All posts by Chen Yuan

Experiment with High Saturation 来一场高饱和度的视觉盛宴

July 17, 2019 2019年7月17日
Image by bellkitsos 图片来自 bellkitsos
AU5

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

With high saturation, you can transform ordinary surroundings into mosaics of color and contrast. Rich, tonal hues define this look and color takes the center stage. Achieving this look yourself can be done with a few simple tricks. Check out these approaches you can use to experiment with high saturation.


本篇文章来自新茶媒体合作伙伴 VSCO 的内容交换。VSCO 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 天免费试用,获取完整的预设滤镜,以及新的编辑工具、视频编辑和教程内容。

用高饱和度设置,你可以把普通的环境变成富含色彩和对比度的照片。丰富的色调定义了这种效果,而色彩则占据了图片的重心。你只需通过一些简单的技巧来达到这种效果。看看这些可以用来试验高饱和度的方法吧。




High Saturation Presets


高饱和滤镜

Image by thesolipsist 图片来自 thesolipsist
AU5
Image by greatsabri 图片来自 greatsabri
AU5
AU5

Agfa Ultra 50 is definitively known for its intense color saturation. AU5 is perfect for experimenting with rich colors and warm tones, especially when reds and yellows are part of the composition. Though traditionally used with landscapes, this preset can help push the boundaries of other genres as well.


AU5

Agfa Ultra 50 是公认的、强烈的彩色饱和度的滤镜。AU5 非常适合色彩丰富、色调温暖的照片,尤其是红黄两色为组成调的时候。虽然通常这个滤镜会与风景照一起使用,但这个预设也可以用作其他更多用处。

Image by amjordan 图片来自 amjordan
KE1
KE1

Kodak Ektar 100 is a favorite for creating saturated, color-filled images. It was designed to hold up in a variety of lighting conditions, even afternoon sun, but like most Kodak films, it has a warming effect perfect for evening and morning light. Its high saturation and bold contrast sets it apart and has helped it become one of our most popular Film X presets.


KE1

柯达 Ektar 100 是最受欢迎的饱和、彩色填效果之一。它原先是为各种照明条件设计的,甚至午后的阳光直射也可以。但就像大多数柯达胶卷一样,它色调温暖,对晨暮的阳光展现尤其完美。其高饱和度和强烈的对比,使其与众不同,并已帮助它成为我们最受欢迎的胶片滤镜之一。

Image by daviddahlia 图片来自 daviddahlia
FR4
FR4

Fujifilm Provia 400X is great for high saturation without overwhelming warmth. Fujifilm is known for cooler tones, and FR4 is no exception. If you’re looking deepen colors while maintaining a more natural look, try slightly underexposing with FR4 and you’ll notice how blues and greens are especially targeted with this preset.


FR4

富士胶片 Provia 400X 可以创建高饱和度、没有温暖主调的照片。富士胶片以冷色调著称,FR4 也不例外。如果你正在寻找暗沉颜色的滤镜,同时又要保持自然的外观,可尝试在一张低曝光的照片上使用 FR4,你会发现它是如何通过蓝绿两色来实现这个滤镜效果的。

Tools for High Saturation


高饱和工具

Saturation

Use this tool to quickly boost all of the colors in your image. Increasing the slider will enhance and deepen hues, especially in areas where color plays a dominant role.

HSL

The HSL tool gives you full control over individual colors in your image. This enables you to increase the saturation of specific areas, like a blue sky or a yellow car.

Contrast

Though not directly shifting color, increased contrast can help emphasize and intensify the colors by brightening mid-tones and darkening shadows. This can help areas of color pop out from their surroundings.


饱和度

使用此工具可以快速加强图像中的所有颜色。增加滑动条将增强和加深色调,特别是在色彩占主导地位的地区。

HSL

HSL 工具可以使你可以完全控制照片中的个别颜色。这可以让你增加特定区域的饱和度,比如蓝色的天空或者一辆黄色的汽车。

对比度

虽然不是直接变换颜色,但增加对比可以通过明亮的中间色调和暗影,来帮助强调和加强颜色。这个功能可以帮助颜色区域从周围背景中分离出来。

Capturing High Saturation


捕获高饱和度的瞬间

Image by jeffmercado 图片来自 jeffmercado
AU5

High saturation images can start before you even hit the shutter. Always look out for bold colors that can enliven a composition—neons and bright reds are especially good at this. Finding the right light also helps—afternoon sun is often harsh and washes out color, instead, try shooting in the morning or evening when the sun is lower in the sky. Heading outside after some rain is also a great way to catch colors at their peak.


高饱和度图像的拍摄,甚至可以在你按下快门之前就开始。记得保持寻找大胆的、可以点亮照片颜色的元素——比如霓虹灯和明亮的红色在这方面就特别合适。寻找合适的光线也有帮助——下午的太阳通常会很刺眼,会冲淡颜色本身,你反而可以尝试在早晨或傍晚太阳落山的时候拍摄。当然,在雨后外出也是在捕捉颜色的好时机。

How to Take Low-Key Shots 如何拍摄一张低调但奢华的照片

July 9, 2019 2019年7月9日

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

Experimentation can help keep your photography practice fresh and lead to unexpected outcomes. In this tutorial, we explain a few ways you can make low-key images with subdued light and nuanced detail. Share what you create on VSCO.


