www.jilsontiu.com
Instagram: @jilson.tiu

 

供稿人David Yen
英译中: Olivia Li

Flare & Glare 光,落在你脸上

February 27, 2019 2019年2月27日
Image by nushahot / 图片由 nushahot 提供

This story is part of a content partnership and media exchange between Neocha and VSCO. Their membership program, VSCO X, is designed to help you reach your creative potential. Take the next step in your creative journey by starting your free 7-day VSCO X trial today and gain access to the complete VSCO preset library, the newest editing tools, and inspiring educational content.

Embracing optical distortions can enhance the feeling of a photo and even create unique compositions that you can only see through a lens. See how you can use flare and glare to add a burst of light to your next photo – perfect for a washed out day at the beach or getting creative indoors.


本篇文章来自新茶媒体合作伙伴 VSCO 的内容交换。VSCO X 是一个专门帮助摄影爱好者发挥创造潜力的会员项目。现在就开启你的 7 天免费 VSCO X 试用创意之旅,即可获得的 130+ 预设滤镜,以及新的编辑工具、视频编辑和教程内容。

多加利用变形的光线可以增强照片的氛围感,甚至创造出只能通过镜头发现的独特构图。如果你计划在海滩度过一天,或在室内进行创作,跟着以下提示了解如何借由闪烁的光线让你的照片更加炫目动人。

Look Into the Light / 直视亮光
Image by mirandanderson / 图片由 mirandanderson 提供

It’s not uncommon to completely avoid photographing directly into your main source of light. This helps prevent unpredictable exposures and harsh contrast, but it’s also ideal for creating lens flare or glare. Placing a subject between you and the light can help you find that sweet spot where it bends and streaks the most.


大多数人会避免直接对着主要光源拍照,防止不可预测的曝光和太刺眼的对比度,但这也是创作耀斑或眩光的理想方法。在你和光源之间放置一个物品,这可以帮助你找到光线反射和散发的最佳位置。

Image by va1entines / 图片由 va1entines 提供
Image by lucysamantha / 图片由 lucysamantha 提供

Experimenting with the sun when it is low in the sky is a great place to start, but artificial lights can also create unique results. Always try different angles to see how it changes the final image.


在太阳低的时候尝试创作是一个很好的起点,人造灯同样地也可以拍出特殊的效果。尽量去实验不同的角度看看它们会如何改变最终成果。

Find Reflections / 寻找反射
Image by heidinauss / 图片由 heidinauss 提供

Flare is caused by bright rays of light bouncing between the layers of glass inside of your lens. Finding a reflective surface brings this effect from inside your lens, out onto surfaces within your composition – creating glare. A window, glass table, or even a puddle can reflect light that you can use to create dreamy streaks and stars.


耀斑是指太阳光直射镜头时所产生的一些耀眼的斑点、光迹。寻找一个能让光线反射的表面,窗户、玻璃桌、甚至是水坑都可用于创造梦幻的光晕或繁星般的炫光。

Make it Subtle / 再细致一点
Image by stellagl / 图片由 stellagl 提供

When used, elements of flare and glare don’t always have to be central to the composition. Trying to control the size of the streaks by shifting your perspective is helpful, but even simply placing the light along the edge of the frame can help create the effect you want without being too distracting.


闪烁的光虽然耀眼,但它们不一定必须是画面的主角。尝试通过移动你的视角,来控制光晕的大小,即使只是将光线沿着框架的边缘放置,也可以帮助你创建想要的效果,而不会过于分散注意力。

Editing Tip / 小技巧

Using the Highlights tool can bring back some tone to otherwise completely blown out areas of flare or glare. This helps reduce the extreme contrast and makes the light feel less harsh.


使用亮光(Highlights)工具,有助于你缓和过于闪烁的光线、耀斑或眩光区域,降低极端的对比度,使光线不那么刺眼。

Image by t-nycha / 图片由 t-nycha 提供

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Beauty at Any Price 当美丽变成一种血腥的理想

February 25, 2019 2019年2月25日
Tummy Tuck, 2013, oil on canvas, 140 × 119 cm

Cosmetic surgery is not for the faint of heart. No matter how you slice it, cutting people open to reshape their features is a gory business. Patients are wheeled home bandaged like mummies to start on a recovery that can take weeks. Once the swelling subsides and the scars fade, patients may well be happy with the results, but it’s a grim irony that a procedure to make you more beautiful can leave you looking—on the short term at least—like an extra in a slasher flick.

This awkward interim period, when patients have only just emerged from the operating chamber, is the starting point for Su Yang‘s paintings. Her work portrays in grisly detail the immediate effects of the pursuit of perfection: the bruises, the blood, the gauze, the swelling. She paints in oil and tempera, in garish reds and purples, and her works quite intentionally have something of a horror show about them. Yet the paintings are more than gross-out pics: Yang offers them as a critique of the beauty standards that lead women to submit to traumatizing procedures.


整容手术并不适合那些胆子不够大的人。无论如何,把人们的身体划开、切开、再塑形,听起来都像是一件血淋淋的可怕差事。手术后,整容者坐着轮椅,被包扎得像木乃伊,开始为期数周的恢复过程。一旦肿胀消退、疤痕淡去,他们可能对成果感到满意。但令人感到讽刺的是,整容手术明明是为了让人变得更美丽,却有可能让你(起码在短时间内)看上去像是血腥恐怖电影的一员。

当整容者刚刚结束手术,接下来要面对的那段尴尬过渡期启发了杨苏的创作。在作品中,她以触目惊心的细节,描绘出这种为追求完美所引发的立即后果:瘀伤、鲜血、纱布、肿胀。她使用油画和丹培拉,刻意涂上过分鲜艶的红色和紫色让作品看起来更惊悚。然而,她的画作不仅仅是一些令人不敢直视的画面,更是用于批判当今逼使女性经历这些创伤所达到审美标准的警语。

Rhinoplasty, 2013, oil on canvas, 152 × 137 cm
Injection of Hyaluronic Acid, 2014, egg tempera on clay board, 30 × 30 cm

Yang is a scholar and artist from China. She learned to paint and draw from her father, who began instructing her in European techniques at a young age. In college, at Tsinghua University, she continued to paint, and also studied sculpture, lacquer, glass art, and graphic design. While doing a master’s in fine arts at the State University of New York at Buffalo, she discovered an interest in feminism, and since then her art has explored the procedures that women, particularly Chinese women, undergo to make their bodies conform to patriarchal ideas of beauty. She’s now working toward a PhD in visual art at the University of Melbourne, where she uses her art and research to explore the demands women face in the name of beauty.


