All posts by yixuan

Light & Portraiture 镜头下的浮光掠影

May 8, 2019 2019年5月8日

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Nirav Patel is a portrait photographer based in San Francisco, California. In Sanskrit, nirav means quiet—a fitting name for a man drawn to capturing moments of stillness. By molding light, he creates a sense of calm and solitude, regardless of the turbulence and volatility around him.


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。

Nirav Patel 是一位居于加利福尼亚州旧金山的人像摄影师。在梵语中,Nirav 的意思是安静,这个名字恰好符合一个喜欢捕捉静谧时刻的人。通过形塑光线,无论周遭环境的变动和反覆无常,他都能在照片中营造出一种平和的寂静之感。

VSCO: A lot of your portraits are taken by windows. What about this combination are you drawn to?

Nirav Patel: I’m mainly a natural light photographer, so it’s instinctual for me to start searching for a portrait location based primarily on lighting. When I’m shooting in an indoor environment, a window is typically a good place to start. Once I have the light, then I move to the next phase, which involves modifying the light or environment. Lately I’ve been challenging myself by adding my own light sources, things like old slide projectors or lamps.


VSCO: 你的很多肖像都是在窗边拍摄的。你是如何受到这种构图吸引?

Nirav Patel: 我主要是一个自然光摄影师,我会本能上地基于光源去寻找拍摄的位置。当我在室内环境中拍摄时,窗边通常是一个很好的地点。一旦得到了好的光,我就会进入下一阶段,去进一步调整光线或是周围环境。最近我一直在挑战自己,通过增设自己的光源,像是旧的幻灯片放映机或是灯具。

VSCO: What do you look for when you’re shooting portraits?

Nirav Patel: I typically know what the image will look like before I even take it. When I see the world, I see it in exposures, and that has helped me when shooting with natural light. When I’m walking around a space trying to find the best spots to take a portrait, I always look for light over environment. The backdrop isn’t my main priority.


VSCO: 当在拍摄人像时,你通常试着追求什么?

Nirav Patel: 我通常在拍摄之前就会预先知道照片的样子。当我在看这个世界时,我是以“光”的角度去看的。这种视角帮助了我采取自然光拍摄。当我在一个空间中走动寻找最佳拍摄地点,我总是在环境中寻找最好的光线,背景并不是我主要考虑的东西。

VSCO: How do you build on a theme, while keeping each image unique?

Nirav Patel: I do my best to use new locations or backdrops, as well as modify the lighting in different ways with what’s available (fabrics, blinds, etc). This really helps to change the way the light is represented and can affect the overall feel of an image. I’ll also try using different lenses or shoot through different props, like a piece of glass.

For me, it’s about understanding the technical aspects of making a photograph and then throwing the rules out the window. Not everything works out all the time, but you learn so much from the process. I’ve had to teach myself that I only really fail if I give up before trying. Anything that happens after trying should be seen as a learning experience that leads to the growth and development of my vision. I’m not always happy about the results I achieve, but I do understand that it’s all part of the journey.


VSCO: 你如何基于同一个拍摄主题,同时确保每一次作品的独特性?

Nirav Patel: 我会尽我所能地使用新的位置或背景,以及用不同的方式修饰光线(利用布料、百叶窗等等)。这确实有助于改变灯光的表现方式,并可以影响图像的整体氛围。我也会尝试使用不同的镜头和拍摄道具,比如说一块玻璃。

对我而言,这关乎于先去了解摄影的基础技巧,再将学到的规则抛在脑后。不是所有事情都能如愿进行,但你会从发现意外的过程中学到很多东西。我是一位自学的摄影师,如果在每次尝试之前我就放弃,那我无疑会失败。尝试后发生的任何事情都应该被视为一种学习经历,可以让我成长。我并不总是对我的拍摄成果感到满意,但我确实理解这一切都是旅程的一部分。

VSCO: To capture a quiet mood, what time of day do you prefer to shoot?

Nirav Patel: Most of the shoots I do are inside of Airbnb’s or my own home. I do my best to work with whatever I have, so I try to make the best of lighting throughout the entire day. However, my favorite light would have to be close to and just past sunset (aka golden hour and blue hour). These two times of the day typically give me both dramatic and soft lighting in the best ways.


VSCO: 为了捕捉一个安静的心境,你喜欢在什么时候拍摄?

Nirav Patel: 大部分的拍摄都会在 Airbnb 或是自己家里进行。我会尽可能地利用手边现有的素材,并试着在一天之中充分利用光线。然而,我最喜欢的时刻是接近日落、或是刚刚过日落时(又称为黄金时刻或是蓝色时刻)。一天中的这两个时候通常可以提供给我最具戏剧效果和柔和优美的光线。

VSCO: How do you experiment with adding drama to your portraits?

Nirav Patel: I’ve always been drawn to fog because it has a cinematic quality to it. Most of my work is inspired by movies, so I decided to add my own elements of moviemaking into my photographs. Sometimes I use a smoke machine to add drama. I recently added two continuous light kits to my set up just in case there is nothing interesting happening with the natural light. I have a Lowell ID light, as well an Aputure LS-mini 20d. I’m hoping to also add an Aputure 120d to the set sometime soon for a bit more power and the ability to use Bowen light modifiers for more control. Look at me… talking like I actually know what I’m doing. Don’t let me fool you, I’ve just recently been getting into setup lighting kits and am learning as I go. I enjoy the pace of teaching myself through trial and error.


VSCO: 你会如何在你的照片中增添戏剧效果?