本篇文章来自新茶媒体合作伙伴 VSCO 的内容交换。VSCO 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 天免费试用,获取完整的预设滤镜,以及新的编辑工具、视频编辑和教程内容。

实验可以帮助你保持你的摄影练习新鲜感,并导致意想不到的结果。在本教程中,我们将说明一些方法,你可以让柔和的光线和微妙的细节使照片显得更低调。在 VSCO 分享你创造的作品吧。

Capturing low-key images


捕捉低调光影

Image by dogsbff 图片来自 dogsbff

A low-key image can be achieved in most lighting conditions with the right methods. Seek out isolated subjects and any small glimpses of highlights. Emphasize any surrounding shadows for a quiet and intimate feel.


大多数情况下,一张低调的照片,只要用对方法,一般光照条件就能实现:找出单一的拍摄对象和任何微小的亮点。强调周围的任何阴影,以营造一种安静亲密的感觉。

Set the exposure based on the brightest areas in the scene. When framing your photo, tap and drag downwards to set the focus and to control the amount of underexposure for that particular shot.


根据场景中最亮的区域设置曝光。在拍摄照片的时候,点击并向下拖拽来设置焦距,且需控制拍摄时低曝光的幅度。

Editing for low-key shots


Exposure —
 One of the most common ways to make an image darker is done by reducing the exposure. If you shoot in RAW, you can manipulate an even greater deal of detail in your editing process.

Contrast — Depending on the desired outcome, adjust your contrast up or down incrementally. Lowering contrast evens out tones, while increasing contrast makes the difference in values greater, so dark tones get even darker.

Shadows — Try raising your shadows to bring some light back into the darker parts of the image, but not too much.


编辑让作品更低调


曝光
——最常见的使图像变暗的方法之一就是减少曝光。如果你用 RAW 拍摄,就可以在你的编辑过程操纵更多的细节。

对比——根据所需的效果,调整你的对比,向上或向下增量。降低对比度甚至会降低色调,同时增加对比度会使数值差异变大,所以暗色调会变得更暗。

阴影——尝试加大阴影,以带来一些光回到较黑暗的部分的形象,但不要太多。

Image by katyshayne 图片来自 katyshayne
Image by topasamper 图片来自 topasamper

Image recipes


照片编辑设置

I Don’t Want You to Know 女孩子的“树洞”

July 8, 2019 2019年7月8日

At first glance, the simple lines and shading of Fang Xiaonao‘s comics make them look like any classic Japanese manga. Only a few pages in does it become apparent that they’re all about young women’s experiences, and that they have an exceptionally light and delicate touch. Many of the stories are lifted straight from real life and set down in manga form.

After graduating from the Beijing Film Academy with a degree in animation, Fang went on to Kyoto Seika University to continue studying manga, and today she’s a full-time comic artist in Tianjin, with three published books to her name.


一眼看方小孬的漫画,用色和线条都很简单,像极了从小看的日漫,但几页翻过去,才惊觉这其中塞进了许多女生的小心思,非常细腻温馨。这些场景,很多都是从生活里撷取而来,方小孬用漫画的形式记录着。

毕业于北京电影学院动画艺术专业的她,又赴京都精华大学继续研究漫画绘本,如今已是一个出了三本书的专职漫画家,定居天津。

“I’m a pretty emotional person, and I’ll often be moved by some little thing I notice in my daily life,” Fang says. “For example, when taking the subway to see a friend off at the train station, my imagination will start going into overdrive at the idea of ‘seeing off someone close to me.'” Some of the stories in the comics are directly modeled on these experiences, and looking back over them brings a smile of recognition to her lips. “Putting them on paper, to a certain extent, means storing up the memories.”


“我是个比较多愁善感的人,经常会被生活上观察到的一些细微的小细节触动。”小孬说,“比如坐地铁送闺蜜去火车站,就会因为送重要的人去火车站这个事件而脑洞大开,展开想象。”而有些直接以生活为原型的故事创作的漫画,每每回看,就一定是会心一笑的。“幸好画下来,算是某种程度上的记忆储存了吧。”她说。

Fang’s recent manga series I Don’t Want You to Know is full of young women’s experiences of yearning and unspoken love. “This one is different from my previous books, which were sort of bland,” she says when asked about her intentions. “It’s more a book for helping readers think about love’s different forms.”

As she candidly admits, she’s gone through a lot in the past three years. “I reached the biggest crossroads I’ve ever encountered on my journey,” she says. Her previous works, such as Apartment for Three, had sweet, feel-good subject matter. “Back then my life was very innocent, or very simplistic, and every day I was showered in love. That book doesn’t have an edge. It’s bland—it can’t be considered my best work,” she says.


小孬最近新出版的漫画系列叫《才不要让你知道》,充满着女生关于心动、暗恋和爱情的种种小情绪。问及这本书的创作初衷,小孬说:这是一本区别于前面温吞的作品,更多是去帮助读者思考爱的形式的作品。

过去的三年里,她坦言经历了很多事情,“在人生道路上来了个前所未有的大劈叉。”之前的作品,比如《三味合租屋》,是很温柔很温馨的题材。“那时的自己生活也是很单纯,或者说很单一,每天都被满满的爱包裹着。作品没有锋芒,很温吞。所以不能称得上是‘代表作’。”她说。

“Then two years ago, I went through some emotional distress. As a form of therapy, and to console myself, I drew some comics and published them in a magazine geared toward girls,” Fang says. Out of the blue, she received messages from women saying that her comics helped them finally get over their heartbreak. “I was really moved, and I thought, if my comics can offer love and hope to more women, then my work will have meaning.”

And that’s how I Don’t Want You to Know was born.