杨苏是来自中国的一名学者和艺术家。她从小跟着父亲学习绘画,教授她欧洲绘画的技法。在清华大学就读期间,她继续画画,同时学习雕塑、漆器、玻璃艺术,以及平面设计。在纽约州立大学水牛城分校(State University of New York at Buffalo)修读美术硕士学位期间,她渐渐发展了女权主义方面的兴趣。从那时起,她开始通过艺术去探讨女性——尤其是中国女性——为了父权社会的审美观念而整容的议题。现在,她正在墨尔本大学修读视觉艺术的博士学位,用自己的艺术创作和研究,探索那些“以美之名”对女性提出的种种要求。

Eye Lift, 2013, oil on canvas, 140 × 147 cm
Post-Laser Treatment 1, 2015, oil on canvas, 140 × 147 cm
Double-Eyelid Surgery, 2014, egg tempera on woodboard, 30 × 30 cm
Double Faces Post-Cosmetic Surgery, 2015, oil on canvas, 150 × 145 cm

Are her paintings a condemnation of cosmetic surgery? For Yang, that’s not quite the point. “It’s more that my works emphasize the ideologies that encourage many young Chinese women to become the same single person, without their own features,” she says. In that sense, she views these beauty-enhancement procedures as a symptom of a larger problem: the pressure to conform to uniform, unrealistic standards.


她的作品是对整容手术的谴责吗?对于杨苏来说并不完全是。“我的作品更多的是想强调那种鼓励中国年轻女性将自己变成同一个模子刻出的产品、失去自我特色的意识形态。”她解释道。从这个意义上来看,她认为这些让人变美的手术隐含一个更大的问题:让人们顺应不切实际的统一标准的压力。

Rhinoplasty, 2013, oil on canvas, 152 × 137 cm
Recovery Period, 2014, oil on canvas, 127 × 165 cm
Double Faces Pre- & Post-Cosmetic Surgery 3, 2016, oil on canvas, 112 × 163 cm
Double Faces Pre- & Post- Cosmetic Surgery 1, 2016, oil on canvas, 113 × 150 cm

In her academic work, Yang focuses on China, where cosmetic surgery is a booming industry. She notes that the pressures to look pretty are somewhat different in Australia and the US. “The notions of beauty are localized and formed by their own cultural and social histories,” she says. “However, I also see similarities in these standards, which are partly formed by a global consumer culture.” Her subjects are not limited to China but seem to show women of various ages and ethnicities.

She also doesn’t solely paint straightforward post-op portraits. Some of her works use cosmetic procedures as a starting point but take a more fantastic turn, with faces within faces, or people peeling off their skin.


苏的学术作品研究了审美标准如何影响中国女性。她指出在这么一个整容行业蓬勃发展的国家里,女性承受的变美压力,与在澳大利亚和美国有所不同。她说:“人们对美的看法是本地化的,受当地文化和社会历史所影响。不过,这些标准也有相似之处。部分原因是全球消费文化所导致。”她的研究对象不限于中国女性,也会涵括不同年龄和国籍。

她的创作不只描画人们的术后肖像,其他一些作品以化妆过程作为出发点,再加入一些奇幻的构想,譬如脸中有脸,或是人们剥掉皮肤。

 

Stripping Off Face 1, 2015, oil on canvas, 148 × 150 cm

Critiques of cosmetic surgery often poke fun at the dead eyes or frozen smiles of a procedure gone awry. Yang takes a different tack, showing a side of the cosmetic industry that’s seldom seen—the seamy underbelly, as it were, that’s surgically tucked out of sight. For many people, it seems, beauty is a bloody pursuit.


人们在批评整容手术时,常常会举例一些失败的案例,譬如那些死气沉沉的眼睛或是僵硬的笑容。但杨苏却采取了不同的策略,她选择揭示美容行业鲜为人知的一面——通过手术隐藏起来的丑陋。对许多人来说,美丽也是一种血腥的理想。

Liposuction of The Legs, 2014, oil on canvas, 124 × 166 cm
Post Laser Treatment 2, 2015, oil on canvas, 161.5 × 115.5 cm

Websitesuyangvisual.com

 

Contributor: Allen Young
Chinese Translation: Olivia Li


网站suyangvisual.com

 

供稿人: Allen Young
英译中: 李秋群

18 Uppercut 跟着我左手右手一起上勾拳

February 22, 2019 2019年2月22日

18 Uppercut is a Shanghai-based visual collective helmed by Morris Lee and Pete Gibson. Since they joined forces in 2018, the duo has created an impressive body of work that runs the gamut from film to fashion to toy design. Their diverse professional and cultural backgrounds—Lee’s from Singapore, while Gibson is from the US, and they’ve both held every sort of job imaginable—constantly inspire their work. Recent projects include an interactive music video for Chinese American rapper Bohan Phoenix, a visually explosive short film with music producer W.Y. Huang, an art figurine made with design studio Mighty Jaxx, and collaborations with Hong Kong streetwear brand Dragonmade8. 


上海视觉厂牌 18 Uppercut 的两位负责人分别为来自新加坡的 Morris Lee 和美国的 Pete Gibson。从 2018 年初正式联手以来,两人打造了众多令人印象深刻的作品,折射出他们的独特创意、专业和文化背景。他们的作品形式丰富多样,包括为美籍华裔说唱歌手 Bohan Phoenix 打造的互动性音乐视频、和音乐制作人 W.Y. Huang 合作的视觉冲击力强大的短片、与玩具设计工作室 Mighty Jaxx 联手创作的艺术雕像,以及与香港街头品牌 Dragonmade8 的联名设计等等。

Poster for Flow, an art figurine created with Mighty Jaxx
Flow, a collaborative art figurine between 18 Uppercut and Mighty Jaxx

The collective’s name comes from a mixture of references. “18” is a reference to late author Jin Yong’s “Eighteen Subduing Dragon Palms,” a fictional martial arts technique that’s referenced throughout his wuxia novels. “Jin Yong is a huge inspiration for us,” Gibson says. “Those of us who came from the East are very familiar with his magnificent tales of kung fu. While those who grew up in the West may not be as familiar with his novels, his influence on wuxia and the entire kung-fu genre were an extension of his genius that everyone, from both East and West, can appreciate.”

