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A Day with Shaun Evaristo 和 Shaun Evaristo 的一天

November 27, 2019 2019年11月27日



“When I’m dancing, a lot of the times everything goes black,” says Shaun Evaristo. “I’m conscious that I’m dancing but I’m not exactly sure what my body is doing. I’m letting the flow kind of take place.”

Evaristo is a world-class dancer and choreographer with an unmatched stage presence. For him, dance is freedom. Once he’s in the zone, nothing else seems to matter, and it shows in the way he moves. There’s an authenticity in the way that he carries himself. His movements seem more like an extension of the music, rather than something that accompanies it. One of the aptest descriptions of his dance explains it as “not an expression of his limbs, but an expression of his heart.” Evaristo’s consultant work for the hit TV show Hot Blood Dance Crew has brought him to China several times in recent years, and on a fair-weathered day in Shanghai, we caught up with him to chat and take a stroll through the city.


舞台上的 Shaun Evaristo,是那一个遥远的身影,自由舞动,旁若无人。你会发现他跳的舞和其他人不太一样,既不炫耀,也不煽情,而是放任身体自然地随着音乐流转,每一次律动都是如此真挚。有人说,他跳的舞“肢体不是动作的出发点,灵魂才是”。菲律宾裔美国籍的 Shaun 是一位世界级的顶尖编舞师和舞者,近年因为参加节目《热血街舞团》的关系频繁来到中国工作。在结束录制工作 Shaun 将回美国的前一天,我们幸运地和他约到采访。

The weather hadn’t yet turned cold on the day we met, and the sun shone with a gentle warmth. As we walked together along the streets of Shanghai, Evaristo was delighted by everyday scenes, like the streetside vegetable vendors or the old woman drinking tea as she stroked the cat at her feet. These scenes—novel for a Filipino American from California—formed the backdrop as he talked about growing up, his family, and what dance means to him.

这一天天气还不太冷,日光和煦,我们一起走在上海的街边,一路上 Shaun 惊奇于那些中国日常的街景,路边叫卖的菜贩、喝茶同时摸着脚边猫咪的老妇,在他眼里看来都是不平凡的风景。我们佐着这些景色,和他从过去聊到现在,那些关于他自己、舞蹈、和生活的吉光片羽。

“I’m just a kid who loves dancing,” Evaristo says, recalling his childhood years in California. As a child, he formed a dance crew with his cousin and a few friends. Recruiting members was easy: Evaristo’s mother made a mean spaghetti that no one could resist. Entire afternoons were whiled away practicing in the garage with his friends. These remain some of Evaristo’s fondest memories. “At ten years old, I knew I wanted to be a choreographer, I just didn’t know what it was called at the time. I invited people over and taught them dance moves that I made up. Seeing their happiness made me happy. It was something I could see myself doing for the rest of my life.”

After high school, Evaristo moved to Los Angeles to pursue his dreams. He didn’t want to be a dancer—he wanted to be a choreographer. “I knew I wanted to do choreography from the very beginning,” he says. “I love dancing, but creating something new is my true passion.

“我只是一个很喜欢跳舞的街头小孩。”Shaun 回忆起小时候的自己说道。六七岁时,他就和表哥和朋友们组成一个小小的舞团,用妈妈的手工意大利面作为诱饵吸引大家加入。最快乐的时光就是把自己关在家里的车库里,跳舞跳上一整天。

高中毕业后 Shaun 决定搬到洛杉矶,追寻舞蹈生涯。不过并不是以舞者的身份,而是编舞师。“其实打从一开始我就知道我想做的是编舞师。我喜欢跳舞,但创造才是我真正热爱的事情。”他回想起,“十岁时我就在编自己的舞,只是我当时不知道这叫编舞而已。我把学校里一些也喜欢跳舞的小孩找来,教他们我自己设计的舞步。看到他们脸上开心的表情,这让我好快乐。我觉得我可以一辈子都做这件事情。”

Evaristo’s style and approach to choreography are uniquely his own: for him, dancing is the most genuine form of emotional expression, and he uses choreography to plumb the unseen, unquantifiable essence hidden deep inside a person’s heart. “Choreography isn’t just about making up cool moves,” he says. “It’s about self-expression like any other art form—choreography is about opening someone’s mind.”

Our stroll takes us to a traditional market, and Evaristo stops in front of stalls selling vegetables, dried fruit, sundries, and more. Since he can’t speak Chinese, he gesticulates to communicate with the stall owners. Much like his dance, simple movements and a genuine smile expressed much more than words ever could.

Shaun 有着他一套非常独特的编舞风格和理念,即舞蹈来自最真实的情感表达。通过编舞,他所探触到的往往是那一块隐藏在人们心中不可见光、不可量化的内心质地。“编舞并不是在教你跳一些很酷的舞步而已,而是一种自我表达,像任何其他艺术形式一样。编舞的一切,是关于你如何打开别人的心。”


In Los Angeles, Evaristo runs the choreography studio The Movement Lifestyle, yet to say that he’s only a choreographer isn’t quite accurate. He also works as a dancer, artistic director, producer, a dance instructor, and more. The studio’s name sums up his life philosophy: he believes that everyone should keep their life in motion by doing what they love. “It’s like painters paint, chefs cook, and I dance. Dancing is a way, not the way. It’s just a tool, a medium. It’s just the first step.”

And the next step? Just to go on living. To keep up the forward momentum, to go on living, taking the bitter with the sweet.

平常 Shaun 在美国洛杉矶经营着编舞工作室 The Movement Lifestyle,此时此刻,只把他看作一位编舞师也不太合适。他身兼编舞师、舞者、艺术指导、制作和舞蹈教学等多种身份,Movement Lifestyle 除了是他工作室的名字,这两个词语动态(Movement)和生活(Lifestyle)也正好解释了他的生活理念——他相信每个人都要借由做着自己热爱的事情,让生活保持在动态之上。“就像画家借由画画,厨师借由料理,而我借由跳舞。舞蹈只是众多保持动态的方式之一,是一个道具,也只是第一步而已。”


Night was falling, and the sunset had slowly tinged the sky a neon color. We were all hungry, so we decided to get some Shanghainese food. We ordered a table full of local delicacies, including an eggplant dish with ground pork. Shaun is usually a vegetarian, so he picked out the minced meat and chowed down. “If I don’t have a more now, I might not be able to get this in the US!” he said.