Nirav Patel: 我一直都很喜欢雾,它拥有电影般的质感。我的大多作品都受到电影启发,因此我会在照片中加入许多电影元素。有时候我会使用烟雾机来增加戏剧性。我最近增设了两组电影灯光,以防自然光的呈现效果太无趣。我有一个 Lowell ID 灯、以及 Aputure LS-mini 20d。我希望不久后能再加一个 Adure 120d 来增强我的设备,和 Bowen 柔光罩以获得更完善的功能。不过……别听我这样说,就以为我真的知道我在做什么。我才刚刚进入打灯的领域,我正在学习。我喜欢这样通过错误和反复尝试的学习过程。

Grand Choir 听,远方的声音在歌唱

April 26, 2019 2019年4月26日

With the encroachment of modernization and globalization, many beautiful cultural traditions are fading away, and some are even on the verge of vanishing completely. The crisis hasn‘t gone unnoticed, and there are people looking for solutions—not out of some misguided sentimentality, but out of a genuine concern that’s given rise to action. They’re looking at how cultural traditions can evolve, be passed down, and be presented in a modern context. By rethinking longstanding customs with a pulse on the times, they hope to get more people to recognize their merits.

DONG is a project that grew out of these aspirations. Backed by fashion label Zuczug and music media platform Soundate, the project aims to show how folk traditions can be relevant in the modern era finding new ways to present the music of Chinese diverse peoples to a global audience.

With support from indie labels D Force Records and Merrie Records, the project officially kicked off in 2016, when electronic musicians Goooooose and 33EMBYW (who collaborate in the band Duck Fight Goose) visited the isolated mountain village of Xiao Huang, in Guizhou province. Xiao Huang is home to the Dong (or Kam) ethnicity, who are famed for their folk songs. Over the course of two weeks, they immersed themselves in the local ways of life and took field recordings. They documented their auditory experiences to bring lesser-known musical traditions to people who can’t experience it firsthand.


在现代化及全球化的压迫之下,许多美丽的传统文化面临着边缘化和消逝的危机。而这也催生出一群怀抱危机意识的人,他们没有一味地高举守旧的旗帜,而是将关心化为有力的行动,致力于研究传统文化在当代社会里如何呈现、发展和传承。让这些积年累月的文明结晶与时具进,在今日也能拥有崭新的价值。

《DONG》即是一个诞生于这种想法的项目。由“戳客戳客”和“行耳文化”联合发起,以研究民族文化的可能性,旨在发现、保护、及传递给世人更多中国民族音乐。2016年,他们协同美丽唱片,此一承袭于知名的大福唱片,由相同主创团队打造的独立音乐厂牌旗下的电子音乐人  Gooooose33EMYBW(两人同时也是音乐组合鸭打鹅的成员),前往中国贵州黔东的小黄村,进行了为期两周的田野考察和声音记录。尝试为无法亲临现场的人们,纪录下这些“远方的声音”。

Two years later, in 2018, Gooooose released his part of the project: DONG 1. This album goes far beyond sampling traditional songs; it’s a masterful blend of soothing sounds from the Chinese countryside, Dong instrumentation, and a kaleidoscope of synth riffs.


在考察结束的两年过后,Gooooose 首先完成了《DONG》项目的第一部曲《DONG 1》。这不仅仅是一张单纯采样于传统音乐的创作专辑,而是民俗音乐与电子音乐一次精彩相融的呈现。

Listen to DONG 1 below:


点击即可试听《DONG1》:

Now 33EMBYBW has finally released her much-anticipated follow-up, DONG 2. Her album revolves around the Kam people’s “Grand Choir” music, a 2,500-year-old polyphonic singing that doesn’t involve a conductor or orchestra. It also doesn’t follow any obvious rhythmic patterns—it’s a musical tradition that’s completely unique to the Dong people. Pairing these traditional vocal elements with her signature electronic sounds, she’s created an ethereal soundscape set to catchy, danceable beats.


2019年,第二部曲《DONG 2》在 33EMYBW 三年的筹备下诞生了。这张专辑以贵州当地传统音乐“侗族大歌”的人声为基底——侗族大歌使用多声调的侗语演唱,至今已有2500多年的历史。它没有明显的节奏,多声部、无指挥、无伴奏,是一个极其特殊的合唱音乐形式。采样于此,再结合更多音乐人本身标志性的舞曲动感,打造出一张极具节奏感和空灵气息的电子乐专辑。

33EMYBW

Listen to DONG 2 below:


点击即可试听《DONG2》:

33EMBYW recalls that she only realized the magnitude of this musical undertaking when she returned to Shanghai and began sorting through the recordings. “After I left Guizhou, their gulou architecture, their mountains and rivers, and their rice-wine infused niu bie (a dish made with beef cud) all stuck with me for a long time,” she says. “What I experienced was so far removed from how it’s depicted on television and in the media—I got to hear Kam Grand Choir music in its most authentic form.”


33EMYBW 回忆起这张专辑的制作过程,说道自己在回到上海整理素材准备着手写歌时,才意识到这是一个多么巨大的挑战。“在离开贵州很长一段时间内,我都难以将这些音频和鼓楼的共鸣、小黄村的山水、和当地的米酒牛憋剥离开。我体验到的是与剧场、电视里完全不同,最真实的侗族大歌。”

DONG 2 is the culmination of these memories. With it, 33EMBYBW has taken Dong music out of the mountains of Guizhou and injected it with an urban flair, folding their traditional sounds into a series of tracks that wouldn’t be out of place in a club. “Of course this is an experimental electronic album, but I don’t want it to be seen as just that, or just as folk music, or a sampling of folk music,” she says. “It’s an exploration of musical forms. It’s the result of ceaseless imagination and action.