The latter part of the collective’s name is a Street Fighter reference: the character Sagat’s signature moves is the Tiger Uppercut, a spiraling jump punch that inflicts massive damage to an opponent. Pieced together, these two references paint a clear picture of what the group is all about: the first half represents an enduring adoration and respect for Chinese culture, while the second half is emblematic of the group’s swift and ruthless ascent into a creative force to be reckoned with.


团体名字蕴含了丰富的灵感来源。“18”取自已故武侠小说家金庸先生的“降龙十八掌”,这是他在武侠小说里虚构的一种武功。Pete 说:“金庸先生对我们影响很大。我们这些来自东方文化背景的人都非常熟悉他的武侠小说。虽然在西方长大的人可能不会那么熟悉,但他在武侠和功夫界的影响力足以说明他的才华,无论是在亚洲还是欧美国家,这一点都是公认的。”

团体名字“18 Uppercut“的后半部分则来自《街头霸王》:里面的角色沙加特(Sagat)的招牌动作就是“虎击上勾拳”(Tiger Uppercut),这是一个螺旋跳起击拳的动作,能对对手造成超强伤害。拼凑在一起,“18 Uppercut”让人对这支团队的理念有了大概的了解:一方面是对中国文化的崇拜和尊重,另一方面则象征团体将成为一支迅速飙升的创意势力。

Behind the scenes from the shoot of Bohan Phoenix's Overseas by Jedi Zhou
Behind the scenes from the shoot of Bohan Phoenix's Overseas by Jedi Zhou

 

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Behind the scenes from the shoot of Bohan Phoenix's Overseas by Jedi Zhou
Behind the scenes from the shoot of Bohan Phoenix's Overseas by Jedi Zhou

Gibson and Lee met serendipitously, a result of their respective (and rather unconventional) career trajectories. “Between the two of us we’ve served as a commando in the military, been a monk, worked as club promoters, poster designers, analysts at venture capital firms, producers, animators, and at one point, I even sold holiday cards in an arts-and-crafts store,” Gibson laughs.

But these unlikely career paths ultimately led the two to cross paths in 2016 when they both landed jobs at the same creative agency in Shanghai. There, their collegiality quickly grew into a tight-knit friendship. “We both wanted to do good work, and we knew what it took to make it,” Lee recalls. “We began to develop a mutual trust for one another when we recognized each other’s work ethic and accountability.”


Pete 和 Morris 的相识很偶然,是他们两人(相当不同寻常的)职业生涯轨迹的一个交点。“我们两个人中,做过突击队员,当过和尚、俱乐部发起人,做过海报设计师,还在风险投资公司做过分析师,担任过制片、动画师,我甚至还曾在美术工艺品店卖过节日贺卡。”Pete 笑着说道。

但是,正是这些看似毫无关联的工作,最终让两人在 2016 年相遇,当时他们都进了上海同一家创意广告公司工作。在那里,他们变成了亲密的好友。“我们都希望做好作品,也知道为此要付出什么样的代价。我们发现对方都特别有职业道德和责任感时,也开始对彼此有更多的信任。”Morris 回忆说。

Still from Dukkha
Still from Dukkha
Still from Dukkha
Still from Dukkha

Gibson and Lee’s time in advertising helped them acquire a diverse set of skills that play a large part in 18 Uppercut projects, but it’s their childhood interests that form the bedrock of their creative work. The duo cites a shared love for kung-fu movies, kaiju films, anime, and Western sci-fi flicks like Tron and Star Wars. And nowhere is this mishmash of influences more apparent than their most recent directorial work, Dukkha, a violent, neon-streaked video that pairs Chinese martial arts with an ominous score by DoHits producer W.Y. Huang. From a lightsaber battle to Kamehamehas shooting across the screen, the four-minute short is a love letter of sorts to some of the duo’s favorite works of fantasy. And recently, it was selected as a winner at New York’s One Screen Short Film Festival.


在广告公司的经历让 Pete 和 Morris 掌握了一手成熟技能,运用到 18 Uppercut 的项目里。但是,归根到底,真正让两人合作这个创意项目的原因是他们共同的童年爱好:功夫电影、怪兽电影、动画片,以及西方科幻电影,如《电子世界争霸战》(Tron)和《星球大战》(Star Wars)。团队最新创作的短片《Dukkha》最能体现这些丰富的影响。这部以中国功夫为主题的短片风格暴力,最近刚刚入选为纽约 One Screen Short Film Festival 的得奖影片之一,画面充满霓虹色彩,音乐部分由 DoHits 制作人 W.Y.Huang 创作。从激光剑战斗到龟派气功,这一部四分钟的短片是对两人所喜爱的科幻作品的致敬。

 

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Like their other projects, Dukkha was entirely self-initiated by Gibson and Lee. And perhaps this is a large factor in what makes all of their works stand out—it’s pure, unadulterated creative output that isn’t tainted by commercial incentives. The two, however, have expressed an interest in applying their creativity to branded work if the right project comes along.

“Money isn’t the driving factor of what we do,” Gibson notes. “We love doing these projects and getting to work together, but on the other hand, we do look forward to the day that we can put our all into it without having to squeeze it in around our other responsibilities or double check our bank accounts before agreeing to a project. What’s most important though, is that at the end of the day, we’re inspiring others to go out and create with a license to be original.”


和团队的其它项目一样,《Dukkha》完全是 Pete 和 Morris 自发性的作品。也许在很大程度上,这正是作品能脱颖而出的原因——纯粹的创意作品,完全未受商业利益的污染。然而,两人也表明了他们愿意与品牌合作,将创意挥洒在合适的项目上。

“钱不是我们做所有事情的动力。”Pete 说,“我们热爱做这些项目,喜欢一起工作,但另一方面,我们也期待有一天可以全心投入其中,不用在其它工作中挤时间,或是在准备开始项目前都要先查下银行余额是否有足够的钱。但最重要的是,我们能鼓舞更多人走出来,进行自由原创。”

Poster for Dukkha

Website: 18uppercut.com
Instagram: @18uppercut
WeChat: official18uppercut

 

Contributor: David Yen
Chinese Translation: Olivia Li


网站: 18uppercut.com
Instagram: @18uppercut
微信: official18uppercut

 

供稿人: David Yen
英译中: Olivia Li

Modern Medieval Fantasia 泡一个快乐的煎蛋浴

February 20, 2019 2019年2月20日
Ctesiphon Secret Chamber

What happens when you cross an illuminated manuscript with a digital collage? Indonesian illustrator Anindya Anugrah offers an appealingly quirky answer. She repurposes archival images to create playful scenes that whisk together Europe and Asia, the middle ages and the twenty-first century. Yet for all their head-spinning, continent-spanning bravura, they never feel forced—just a little uncanny, like images from some alternate universe where Indian royalty dined with European nobles.