It was getting late, and our group began to break up and go our separate ways. As we said our goodbyes, Shaun suddenly asked me, “What do you think happiness is?” So we stood by the side of the road, chatting about happiness and ideals. That day ended on this mostly romantic conversation. “Because dancing has changed my life so much, I have this really big want for others to see the same. I believe that art can change the world, I really believe that. Our just is just to do it, to use it, to share it.”

眼看时间来到傍晚,晚霞渐起将天色染成一片霓虹,我们一伙人都饿了,决定去吃道地的上海菜。Shaun 平常吃素,我们点了一桌山肴野蔌,掺着肉末的油焖茄子,他仔细地挑出肉粒再吃,“现在不多吃一点,回美国可能吃不到了!”

时间已经不早了,大家即将踏上各分东西的回家方向。生活本是如常,道别之际,Shaun 突然问我“你觉得幸福是什么?”于是我们就近站在路边,漫谈着所谓幸福和理想。这一天,就结束在这主旨浪漫的对话。“因为舞蹈改变了我的人生,所以我有这种很大的欲望,希望别人能跟我有一样的感受。我相信艺术可以改变这个世界,我是真的这么相信,而我们的工作就是去持续地做,去发挥,去分享它。”

Like our stories? Follow us on Facebook and Instagram.


YouTube: ~/MovementLifestyle
Instagram: @shaunevaristo


Contributor: Yang Yixuan
Photographer: Chan Qu, David Yen
Videographer: Ye Zi
Video Editor: Paul Gardette

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YouTube: ~/MovementLifestyle
Instagram: @shaunevaristo


供稿人: Yang Yixuan
摄影师: Chan Qu, David Yen
视频摄影师: Ye Zi
视频剪辑: Paul Gardette

How to Photograph Food 如何把食物拍得好看?

June 19, 2019 2019年6月19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.

What started as a daily routine, photographing and sharing her breakfast online, eventually led Stella Liu to a career change. When her food photography drew the attention of a company offering baking workshops in Taiwan, she transitioned from working as a financial management specialist to teaching classes on photography. Liu coaches students how to shoot on their mobile phones and edit with VSCO in order to document their food in a beautiful, appealing way.

Based on her experience shooting food over the last few years, Liu shares advice for improving photos of your cuisine.

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。

始于一个个人的小习惯,Stella Liu 每天都会拍下她的早餐并在网络上和大家分享,这个举动最后使得她的职业生涯迎来巨大的转变。她的食物摄影引起一家在台湾专门举办烘焙工作坊的公司的注意,于是她从经济管理专员摇身一变,成为摄影师导师,负责教导学生如何用手机拍摄食物,并在 VSCO 上将照片编辑成更美丽、更引人入胜的样子。

基于过去几年来食物摄影的经验,Stella 和我们分享了一些拍摄上的建议:


Document the process


When focused on the final result, it can be easy to forget to capture the process, but the preparation of the ingredients, the cooking, and the plating of a dish are all important stages that tell a story about the food. “Pictures of the cooking process make the audience see the spirit of craftsmanship and understand that you are persistent and passionate about food,” she explains.

“Nowadays, people pay a lot of attention to what ingredients are in the food they’re eating. However, people like to see images more than read text,” she notes. “So photos are an effective way to showcase the ingredients and let the audience know at a glance, ‘Wow! You use premium ingredients to cook!’”






Set a mood


Style a scene to compliment the food and create a mood. For example, in the images below, Liu went for an elegant, romantic theme when photographing her canelé. She achieved this look by selecting a darker background and including antique embellishments. However, for her berry cake, she wanted the overall feeling to be summery and refreshing, which is why she chose a clean, bright background with simple decorations.



设定好布景的风格,有助于衬托食物和营造氛围。譬如说,如下方的照片所示,Stella 在拍摄可露丽时尝试了一种比较优雅、浪漫的主题。她使用了深色的背景和古董道具。而在拍摄莓子蛋糕时,整体感觉是比较夏日、清新的,因此她选择了较为干净、明亮的背景和一些简单的装饰品。

Liu explains her practice, “I often say to my students that powerful pictures can inspire viewers to see more, to imagine the environment beyond the confines of the photo. In this way, it is possible for a photo to convey the sounds and the tastes behind it and make the audience feel they are part of the picture. By carefully choosing the appropriate background, cutlery, and accessories, you can infuse the scene with life and help your audience connect with the image. I tend to use no more than three colors in a single scene and am sure to remove irrelevant objects that could be distracting to look at.”

Stella 进一步解释了她的做法,“通常我会和我的学生说,一张有力度的照片会使观众想看到更多,想像到在景框外发生的故事。通过这种方式,可以让照片传递出声音和味道,让观众觉得自己也参与其中。仔细地挑选背景、餐具、摆设道具,你可以在场景中注入生命、牵起和观众的连结。在一个单一的场景中我习惯使用不超过三种颜色,也会移除掉容易分散注意力的不相关物件。”


Bring action into the frame


To make a scene come to life, try photographing people interacting with the food. “I’ve found that people show a strong interest in an ‘active’ picture, like hands that are serving or bodies that are leisurely enjoying time at a cafe,” says Liu.

If you want the food to remain the focus, you can keep the identity of the person anonymous by not including their face in the frame. “Body language without revealing facial expressions can allow viewers to imagine more than what they observe,” Liu points out. “The viewers may even think the hands are theirs, about to pick up the food to enjoy!”



为了让照片更有活力,试着将你与食物的互动也拍摄进去。“我发现人们对‘互动’的照片有很高的兴趣,例如让正在端菜的手入镜、或是在惬意地享用咖啡的身体。”Stella 说。

如果你依然想要照片中的主角是食物,你可以不要将人脸拍进去,以保持匿名性。“即使没有表情,单单肢体动作就足以让观众想像得到景框外的故事。”Stella 指出这一点。“观众甚至会觉得画面中的手是他们自己的,正要拿起食物享用它!”


Edit with a food-friendly preset


After shooting, experiment to find presets that suit your aesthetic and make the food look even more tempting. “To finish a picture, you need to select a good preset and adjust the details,” Liu says. “I became a VSCO member because I like all the presets that have a film aesthetic. It reminds me of pre-digital times, where a photographer would go into a darkroom to develop a photo.”