“直到前年,我经历了感情上的挫折。那段时间为了自愈,画了一些鼓励自己的漫画作品发表在面向青少年女生的杂志上。”没想到的是,小孬竟然收到了一些女孩子的私信,表示这些漫画治愈了在失恋中踌躇不前的她们。“我很受感动。想到如果自己的漫画能带给更多女孩子爱与希望,那我的创作就是有意义的。”

所以《才不要让你知道》诞生了。

Now that she’s completed this book, she can look back on her previous self and appreciate that, even though she never planned on exploring these topics, she’s grown in the process.  “I hope that this book can give girls a sense of how beautiful love is, as well as how fickle. If they’re aware of the fickleness, they can protect themselves while giving themselves over to love,” she says.

Now Fang knows what direction she wants to take her art in: serious manga for women. Far from the popular “harem” genre, with its clichéd stories of women vying with one another for a man’s attention, Fang wants to create thoughtful works that address contemporary gender relations and explore how women can find emotional fulfillment in a male-dominated society.

I Don’t Want You to Know is now available on JD.com and in select bookstores across China.


等创作告一段落,再回过头看看之前一段时间的自己,方小孬觉得虽然姿态很被动,但换个角度来看,亦是一种成长。“我希望能通过这本书,让女孩子们体会到爱情的美好以及无常,在知道无常的前提下,保护好自己,再去投入爱情。”

现在的小孬,已然明确了想创作的方向:比较严肃的成年女性漫画。区别于内地网路上的“后宫漫画”,小孬更想认真地去讨论现在生活中的两性关系,以及女性处在这个男权社会体系下,怎样去成全自己的情感。

《才不要你知道》现已于京东和其他渠道发售。

Like our stories? Follow us on Facebook and Instagram.

 

Weibo: ~/fangxiaonao
Douban: ~/fangxiaonao

 

Contributor: Chen Yuan
English Translation: Allen Young


喜欢我们的故事?欢迎关注我们 Neocha 的微博微信

 

微博: ~/fangxiaonao
豆瓣: ~/fangxiaonao

 

供稿人: Chen Yuan
中译英: Allen Young

Drawing Out the Hurt 魑魅魍魉的小清新

July 3, 2019 2019年7月3日

“When people talk about my illustrations, they often say they’re frightening or gruesome,” says Piru, a Korean illustrator in Seoul. “Maybe that’s because the characters have blank expressions, and parts of the bodies are drawn as bones.”

A ribcage over a multicolored heart, a torso half-hidden in ghostly trees: despite her gruesome subjects, she uses a soft palette, often creating a strong visual dissonance.


当人们谈论我的插画,会说它们是可怕的、令人毛骨悚然的。这么说的理由可能是画中的人物都没有表情,而且部分躯体被画成了骨头。来自韩国首尔的插画师 PIRU,这样说起人们对她插画的评价。

悬挂在多彩心脏上的胸廓、鬼魅树影里隐约的胴体——PIRU 的画虽然风格诡谲,用色却很清新,时常给人以一种强烈的视觉反差。

Piru has been drawing since she was a child, but she didn’t formally launch her career as an illustrator until 2016. In the past she disliked expressing negative feelings, but in illustration she eventually found an outlet for her emotions. “I used to think showing my negative side was shameful,” she says. “But now I’ve learned that if your negative feelings don’t get an external release, things usually get much worse.”

The characters in her illustrations seem to wear deadened expressions, as though they’ve experienced some unimaginable grief. But Piru says they’re overcoming sorrow in their own way. She depicts their process of silently bearing pain and waiting for it to pass. “In life, people feel different feelings differently,” she explains. Her pictures show her fragile, struggling inner world, but they also provide a refuge, a place for healing. “I look forward to finding calm, with the passage of time, even though I also know that new sorrows might arrive. If you let time settle things and patiently endure, the clouds will part once more.”


虽然从小喜欢画画,但 PIRU 正式开始插画生涯是 2016 年。以前不喜欢暴露负面情绪的她,在工作后慢慢找到了通过插画来宣泄感情的方法,“以前我觉得展现负能量的一面很羞耻,但之后我发现如果内心的负面情绪没有向外得到释放,事情往往会变得更糟。

乍一看,插画中的人物表情像是心如死灰,经历着难以想象的铭心痛苦,但 PIRU 说,他们是在以自己的方式去克服战胜这种苦难,她是在描绘这种静静忍受并等待痛苦过去的过程。“人们各自感受着不一样的感受在生活。 ” 她说,画面表现出她脆弱挣扎的内心世界,却也像提供了一处避难所,能让人从中得到治愈。“虽然期待随着时间的流逝之后可以得到平静,但我也知道还会有其他痛苦到来。只是一切都需要时间的沉淀,慢慢熬过去,一定会有云开雾散的那一刻吧。”

Like our stories? Follow us on Facebook and Instagram.

Behance: ~/PIRU So
Instagram: @ssopiru


Contributor: Chen Yuan
English Translation: Allen Young


喜欢我们的故事?欢迎关注我们 Neocha 的微博微信

Behance: ~/PIRU So
Instagram: @ssopiru


供稿人: Chen Yuan
中译英: Allen Young

Mixed Lighting at Home 家里的光照比你想象的更适合拍照

July 3, 2019 2019年7月3日

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

As the sun sets into the night and natural light becomes scarce, get creative with the artificial light sources available around you. Illuminate your scene by candlelight, a glow from your phone screen, or a beam from the open refrigerator door.

VSCO’s Artificial Light series is a preset pack that softens or boosts the effects of LED, fluorescent, or mixed lighting scenarios. Ideal for indoor, food, and night photography, AL1-AL6 can transform scenes with tricky lighting to appear either more natural or even supernatural.