Anugrah has a special fondness for medieval or Renaissance touches. “As a child I was very much influenced by the thought that all fairy tales took place in the medieval times,” she explains. Since then, she’s had a bit of an obsession with the European middle ages, and in particular with illuminated manuscripts. “Most figures depicted in these manuscripts have a similar, sad-looking expression, no matter where they come from or what purpose they serve,” she says. “I like the idea of giving those figures a different ‘life’ and ‘role’—a happy one with modern twists.”


当欧洲中世纪的手抄本遇上现代数字拼贴画,会擦出什么火花?印尼插画家 Anindya Anugrah  提供了一个另类却引人入胜的解答。她重新利用这些历史图像,将欧洲和亚洲、中世纪和二十一世纪巧妙地融合在有趣的场景里。然而,这些令人目眩神迷的大胆拼接看起来丝毫没有一点不协调,取而代之的是那异乎寻常的神秘感——她的创作像是撷取自另一个宇宙,在那里印度和欧洲的皇室贵族会一起用餐。

Anindya Anugrah 特别喜欢中世纪和文艺复兴时期的风格。“当我还小的时候,我认为所有童话故事都发生在中古世纪。”她解释道。从那之后,她对中世纪就产生了一点痴迷,尤其是那些带有华美装饰的手抄本。“这些手抄本里的人大多都带有一种类似的悲伤的表情,无论他们来自何方或是要做什么。因此我想要给这些人物一个不同的生活、扮演不同角色的机会——一个现代的快乐颠覆。”

Midnight in Birdland

In “Midnight in Birdland,” musicians decked out in what appears to be Elizabethan garb perform onstage in a crowded jazz hall for an European and Central Asian audience. Likewise, “Macaca Nigra Race” shows medieval lords and ladies watching Indonesian macaques lumbering across a finish line on a racing track, while “Saturn” has knights sporting space helmets and pepperoni shields on an expedition to a distant planet. One can’t quite tell if these cross-cultural hybrids are meant to offer some commentary on European or Asian history, or whether Anugrah just enjoys tossing images from the past into a digital blender.


在《Midnight in Birdland》中,音乐家穿着伊丽莎白时代的服装,在一个拥挤的爵士音乐厅里为来自欧洲和中亚的观众表演。《Macaca Nigra Race》展示了一群中世纪的领主和女士,正在观看印尼猕猴在赛道上向终点跋涉;而《Saturn》则有头戴太空头盔的骑士,拿着披萨盾牌进行一场星球远征。我们无法确定这些跨文化的创作是否意在对欧洲或亚洲历史提供一些评论,或者只是 Anindya Anugrah 单纯喜欢将过去的图像丢进数码世界里混合为一。

Macaca Nigra Race
Saturn
Music Box

Anugrah began this series of illustrations in law school, while learning about copyright and art appropriation. Like any conscientious lawyer, she uses only images in the public domain, manipulating them and folding them into her own drawings. “I make major alterations to each of these sources, changing the shape and colors of the figures’ clothes, the expressions on their faces, their gestures, etc., and combine them with my own drawings,” she says. The results are entirely unexpected and weirdly familiar—like the picture of the man sitting in a bathtub of fried eggs. So meticulously is the image stitched together that you almost wonder whether she didn’t just unearth an illustration of a bizarre bygone bathing custom.


Anindya Anugrah 在法学院开始创作这一系列插图,同时学习版权和艺术品挪用的相关知识。如同一位尽责的律师,她只会使用公有的图像,将它们再创成符合自己想像的样子。“我大幅更改了这些图像,改变了人物的形状和颜色、脸上的表情、动作等等,并将它们与我自己的绘画结合。”最后结果完全出乎意料,让人感到异常地熟悉——像是那一张有一个男人坐在煎蛋浴缸里的照片。她是如此细致地将图像拼接在一起,让人不禁怀疑她是不是揭露了一个中世纪诡异的洗澡习惯。

Breggfast 1
Breggfast 2
Breggfast 3
Momotaro
Waltz Club
Petites Fleurs Rouges

After experimenting with manual collages, Anugrah eventually switched to image-editing software to get the results she wanted. “These collages are intended to look seamless—almost like paintings—so I tried doing them digitally. That’s the method I’ve been using ever since.” She finds images from online sources—archives, or scanned book pages—and carefully recomposes them.


在尝试手工拼贴后,Anindya Anugrah 最终切换到图像编辑软件以达到她想要的结果。“这些拼贴画需要看起来天衣无缝——就像是画出来的——所以我尝试用数码软件去做,从这之后我就一直使用这种方法。”她从在线资源库里的历史档案或是扫描书页中找到图像,并仔细地重新组合它们。

1001 Sleepless Nights
The Other Side of the Moon
Neptune
Pulheim Point
Love Potion

Her scenes don’t just hang on walls or glow on digital screens. They also grace a line of products—scarves, tote bags, and post cards—that she sells under the brand name Phantasien. “I first turned my collages into wearable items to make some money and get noticed. But as my works have developed and my ideas become more complex, I’ve been challenged to explore other media,” she says. “Having my works printed on fabric makes them look more painting-esque and alive than they do on paper.”

Whether on paper, on silk, or on fabric, Anugrah’s digital designs bring a clever new life to art from centuries past.


她的作品不只适合出现在墙上或是屏幕上。他们还推出了一系列产品——围巾、手提袋和明信片。她的品牌叫做 Phantasien。“首先我将拼贴画变成了一些可穿戴的物品,以引起注意和赚一点钱。但随着我的作品发展和想法变得更复杂,我一直在挑战探索其他媒介。”她说,“我后来将作品印在布料上,使得它们看起来比在纸上更具绘画风格和活力。”

无论是在纸上、丝绸上还是在布料上,Anindya Anugrah 的设计都成功为百年之前的艺术注入了新生命。


Anindya Anugrah’s tote bags and postcards are now available on the Neocha Shop. Supplies are limited, so order now!



Anindya Anugrah 的手提袋明信片现已于 Neocha 商店发售。数量有限,立即订购!