While she uses A6, HB1, and HB2 the most, she advises trying out all your options. “The presets can perform in unexpected ways when editing different scenes and themes. So, for example, I wouldn’t limit myself to editing food only with A6. I use all the presets once, choose a favorite, and then adjust the details in the image.”



拍摄之后,尝试看看不同的预设滤镜,找到最适合的一种让食物看起来更诱人。“为了完成照片,你必须找到一个好的滤镜以及调整细节。”Stella 说,“我之所以成为 VSCO 会员,是因为我喜欢里面带有电影色彩的滤镜。它让我想起在数位化之前摄影师必须去暗房来冲洗照片的时代。”

虽然她最常使用 A6、HB1 和 HB2,她依然建议你尝试所有选择。“为了适应不同场景或主题,使用滤镜可以产生出意想不到的效果。所以,我不会只使用 A6,我会把所有滤镜套用一遍,找一个最喜欢的,然后再去调整细节。”

Edited with HB1使用 HB1 编辑
Edited with A6使用 A6 编辑
Edited with HB2使用 HB2 编辑
Edited with AL1使用 AL1 编辑
Edited with FP4使用 FP4 编辑

Editing with Warmth 正当阳光灿烂时

June 12, 2019 2019年6月12日
Before → After / KP8 / Warmth +2.0 / Exposure +1.2

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.

Film X presets offer unique control over the look and feel of your images. In addition to authentically reproducing vintage films, the extra flexibility of Character and Warmth sliders allow you to create entirely new expressions of these iconic looks. Learn about Warmth and how you can use it to add a natural glow to any image.

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。

Film X 预设滤镜让你可以掌控照片的外观和气氛。除了重现胶片的复古风格,利用其他工具如字符(Character)和温暖(Warmth),提供你创建全新表现的选择。了解更多关于温暖工具,以及如何利用它在照片中注入一股自然光泽。

Find a Film X preset by looking for the white tiles in your preset dock.

To access the Warmth slider, tap the Film X preset you have selected a second time.

在滤镜库里找到有白色背景的选项,就是 Film X 系列。

再次点击 Film X,就可以找到色温(Warmth)工具。

Increasing Warmth gradually shifts the tones in the image toward yellow and orange. This is great for enhancing the feel of a sunny outdoor shot or for balancing out a photo that just feels a little too cold or blue.


FS4 / Warmth +2.0 / Exposure +0.5 / Shadows +3.5 FS4 / 温度 +2.0 / 曝光 +0.5 / 阴影 +3.5
FS4 Fuji Superia 400 / KP8 / Kodak Portra 800 / KG2 Kodak Gold 200

These Film X presets naturally enhance warm tones, making them good starting points if you’re not sure which preset to try first. Even if your favorite preset is cooler feeling, like FP8 below, you can still experiment with new and different variations by adding a touch of Warmth.

Film X 系列预设为暖色调滤镜,如果你在选择滤镜时不知从何下手,它可以是一个很好的尝试起点。即使你最喜欢的滤镜有冷色调的感觉,例如下面的 FP8,你依然能借着将温暖增强,可以实验比较一下。

FP8 / Warmth +4.0 FP8 / 色温 +4.0
KG2 / Warmth +3.0 / Exposure +2.0 / Highlights +12.0 KG2 / 色温 +3.0 / 曝光 +2.0 / 高光 +12.0

6,248 Miles 6,248 英里

June 10, 2019 2019年6月10日



6,248 miles is the distance from Beijing to Los Angeles. But in the documentary short 6,248 Miles, it alludes to a distance that’s much harder to bridge than geography: Alzheimer’s.

The director, Jeffrey Wu, whose grandmother suffered from the disease, was born in the US but spent his early childhood in Beijing with his grandparents, who were his main caregivers. After a year of kindergarten, Wu’s parents took him back to Los Angeles, where he grew up far away from his grandmother.

In 2015, upon learning of the Alzheimer’s diagnosis, Wu traveled back to Beijing for a four-day trip with his father. He brought along a camera, hoping to record some precious moments with his grandma before the disease completely took hold. “I felt really determined,” he recalls. “It might have been my arrogance, but I just didn’t understand how much Alzheimer’s could change my grandma in just a year. I also underestimated how differently we would all view my grandma as a result. Over the course of four days, I went from determined to anxious and, then, to be honest, a little defeated at the end of it all. I realized how little I could actually do for my grandma.”

6248 英里,大约是北京到美国洛杉矶的距离。但在纪录片《6248 英里》(又名《我们中间的距离》)中,描绘了一种远比地理阻碍更难克服的心理距离——阿尔茨海默病。

影像工作者 Jeffrey Wu,他的奶奶正是阿尔茨海默病的患者。虽然他出生在美国,不过童年时候大多是在家乡北京度过,而爷爷奶奶是主要扶养和陪伴他的人。在北京进入幼儿园就读的一年后,父母将 Jeffrey 带回洛杉矶,从此定居在那里,和奶奶分隔两地。

2015 年,在得知奶奶患病之后,他规划了一趟四天的旅程。带着简单的摄影机和爸爸一起回到北京,想记录下这一段也许是奶奶清醒前最后一段在一起的时光。“我认为这可以作为长大后错失和她相处机会的弥补,当时我对于这趟旅程感到很坚定。可能多少因为我的自大,我不明白阿尔茨海默病可以在一年内就完全改变我的奶奶,我也低估了它会如此改变我们对她的看法。这四天之间,我的心情从坚定到焦虑,然后,诚实来说,我觉得我被打败了。因为我意识到我几乎没办法为她做到什么。”

At the end of the trip, Wu’s father told him, “Your intentions are good, but in reality, it’s not going to help. She doesn’t understand. The moment you leave, she won’t remember.”

It was a cruel but sobering statement. Wu’s grandfather remained by his wife’s side as the disease mercilessly progressed and the family even hired two around-the-clock caregivers, but the truth is that Wu himself was largely absent. This forced him to ask, “What role did I play as the American grandson? What more could I have done to help? How does my family maintain relationships when the distance between us seems insurmountable?” Plagued by doubt, he sought answers.