而在 33EMYBW 的编写下,侗族大歌离开了山林,在当代青年的音乐场景里留下一次又一次嘹亮的回声,“当然这还是一张有实验性的电子音乐专辑,但我并不希望它单单被当作民族音乐、或是民族音乐的采样,而是对音乐形式的探索,这样的想象和行动永远不会停止。”

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Bandcamp: merrierecord.bandcamp.com

 

Contributor: Yang Yixuan
English Translation: David Yen
Images Courtesy of Zhuang Yan


喜欢我们的故事?欢迎关注我们的微博微信

 

Bandcamp: merrierecord.bandcamp.com

 

供稿人: Yang Yixuan
中译英: David Yen
图片由庄严提供

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There Is No God Here 这里没有神

April 15, 2019 2019年4月15日

In the sun-drenched south of Taiwan, Qianzhen District is home to the island’s largest deep-sea fishing port. Taiwan boasts the largest ocean-faring fishing fleet in the world, with nearly three thousand ships, most of which set out from Qianzhen, and voyages last six months, a year, even two.

On the lowest rung of this high-output, profit-driven industry is a group of workers who live off the seas. Most of them are young men from Southeast Asia: over half come from Indonesia, while others come from the Philippines or Vietnam. Aboard the dreary Taiwanese ships where they eke out a living, they give their bodies and youth over to work. They’re always looking ahead to the day they’ll pull into harbor, but even when they do, the harbor outside won’t be their home.


在阳光普照的台湾南方,高雄前镇渔港是台湾远洋渔业最大的基地港口。台湾拥有全球为数最多、近三千艘远洋作业渔船,大部分都从前镇渔港出航。而每一趟驶向大海的远行,一去就是半年、一年,甚至两年。

在这产值极高、利益为上的产业底层,有一群以海维生的渔工。他们大多是来自东南亚国家的年轻人,一半以上来自印尼,也有一些来自菲律宾、越南在阳光照不进的台湾船上努力生存,用身体和青春作为代价辛苦工作。靠岸之日遥遥无期,但即使靠岸,港边也不是他们的家。

One photographer, Aming Lee, has set out to document the lives of these people on what he calls “a floating prison cut off from the rest of the world” in his book There Is No God Here.

The ocean is a place forsaken by god, but there’s a group of people who move across it freely. To see a world in a grain of sand, and heaven in a wildflower. Who would ply the seas, if they could stay on land?  —There Is No God Here

Lee first picked up a camera at 18, and he’s been a photojournalist for most of his life—he describes himself as a “photography handyman.” When he retired, he didn’t know what to do with all the extra time, so to keep himself occupied, he grabbed his camera and went out to the street to take pictures.

Camera slung over my shoulder, I began roaming the streets . . . until I found my way to the fishing port of Qianzhen, and there, under the influence of tobacco and alcohol, I launched my fantastic shutter voyage . . . At first I didn’t understand how a fishing port worked, and I went around with two cameras and two lenses taking photos everywhere. But even without professional gear, people got upset when I took their picture, and the port locals would give me dirty looks.

“Hey asshole! What are you doing taking pictures of my ship?”

“Get the hell out of here! I’ll hunt you down!”

It takes all kinds, and of course some people were pretty nice. My shots of the port began with them.


每一艘渔船都宛如一座与世隔绝的海牢。但有一位摄影师,却自愿进入这座海牢。他的摄影书《这里没有神》记录下了渔工最真实的生活情景——他是李阿明

“大海是一个不被神眷顾的地方,却有一群人在那里自在地行走。一物一世界,一命一天堂。能待陆上,谁愿意漂泊海上?”——节录自《这里没有神》。

李阿明十八岁拿起相机,当了半辈子的摄影记者,自称“摄影黑手”。退休后深感时间多到不知如何运用,为了打发时间,他决定带着老朋友相机一台,上街拍人。

相机一揹开始流落街头……直到逛来前镇渔港,烟酒交互作用下,开展了我的快门奇幻之旅……起初摸不清楚渔港状况,背着两机两镜,港边四处游走随拍,但这一身非专业行头,却引起被拍者的不快和渔港人的侧目。

“干!拍我的船干什么?”

“唛冲康(不要乱来),我找你找得到!” 

人百百款,当然也有比较和善的。我的渔港近距离摄影就是从这些人开始的。

The media often report on how bad the conditions for fishing boat workers are, so the exposure is all negative.  That’s why fishing companies don’t let reporters, photographers, or outsiders near their ships. “When I decided to take pictures of fishing workers, my biggest problem was my identity. I had to pretend I was there to work. I could only use a pocket camera and take pictures on the sly. If someone from the fishing company found out, I’d just say I was teaching myself photography.”

To get the intimate shots he wanted aboard, he responded to an ad for a temporary position as a ship watchman, or custodian. “The job paid NTD $1000 per day (around US $33), with no insurance, no weekends, 24 hours a day on board, regardless of the weather. It was a little like being a doorman. Most ship watchmen are working-class Taiwanese men in their sixties or seventies, and their status is the same as the foreign workers. Because they also have to act as chaperones, many of whom don’t speak the language, they’re called ‘papa-san'”—a male equivalent to “mama-san,” a term used in Southeast Asia for a woman who oversees a bar or brothel.