Instagram: @_phantasien

 

Contributor: Allen Young
Chinese Translation: Yang Yixuan


Instagram: @_phantasien

 

供稿人: Allen Young
英译中: Yang Yixuan

Three Ways to Lower Contrast 当全世界都暗淡下来

February 20, 2019 2019年2月20日
(V1) Image by alexleav / 图片由 alexleav 提供

This story is part of a content partnership and media exchange between Neocha and VSCO. Their membership program, VSCO X, is designed to help you reach your creative potential. Take the next step in your creative journey by starting your free 7-day VSCO X trial today and gain access to the complete VSCO preset library, the newest editing tools, and inspiring educational content.

Low contrast editing can help create a washed-out feel that preserves detail with subtle shifts in hue and tone. If you want to balance out harsh, contrasty light or a new look to try, these three tips show different approaches to creating low contrast looks of your own.


本篇文章来自新茶媒体合作伙伴 VSCO 的内容交换。VSCO X 是一个专门帮助摄影爱好者发挥创造潜力的会员项目。现在就开启你的 7 天免费 VSCO X 试用创意之旅,即可获得的 130+ 预设滤镜,以及新的编辑工具、视频编辑和教程内容。

通过微调色相和色调来创作低对比度的照片,可以在不失细节的同时营造出一种怀旧的褪色感。如果你想要把强烈的光线中和掉或是尝试新做法,以下三个小技巧将向你展示创建低对比度的不同方法。

1 — The Valence preset pack / 使用 Valence 滤镜预设包

The Valence (V1–V8) preset pack was made with low contrast in mind. Each one has a unique tone and feel, often adding a soft, colored tint to images. V1 creates a cool blue look, V4 is pink, and V8 adds warmer tones. If you want something more subtle, try starting with V5, or reduce the strength of a preset by tapping it again after applying it to an image.


Valence(V1-V8)滤镜预设包本身即设置了较低的对比度,每一款都带有不同的颜色氛围,能为图像添加一股柔和的多彩色泽。V1 偏蓝色、V4 呈粉红色、V8 则多了一层暖色调。如果你想要让画面再细致一点,尝试从 V5 开始,或者在套用滤镜后再次点击来降低滤镜的预设强度。

(V4) Image by alexaptsiauri / 图片由 alexaptsiauri 提供
(V4) Image by arielist / 图片由 arielist 提供
(V8) Image by meganmwhitney / 图片由 meganmwhitney 提供
2 — Contrast and Tone tools / 对比和调工具

The Contrast tool is an obvious choice for experimenting with these looks. Try reducing Contrast a little at a time and combine it with the Tone tool. Try to preserve as much detail as you can in both the dark and bright areas.


使用对比度工具是最直接的做法。一次调降一点点对比度,并与调色工具一起使用。试着在明处和暗处保留越多细节越好。

The Tone tool gives you control over both shadows and highlights. Low contrast images are known for maintaining detail across both bright highlights, as well as dark shadows. Incrementally increasing these sliders can help save these areas of detail.


使用调色工具来掌握照片中的明处和暗处。慢慢地移动高光(Highlights)和阴影(Shadows)滑块,低对比度可让细节共存在明亮和黑暗里。

3 — Character and Film X / Film X 系列滤镜和字符调整工具

If you want a low contrast look that is reminiscent of vintage film, using Character and Film X is your best bet. By using the tools mentioned before in conjunction with reduced Character, you can achieve unique low contrast looks. To access Character, tap on a Film X preset again after applying it to an image. For this approach, try starting with FS1 (Fuji Superia 100) or KP3 (Kodak Portra 160VC).


Film X 胶片模拟滤镜系列可以让你创作出复古电影般的低对比度照片。通过使用先前提到的工具,以及拉低字符(Character)工具,就可以实现独特的低对比度外观。将滤镜应用于图像后再次点击就可以找到字符工具。建议你可以从 Film X 系列里的 FS1(Fuji Superia 100)或 KP3(Kodak Portra 160VC)开始。

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In the Streets of Saigon 在西贡,一个人的好天气

February 18, 2019 2019年2月18日

A woman walks past a smoky food cart, turning to hear a vendor a few yards away who appears to be calling out to her. It’s an ordinary scene on an unremarkable street corner in Saigon, but the composition has an accidental perfection: a triangle formed by the lamppost and the rays of sun frame the central figures, whose two faces are separated only by a narrow strip of color. Above them, billows of smoke from the grill suffuse the scene with an otherworldly light. The snapshot seems to conjure a whole social world and elevate to some higher, more ethereal realm. This is street photography at its most eloquent.


一个女人正走过一台热气蒸腾的食物摊车,她转过头去,似乎在回应站在几米外的小贩的呼喊——这是发生在越南西贡 (胡志明市)街边一个极为平常的日常场景,但画面的构图却意外的完美:由灯柱和光束所构成的三角形舞台,正中央是面孔被光线照射的明暗区分开来的主角人物。在他们之上,烤架升起的烟雾弥漫四方,化为一片超凡脱俗的光芒。这张照片抓取到了凡世的一瞬,并将其升华至更空灵的境界。这就是街头摄影叙事张力的极致展现。

Phuong Tran, the Saigon-based photographer who took this photo, is largely self-taught. A copywriter by day, he started taking pictures simply because he had a smartphone and decided to play around with it. “Back in the day, I’d go around Saigon and take pictures of whatever I liked,” he recalls. “I just captured things, and it brought me a lot of fun.”


拍摄这张照片的是自学成才的摄影师 Phuong Tran。他生活在西贡,全职工作是一名文案,会开始拍照仅仅是因为他买了一支智能手机,想要摸索一下而已。“白天的时候,我会在西贡四处乱逛,拍下我喜欢的照片。我只是想捕捉住一些时刻,这个过程很有趣。”他回忆道。

Like many other amateurs, he discovered he had a knack for photography, and that talent quickly turned into an obsession. “It was like another world I could escape to. I thought about it all the time, I began to read materials, and I got praise from friends,” he says. Eventually he decided to upgrade to a mirrorless camera, which allowed him more control over the shots he took. He now shoots with a Sony Alpha 6000, and easy-to-use model that suits his needs.