“After returning home from Beijing, I found myself sorting through the footage and piecing it together as a means of coping, an attempt to find meaning in it all,” Wu recalls. “Making films was always a way of expressing myself, but this was the first time I ever tried to tell my own story.”

Upon its release, Wu’s short film, which has been retitled The Distance Between Us, quickly gained traction in the U.S. and abroad: the Alzheimer’s Association of Los Angeles shared the documentary on their website, and a Beijing Alzheimer’s advocacy group included the film as part of their educational course for Alzheimer caretakers. It was also selected to be part of Culver City Film Festival and will be screened at the upcoming Asian Film Festival of Dallas in July.

旅程短暂,终有尽头。准备启程回美国时,爸爸向 Jeffrey 说,“你的意愿是好的,但并不实际。她不会明白的,你一走,她就忘了。”即使残酷,却一语道破现实。虽然爷爷始终守候在逐渐被病症吞噬的奶奶身旁,家人也雇请两个阿姨全天候照顾她,但 Jeffrey 无法参与这个过程,作为一个缺席的小孩,他始终在问自己:“我在家庭中扮演的角色是什么?还有什么是自己能做的?要如何维系家庭即使我们中间隔着这难以克服的距离?”种种疑问萦绕在他的脑海,他也一直在试图寻找答案。

“当我把这些素材拼凑在一起,试图从中找到一些意义,我才渐渐了解到这趟旅程是一种我去“面对”的方法。拍电影一直都是我表达自己的方式,但这是我第一次尝试讲述自己的故事。”Jeffrey 说道。之后,剪辑完的成片被更名为《我们之间的距离》受到海内外不小的关注——洛杉矶阿尔茨海默病协会的分享、北京的阿尔茨海默病倡导团体找上门,将影片作为教育资料、后来还入选美国当地的卡尔弗城市影展(Culver City Film Festival),并在今年七月将于达拉斯亚洲电影节(Asian Film Festival of Dallas)中播映。

Not long after filming, Wu’s grandmother passed away. Wu didn’t expect that four-day trip to be the last time he saw her. “She watched through all the cringey videos I made in middle school and high school,” he recalls. “She would dance in the living room even when I played classic piano songs off-key—she honestly supported anything and everything I did. I could do no wrong in her eyes. I think that’s what hurts the most because I was always young and naive while she was alive. I wasn’t old enough to truly appreciate everything she did for me.”

With this short film, Wu hopes to highlight the devastating effects of Alzheimer’s and stress the importance of people cherishing what time they have with family. The gnawing self-doubt he was originally afflicted with also gave way to clarity. “I not only want to advocate for Alzheimer’s awareness, but I want to advocate for people spending time their loved ones while they can before they can’t anymore.”

拍摄完一段时间后,奶奶离开人世了。Jeffrey 没有想到的是,那四天的旅程竟是他最后一次见到奶奶。“以前她会看完所有我在中学和高中时期拍的那些尴尬的影片,她会跟着我弹得走音的钢琴在客厅跳华尔兹。她支持所有我做的事,我在她的眼里永远不会做错。回想起这一切最让我痛心的地方,是她还在世时我太年轻,没办法理解她为我做的一切。”

这部纪录片伴随着 Jeffrey 与奶奶最后相处的回忆,也把他带到更远的地方去,那些曾经盘踞他心中如乌云般的疑问,也逐渐明朗了。“我想借由这部片提升大家对于阿尔茨海默病的关注,以及即时陪伴家人的重要性,在你还可以做到之前。”

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Instagram: @moodinfinite


Contributor: Yang Yixuan



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供稿人: Yang Yixuan

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Summer Swim 夏日池畔絮语

June 5, 2019 2019年6月5日
Image by slgrld 图片来自 slgrld

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.

Going for a swim in the heat of summer can bring back as many memories as it creates. Capture the feeling of a hot day at the beach or pool with some creative editing tips and inspiration for the next time you get your feet wet.

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。


Image by kikiamaliaid 图片来自 kikiamaliaid
Try low key black & white


Bright, sunny days often create harsh, contrasty shadows. Take advantage of the light by trying a low key black-and-white look. Monochrome presets can help emphasize compositions with deep shadows and bright highlights.




Image by keanann_ 图片来自 keanann_
Image by louistheilen 图片来自 louistheilen

Start by intentionally underexposing your shot. You can do this during capture by tapping the brightest highlight area or afterward by reducing it with the Exposure tool. Use the Highlights tool to bring back any areas of extreme brightness, and experiment with different levels of Contrast. For presets, we like starting with B4 or FN16.

首先,为了制造曝光不足的环境,在拍摄时你可以点击荧幕上最亮的区域,或是拍摄后再使用曝光(Exposure)工具去调整。编辑时使用高光(Highlights)工具去修复极端亮度的部分,并实验不同等级的对比度(Contrast)。关于滤镜预设包,我们推荐 B4 或是 FN16。

Image by alexanderxrepik 图片来自 alexanderxrepik
Find the details


Waves, ripples, and sand are great subjects to explore in detail. Try creating abstract compositions, or just keep an eye out for those subtle close up shots.




Image by jercrix 图片来自 jercrix
Image by ianarchives 图片来自 ianarchives
Image by ianarchives 图片来自 ianarchives
Image by benshaww 图片来自 benshaww
Live in the moment


Keep your camera out, even if you’re caught up in the action yourself—getting those magic moments with friends and family will often create your most memorable photos. If you’re rushing to capture a unique moment, just focus on hitting the button—you can always edit later.




Image by alexinesalmons1 图片来自 alexinesalmons1

Spring to Life 纸上行旅

May 31, 2019 2019年5月31日

Yeni Kim is a Korean artist who constructs whimsical little worlds out of paper. Simple as they seem, these pint-sized creations are only the fruit of round after round of trial and error. “Paper art was much more complicated than I thought,” she admits. “I usually first start with a sketch, then I make several 3D paper models so I can try different types and colors of paper to find the most harmonious and beautiful combinations.” The work doesn’t end there, though. Before taking the final photos of her paper assemblages in a studio setting, Kim often has to go back and make more adjustments to ensure that everything is flawless.