由于媒体经常报导渔工工作环境的恶劣,曝光的全是负面消息,因此船公司极度排斥记者、相机和外人。“这项拍摄渔工计划最困难的是我的身份问题。我在这里假借职务之便,只能用口袋相机偷拍,万一被船公司的人发现就说:‘我在学摄影’。”

而他的职务,是“看船的”。

为了能更近距离拍摄渔工,李阿明应征了一份船上临时工的工作。“日薪1000元(约220人民币),没有保险,没有周休,24小时全天候都在船上,类似于大楼保安的工作。看船的大都是六七十岁以上的台湾低端老人,地位和外籍渔工雷同。因为还身兼在船上语言不通的外籍渔工的保母,所以也会被喊作‘爸爸桑’。”

Lee’s been a “papa-san” for over four years now. In September 2018, the photos and text he gathered over the years appeared in print in a collection titled There Is No God Here.

Aboard every ship, there are clear social hierarchies, and these migrant fishermen are often at the bottom. Lee has stood on the front lines and seen the oppressive life of the fishing boat workers, yet in his words and images, he touches only lightly on the violence and exploitation that the outside world hears about. Instead, he mostly depicts his subjects smiling, playing around, and goofing off. “I roamed the ship freely and took photos. We all trusted each other, and there was no pressure to be anything else,” Lee says. “When they’d ship out, I’d burn the photos onto a CD to give to them, and we’d add each other on Facebook and stay in touch. The crew members’ families would even join in on the online conversations.”


至今,李阿明的“爸爸桑”身份已经持续了四年多。这些日子以来累积的许多照片和文字都收录在《这里没有神》,这一本于2018年9月发行的摄影文集中。

船上是一个阶级分明的社会,而渔工们就位居底层。即使站在第一线眼见渔工备受压迫的生活,但外界时有所闻的暴力和剥削,在他的文字和摄影里都被轻描淡写。反之他刻画更多的,是渔工们开心玩乐、轻松的一面。“我在船上拿着相机随走随拍,悠游自在,互相信任完全没有压力。离港时再将照片烧成光碟送给他们,也会彼此互加脸书分享近况,甚至连船员家人也加入。”

Like anyone else, they know what it means to be happy and have fun. They’re my models of happiness . . . These fishing boat workers are about the same age as my kids, and with their optimism, open-mindedness, and kindness, they’ve taught me an invaluable lesson about life. Anyone who works lives honestly and works hard can stand tall and proud.


如常人般懂得玩乐懂得享受,他们都是我心里的欢乐英雄……这些和我小孩年纪相仿的外籍渔工,他们的乐观、豁达和善良,扎扎实实地让我上了人生宝贵的一课。人,永远永远,不会因认真生活、认真工作,就矮人一截!

Lee didn’t stop taking photos once he published his book. A few days after I sent him the interview questions, he sent a reply saying, “I’ve still been looking after ships; most of my time is spent aboard one.” He told me he’s moved from Qianzhen, which has become more restricted and “very difficult to openly photograph,” to Hsinta, a smaller fishing port where he continues his work as a watchman, waiting for the next ship to dock.

“I never thought of myself as making art. I just followed my instincts from decades of working as a photojournalist. I’d blend into the environment and just use my camera to ‘observe.'” Lee once said that life on the boat made him feel truly at home, and that when he’s with fishing boat workers he feels they’re all a family. “This sense of home comes from not having any other aims. Everyone’s different, with different interests,  so you can simply hang out, spend time with people without ulterior motives.”

“Photography,” he says, “is just an extension of that.”

 

Click here to purchase a copy of There Is No God Here.


而拍摄计划并没有因为发行摄影集就告一段落。在将采访资料寄给李阿明的几天后,他在回信中捎来“最近仍在顾船,大都还在船上。”他向我们透露目前他又转移拍摄的阵地,从排他性较强、“很难正大光明拍摄”的前镇渔港换到另一个小渔港“兴达港”驻点,就这样住在无人的渔船上,等待着下一艘渔船的回航。

“我从来不觉得我在创作,只是以数十年来的摄影记者本能,平常心融入环境之中,用相机‘观看’罢了。”李阿明曾说过,渔船生活是真正让他感到自在,和渔工的相处期间宛如一家人。“这种自在感,来自于无欲。在这大异其趣的异温层里,不带心眼地与他人单纯共处、消磨时日。”

正如他所说,“摄影,只是附加的载体。”

 

点击此处可购买《这里没有神》。

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Contributor: Yang Yixuan
English translation: Allen Young


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供稿人: Yang Yixuan
英译中: Allen Young

The Rules of the Game 真实人生的大富翁游戏

April 3, 2019 2019年4月3日

You can tell from her drawings that Vietnamese illustrator Cao Le Dieu Phuc is a curious, perceptive, and insightful artist. Her works are understated but incisive, with a caustic edge. One example is her recent project, Vocabulary, which features a collection of index cards that match definitions from the dictionary with drawings redefining each word. On one card, the definition of “monopoly” is coupled with a world map, a commentary on how reality isn’t far off from the Hasbro board game with rich elites wanting to accumulate as much land and wealth as possible. On another, the definition of “loudspeaker” is paired with an assault rifle, serving as a critique on how only those with power are heard. This project is her distinctive view of society. “Through art, I want to show everyone my views on this world,” Cao says.