本篇文章来自新茶媒体合作伙伴 VSCO 的内容交换。VSCO 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 天免费试用,获取完整的预设滤镜,以及新的编辑工具、视频编辑和教程内容。

当夕阳西下、夜色笼罩时,不如用你周围可用的人造光源来发挥创造力吧。试试用烛光照亮你的取景地,手机屏幕上的光芒、打开的冰箱门的光,都可以成为这样的光源。

VSCO 的人造光系列滤镜包是一个适合用在 LED、荧光或混合照明环境下,以柔化或提高相片光照效果为主的整套滤镜。不论是室内、食品或夜间摄影,在这些不容易拍摄的光线下,AL-AL6 都能让你的照片看起来更自然——或者甚至超自然。


Combine Light Sources



结合多种光源

Explore and experiment with unexpected forms of lighting in your own home. Get creative and pair different kinds of light together, such as the sun’s natural glow with a candle’s flame or the bold color of a lava lamp with a nightlight. The combinations and possibilities are limitless and can produce unique results.


探索、试验你家里各种意想不到的照明光吧。将不同种类的光创造性地结合在一起,比如太阳的自然光芒和蜡烛的火焰,或是结合夜灯的鲜艳色彩。这些组合和可能性是无限的,可以产生独特的效果。


Soften colors with AL5



AL5 柔光色

Multiple lighting sources can have a chaotic effect on colors in an image. Try creating harmony from the unique mixture of lighting sources with AL5.


多光源可能会对图像中的颜色产生混乱的影响。可以用 AL5 以和谐混合光源带来的纷乱感。


Boost colors with AL6



AL6 提亮色彩

Embrace the unexpected and striking look that results from a combination of multiple kinds of light. With AL6, play to the light’s strengths and emphasize bold color.


由多种光线组合会产生的意想不到、引人注目的图片效果,用 AL6 发挥光的力量、强调大胆的颜色吧。

Tips for Documentary Photography 你不知道的纪实摄影小技巧

June 26, 2019 2019年6月26日
Image courtesy of The Digital Public Library of America's Changing New York archive. Changing New York archive. 图片由美国数字公共图书馆 Changing New York 提供

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

Berenice Abbott, a renowned twentieth-century photographer, viewed taking pictures as a way to document reality deeply, honestly, and accurately. On a radio interview, she once said, “Documentary photography tries to get at the root of things. . . . We cannot go on just looking at things on the surface. . . . This means getting at things as they really are, which is not always pretty; in fact, almost never pretty.”[1]

She maintained this objective approach to photography when working on Changing New York, a photo project that focused on the radical transformation of New York City from 1929 through the 1930s.[1] She captured 300-plus photos that show the city’s architecture, a diverse array of people, and their way of life amidst change.[2]

View a selection of Abbott’s work below, with helpful insights you can apply to your own photography.


本篇文章来自新茶媒体合作伙伴 VSCO 的内容交换。VSCO 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 天免费试用,获取完整的预设滤镜,以及新的编辑工具、视频编辑和教程内容。

20 世纪著名摄影师贝伦尼斯·阿博特(Berenice Abbott)认为拍照是深入、诚实、准确地记录现实的一种方式。在一次电台采访中,她曾经说:“纪实摄影试图找到事物的根源。我们不能继续只看表面上的东西。这意味着要得到他们真正的东西,哪怕并不总是漂亮的;事实上,几乎从来都不漂亮。”[1]

她在拍摄“改变纽约”时,保持了这种客观的摄影方法,这个摄影项目主要关注从 1929 年到 1930 年代纽约市的彻底变革。[1]她拍摄了三百多张照片,展示了这个城市的建筑,不同的人群,以及他们在变化中的生活方式。[2]

浏览下面 Berenice 的作品选集,你可以把她那些建设性的见解用到自己的摄影作品中。

Look for Change


寻求变化

Image courtesy of The Digital Public Library of America's Changing New York archive. Changing New York archive. 图片由美国数字公共图书馆 Changing New York 提供

Abbott photographed the transformation of New York City into an urban metropolis. She documented old, historical buildings before they were torn down and skyscrapers constructed in their stead.[1]


Berenice 拍下了纽约转变为国际大都市的照片。她记录了那些古老的历史建筑,历经拆毁,最终由摩天大楼来代替城市面貌的过程。[1]

Image courtesy of The Digital Public Library of America's Changing New York archive. Changing New York archive. 图片由美国数字公共图书馆 Changing New York 提供

In addition to capturing the before and after, she often looked for moments where old and new stood juxtaposed — a horse and carriage beside an automobile or a brick building dwarfed by a modern high-rise.


为了捕捉前后对比的照片,她还常常寻找新旧并存的那些场景——汽车旁货真价实的马车,现代高层建筑边上矮得相形见绌的砖瓦老房。

* Try this — Like Abbott, look for advancements happening around you, being mindful of both developments that happen quickly (like technological improvements) and those that happen subtly over time (like a person aging). Consider what about the present you want to preserve for the future. To get started, look for things that feel slightly out of place, either because they feel a bit outdated or because they feel new and unfamiliar.