韩国艺术家 Yeni Kim,用纸搭建出这一个个充满奇思妙想的小世界。不过在这些看似简单的纸张创作背后,其实是靠一次又一次浩大工程的实验成果。“纸艺比我想像中还要复杂许多。你必须先画好草图,依照它做出立体的纸模型,过程中必须试验各种纸张的材质类型和颜色,以找到最和谐、好看的组合。”做好之后,一切还没有结束。在送到摄影工作室进行拍摄之前,Yeni 常常需要来回进行多次修改,以确保它在平面上呈现的效果。

Kim started out as an illustrator, but over time she came to feel she wanted to convey more than was possible in a two-dimensional illustration. “I wanted something more vivid, fresh, and joyful to present my thoughts and views of the world,” Kim recalls. She found her answer in paper. Paper may look flimsy, but it’s a tough, flexible material that can bring the imagination to life. Sculpting with paper allows for more narrative possibilities than drawing on it.

Kim’s studio, Marchcraft, is named after the month that welcomes the spring season—a month that, to the artist, represents warm memories and nascent hope. Her art encapsulates this springtime essence, carrying a warmth that feels like a gentle breeze on a sunny afternoon. “I think art has the ability to move people,” Kim says. “And through my paper creations, I want to bring more warmth and positivity to the world.”

Yeni Kim 早先其实是一位插画家,不过渐渐地,她觉得她想传递的东西已经超过平面插画所能表达的范畴。“我想找一个更生动、新鲜、快乐的方式去更好地呈现我所看到的世界和想法。”随后,她即在纸张中找到了她的答案。纸张看似娇弱,实际上却非常坚韧,可塑性也很强,可以让各种幻想都构筑成现实。就像是用纸来作画,只不过增加了更多空间的叙事可能性。


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Instagram: @yeni_kim
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Contributor: Yang Yixuan




Instagram: @yeni_kim
Behance: ~/yenikim  


供稿人: Yang Yixuan

HSL in the Studio 色彩实验室

May 29, 2019 2019年5月29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.

HSL gives you full control of the individual colors in your images. Together, the Hue, Saturation, and Lightness sliders can be used to create both dramatic and nuanced effects. By controlling colored lights in a studio, the three approaches below help illustrate the basics of the three sliders. Try making a simple studio setup with your own lights, or experiment with some of these editing techniques on an existing image that has a few dominant colors.

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。

HSL 工具可以让你掌控图像中的每一种颜色。使用 H—Hue(色调)、S—Saturation(饱和度)和 L—Lightness(亮度)滑块,有利于创建既戏剧化又富含细节的视觉效果。以下我们将通过在工作室里设置彩色灯光来说明关于 HSL 的基础知识。你也可以试试使用自己的灯光进行简单的实验,或者在一张没有太多主色的照片中尝试这些编辑技巧。


Use Hue to shift colors



Green and purple are the dominant colors in the original image on the left. By selecting the green icon inside the HSL tool, we can shift the hue of all the green parts of the image. Sliding hue to -6.0 gradually shifts the color from green to its neighbor on the color wheel, yellow. A move in the opposite direction would have shifted the green toward blue. By shifting the hue of the purple region in the image, a more subtle change toward pink is apparent. Use the hue sliders to experiment with creating targeted color shifts.

绿色和紫色是原始图像(左侧)中的主色。通过选择 HSL 工具内的绿色图标,我们可以调整图像中所有绿色部分的色调。将色调滑动到 -6.0,颜色逐渐从绿色转移到色环上的相邻颜色——黄色。向反方向移动,则会使绿色向蓝色移动。通过改变图像中紫色区域的色调,可以看到向粉红色的微妙变化更明显了。使用色相滑块来创建更有针对性的色彩偏移。


Use Saturation to isolate colors



Saturation is most easily thought of as color intensity. Increasing saturation enhances the color by making it stronger and more vibrant. Decreasing saturation removes color until it ultimately becomes a shade of gray, with no color at all. Taking this to the extreme, HSL allows you to completely remove some colors from a photo, while maintaining, or even boosting, others. In this example, all colors exempt purple were desaturated to -6.0, turning the whole image black and white exempt for the purple regions, which remained saturated.

饱和度常常被视作颜色强度,增加饱和度可以增强颜色,让照片更强烈、更有活力。反之,减少饱和度会消除颜色,直到它最终变成一块丧失色彩的灰色阴影。将此情况发挥到极致,HSL 工具让你可以从照片中完全删除某些颜色,同时保有、甚至是提升其他颜色。在这个例子中,所有非紫色的颜色都被去饱和度到了 -6.0,变为黑白,只有紫色区域保持饱和。


Use Lightness to adjust tones



The lightness slider controls how bright or how dark a particular color appears, without drastically shifting the color itself. Sliding up to +6.0 will lighten the color’s tone, while moving down to -6.0 will darken it, creating a deeper tonality. This example shows how lightness can be gradually shifted from light to dark

亮度滑块控制特定颜色的亮度或暗度,并不会显着地改变颜色本身。滑动到 +6.0 会增亮颜色,而向下移动到 -6.0 会使颜色变暗,从而产生更深的色调。图中的例子显示了亮度滑块如何让图像逐渐从亮到暗移动。

I Stand Between 两种文化的夹缝之间

May 27, 2019 2019年5月27日
Mia Rubin was 23 when the photo was taken in February 2017. She was adopted from Maoming, China, when she was 4 months old.Mia Rubin,出生于中国茂名市,在4个月大时被领养。照片于2017年2月拍摄,当时她23岁。

“Mom, did I ever live inside of you? She answered, ‘No, you didn’t.'”

This conversation between Mia Rubin and her mother has stuck with her since childhood. She’s felt the answer’s faint yet insistent sting deep within all her life, never quite fading away.

The colorful portrait of Rubin above is by Mengwen Cao, an artist from Hangzhou who now lives and works in New York. In 2012 she moved to the US for grad school, and immersed in that foreign culture, she found her calling as a photographer. The portrait is part of her series I Stand Between, which she began after living in the US for four years. “When I was back in China, people thought I was too American; when I was in the U.S., they thought I was too Chinese. So where do I belong? The feeling of not being embraced by both places I consider home is what inspired me to seek out people who might share similar experiences.”

