Tag Archives: 摄影师

Roller Coaster India

 

无法观看?前往优酷

“During my trip to Kolkata, India, I could only think of one thing: roller coaster,” says Cuban filmmaker Yuribert Capetillo Hardy. As the name suggests, Hardy’s short film Roller Coaster India is nothing short of a vibrant, and at times, dizzying spectacle. The film’s point of view twists from scene to scene with almost zero delay, delivering a sensory overload that Hardy describes as a visualization of his feelings, fears, and emotions while traveling through India.


古巴电影制片人Yuribert Capetillo Hardy说:“在印度加尔各答旅游时, 我只能想到一个词——过山车。”顾名思义,他所拍摄的短片《Roller Coaster India》是一部充满活力,甚至可以说令人眩目的视觉影像。影片的各个场景快速地切换着,带来目不暇接的视觉体验,Hardy解释道,这正是对他在印度旅行时的感觉、恐惧和情感的“视觉化表达”。

The film is a choppy glimpse into everyday life on the streets of India, forcing viewers to cling to each scene. Hardy, who is now based in Holland, remarks that these moments are a stark contrast to his daily life but also make him reminiscent of his own childhood in Havana, Cuba. “Compared to my week in India, I realized that my life in the streets of Havana wasn’t that bad after all. The energy of this country, the spirituality of the people, and the spark in their eyes made this the trip of a lifetime.”


这部影片展示了印度街头日常生活的各种片段,迫使观众专注地观察每一个场景。Hardy现在在荷兰生活,他表示,影像中的生活和他平常的生活截然不同, 但使他想起了自己在古巴哈瓦那的童年。“我在印度度过的这一周, 让我意识到,曾经在哈瓦那街头的生活也没有很糟糕。这个国家的活力、人们的精神和他们眼中的火花, 使这场旅行成为了一次终生难忘的经历。”

Website: yosoyvideo.nl
Facebook: ~/Yosoyvideo
Instagram: @yosoyvideo

 

Contributor: Whitney Ng


地址: yosoyvideo.nl
脸书: ~/Yosoyvideo
Instagram: @yosoyvideo

 

供稿人: Whitney Ng

Listening Through the Lens

Hai Thanh is a photographer based in Hanoi, Vietnam. His photography is a visual diary of his daily life, showing the people he comes across and the environments they live in. A graduate of the graphic design department at the University of Industrial Fine Arts in Hanoi, Thanh went on to pursue his passion for photography full-time, working as a photojournalist for both domestic and online news outlets.


Hai Thanh是来自越南河内的一名摄影师。他用摄影来记录自己的日常生活,展现他所遇到的人和他们生活的环境。从河内工业美术大学平面设计系毕业后,他选择了自己热爱的摄影事业,成为了一名全职摄影师,为越南国内媒体及在线新闻媒体工作。

Thanh’s personal philosophy is that photography is an art form that goes beyond any categorizations of genre. He says, “I consider myself as a photographer, not a street photographer, documentary photographer, or photojournalist. These are just names. Sometimes I use photography a method of self-expression, and other times I try to tell stories about the people I care about.”


他的个人哲学是,摄影是一种个人的艺术形式,超越任何形式的分类。他说: “我觉得自己就是一名摄影师,不是街头摄影师,也不是纪录片摄影师或是摄影记者。这些都只是头衔。有时,我用摄影来表达自己,有时,我用摄影来给我关心的人讲故事。”

As street photography becomes more popular in Vietnam, Thanh strives to maintain an honest approach to his work on the street and his relationship to his subjects. He says, “When I’m doing street photography, I don’t try to find dramatic situations, and I’m not a big fan of ‘decisive moments.’ I take photos as naturally and simply as I can. I love photographing the emotional connection between people… I don’t think much about whether or not I can get ‘good pictures.’ I care about the connection between myself and the people I photograph. The process of photography is not only about taking pictures but also about talking and understanding.”


随着街头摄影在越南越来越流行,Thanh 在街头拍摄时也会努力保持贴近现实,在与摄影对象的关系中保持真诚的态度。他说:“当我在进行街头摄影时,我不会试图去寻找戏剧性的场面,也不会特别热衷于‘决定性时刻’这类风格的摄影。我按照尽可能自然和简单的方式来拍摄。我喜欢记录人们之间的情感联系……我不会考虑太多能不能拍到‘好照片’的问题。我关心的是我和拍摄对象之间的联系。摄影的过程不仅是拍照,更是沟通和理解。”

Thanh is currently working as a freelance editorial and documentary photographer focused mostly on social issues. In addition, he is also working on a personal project on autistic children in Vietnam. He shares his knowledge with other photographers by hosting workshops on street photography and visual storytelling across the country. As he deals with the responsibilities of raising a family, he continues his dedication to photography and offers us his thoughts on his changing relationship with the artform. “I heard this said before by another photographer – ‘photography is more and more about being on your own as you get older.’ Your pictures are talking about yourself. Photography means a lot to me – it’s my way of thinking, speaking, and listening.”