从越南插画家 Cao Le Dieu Phuc 的画作中就可以感受出来,她是一个充满好奇心、观察力、和洞察力的创作者。如同她在最近的作品系列《Vocabulary》(《单词》)中,带着一丝揶揄的调侃意味,她把字典里不同字词配上自己原创的图解,创造出全新的释义——把大富翁游戏解释为整个世界,是富者插旗置产的游戏主场;或是扩音器解释为枪,拥有武器的人的声音更能被听见……这一系列作品提供了她对现实社会独到又残酷的见解。Cao Le Dieu Phuc 说,“我想通过艺术向大家展示我对这个世界的想法。”

Bleach / 漂白
Loudspeaker / 扬声器
Monopoly / 大富翁
Band-aid / 创可贴
Tickets / 票卷

Even as a child, Cao was insatiably curious. This inquisitive nature would follow her into adulthood and nurture her creativity. “Ever since I was a kid, I’ve always had lots of questions about normal things in life, such as, ‘What is death like? Why am I me and why are they them? How would it feel to be someone else?” she recalls. Even though she’s now older, she still hasn’t found definitive answers to these questions. Yet she isn’t alone. We’re all clueless, like pawns set down in this game, groping our way forward.

“It still feels like I’m playing my childhood games as an adult,” she says. “But the games feel much harder because many rules have changed.” Cao’s series Are You Ready? explores these changes, depicting the realities of adulthood through illustrations of popular board games and video games from the 90s. In the series, the tiny humans are seemingly estranged from their peers, isolated in their own games as they chase after dollars, look for a partner, try to fit in, seek out attention, and face death: this is everyone’s life in miniature.


从小 Cao Le Dieu Phuc 就对生命抱持着许多疑问,她满怀好奇心以及追根问底的个性也跟随她进入成年,并滋养了她艺术上的创意表现。“死亡是怎么样的?为什么我是我,而他是他?如果可以成为别人那会是什么样的感觉?”虽然这些问题在她长大之后不见得能得到解答,但她并不是孤单的。我们每个人都一样懵懂无知,如同棋子一般被安插在人生这场游戏里,摸索着向未来前行。

“我好像还是在玩这些小时候的游戏,只不过更困难,因为游戏规则变了。”Cao Le Dieu Phuc 这样形容她对人生的看法。《Are You Ready?》(《准备好了吗?》)这一系列作品是她针对现实的描摹,以 90 年代经典的桌游和电玩游戏为原型,画面中的小人与身旁的伙伴形同陌路,游离在各种的游戏里——挣钱、寻找另一半、融入群体、寻求关注、死亡——这是一部部人生的缩影。

But games and real life are very different. Unlike video games, in life, there’s no pause, and you can’t hit the restart button. The drab palette of Cao’s illustrations almost seems to allude to this glum realization, but she’s actually an optimist at heart. “My art isn’t stating that we can only play by the rules of the game,” she explains. “It’s just that when you get better, you’ll have to face even harder challenges, just as you would when you advance to the later levels of a video game. We need to figure out how to beat the level, to master the game of life, and have fun doing it. This series has allowed me to say goodbye to childhood and face the real world.”


不过与游戏不同的是,现实中少了暂停键,也没有重新开始的选项。她的画披上一层灰濛濛的色彩,看似悲观,但她本人却不是这样想。反之,她相当乐观和抱持希望。“我并不是想说我们只能按照规则来玩。只是在人生里,当你玩得越好,就会面临更多困难和挑战,就像在游戏中升级了一样。我们得想办法怎么晋级,玩得更好,成为人生这场游戏的佼佼者,开心地玩。画这一系列让我得以向童年道别,然后接受现实。”

Behance: ~/caoledieuphuc
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Contributor: Yang Yixuan


Behance: ~/caoledieuphuc
脸书: ~/caoledieuphuc

 

供稿人: Yang Yixuan

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Plastic Memories 山寨的真实

March 25, 2019 2019年3月25日

Made in Hong Kong is a zine produced by the Hong Kong artist Chan Hiu. Each issue contains a different toy, such as a plastic gun, a slinky, or a build-it-yourself camera, stirring the childhood recollections of a whole generation. Her idea with this combination is to write the history of Hong Kong’s “knock-off” toys and pay homage to a significant piece of culture that’s gradually disappearing from sight.

“‘Knock-off toys’ is a term for the substitutes for expensive name-brand items made by Hong Kong’s toy industry in the 1950s and 1960s,” Chan explains. “Back then the city’s toy industry was world-famous, but a lot of what it made was for export, with extremely high prices that most locals couldn’t afford. So the factories gave leftover materials to knock-off producers.”

Knock-off producers were an important link in Hong Kong’s toy industry, and you might say they bore witness to its rise and fall. “Yet today, when people talk about knock-off toys, they don’t usually have in mind the old ones from Hong Kong, but the rip-offs made in mainland China, according to my survey results,” says Chan. “So Hong Kong’s knock-off toys have begun to fade from the memories of a generation.”