像许多业余的摄影爱好者一样,他发现了自己在摄影方面的天赋。很快这种天赋演变成为他的热爱。“摄影是我可以躲进的另一个世界。我无时无刻都想拍照,于是我开始阅读相关的资料,朋友也对我的作品给予很多肯定。”最终,他决定从手机升级到微单相机,这让他在拍摄时能有更多掌控。现在,他用的是一台索尼 Alpha 6000 相机。这是一台操作简单的相机,正符合他的需求。

Tran’s work has earned him a devoted following on Instagram. “The most important thing I want to capture in a photograph is the connection between myself and the subject,” he explains. “If that event brings me excitement, or a thrill, or gives me pause—well, that’s something worth capturing. Then comes the question of light, colors, composition, etc., to tell the story in a beautiful way.” Many of his images show light refracted or reflected—piercing smoke, streaming through windows, or blurring background and foreground in a shop window.


Phuong Tran 的作品为他赢得了 Instagram 上一批忠实的粉丝。“一张照片最重要的是要捕捉到我和被摄者之间的连结。”他解释说,“如果某件事物让我感到兴奋、激动,或让我为此停留,那就值得拍下来。再来就是光线、色彩、构图的问题,如何通过好看的画面来讲述故事。”他的许多照片都利用烟雾、窗户等物体来表现光线的折射或反射,或是透过玻璃橱窗模糊背景和前景。

While he’s also taken photos in Burma and Taiwan—where the above image is from—his favorite subject is still Vietnam, and especially his hometown Saigon. Its “messy streets, strange people, and changing appearance” have inspired him since he first started pointing and clicking. His Saigon is a city of bicycles, scooters, overhead wires, its buildings comfortably weathered and daubed in a ubiquitous turquoise.


曾在缅甸和台湾(上面这张照片的拍摄地)拍摄,他最喜欢的拍摄地依然是越南,尤其是他的家乡西贡。这座城市“杂乱的街道、陌生的人和不断变化的市景”都是他至今的灵感泉源。他镜头下的西贡充满自行车、摩托车和高架电线,这里的建筑也披上了一层赏心悦目的绿松石色。

It’s also a city that’s changing quickly. “Just like other Asian cities, Saigon has its own conflict between preservation and development,” Tran says. “Every day I witness the replacement of old by the new, and I think I need to capture these images before they’re gone, to give them a second life.”


这也是一座变化快速的城市。他说:“和其它亚洲城市一样,西贡也面临着发展和保护的两难困境。我每天见证着新旧的交替,我想趁着这些画面消失之前,将它们记录下来,给予它们第二次生命。”

Websitephuongtran.format.com
Instagram: @deewonderer

 

Contributor: Allen Young
Chinese Translation: Olivia Li


网站phuongtran.format.com
Instagram: @deewonderer

 

供稿人: Allen Young
英译中: 李秋群

Peaceable Kingdom 到她的画里来静一静

February 15, 2019 2019年2月15日
Roar of Thunder

Elicia Edijanto’s drawings evoke a tranquil realm undisturbed by the din of the outside world. In her work, a half-naked child lives peacefully with wild animals, setting out together on an epic journey.


在印尼艺术家 Elicia Edijanto 的画里,存在着一个不受外在喧嚣干扰的宁静世界。一个总是裸着上身的孩子,和许多野生动物在这里和平共处,在彼此的陪伴下共同踏上一段跋涉万里的旅途。

Lullaby
October's Tale
Journey

She works in watercolor and pencil, using an ink in varying concentrations that go from dense black to faint gray. The horizon stretches between heaven and the earth, and here life flourishes. In the real world, has such harmony among people, animals, and the world already vanished?

A lifelong Jakartan, Edijanto laments that her densely populated hometown leaves so little space for nature. “There’s very little room for green areas, parks, or decent beaches,” she says. “The longing to reunite with nature, perhaps, has influenced the themes of my paintings.”


她擅长使用水彩和铅笔作画,渲染出这一片亦浓亦淡的黑色,勾勒出地平线的两端是天与地,万物在此滋养生息。但是这种人、物、天地之间的单纯友谊,在现实社会中是否早已消声匿迹了呢?

从小在雅加达生活,Elicia 感叹这是一座人口稠密的城市,很可惜地它并没有留给自然太多空间。“绿地、公园或是像样的海滩都很少见了。也许正是这股与大自然重聚的渴望,塑造了我画作的主题。”

Genesis
“My subjects are often children and animals, because both in their feelings and in their gestures, they’re honest, sincere, unprejudiced, and unpretentious,” she says. “They’re the perfect messengers for what I want to share. I want my art to celebrate hope and innocence. Amid the depressing, tiresome news piling on top of us every day, I’d like to remind us of innate human goodness and help us find consolation in nature.”

“我画中的主角大多是小孩和动物,因为无论是情感或是行为上,他们都很诚实、真心、谦逊、没有偏见。因此他们是最可以帮助我传达讯息的信使——我想用艺术来庆祝希望和纯真。你我的日常生活可能被许多坏消息或令人厌倦的新闻淹没,但我想提醒大家人性中固有的善良,以及借由我的画,让大家在自然中找到一丝安慰。”

Watermelon by the River
Baliem
Stars and Voyagers

Edijanto’s style has been powerfully influenced by traditional Japanese ink wash painting (sumi-e). What makes this age-old art form difficult is that it stresses revealing precise but subtle emotions in bold brushstrokes. The forces of motion and rest, embrace and surrender form a balance in their contrast, and neither can be too evident.

“The essence of sumi-e is its minimalism, its ability to capture the essence rather than the form. It teaches us to know what’s necessary and what can be left out,” she explains. “I’ve always tried to find a better formula to intensify the emotional meaning without filling the canvas with too many objects.”


她的创作风格十分受到传统水墨画(Sumi-e)的影响,这种历史悠远的绘画形式困难的地方在于:它强调在大胆动态的笔触中流露出细致轻盈的情感。动与静、放与收的力量相映成趣,两者都不能过于张扬。

“水墨画的精髓在于极简主义,一种捕捉事物本质而非耽溺于形式的能力。它教会了我在一幅画面中什么是必要留下、什么是可以舍弃的东西。” Elicia 说,“所以我一直在尝试找到一个更好的方案,能在不用太多物体去填充画布的前提下,同时表达出强烈的情感意义。”

Old Friend
Namaste
Symphony
Storm
Silence
Dust and Wind
Hero
Warriors
Asleep

Websitewww.eliciaedijanto.com/
Instagram@eliciaedijanto
Behance~/eliciaedijanto

 

Contributor: Yang Yixuan
English Translation: Allen Young


网站: www.eliciaedijanto.com/
Instagram: @eliciaedijanto
Behance: ~/eliciaedijanto

 

供稿人: Yang Yixuan
中译英: Allen Young

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Taking It to the Streets 如果墙会说话

February 13, 2019 2019年2月13日

The sun shines brightly in a cloudless, blue sky while the sound of waves crash on a nearby beach. We’re in Liwa, a surfer community in the Philippines, and since it’s a weekday the town is mostly deserted, other than a few locals lounging in the shade watching Archie Oclos paint his newest mural.