*试试这个——就像 Berenice 一样,寻找你周围正在发生的改变,留心那些迅速发生的变化(比如技术革新)和那些随着时间而微妙发生的事情(比如一个人的变老)。想想那些你会想为将来留下的现在的记忆。开始前,可以找找那些感觉有点过时的东西,要不是那些感觉有点老旧的东西,要不就是感觉起来新鲜和不熟悉的东西。

Image by howiehowei 图片由 howiehowei 提供

Use Composition to Express a Feeling


用构图传达感情

Image courtesy of The Digital Public Library of America's Changing New York archive. Changing New York archive. 图片由美国数字公共图书馆 Changing New York 提供

As New York City was rapidly developing, Abbott felt a growing disconnect between progress and preserving people’s humanity. “I may feel that the skyscrapers are beautiful and majestic,” she said. “Or I may feel that they are ugly, inhuman, illogical, ridiculous, pathological growths which have no place in the planned city. Whatever I think and feel about the skyscrapers, I say through understanding of and application of composition.”[1]


随着纽约市的快速发展,Berenice 感到进步和保护人们的人性之间的差距越来越大。她说:“我可能觉得这些摩天大楼既美丽又雄伟。”“或者我可能觉得它们是丑陋的、非人的、不合逻辑的、荒谬的、病态的成长,而这些在规划中没有立足之地。无论我对摩天大楼的看法和感受如何,我都是通过对构图的理解和运用来表达的。”[1]

Image courtesy of The Digital Public Library of America's Changing New York archive. Changing New York archive. 图片由美国数字公共图书馆 Changing New York 提供

By aiming her camera up at the towering buildings, she made the structures appear threatening and foreboding. By shooting downwards from the tops of the skyscrapers, she captured people as mere dots on the street below, giving the sense that the city overshadowed people’s individuality.[1]


她把照相机对准了高耸的建筑物,使它们显得有威胁和压迫的感觉。她从摩天大楼的顶端向下拍摄,将人们描绘成下面街道上的小不点,给人的感觉是这个城市的魅力盖过了人们的个性。[1]

Image courtesy of The Digital Public Library of America's Changing New York archive. Changing New York archive. 图片由美国数字公共图书馆 Changing New York 提供

* Try this — When you are shooting, think about how your perspective expresses how you feel about the subject you are documenting. For example, to convey that you feel part of a scene, try shooting from your waist. The image will likely take on the aesthetic of a snapshot, showing that you were present in the moment rather than just an observer.


* 试试这个——当你拍照的时候,想想你的观点是如何表达你对你所记录的主题的感受的。例如,为了表达你感觉到了场景的一部分,试着从你的腰部拍摄。这幅图片可能会呈现出一种快拍式的美感,显示出你身在现场,而不仅仅是一个旁观者。

Image by josephgreer 图片由 josephgreer 提供

Document a Complete Story


记录一段完整的故事

Image courtesy of The Digital Public Library of America's Changing New York archive. Changing New York archive. 图片由美国数字公共图书馆 Changing New York 提供

Although Abbott is most often recognized for her architectural images, her goal was to produce a thorough portrait of New York City, and that meant documenting much more than just the buildings.[1]


尽管 Berenice 的建筑照最为人熟知,但她的目标是对纽约市进行一次彻底的描绘,这意味着,她记录的绝不仅仅是建筑物。[1]

Image courtesy of The Digital Public Library of America's Changing New York archive. Changing New York archive. 图片由美国数字公共图书馆 Changing New York 提供

She explained it this way, “Everything in the city is properly part of its story — its physical body of brick, stone, steel, glass, wood, its lifeblood of living, breathing men and women. Streets, vistas, panoramas, bird’s-eye views and women’s-eye views, the noble and the shameful, high life and low life, tragedy, comedy, squalor, wealth, the mighty towers of skyscrapers, the ignoble facades of slums, people at work, people at home, people at play — these are but a small part of the city.”[1]


她这样解释:“城市中的一切都恰如其分——它的物质身体是砖块、石头、钢铁、玻璃、木头,它的生命之源,活生生的男女。街道、风景、全景、鸟瞰的视野和女人的观角,奢靡而可耻的、高尚或低贱的生活,悲剧、喜剧、肮脏、财富,摩天大楼的巨塔,贫民窟的丑陋外表,上班的人、不上班的人、玩闹的人——这些只是这个城市的一小部分。”[1]

Image courtesy of The Digital Public Library of America's Changing New York archive. Changing New York archive. 图片由美国数字公共图书馆 Changing New York 提供

* Try this – While your project may not be as exhaustive as Abbott’s, try taking whatever subject matter you are shooting and photograph it from as many angles as you can think of. Make it your goal to document something as completely as possible. Shoot a scene from above, below, and straight on. Then play with distance, moving close to photograph the details within the scene or further away to understand scale.


* 试试这个——虽然你的项目可能没有贝伦尼斯的那样详尽,但尽力尝试捕捉任何题材,并从尽可能多的角度拍摄。你的目标是尽可能完整地记录一些事情。从上往下拍摄一个场景,然后一直拍下去。然后和距离玩闹吧,在现场或更远的地方,移动靠近,去拍摄细节。

Image by ericvannynatten 图片由 ericvannynatten 提供
Image by ericvannynatten 图片由 ericvannynatten 提供

Sources:
[1] Yamada, Takayuki. “An Analysis on Berenice Abbottʼs ‘Changing New York’: People and Lives of the Heterogeneous City.” Waseda Rilas Journal, Oct. 2016, www.waseda.jp/flas/rilas/assets/uploads/2016/10/Rilas04_225-241_Takayuki-YAMADA.pdf.
[2] Synan, Abbie. “Berenice Abbott: Feminist Pioneer Of NYC Photography.” Culture Trip, 28 Oct. 2016, www.theculturetrip.com/north-america/usa/new-york/articles/unique-new-york-a-changing-city-through-the-lens-of-photographer-berenice-abbott.