《山寨玩具》(《Made in Hong Kong》)是一系列由香港艺术家 Chan Hiu 创作的 zine,每一期都搭载了一种怀旧感十足的玩具,如塑胶手枪、弹簧、和组合相机,勾起一代人小时候的记忆。这本玩具书意在书写“香港山寨玩具”的历史,向现在已逐渐消逝在大众视野里的重要文化致上敬意。

“山寨玩具一词来自50至60年代的香港玩具业,指的是高价正版玩具的替代品。” Hiu 解释道。“香港玩具业在当时是世界知名的,但大多是用于出口,价钱十分昂贵,一般巿民都负担不起。所以玩具厂会把剩下的材料分给山寨厂去工作。”

山寨厂是香港玩具业发展非常重要的一环,可以说是见证了整个产业的兴衰。“而在现今,人们提起山寨玩具一词,大多不会联想到香港的旧玩具,反而是中国大陆的翻版玩具(从我的问卷调查所得来的结果)。此一陪伴多数人童年的文化就这么随着岁月,消逝在上一代香港人的回忆录里。”Hiu 如此说道。

Chan’s been a toy lover ever since she was a kid. She still has memories of playing with all kinds of toys with her brother, competing in games whose rules they made up themselves. Even today, they sometimes look back on the adventures those toys were a part of. Those toys are a unique part of Hong Kong’s collective memory. But over the last few years, Chan has watched as the small shops that sold them—a common sight when she was little—disappear one after another. “Some have been pushed out by big corporations, some of closed up shop because they’re business wasn’t as good as it used to be,” she says.

“Toys bring people together. Whenever I bring up those classic Hong Kong knock-offs, there’s no end to the stories I hear. People here grew up with them, even if they paid them much attention. There’s not much documentation on the history of the city’s knock-offs, and I’m sure that if this irreplaceable part of history isn’t shared, it will quickly be forgotten by the next generation.”

To preserve these cultural memories, Chan has published Made in Hong Kong, a singular and highly unconventional zine. Here’s a short overview of the first three issues:


Hiu 从小就是一个玩具控,回想起小时候,浮现在脑海里的常常是和哥哥一起玩的各种玩具,他们还会自定规则去比拼,甚至到现在也会时不时提起那些有玩具参与的故事。这是香港人无可取代的集体回忆。可是在这几年间,她发现小时候流连的玩具铺开始一个一个地消失。“有些被大财团迫迁,有些是生意大不如前必须结业。”

“玩具把人们的关系拉近,每当提起这些经典的山寨玩具时,总会有数不尽的话题。山寨玩具虽然不起眼,却真实陪伴了香港人长大。然而社会里却没有太多纪录它们的文献资料。我深信这段珍贵的历史如果不再被分享,很快就会被新一代遗忘。”

为了保存这样的文化记忆,Hiu 发表了《山寨玩具》这样前所未见又意义非凡的作品。接下来将简单介绍目前三期:


 

Vol.1 山寨重塑 / Knock-off Remake

“Knock-off Remake” is a booklet that introduces Hong Kong’s knock-off toys. Its front cover contains a plastic toy gun, and its back cover also evokes packaging design. Flipping through this booklet is like flipping through the history of knock-off toys and seeing their development over time.


山寨玩具系列《山寨重塑》是一本介绍香港山寨玩具的入门书。封面固定了一把塑胶玩具手枪,封底也参考了玩具的包装设计。翻阅这本书,就好像在翻阅山寨玩具发展的历史和故事。

 

Vol.2 山寨时轴​​​​​​​ / Knock-off Timeline

The second installment of Made in Hong Kong, “Knock-off Timeline,” gives a chronology of the development of the city’s knock-off toys. The issue’s format evokes the classic slinkies of the 1970s.


山寨玩具系列第二期《山寨时轴》展示了香港玩具发展的时间轴 ,形式设计则参考了70 年代经典的玩具弹簧。

 

Vol.3 山寨留存​​​​​​​ / Knock-off Preservation ​​​​​​​

The latest issue of Made in Hong Kong, “Knock-off Preservation,” uses a toy camera to record the few remaining variety stores, stationer’s, and places that once sold knock-off toys. It aims to document them before they’re gone, and to raise people’s awareness. The zine is designed like a plastic toy camera: after assembling the pieces, which are printed on a 3D printer, the reader can turn a gear to move the film and delight in the photos inside.


山寨玩具系列的最后一期《山寨留存》,以玩具相机去纪录硕果仅存的杂货店、文具店、和一些曾经售卖过香港山寨玩具的地方。希望在它们消失之前作纪录,提升大家的关注。这本书依照塑胶玩具相机去设计,使用3D印刷方法,组合好配件后,便可以扭动齿轮去带动相机内的胶片卷,欣赏当中的照片。

Website: chanhiu.com/
Behance~/chanhiu

 

Contributor: Yang Yixuan
English Translation: Allen Young


Website: chanhiu.com/
Behance: ~/chanhiu

 

供稿人: Yang Yixuan 
中译英: Allen Young

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Getting Down & Dirty 跟着音乐竖起你的脏手指

March 19, 2019 2019年3月19日

 

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To mark the launch of Skullcandy‘s wireless Push™ earphones, we teamed up with the brand to present a series of stories celebrating those in the creative community who push themselves to the limit and break boundaries.

In the first episode, we caught up with skateboarder Wang Di, while in the second we heard from tattoo artist Yao Meihui. In this third installment, we talk to Shanghai-based rock band Oh! Dirty Fingers about music, creativity, life, and persevering on this path.


为庆祝蓝牙无线耳机 Push™ 的重磅推出,Skullcandy 与 Neocha 正式携手合作,为你带来几位艺术家、运动员和音乐人,打破极限,自我出声的故事。

在本系列专题的第一期和第二期故事中,我们分别与职业滑手王玓、纹身艺术家姚美惠聊一聊他们对于突破界限的理解。而最后一位专题人物,我们找到了上海朋克摇滚乐队脏手指,和他们聊聊音乐、创作和生活,以及坚持走在这条路上的经历。

From left to right: Zhang Haiming, Alexandre Leal de Almeida, Bing Xiaohai, Guan Xiaotian / 左到右: 张海明、赵子龙、邴晓海、管啸天

On the very first listen of Oh! Dirty Fingers, you can tell that they’re not your average rock band. From the lead singer’s muddy voice to the breakneck drumbeat and distorted chords, they’ve thrown out the rules of songwriting with their brash, rowdy style. They have little regard for mainstream tastes, and their music constantly pushes the limits of the rock genre. That’s what makes them a presence you can’t ignore in today’s indie scene.