“‘妈妈,我以前在你的肚子里待过吗?’她说不,你没有。”Mia Rubin 回忆起小时候的她曾是这么问过。在听到回答后,心底那股隐约而坚实的刺痛感扎根在她成长的每一道轨迹里,不曾淡去过。

而在上方那张色彩斑斓的 Mia 的照片背后,是来自杭州的摄影师曹梦雯。她于 2012 年离开中国前往美国就学,在异乡找到自己的人生志业——摄影师,之后一直生活在纽约。

在开始此拍摄项目《I STAND BETWEEN》之前,她在美国生活了四年多的时间,“当我回到中国,人们觉得我太美国;当我在美国,人家又觉得我太中国。我到底属于何方?这种夹在两种文化之间、不被双方接受的感受,促使我想要找到更多与我拥有相同经历的人。”

Cao’s own experiences as queer played a role in her desire to explore the stories of people with non-traditional backgrounds. So for this photo series, she focused on Asian adoptees who grew up in white families.

With the help of friends, social media, and nonprofits, she found several subjects to sit for her. Ranging in age, they come from China, Korea, and Indonesia, and most were adopted into the U.S. as babies. “Before the potential interviewees felt 100% on board, I met up with them and just chatted without recording or taking photos,” Cao says. “Transracial adoption is still a sensitive and complicated topic. I am extremely grateful for those who agreed to participate in the project and shared their experience in such an honest and vulnerable way.”

The portraits were mostly taken at the subjects’ homes. Facing the camera, they seem to reveal their innermost thoughts directly to us. No matter your age, gender, or position, opening up about your vulnerabilities is something that takes a lot of courage. Her photos are full of intimacy and complexity—a valuable record of human stories.




With the conclusion of the project, Cao reflected on all the stories she had heard. She thought back to when she first arrived in the U.S. and how she felt like she needed to adapt and integrate into local culture; she felt like she needed to consistently defy Chinese stereotypes in order to become an “authentic” American. But today, she’s come to terms with who she is: a cultural in-betweener. She now cherishes the fact that she’s able to engage with both cultures, and sees these experiences as having made her stronger. Embracing her differences has helped Cao realize her distinctive place in the world.


Una was 11 when the photo was taken in May 2017. She was adopted from Korea when she was 9 months old.Una,出生于韓国,在9个月大时被领养。照片于2017年5月拍摄,当时她11岁。
Pauline Park, a writer, was 58 when the photo was taken in April 2017. She was adopted from Korea when she was 7½ months old. Pauline Park是一位作家,出生于韓国,在7个月半大时被领养。照片于 2017 年 4 月拍摄,当时她 58 岁。

“The concept of authenticity kept coming up in my conversations with the adoptees,” Cao says. “But the word ‘authenticity’ implies that there’s only one truth. After talking to them, I realized that authenticity means embracing all the differences of our multifaceted identity. There is no one way to be American or Asian.”

In addition to taking their photos, Cao recorded a conversation with each one of her subjects, letting us hear for ourselves as they tell their own stories. Below are some of their photos and audio recordings. (You can listen to the whole series on Cao’s website.)




Cydney Blitzer

Cydney Blitzer was 19 when the photo was taken in February 2017. She was adopted from Hunan, China, when she was 8 months old.Cydney Blitzer,出生于中国湖南省,在8个月大时被领养。照片于2017年2月拍摄,当时她19岁。
“We don’t really identify ourselves as anything except adopted.”


“I’ve always known that I was adopted, but she has never been anything less than my mother. Honestly, putting labels on it—adopted mother, adopted daughter—undermines the significance of the relationship. My mom was the one who had to listen to the ignorant remarks of people who were like ‘Where did you buy her?'”





Nam Holtz

Nam Holtz was 43 when the photo was taken in April 2017. She was adopted from Korea when she was 6 months old. Nam Holtz,出生于韓国,在6个月大时被领养。照片于2017年4月拍摄,当时她43岁。

“I look this way, but I feel another way.”


“He would look at me across the dinner table and speak to me in Korean to me and expect me to understand. And he was at completely lost cause he looked around at all these white faces like ‘What the heck is going on?’ And as a five-year-old kid, I felt really stressed out and guilty that I couldn’t understand him . . . I think it was too much for me, and I started taking Pseudoephed.”





Emily Roe

Emily Roe was 26 when the photo was taken in April 2017. She was adopted from China when she was 4 months old.Emily Roe,出生于中国,在4个月大时被领养。照片于2017年4月拍摄,当时她26岁。

“I was born in Asia but I’m just very American.”


“There’s always a part of me to be this entity that has like dealt with being ‘outcasted’ in different ways. From being adopted, to my learning disability, to my experience of being an Asian person in a very white area, and even this ostracization from other Asian people. Growing up I have this very complicated relationship with Asian people because I felt very judged and very unaccepted.”





Nicole Maloof

Nicole Maloof, was 35 when the photo was taken in April 2017. She was adopted from Korea when she was 3 months old and grew up in Massachusetts.Nicole Maloof,出生于韩国,在3个月大时被领养。照片于2017年4月拍摄,当时她35岁。
“I wonder, was being raised in United States worth the pain my mother had to go through in giving up a child?


“I have dreamed about my birth mother’s face as long as I can remember. I didn’t have any idea what she would look like, and I couldn’t even imagine a family member that looked like me cause I’ve never experienced it. So I contacted this adoption agency, Holt. Within six months, Holt had managed to contact my birth family and we met. I saw these two strangers there, my mom and her older sister. But as soon as we hugged, my mom apologized.”



“从我记得以来,我一直梦到我亲生妈妈的脸。我完全不知道她的长相,也无法想像任何一个长得像我的家庭成员,因为我没有那种经历。我联系了当初的领养机构 Holt,然后等待。差不多等了半年,Holt 找到我的亲生妈妈了。见面时,我看到两个陌生人站在我面前,一个是我母亲,另一个是她的姐姐。接着我妈妈拥抱了我,向我道歉。”


Mathew Luce

Mathew Luce was 25 when his portraits below were taken in May 2017. He was adopted from Indonesia by two dads.Mathew Luce,出生于印尼,被两位爸爸所领养。照片于2017年5月拍摄,当时他25岁。
“I feel at home, though I’m in the middle ground of being Asian and kind of white.”