来源:
[1] Yamada, Takayuki. “一篇关于 Berenice Abbott 的《改变中的纽约:异质城市的人与生活》的分析” Waseda Rilas Journal, 2016 年 10 月刊, www.waseda.jp/flas/rilas/assets/uploads/2016/10/Rilas04_225-241_Takayuki-YAMADA.pdf.
[2] Synan, Abbie. “Berenice Abbott: 纽约市摄影的女性先锋” Culture Trip, 2016 年 10 月 28 日, www.theculturetrip.com/north-america/usa/new-york/articles/unique-new-york-a-changing-city-through-the-lens-of-photographer-berenice-abbott.

Into Dreams, into the Wind 到梦里去,到风里去

June 21, 2019 2019年6月21日
Chaos Theory 1898 (2014) 19 x 34 cm / Chinese ink and paper, an original painting from the animation 《混沌记 1898》(2014) 19 x 34 厘米 / 中国画颜料、手工禅衣宣纸、手绘动画原稿

Dreams layer sorrow atop endless sorrow.
In dreams everything has a sorrowful tinge.
In dreams I meet all my sorrows yet still push onward.
Dreams vanish upon waking, but sorrows remain.

These lines appear in When I Sleep, My Dreams Come, a new work by Liu Yi, who is currently an artist in residence at the Abbaye Royale de Fontevraud, in France’s Loire Valley. Born in 1990, Liu most often works in inkwash animation, a medium that incorporates the elegance and deftness of traditional Chinese brushwork and requires a considerable time and effort.

Maybe it’s the soft fluidity of ink, maybe it’s the artist’s natural sensitivity and care, but Liu’s works have a dreamlike quality that draws the viewer into the strokes and lines of her page.


梦将悲伤无限制的叠加,梦里的东西都带着悲伤的情绪
在梦里我遇见了所有悲伤,但是我依然愿意前往
梦在醒后逐渐消退,而悲伤的感觉一直在

这是最近在法国 Abbaye Royale de Fontevraud 驻留的艺术家刘毅为新作《当我睡着时,梦来了》写下的感悟。生于 1990 年的刘毅,最常用的创作媒介是水墨动画——这种融合了中国水墨画优美灵动的特质、制作起来又相当耗时费力的创作方式。

或许是沾染了水墨特有的温柔水汽,或许是创作者天生的敏感和细腻,刘毅的作品恰恰给人以“梦”的错觉,仿佛就游走在她毛笔勾勒的线条画里。

Still from When I Sleep, My Dreams Come 《当我睡着时,梦来了》片段截图
Still from When I Sleep, My Dreams Come 《当我睡着时,梦来了》片段截图

Liu first encountered inkwash painting as a child, when her curiosity was awakened by the ink seeping into the paper in the brush’s wake. The idea for inkwash animation came in college, while she was completing a storyboarding assignment.

While Liu goes about making each of her films in a different way, they all involve hand-painted scenes and stop-click animation. “I have to make the whole film myself from start to finish, so the animation process is exceedingly slow. A five-minute short takes at least a year to complete,” she says. “I want to make people aware of their everyday surroundings in a new way, to get them to pay attention to their everyday experiences, to awaken them to their own world.”


初初接触水墨画的时候,刘毅还是个孩子,水墨在纸张上氤氲开去的笔法,让她分外好奇。而大学时的一次画分镜脚本的经历,让她拾起了做“水墨动画”的念头。

虽然每个片子的创作方法不一样,但就刘毅目前的几个作品来说,都是通过她逐帧手绘的方式去做的,“一个片子的开始到结束都是需要自己亲力亲为,所以动画的制作是非常慢的,一个 5 分钟左右的短片,最快也要花一年多时间去完成。”刘毅说。“我想以一种新的方式让人们意识到自己的日常环境,关注日常的感受,引起对自身世界的感悟。”


Excerpt of Chaos Theory (2014) from Liu Yi’s Thrown into the Wind exhibition

《混沌记》(片段),2014 / 来自刘毅“扔到风里去”个展

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In her previous project, Chaos Theory, Liu painted the whirls and eddies of the wind. “It whips by at a hundred miles an hour, carrying away what was once etched in our hearts and the things we solemnly swore. But it can never return a balloon blown up and released from our hands,” she says. The ungraspable wind and elusive dreams are precisely what Liu Yi looks to share with viewers. How do memories and states with such immediacy and dynamism find us, and how do they influence us?

“If we can’t avoid becoming balloon-blowers, then I want to thank how the wind gives us the gift of dispersal,” she says.


在她此前的《Chaos Theory》里,她描绘风兜兜转转的模样,“它总是带走我们一度比较刻骨铭心,或是信誓旦旦的言语事件,时速百里。但它又从来不会将吹入空中的气球送回来。”刘毅说。而不可捕捉的风、难以琢磨的梦,正是刘毅不断在通过作品传递给大家的东西——这种即时性的、动态的记忆和情境,是如何与我们邂逅,又如何影响着我们。

“如果我们不可避免的成为了吹气球的人,那么,我要感谢风所赐予的烟消云散。”她说。

Chaos Theory 3742 (2014) 19 x 34 cm / Chinese ink and paper, an original painting from the animation 《混沌记 3742》(2014) 19 x 34 厘米 / 中国画颜料、手工禅衣宣纸、手绘动画原稿
Chaos Theory 1804 (2014) 19 x 34 cm / Chinese ink and paper, an original painting from the animation 《混沌记 1804》(2014) 19 x 34 厘米 / 中国画颜料、手工禅衣宣纸、手绘动画原稿
Chaos Theory 1108 (2014) 19 x 34 cm / Chinese ink and paper, an original painting from the animation 《混沌记 1108》(2014) 19 x 34 厘米 / 中国画颜料、手工禅衣宣纸、手绘动画原稿

Liu has a cool, detached attitude toward her future work. “Animation is always an experiment and an exploration, whether you’re creating something or just expressing yourself,” she says. “All sorts of challenges and problems can arise at each stage. It’s like a video game with different levels: you go through level after level, and as you acquire more weapons and items, you perhaps become a little more skillful.”