Founded in 2013 by frontman Guan Xiaotian, Oh! Dirty Fingers started out as a college band. After cycling through a roster of members, the group now features Guan on vocals, Bing Xiaohai on guitar, Zhang Haiming on bass, and Alexandre Leal de Almeida on drums.

“I never thought about whether it’d be hard,” says Guan. Music wasn’t a conscious choice after college—he just followed his heart and found himself on this path. “I’ve always liked music. I never gave much thought to life after graduation—all I knew was, I didn’t want to do anything else, and I’d never be satisfied unless I did something involving music. When I like something, I can’t give it up.”


脏手指的音乐,乍听之下是不合常理的。主唱含糊不清的呐喊,飞快地几乎像在赶拍的鼓点,失真的和弦……他们颠覆了许多普遍的编曲规则,曲风张扬而狂放不羁。不顾主流音乐品味,他们不断将摇滚乐的极限推向边际,也正是这一点,让脏手指立足于今天的独立乐界,成为一个无法忽视的存在。

脏手指乐队最初在 2013 年由主唱管啸天成立,当时还是一支学生乐队。之后经历几次团员的更迭,现在则加入了吉他手邴晓海、贝斯手张海明以及鼓手赵子龙。

“从没想过困不困难。”管啸天说,音乐对于当时大学刚刚毕业的他来说,并不是一个刻意的选择。他跟随着自己的心声,自然而然就踏上这条路。“我一直都很喜欢音乐,毕业后虽然对未来没有太多想法,但知道自己就是不想做别的事情。想到音乐,总觉得这事还是得做,不然会不甘心吧。我一旦喜欢一件事,就很难放下了。”

Listen to some of our favorite tracks from Oh! Dirty Fingers below / 点击即可试听脏手指的几首歌曲

In 2017, the band signed a deal with Maybe Mars to release How’d I Turn So Bad? On this raucously crude album, they don’t just talk about crushes and flings, they shout all their dirty secrets at the top of their lungs for everyone to hear. On the track, “I Like Your Girlfriend Too,” Guan sings,

I like your girlfriend too,
I want to see her when she sleeps.
I’ll talk to her when you’ve got nothing to say.
Bring flowers when you’ve given up on romance.

Or the song “Undercover Cop”:

From a righteous vantage, looking down at all this scum
Wipe them out, wipe them all out
Wipe out this whole generation
Wipe out the dancers with their smutty moves
Wipe out the books that lead them astray

“I imagined what it’d be like if I were an undercover officer at a club,” Guan recalls of his initial inspiration. “If I had to spend all night watching that depraved grinding, I probably couldn’t take it.” Often the explicit, raw lyrics are inspired by their own lives. The band has no deeper message, and they don’t pretend to offer the truth and insight that society expects of lyricists. They’ve always stuck to a simple artistic principle: make music about the world they know. In a music scene full of romantic ballads, only a group this unflinchingly frank can satisfy an audience’s thirst for the new and the real. Almeida notes, “We don’t stick to one style. But we always use the same formula: keep it simple.”


2017 年脏手指与独立音乐厂牌兵马司签约,发行专辑《我怎么学的那么坏》。这确实是一张“藏污纳垢”的专辑,生活本就不只有小情小爱值得一提,他们把平常躲在缝隙里的那些小奸小恶也抓出来,写成歌,呐喊给我们听。在一首俗称“用来破坏爱情”的《我也喜欢你的女朋友》里,他们是这样唱的:

你的女朋友我也很喜欢,她睡着的样子我也想看。我来陪她聊天当你无话可谈,我要送她鲜花当你忘记浪漫。

或是在另一首《便衣警察》里:

选择一个正义的角落,观察这里所有的人渣。枪毙枪毙通通都枪毙,枪毙这个时代如果可以。枪毙这些下流的舞步,枪毙教人学坏的教科书。

“我想像我是一个夜店的便衣警察,如果整天看着这些群魔乱舞的年轻人,应该会很无奈吧。”管啸天说。直白又辛辣的歌词,不过是生活中一个灵感的体现。背后并没有暗藏什么冠冕堂皇的大道理,用来讨好社会期待“作为音乐人”应该要有的真知灼见。他们始终遵循简单的创作原则:过什么样的生活,就做什么样的音乐。赵子龙说,“我们从不拘泥在一种风格之中,但我们总是用相同的模式去创作——保持简单。”在乐界一片歌颂浪漫的靡靡之音里,正是这样一支过分诚实的乐队,重击到时下听众渴望新事物的痛点。

Drummer: Alexandre Leal de Almeida / 鼓手: 赵子龙
Drummer: Alexandre Leal de Almeida / 鼓手: 赵子龙
Bassist: Zhang Haiming / 贝斯手: 张海明
Bassist: Zhang Haiming / 贝斯手: 张海明

A fan on their way to an Oh! Dirty Fingers show once received some good advice: don’t wear white shoes—they’ll get trampled and covered in dirt. But don’t worry if your shoes get smudged, because these live performances are the essence of Oh! Dirty Fingers: passion, chaos, and a need to push the envelope.