“When I hang out with my Asian friends, they always say ‘You’re so white! The way you talk, the way you express your feelings, and especially the way you eat.’ I’ll say ‘Thank you. Just like my dad.’ . . . I’m proud that I’m Asian, and I’m proud that sometimes I act white. It’s just me. That’s how I grew up.”




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Contributor: Yang Yixuan
English Translation: David Yen

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Instagram: @mengwencao


供稿人: Yang Yixuan
中译英: David Yen

Making Surreal Photo Collages 超现实幻想

May 22, 2019 2019年5月22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.

Creating a collage encourages you to look at an image with fresh eyes, to see the possibilities. The following photographers view their photos as a starting point for further artistic innovation. Find out how they transform their images to make surreal artworks.

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。


Tan Ya / Singapore

Tan Ya / 新加坡

VSCO: What is it about these artworks that give them a surreal quality?

Tan Ya: The sense of displacement of the subject (myself) and the setting deliver a surreal visual impact. These works are part of my ongoing series An Everyday Thought, where I visually realize my journal reflections and observational sketches. My creative process is visceral and intuitive. Through experimentation, expectations and boundaries are blurred and buried, and the possibilities and space for new perspectives naturally open.

VSCO: 是什么赋予你的艺术作品这些超现实特质?

Tan Ya: 我想是通过我自己和布景互动的错置感,会产生超现实的视觉冲击力。这些作品是我正在进行的系列《每日思想》(An Everyday Thought)的一部分,这个系列延伸自我的日常生活反思和随笔画下的观察草图。我的创作过程是内在、直观的。通过实验,期望和界限被模糊和掩盖,自然而然就会产生新的视角。

VSCO: What is your process for creating these images?

Tan Ya: The initial inspiration for my creations originate from my sketchbook of everyday reflections, where text evolves into a scene and a drawing starts to narrate a story. Once a correlation of a mood is felt, I proceed to use my tripod and camera to tangibly recreate the drama in my mind. As it is an internal drama of self, the relevant subject is my own body and self.

Being a fan of collages and hands-on experimentation, I adapted this interest to Photoshop, where the magic of my storytelling commences with subject-play and the addition of a dialogue as the subtitle. After arranging the elements in the work, VSCO is the next go-to for my final colour-grading to liven the mood.

VSCO: 你创作这些图像的过程是什么?

Tan Ya: 我的创作灵感来自我的日常反思速写本,在这之中文字演变成场景,图画延展成故事。一旦我感受到某种情绪的关联性,我就会使用我的三脚架和相机来重现在我心中上演的小剧场。由于这是一部内心戏剧,主题就是我的身体和自己。

作为拼贴画和动手实验的粉丝,我把这样的喜好延续到 Photoshop 的工作上,那里是我创作照片中故事魅力的地方。最后我会加上一段对话作为副标题。在策划好作品的画面之后,下一步我就会到 VSCO 进行最后的调色以活化照片的气氛。

* Try this — Tan Ya’s collages often have repeating elements, like an eye that is copied from one part of the image and placed in additional locations. If creating a collage manually, print out multiples of the same photo. For even more options, experiment with printing the image at various sizes.

*试一试——Tan Ya 的拼贴画经常有重复的元素,例如同一双眼睛被复制到图像的其他位置。如果想要亲手制作拼贴画,请将相同照片打印出许多份,如果想要探索更多可能性,尝试以不同的尺寸去打印。

Jardel Fontenelle / São Paulo, Brazil

Jardel Fontenelle / 圣保罗,巴西

VSCO: What is it about these artworks that give them a surreal quality?

Jardel Fontenelle: Fantasy is a constant element in my collages. By inverting some of the photos, to mimic the look of a photo negative, and then merging multiple photos to create double exposures, I achieve unexpected results.

VSCO: 是什么赋予你的艺术作品这些超现实特质?

Jardel Fontenelle: 幻想是我的拼贴画中不变的元素。通过反转一些照片,模仿底片的外观,然后合并多张照片以创建双重曝光,我实现了许多意想不到的效果。

VSCO: What is your process for creating these images?

Jardel Fontenelle: I don’t base what I create on what other people will think, because when you want to make a unique collage you don’t want to be worrying about logic. Most of the time, if a photo contains something that takes the focus from a central point, I remove it. Right after, I choose a clean preset to enhance the colors in each of the pictures. Then I select my favorite ones and start overlapping them in Photoshop. Before I share the collage, I apply a VSCO preset on it. This trick can help you discover new colors.

VSCO: 你创作这些图像的过程是什么?

Jardel Fontenelle: 我不会在“别人会怎么想”的基础上去创作,因为当你想制作一个独特的拼贴时,逻辑不是你必须担心的问题。大多时候,我会删除掉照片中把焦点从中心转移到其他地方的东西。之后,我选择一个简洁的滤镜预设来强调颜色。然后我会选择我最喜欢的那几张照片,在 Photoshop 中重叠它们。在完成拼贴之前,我会将 VSCO 预设应用在上面,这个步骤可以帮助你发现新的色彩。

* Try this — When he isn’t editing and sharing new photos, Jardel uses the time between photo shoots to create collages with his older images. Go through your image library with the intent to re-purpose a selection of your photos. Look for themes in your work that may connect images, regardless of when the photos were created.

*试一试——当他没有在制作新照片时,Jardel 会使用旧图像来创建新的拼贴画。带着这样的目的去浏览图像库,无论照片是新是旧,都可以在之中找到有相互关联的主题。

Annahstasia Enuke / Los Angeles, California

Annahstasia Enuke / 加州洛杉矶,美国

VSCO: What is it about these artworks that give them a surreal quality?

Annahstasia Enuke: For me, what adds to the surreal quality of these images is the dynamic between my solitary figure and the empty surrounding in these photos. The lack of information about the spaces make it difficult to place my body within a context. The collage aspects pull the viewer further from any context and so the image becomes surreal.

VSCO: 是什么赋予你的艺术作品这些超现实特质?

Annahstasia Enuke: 对我来说,是孤独的我自己和照片中空白环境之间的动态关系,增添了超现实氛围。缺乏空间中背景信息,使我很难将身体放在一个故事脉络中。拼贴的做法也使得观众无法进一步获得更多上下文关系,图像因此变得超现实。

VSCO: What is your process for creating these images?