Despite the sleepy setting, Oclos isn’t here on vacation—he’s on a mission. He defines himself as a provocateur, using art as a medium to broadcast discontent and raise awareness of social issues. And it’s a life that has repercussions. In a country that doesn’t tolerate dissent well, his murals have resulted in violence against him and threats to his family. But that’s only inspired him to keep working.


晴空万里,艳阳高挂,海浪拍击着附近的沙滩。这里是里瓦 (Liwa),菲律宾的一个冲浪目的地,因为是工作日,镇上一片冷清,只有几个当地人在树荫下看着 Archie Oclos 画着他的最新壁画作品。

尽管这样的环境令人昏昏欲睡,但 Oclos 不是来这里度假的,他有任务在身。他说自己是煽动者,以艺术为媒介,宣扬各种对社会问题的不满,提高人们的意识。在这个不欢迎异见的国家,他的生活自然不可能舒坦。因为创作壁画,他曾招来暴力对待,连他的家人也受到了威胁。但是,这只能进一步激励他去创作。

The profile of an indigenous character fills the center of the Liwa wall, rendered in a black silhouette with ochre line work, his bow and arrow stretching from the ground all the way to the two story roof. The character is a member of the Itas, considered to be the first inhabitants of Zambales, the province where Liwa is located. Stretching across the background in sea blue are rows of Baybayin calligraphy, a pre-colonial writing system that was used across the entire island nation at one point. A smaller line  in the upper left hand side, written in Tagalog, reads “You fight for the land and take good care of it.”

Oclos’s paintings generally focus on Filipino farmers and indigenous people. “They are the minority groups in our society,” he explains. “They are the most oppressed by military and the state forces, and there are lots of stories from the rural areas that need to be told.” A good example of the issues that he works on can be found in an installation at a sugar plantation called the Hacienda Luisita. It depicts a farmer hanging on a cross. The plantation, partially owned by the family of late former president Benigno Aquino III, has been dogged over the years with accusations of murder, land theft, and appalling conditions for its workers.


在里瓦一堵墙壁上,一个土著人物的轮廓填满了墙壁中央。以赭色的线稿描画,黑色的轮廓勾勒,他的弓箭从地面一直延伸至两层楼的屋顶。这个土著人物的原型是Itas族人,据说是里瓦所处的三描礼示省 (Zambales) 的第一批居民。横跨背景的是一行行海蓝色的比比贤文字(Baybayin),这是前殖民时代曾经在整个岛国使用过的文字。在左上方,有一排较小的加禄语写着“你要为你的土地斗争,并照料好这片土地。”

Oclos 的作品画的主要都是菲律宾农民和土著人民。他解释道:“他们是我们社会的少数群体,是受军事和国家势力欺压最严重的群体。在农村有很多需要讲述的故事。”在名为 Luisita(路易斯塔庄园)的甘蔗种植园,摆放着他的一个装置艺术作品,很好地体现了他所要表达的问题。这件作品描述的是一个农民挂在十字架上的情景。这片种植园的主人之一是已故前总统阿基诺三世的家族。多年来这里一直笼罩在谋杀、盗窃土地、剥削工人的指责阴影中。

Oclos comes from a family of farmers, and his parents migrated to Manila when he was nine years old. While his mother gave up farming to become a school teacher and worked for less than minimum wage, his father couldn’t find work, and they weren’t able to escape poverty. “We moved around Manila a lot,” the painter recounts. “Surviving on a day-to-day basis was  hard. There were times we went hungry, and sometimes we had only one meal of fish and rice per day.”

He wanted to be an artist since he was a little kid drawing dinosaurs and cartoons, but his parents pushed him to become a doctor or a lawyer. “They didn’t support my art because of the stereotype that artists don’t make money, that it’s just a hobby.” Although he studied hard and got a scholarship to a science high school, the bug never left him and when he left for college at age 16, he decided to study art.His fraternity helped him get another scholarship to study for free, and he supported himself by working as a photographer’s assistant.

After graduation he started working in video games. He taught himself digital painting and sent a portfolio to an online job posting, becoming a concept designer for EA Games and Disney. It wasn’t satisfying work though, and he found himself asking, “What is the purpose of art during trying times?”


Oclos 出身于一个农民家庭,9岁的时候随父母移居马尼拉。虽然他的母亲离开了农田,成为了一名学校教师,薪水低于最低工资但父亲找不到工作,生活比较贫困。“我们在马尼拉经常要搬家。”这名画家回忆道,“这样难以为继的生活很艰苦。我们常常要挨饿,有时候一天也只能吃上一顿饭,只有鱼和米饭。

从小,他就喜欢画恐龙和漫画,梦想成为一名艺术家,但他的父母极力要求他成为医生或律师。“他们不支持我创作艺术,因为他们觉得做艺术家赚不了钱,艺术只能是一个爱好。”虽然他通过努力学习,拿到了一间科学高中的奖学金,但他始终心有不甘。16岁上大学时,他决定修读艺术专业。他的大学兄弟会帮助他获得了另一份奖学金,可以免掉学费,他再另外给一名摄影师兼职助手来赚取生活费。

毕业后,他进入视频游戏行业工作。他自学数码绘画,后来又将作品集发给一个在线招聘的帖子,然后就成为了美国艺电公司 (EA Games) 和迪斯尼 (Disney) 的概念设计师。但是,这仍然不是他想要的工作。他问自己,“在艰难的时候,艺术的作用是什么?”

In high school he used to draw political cartoons, and during college he was part of a protest art group. So once he tired of the video game world, he went straight into political street art. Almost immediately he caught the attention of the military. As part of a 2015 event held by Food Not Bombs, an organization that gives out free food to the poor, he painted a mural of an old woman with a crown of thorns made of bullets. It was accompanied by the words, “Stop Lumad Killings,” a phrase that was trending on Twitter, sparked by a spate of murders that year of tribal leaders of the Lumad people. The Lumad are the indigenous majority in the Philippines, located mainly in Mindanao, an island at the southern end of the country. Some have accused the military of supporting the group that killed the leaders as part of a campaign to clear the land for corporations. Today, the Lumad face continued oppression, and Mindanao is currently under martial law.