Their strings tend to break, their drumsticks split in two, their instruments take a beating at every show. On stage they always go all out—they never hold back. Guan describes the exhilaration of singing to a crowd. “You feel like you can touch the sky. There’s nothing in your way, there’s nothing you can’t do. You’re unstoppable, you can shatter boundaries. ” Their ground-thumping concerts make your eardrums feel like they’re going to burst, pushing listeners to their auditory limits.


不要穿白鞋去看脏手指的现场,会被踩脏的——记得有人这么告诫第一次去看脏手指表演的乐迷。但就算鞋子脏了,也不要紧,毕竟这就是脏手指的真谛——激情,混乱,无所顾忌。

琴弦常常弹断,鼓棒也常常裂开,脏手指演出时器材总是耗地特别厉害,因为台上的他们总是付出全力,毫不保留。演出到最尽兴的时候,他们是这样形容当下的感受:“那种感觉就好像摸到天一样。没有任何阻力,你感觉自己无所不能。那是一种没有束缚、突破了界限的感觉。”脏手指的每一场表演都震撼力十足,几乎要冲破你耳膜的音乐,仿佛在不断挑战你我的听觉极限。

Vocalist: Guan Xiaotian / 主唱: 管啸天
Vocalist: Guan Xiaotian / 主唱: 管啸天
Guitarist: Bing Xiaohai / 吉他手: 邴晓海
Guitarist: Bing Xiaohai / 吉他手: 邴晓海

Some people call them a punk band, some people call them punk’s bastard children. Guan laughs and says, “We’re just a rock band, it’s as simple as that. In music, I think it’s really important to stay free, stay fresh, and stay creative. And freedom doesn’t respect stylistic boundaries. You can’t limit your art.”

They take a pure and sincere approach to music, and this is their most important quality as artists. Oh! Dirty Fingers has never surrendered their own creativity to cater to the market or to other people’s tastes. Nor have they ever shied away from exposing the restless, reckless spirit of youth. They follow their own rhythm, and even though they’ve faced their share of doubt from the outside world, they stubbornly keep making their music. “It’s not that we don’t care at all what others think, we just care less than most people,” Guan notes. “If you worry too much about what everyone says, you won’t make it in this business.” It’s better to boldly express yourself than to keep quiet and go unnoticed.


有人说他们是一支朋克乐队,也有人把他们誉为“朋克私生子”。对此管啸天笑着说,“简单一点,就说我们是一支摇滚乐队吧。我认为保持音乐上的自由、新鲜感和创造力,是非常重要的。而这种自由,就是在类型上没有限制,不要局限住自己的创作。”

这样对待音乐的纯粹和真诚,正是身为创作人最重要的一种特质。脏手指从不为了迎合市场的需求或别人的喜好而轻易迁就自己的创作;也不避讳在音乐中将年轻人躁动不安的一面完全彰显出来。虽然与社会主旋律形成抵触,外界质疑的眼光不曾少过,但他们依然保持着自己的节奏,不可一世,只专注做自己喜欢的摇滚乐。管啸天说,“不是说完全不在意别人的看法,而是相较于其他人,在意得会少一些。况且如果你非常在意别人说什么,也就不会干这一行了。”与其为了融入群体,委屈地做一个噤声的人,不如就大胆地自我出声。

Music isn’t an easy path. In China, a lot of young artists find a day job to get by and just make music on the side. Oh! Dirty Fingers is a full-time band—music is their whole life. For all the members, this is probably the only way: their music and lives are inextricably bound together. “Songwriting is a calling for me,” says Bing, and Zhang feels the same, “Music is just an authentic response to life.”

Guan nods in agreement, “Finding another job and just doing music in my spare time would be a little strange, in my opinion. If you don’t give it your all, the things you write split off from your life. If you can’t convince yourself, how can you convince anyone else? Creating gives our lives meaning, so to speak. It means challenging restrictions. For us, pushing limits is about constantly creating, never stopping, and doing the unexpected.”


音乐这条路毕竟不轻松。在中国,许多年轻的乐手为了减轻生活的负担,会找一份正职工作,把音乐当作兴趣来经营。脏手指作为一支全职乐队,音乐等于他们全部的生活。而这也是其他团员看来唯一可行的方式,创作与生活始终是紧密连结,分不开的。“写歌就是我的事业。”邴晓海说。“音乐,是一种对生活的忠实反馈。”张海明这样说道。

管啸天也如此同意,“找一份其他工作,闲暇时再做做音乐,在我看来怎么说都有点奇怪。如果你不全心投入,写出来的东西和生活脱节,连自己都说服不了,该怎么说服别人?创作吧,可以说是我们一个重大的生命意义,本身就是一种对极限的挑战。Pushing Limits 对我们来说,就是不停地创造,不停地创作,和出人意料。”

Shop the Push™ wireless earphones at Skullcandy’s Tmall page or official website.


想收获一副属于你自己的 Skullcandy 蓝牙无线耳机 Push™,敬请登陆天猫或者官网订购。

Weibo: ~/脏手指武工队
Facebook: ~/thesefingersaresodirty

 

Contributor: Yang Yixuan
Videographer: Damien Louise, Paul Gardette, Yang Bingying 
Photographer: David Yen
English Translation: Allen Young


微博: ~/脏手指武工队
Facebook: ~/thesefingersaresodirty

 

供稿人: Yang Yixuan
摄像师: Damien Louise, Paul Gardette, Yang Bingying 
摄影师: David Yen
中翻英: Allen Young

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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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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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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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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