Annahstasia Enuke: I always start with a well-exposed photo. I don’t want to have to do any unnecessary tweaking since I edit all of these photos on my phone. The collage elements are things I’m always collecting. There are so many strange little things, signs, flowers, cars, people that can be snapped with your phone on a whim. If I see something cool that wouldn’t really stand alone in a photo, I collect it and save it for my next collage.

I collage everything in Adobe Photoshop Mix. It allows you to cut out the images and place them pretty easily. In some ways, it’s simpler than doing the same thing on the desktop version of Photoshop, plus it’s free. After the image is assembled, I’ll play with filters. I find that it helps tie all the layers together.

VSCO: 你创作这些图像的过程是什么?

Annahstasia Enuke: 我总是从一张曝光良好的照片开始。我会先在手机上编辑所有照片,在这之后我不会再做任何不必要的调整。拼贴素材是我一直在收集的东西。有许多奇怪的小东西:标志、鲜花、汽车,人们可以随心所欲地用手机拍照。如果我看到一些很酷的东西在照片中无法独立呈现,我就会为我的下一个拼贴画先保存它。

我会在 Adobe Photoshop Mix 中进行拼贴。它让你裁剪图像并重新布局。某些方面看来,它比桌面版 Photoshop 操作更简单,而且它是免费的。组装完图像后,我会玩一玩滤镜功能。我发现它有助于所有图层更好地融合在一起。

* Try this — Annahstasia suggests thinking about collaging like journaling — as a way of recording life. Try bringing the visuals from a full day into one collage or tie together moments from a whole year.

*試一試——Annahstasia 建议将拼贴想像成日记——作为一种记录生活的方式。尝试将一天中看到的东西整合在一张拼贴画中,或是把一年以来的瞬间收集在一起。

Separating Motion 在电影诞生之前

May 15, 2019 2019年5月15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.

English photographer Eadweard Muybridge was a pioneer of photographing motion, and his work paved the way for the motion picture industry. He was hired in 1872 to find out whether or not all four of a horse’s legs simultaneously leave the ground while galloping. Five years later, after much experimentation and unrelated delays, he successfully photographed and proved that indeed a horse’s stride finds it momentarily suspended in the air. He dedicated over 15 years to creating and publicizing his photos of human and animal locomotion, displaying his images in a grid to show the sequence of the movements.

Learn more about Muybridge’s photography and discover insights you can apply to your own documentation of motion.

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。

英国摄影师 Eadweard Muybridge 是动态影像的先驱,他的作品为电影工业奠下了基石。他在 1872 年时被指派一项任务——确认马匹在奔驰时是否四只脚会同时离开地面。五年后,经过大量的实验,他终于成功拍摄到并证明马的步伐确实会暂时悬浮在空中。他为创作和推广自己记录人类和动物运动的照片,奉献了超过 15 年的时间。他的图像通常以网格的形式展示,显示出连续动作的顺序。

以下我们将带你了解更多关于 Eadweard 的摄影,你可以试着把这些技巧应用到自己的动态记录中。

Capturing Multiples


Modern cameras make capturing motion easy and convenient, but in the 19th century, Muybridge had to be innovative. He used up to 24 cameras to capture each scenario and designed his own set of electronic shutters and timers to fire quickly.

By photographing action in quick succession, you will capture subtle changes and end up with an interesting visual story. Shoot multiples to create a photo series or use it as a means to capture and curate the strongest image.



现代相机使得拍摄动态影像简单又方便,但在 19 世纪,Eadweard 必须发挥一点创意。那时他使用了多达 24 台相机去捕捉每一个运动的桥段,并设计了自己的电子快门和定时器,以便能快速地拍照。


Making the Mundane Interesting


Muybridge photographed common actions like a person sweeping or emptying a bucket of water.

As a photographer, it is your vision and creativity that can transform something commonplace into something inspired. Challenge yourself to find ways to make the everyday interesting.



Eadweard 经常拍摄一些稀松平常的动作,比如一个人在清扫、或倒空一桶水。作为一名摄影师,正是你的视野和创造力可以将一些平淡无奇的东西变成灵感来源。挑战自己,找到让平凡变得不凡的方法。

Playing with Time & Speed


The progression of motion in Muybridge’s photos range from minute changes to obvious actions with a start and finish. To experiment with different results, vary the speed of the motion and the length of time photographing the scene. For example, to achieve a more repetitive, subtle patchwork of images, have a subject that moves slowly, and photograph them many times in a short amount of time.


在 Eadweard 的作品中,既有捕捉一连串微小的变化进程、也有一贯到底的连续运动。为了尝试不同的结果,你可以改变运动的速度,以及拍摄的时间长度。例如,为了拼接出更加重复、细微的图像,让拍摄对象缓慢地移动,并在短时间内拍摄多次。

Photographing with Precision


Muybridge’s stills made insights beyond real-time observations possible, and his images were referenced by artists and scientists alike. He approached his work from a scientific perspective, using photography as a tool to collect data about human and animal locomotion.

While your approach may not be as technical, you can also use photography as a means to learn about your subject and inform others. Look for ways to document with the kind of accuracy that he did. For example, if you are documenting someone’s reactions, how can you capture emotions that are authentic rather than contrived?



Eadweard 的动态摄影让实时观察下不允许的洞察变得可能,他的图像也被艺术家和科学家们所引用。他始终从科学的角度来看待他的工作,视摄影为收集人类和动物运动数据的工具。

虽然你的方法可能缺少了那么一点技术性,但你也可以将摄影当作一种手段,来更了解你的主题并传授给他人。寻找像 Eadweard 一样能准确纪录现实的方法,以精益求精。例如,如果你正在记录某人的反应,你该怎么做才能捕捉到最真实而不是做作的情绪呢?

Examples from the VSCO Community


There are multiple ways to create a grid of photos to share on VSCO. You can shoot on film and share the contact sheet, print and arrange the images to reshoot, or use an app like Photoshop to join the images. You can also upload the series one image at a time so people can scroll through the motion in their feed.

在 VSCO 上探索


要在 VSCO 创建这样的网格摄影有很多种方法。你可以拍摄胶片并和大家分享印放出来的小样、打印出来再排列图像、或是使用 Photoshop 等软件编排。你还可以一次上传一张照片,以便人们在页面中可以滚动查看更多照片。

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