业的编辑和纪录片摄影师,作品主要围绕当今的社会问题,同时也在进行一个关于越南自闭症儿童的个人项目。他在全国各地举办街头摄影和视觉叙事的研讨会,和其他摄影师分享自己的知识。当他有了自己的家庭后,他继续献身于摄影,和我们分享他对于自己和艺术形式之间不断变化的关系的一些想法。“我之前曾听过另一位摄影师说,随着年龄变大,摄影会越来越像是一件属于你自己的事情。你的照片讲述的就是你自己。摄影对我来说意义重大,它是我思考、说话和倾听的方式。”

Tumblrhaithanhptw.tumblr.com
Instagram@haithanhptw

 

Contributor: George Zhi Zhao


Tumblrhaithanhptw.tumblr.com
Instagram: @haithanhptw

 

供稿人: George Zhi Zhao

Conversation

Kim Sunkyung and Jeong Wonjun are the creative duos behind the South Korea-based art collective Sailors Studio. Their newest photography series, Conversation, features delicately distorted portraits that are projected across a fleeting cloth, tossed into twilight landscapes. The duo began experimenting with this fluid portrayal of the human face in their earlier photo series, Floating Life, where the cloth acted as “a screen to absorb a variety of images which tell the story of life and death”.


Kim SunkyungJeong Wonjun 是韩国艺术工作室Sailors Studio的两名艺术家。他们的最新摄影系列《对话》(Conversation),将精美的人像投射于飘逸的布料上,映衬暮色的风景背景。在早期的摄影系列《浮动生活》(Floating Life)中,他们第一次尝试创作这种充满液态动感的人像作品,用布料“作为屏幕,展现一系列影像,讲述有关生命和死亡的故事”。

From the Floating Life series
From the Floating Life series
From the Floating Life series

Whilst their previous photo series explored the themes of life and death, Conversation focuses solely on the former and delves into the topic of self-discovery. The work was originally inspired by French philosopher Emmanuel Levinas’ conception of responsibility, which states that being human meant that one is responsible for someone other than oneself, known as “the Other.” The cloth that is tossed into the air depicts one’s relationship with the Other, with each moment captured symbolizing a conversation. Through these portraits, “one finds one’s essence through the Other.” See the complete series below.


尽管他们以前的摄影作品探讨了生与死的主题,而这一次在《对话》中,他们只关注前者,深入探讨自我发现的主题。深受法国哲学家伊曼纽尔·莱维纳斯(Emmanuel Levinas)的责任观的启发,其中指出,作为人类,对他人的责任是与对自己的责任所不同的,这一点可以被称为“对方”。通过捕捉交谈中的每一个瞬间的特征,所完成的肖像告诉我们,“我们可以通过对方发现自我的本质”。下面一起来欣赏一下这一系列的作品吧。

Behancesailors-studio
Instagram@zza_sam

 

Contributor: Whitney Ng


Behancesailors-studio
Instagram@zza_sam

 

供稿人: Whitney Ng

Black & White Tokyo

Veteran Japanese photographer Junichi Hakoyama is best known for his minimalist black-and-white stills that he captures on the streets of Tokyo. Armed with his Leica M Monochrom, Hakoyama creates alluring images with bold lines and high contrasts through his effective use of light and shadow. The result is a beautifully understated monochromatic series that he has simply titled Tokyo. Every shot carries a soothing balance of proportion and geometric structure, which transforms a simple subject in a common setting into a moment full of purpose. See more of his work below.


日本资深摄影师Junichi Hakoyama凭借在东京街头捕捉的简约黑白摄影作品而闻名。通过他的Leica M Monochrom 相机,他用大胆的线条和高对比度的光影组合呈现了一系列出色的影像作品。他将这个精美而低调的黑白摄影作品系列简洁地命名为《东京》(Tokyo)。每一张照片的比例和几何结构都有一种令人看上去很舒服的平衡,将人们常见的环境和普通的人物定格为一个充满目的性的时刻。一起来欣赏一下他的作品吧。

Flickr: ~/junichihakoyama
Instagram: @junichi_hakoyama

 

Contributor: Whitney Ng


Flickr: ~/junichihakoyama
Instagram: @junichi_hakoyama

 

供稿人: Whitney Ng

Shanghai Love Notes

“When I first came to Shanghai, I didn’t like it very much,” says Gabby Gabriel, the founder of Shanghai Love Notes, who describes the photo series as a passion project. “The city seemed cold and there were a lot of things that I saw that didn’t sit right with me. Looking back now, I can say that Shanghai changed me. It taught me to look for goodness, kindness, and happiness amongst the mundane. Shanghai Love Notes reminds me of how I can find ‘love’ anywhere, just by looking a little closer.” Now, Gabriel finds great enjoyment in roaming the streets of Shanghai with a camera in hand, waiting for that moment of inspiration.