高中的时候,他常常画一些政治漫画,到了大学期间,他又加入了一个抗议艺术团体。所以每当他对视频游戏世界感到厌倦时,他就会马上投身政治街头艺术。但紧接着他就引起了军方的注意。2015 年,他加入了“要食物不要炸弹反战团体” (Food Not Bombs) 组织的一次活动。这个团体常常给穷人派发免费食物。在这次活动中,他画了一个年迈的女人,头上戴着用子弹制成的荆棘冠冕。旁边写着一句话:“Stop Lumad Killing” (停止在卢马德的杀戮),这是当时上了 Twitter趋势的标签,指的是当年接连发生的针对卢马德部落领袖的谋杀事件。卢马德是菲律宾国内的主要土著部落,主要位于南部的棉兰老岛。有人指责军方,称他们是谋杀者背后的支持力量,目的是给大集团企业清除障碍。今天,卢马德依然要面对持续不断的压迫,棉兰老岛目前也处于戒严。

Early one morning a short while later,  someone in plain clothes approached Oclos on his way to work and put him in a headlock, choking him. After wrestling for a few moments, the man let him go. “I could tell he was military because of his hair cut, his muscles, and the way he talked. There were three or four of them, and the others were guarding him,” Oclos says. The man told him he knew who he was and where he lived. “Then he gave me a brown envelope containing pictures of my girlfriend, who is now my wife, and a lot of my relatives: my grandparents, uncles, parents—even the kids, my cousins.”

It backfired, though, and rather than scare him off, it motivated him to paint even more: “It made me see the power of street art. Simple, two-dimensional art with no sound or moving images can still impact the system. It’s a way to speak up.”


Oclos 在上班途中突然被一个身穿便服的陌生男子用手卡住脖子,让他难以呼吸。争斗了几分钟后,那名陌生男子就放了他走。“我知道他是军队的人,他的发型、肌肉和说话的方式让我确信这一点。他们有三四个人,其他人就在旁边帮他守着。” Oclos 说道。那个男人说知道他是谁,也知道他住的地方。“然后,他给了我一个棕色信封,里面是我当时的女朋友,也是我现在的妻子的照片,还有我很多亲人的照片:我的爷爷奶奶、叔叔、父母,甚至还有小孩,我的表兄弟。”

然而,这次事件却并没有把他吓跑,而是促使他继续创作更多作品。“这让我看到了街头艺术的力量。这种简单、二维平面的艺术,没有声音或动图,却仍可以影响到社会。这是人们发声的一种方式。”

Recently, Oclos created his biggest political work to date, tackling the subject of extra-judicial killings here. After winning a Thirteen Artists award from the Cultural Center of the Philippines, one of the nation’s highest recognitions in the arts, he painted a mural on one of their outdoor walls. It depicted a dead body, rendered in black lines on a white background. He says the more than 20,000 strokes that make up the piece represent the amount of people estimated to have been killed in the country’s drug war led by the president, Rodrigo Duterte.


近日,Oclos 创造了他至今最大幅的政治主题作品,主题是当地法外处决的问题,并获得了菲律宾文化中心颁发的 Thirteen Artists 大奖——菲律宾艺术界最高奖项之一。随后,他又在一幢户外墙上绘画了一幅壁画作品,用黑色线条在白色背景上画了一具尸体。他说,这幅作品共画了2万多笔,代表了人们所估计在该国毒品战争中被杀害的人的数量这场毒品战争是由菲律宾总统罗德里戈·达特 (Rodrigo Duterte) 所发起的。

While taking a break from painting the mural, an elderly woman approached Oclos, saying that the piece was inappropriate, that it was overly negative. “I tried to convince her that we should see the face of death in order to appreciate the value of life,” Oclos argues. “Nowadays killing is normalized, which conditions people into thinking it’s okay to kill people. But it’s not.”


休息的时候,一位年迈的妇女上前跟Oclos说画这样的画不合适,太过消极了。“我试图说服她,我们应该直面死亡,才能体会生命的价值。” Oclos解释道,“如今杀戮被常规化,让人们慢慢对杀戮这个问题麻木起来。但这是不对的。”

Instagram: @tatak_a

 

Contributor: Mike Steyels
Photographer: Ed Enclona

Chinese Translation: Olivia Li
Additional Images Courtesy of Archie Oclos


Instagram: @tatak_a

 

供稿人: Mike Steyels
摄影师: Ed Enclona
英译中: 李秋群
附加图片由 Archie Oclos 提供

Film X — Kodak Color Plus 200 柯达胶片,暖得发烫的复古时光

February 13, 2019 2019年2月13日

This story is part of a content partnership and media exchange between Neocha and VSCO. Their membership program, VSCO X, is designed to help you reach your creative potential. Take the next step in your creative journey by starting your free 7-day VSCO X trial today and gain access to the complete VSCO preset library, the newest editing tools, and inspiring educational content.

Kodak Color Plus 200 – KCP2 is the latest addition to VSCO’s line of Film X presets. Widely thought to be Kodak’s Kodacolor VR 200 from the 1980s in new packaging, Kodak Color Plus 200 has an authentic vintage look and is still available as an affordable 35mm film. With its low contrast, low color saturation, and slightly warm inclination, KCP2 is well suited for a wide variety of subjects, but especially excels at casual snapshots and portraiture.


本篇文章来自新茶媒体合作伙伴 VSCO 的内容交换。VSCO X 是一个专门帮助摄影爱好者发挥创造潜力的会员项目。现在就开启你的 7 天免费 VSCO X 试用创意之旅,即可获得的 130+ 预设滤镜,以及新的编辑工具、视频编辑和教程内容。

Kodak Color Plus 200(简称为 KCP2)是 VSCO Film X 胶片模拟滤镜系列中新加入的成员。被广泛认为是柯达 Kodacolor VR 200 在 1980 年代换上包装推出的新版,Kodak Color Plus 200 能让你的照片真正复古起来,至今仍是 35mm 胶片类别里一个经济实惠的选择。这一款型号的胶片具有较低的对比度和色彩饱和度,以及略偏温暖的色温,非常适用于拍摄各种各样对象,尤其是休闲快照和人物照。

Before and after / 滤镜前后效果
Before(前)
After(后)
Before(前)
After(后)

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