对于未来的创作,刘毅的心态也很淡然和超脱:“动画的创作一直需要实验和探索,每个阶段都会出现不同的挑战和问题,就像闯关游戏,一次次通关,直到自己领到那些武器,宝藏之后,也许以后会更游刃有余一些吧。”刘毅如是说。

Still from Chaos Theory 《混沌记》(2014) 片段截图
Still from Chaos Theory 《混沌记》(2014) 片段截图
Still from Chaos Theory 《混沌记》(2014) 片段截图

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Contributor: Chen Yuan
Chinese Translation: Allen Young
Additional Images Courtesy of ShanghART Gallery


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供稿人: Chen Yuan
中译英: Allen Young
附加图片由香格纳画廊提供

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Woodland Fantasies 月下逐鹿

June 3, 2019 2019年6月3日

In a forest wonderland, nimble fawns, snow-white foxes, and neon shooting stars fill the work of Guihua Huzi, an illustrator from Chongqing whose pen name translates to something like “Scribble Whiskers.” His endearing works draw viewers into each fairytale setting, offering them respite from worldly cares.


在深色森林的映衬下,来自重庆的插画艺术家鬼画胡子描绘了一个神秘仙境,灵动的小鹿、通体洁白的狐狸,还有闪耀着霓虹光彩的流星。鬼画胡子说。他的作品仿佛有一种魅力,能让人忘却尘世的纷扰,而为这童话般的环境深深迷住。

Guihua Huzi describes himself as “somebody who lives in a square box in a very ordinary residential building,” and the scenes he depicts on canvas are a way for him to live out his daydreams. “If I could, I’d like to go back to my village, far from the big city, and live a simple everyday life,” he says.

He hopes his art will resonate with viewers and evoke a nostalgia for distant lands and youthful innocence. More importantly, he wants to kindle in them a love and respect for the natural world that we share with other living creatures.


鬼画胡子说自己是生活在“很普通的居民楼里方孔形状里的一个人”,而画布则通过某种方式呈现他的梦想,“如果有可能,我想回乡下生活,远离都市生活,每天简简单单的就好。”他希望能够通过自己的作品唤起他人的共鸣感,唤起人们对远方和纯真的向往,更能唤起人们对那个关于与动物共存的自然世界的喜爱与尊敬。

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供稿人: Chen Yuan

Hung Out to Dry 晾起你的衣服来

May 13, 2019 2019年5月13日

How do you dry your clothes? Do you hang them in the sun? Let them dry indoors? Or use a tumble-dryer?

In the densely populated city of Hong Kong, even space for laundry is limited. Photographer Jimmi Ho’s series, Laundry Art, showcases how locals make creative use of what little space they have. “I wanted to offer a new perspective on the practice of hanging laundry in public in this cramped city,” he explains.


你是怎么晾干你的衣服的?是挂到窗外,架个晒台,还是自动烘干?

在香港这样高密度的人口聚集区,晒衣服的空间自然也被压缩。来自香港的何颖嘉(Jimmi.Ho),拍下了这一幕幕的晾衣奇景《Laundry Art》(《晒衣艺术》)。“我一直在努力拍出能给人以不同的视角的照片:那些晾晒的衣物、公共空间和拥挤的城市背景所组合而成。”

None of the photos are staged or altered. Ho says that he often takes random walks without a set destination and captures what he sees along the way. “But sometimes I find places beforehand on Google Maps,” he adds. “I’ll go to a place at least two or three times to observe just how the people hang their laundry, what tools they use.”

It’s common to see locals cleverly make use of utility poles or other public property to tie up their clotheslines. “I try to combine contrasting elements into my photos,” he says. “Some of the images may appear a bit surreal, but that’s actually how Hong Kongers dry their laundry.”


这些照片都不是他的“摆拍”。Jimmi 说,基本上他是随心所欲穿梭在香港的大街小巷拍到的,“有时候我会在谷歌地图上找到一个地点,可能造访两三次,去看看他们如何晒衣服、用什么工具这类的。”

绝大部分情况下,香港居民们都会巧妙地使用绳索电线杆这类的公共设施,来架设自己的晾衣线。“我拍照时会试图将两个看似相悖的元素组合到一个画面中,虽然这些照片可能看起来有点超现实,但却是香港公共区间晾衣的真实记录。”Jimmi 说。

One of the strangest places Ho’s seen people hang their laundry is up and down the handrails on a pedestrian walkway. “I sincerely admire the laundry skills and adaptability of Hong Kong’s residents,” he laughs.

Even though hanging laundry in the public is in a legal gray zone in Hong Kong, it’s a practice born of necessity. With a little ingenuity, locals explore and make the most of the public space around them. “Personal space has become more and more unaffordable, so any space that can be used is a precious commodity,” Ho says. “In a way, the laundry is inadvertently adding a sense of vitality to these public spaces.”


而最让 Jimmi 觉得“匪夷所思”的晾衣地点,他说是“盖住整个楼梯和扶手”的那处。“我真的很钦佩香港居民的晾衣技巧和他们的对空间合理利用的能力。”Jimmi 说。虽然在香港,把衣服晾到公共场所仍然是法律未经许可的灰色地带,但港城市民们是如此自发地回应了他们自己的需求,他们挖掘、创造和利用属于他们的公共空间。“当私人空间被压缩到极限,任何能用得到的空间都显得弥足珍贵。而晾衣服却无意中为公共地区增添了活力。”

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Website: jimmi-ho.com
Instagram: @jimmi.ho

 

Contributor: Chen Yuan
English Translation: David Yen


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网站: jimmi-ho.com
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撰稿人:  Chen Yuan
中译英: David Yen

Golden Hour at Home 夕阳西下的鎏金时光

April 24, 2019 2019年4月24日

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

To learn more about making the most of light in the comfort of home, we spoke with Stella Simona, a jewelry designer and creative director from Los Angeles, California. She has two brands Haati Chai and Amarilo Jewelry, as well as a blog, Chai Time, where she places her aesthetic touch on beauty, design and style.

Read her take on utilizing the golden hour.


本篇文章来自新茶媒体合作伙伴 VSCO 的内容交换。VSCO 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 天免费试用,获取完整的预设滤镜,以及新的编辑工具、视频编辑和教程内容。

为了进一步了解如何在舒适的家居中充分利用光线,我们和来自加州洛杉矶的珠宝设计师兼创意总监 Stella Simona 聊了聊。她有两个品牌 Haati Chai 和 Amarilo Jewelry,同时也运营着自己的博客 Chai Time,她把她的美学应用到美容、设计和生活方式之上。

往下可阅读她对“鎏金时光”的利用和理解。

VSCO: How did you come to consistently make images this way?

Stella Simona: Honestly, it took a lot of trial and error. I found myself spending all day trying to get a specific shot and I found there was only certain times of the day where I felt my vision was able to be executed. ​I eventually realized that mood I wanted to capture was highly dependent on a certain kind of light. This light has become one of my signature settings.


VSCO: 你是如何持续以这种风格来处理照片的?

Stella Simona: 老实说,这需要很多的尝试和错误。我发现自己花了一整天的时间试图拍一张特定的照片,却发现一天中只有特定的时间我觉得我能拍出我想要的视觉感的照片。​最终我意识到,我想捕捉的情绪高度依赖于某种特定的光线。这光已经成为我的标志性设置之一。

“My photos highlight my mood alongside a look that reflects me.”


“我的照片突出了我的心情,亦能折射出我的神情。”

VSCO: How does this evening light make you feel when experiencing it at home?

Stella Simona: The sun is always therapy for me. Golden light is warm, soft, dimensional. It produces a dreamy, nostalgic, romantic effect. On days when I don’t get to take in this time of day, I feel I’ve missed a big portion of the rituals that keep me balanced. It’s such a relaxing time of day.


VSCO: 当你在家体验傍晚的阳光时,你会有什么样的感觉?

Stella Simona: 阳光一直是我的治愈师。金色的光是温暖、柔软、立体的。它产生了一种梦幻、怀旧和浪漫的效果。当有些日子的黄昏时刻,我没有享受到的时候,我觉得我错过了让自己平衡下来的仪式。这是我一天中的放松时光。

VSCO: What is the importance of good lighting in your work?

Stella Simona: For my aesthetic, it is the core of the image. I have to always be very intentional with my choice of lighting because the right lighting makes or breaks the shot. When I photograph an image in golden light, I can leave the image almost as is and make the most subtle post-processing edits. To me, there’s more beauty to an image when it feels this raw.


VSCO: 良好的光照对你的作品有多重要?

Stella Simona: 就我而言,它是图片的核心。我必须总是非常有意识地选择光照,因为正确的光决定了拍摄的成败。当我在金光下拍摄一个图像时,我几乎可以让图像保持原样,并进行最微妙的后处理编辑。对我来说,这种让我感到原始感的照片更美。

To me, there’s more beauty to an image when it feels this raw.”


对我来说,这种让我感到原始感的照片会更美。”

VSCO: How are you controlling the light in your photos?

Stella Simona: In truth, the light I am most inspired by isn’t artificial. There is a need to be flexible, because golden hour comes at a very specific time of the day. It’s really important to learn the space you’re shooting in and calculate what time the light will be just right, since golden hour disappears very quickly. I have found that if it’s a new location, spending the full day before shooting helps to map out when the light I’m looking for will be present.

I love to create unexpected shadows by positioning certain objects or utilizing the natural shadows of the environment I’m in.


VSCO: 你是如何控制照片中的光线的?

Stella Simona: 事实上,我最受启发的光并不是人造的。我们需要灵活应变,因为黄金时间是在一天中非常特定的时间到来的。了解你正在拍摄的空间,计算光线什么时候合适是非常重要的,因为黄金时段很快就会消失。我发现,如果在一个新的地方,我会花一整天的时间去探索地形,以等我寻找的光线到来。

我喜欢通过放置某些物体,或者利用我所处环境的自然阴影,来创造意想不到的阴影。

VSCO: For you, what pairs best when styling a shoot at golden hour?

Stella Simona: I love to carefully utilize different elements that complement one another – textures, shapes, silhouettes, shadows. Shadow play is such a powerful and underutilized photo trick and with golden hour comes the opportunity to create shadows with beaming golden light that create the best moody images. I also often incorporate glassware with water to create rich reflections and add dimension to my images.


VSCO: 对你来说,在黄金时段拍照的时候,什么样的拍法最好?

Stella Simona: 我喜欢仔细地利用不同的元素——纹理、形状、轮廓和阴影——相互补充。阴影的利用是一个非常强大和未被充分利用的摄影技巧,黄金时段带来了创造阴影与灿烂的金色光,创造最佳的带有情绪感的图像的机会。我还经常把玻璃器皿和水结合起来,创造丰富的反射,并给我的图像添加多个维度。

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