“刚开始来上海的时候,我并不太喜欢这座城市,感觉它就是一座很冷漠的城市,有很多让我难以接受和理解的事情。现在回过头来看,我可以说上海改变了我。 它教会我在平凡中发现好意、善良和幸福。‘Shanghai Love Notes’(上海爱情笔记)这个项目提醒着我,无论身在哪里,只要再走近一些,你总是能发现‘爱’的。“Shanghai Love Notes网站的创始人Gabby Gabriel认为,这是一个关于充满热情的项目。她喜欢漫游于上海的街道,拿着相机,等待捕捉灵感闪现的一刻。

Gabriel initially began making “love notes” from an app that simulated typewriter font. These creations eventually led her to couple typewritten poetry with images that she snapped while venturing throughout Shanghai. “Behind each ‘love note’ is a life moment that I feel compelled to share. Shanghai is my home now and I want nothing more than to tell its story.”


最初,Gabriel只是在一个模拟打字机字体的应用程序上创作“爱情笔记”,慢慢地, 她开始将自己创作的诗句与她在上海街头拍摄的影像结合起来。“在每一句‘爱情笔记’背后,都是生活中某个我想要分享的时刻。现在,我已经把上海当作是我的家,我只想讲述关于这座城市的故事。“

Websiteshanghailovenotes.com
Facebook~/shanghailovenotes
Instagram@shanghailovenotes

 

Contributor: Whitney Ng


网站shanghailovenotes.com
脸书~/shanghailovenotes
Instagram@shanghailovenotes

 

供稿人: Whitney Ng

Cinematic Tokyo

Cinematic Tokyo is a series from Dutch photographer and cinematographer Stijn Hoekstra. After initially developing his photography style in his native home of Amsterdam, Hoekstra planned to bring his visual approach to photographing other cities. The Cinematic Tokyo series was made possible when Hoekstra was commissioned to shoot a documentary on a flower artist in Tokyo, giving him the opportunity to capture the streets during his free time. Hoekstra says, “Whenever I work in another country, I try to book some extra nights to do the thing I like most – photographing the city in my own way.”


《Cinematic Tokyo》(电影东京)是由荷兰摄影师和电影摄影指导Stijn Hoekstra创作的摄影作品系列。在家乡阿姆斯特丹期间,Hoekstra初步形成了自己的摄影风格,之后,他便计划利用自己的视觉创意在其它城市进行拍摄。《Cinematic Tokyo》系列是Hoekstra受委托前往东京为一名花艺师拍摄纪录片期间所创作的。一有空,他就会走上街道进行拍摄。Hoekstra说:“每次我去到另一个国家工作时,我都会多住几晚,去做自己想做的事情——用自己的方式拍摄这座城市。”

Hoekstra draws from his background as both a photographer and a cinematographer to bring his audience a unique perspective on visual storytelling. He says, “I always try to take a cinematic approach in my photography. Every picture is shot with a wide angle lens, and I’m always looking for different perspectives.” Through particular attention to subject, lighting, and composition, each of Hoekstra’s images manages to tell a story in a single frame.


Hoekstra利用自己作为摄影师和电影摄影指导的经验,为观众带来独特的视觉叙述视角。他说:“我总是试图以电影方式来进行摄影。每张照片都是用广角镜头拍摄,我也一直会去寻找不同的视角。“Hoekstra的摄影作品尤其关注拍摄对象、光线和构图,每张单独的照片都像是在讲述一个故事。

Color grading plays a major role in Hoekstra’s creative process and is essential in bringing out the cinematic quality of his images. According to him, “Color gives the photo the mood it deserves. It took a lot of time to develop this particular style, and it’s still developing.” Hoekstra continues his Cinematic city series in New York and Cuba.


调色(Color grading)是Hoekstra的创作过程中的重要部分,对于提升其照片的影像品质十分关键。他解释道:“色彩赋予照片相应的情绪。我花了很多时间来掌握这种特殊的风格,并且还在不断地学习。“接下来,Hoekstra将继续在纽约和古巴创作自己的《Cinematic》电影城市摄影系列。

Behance~/stijnhoekstra
Instagram@stijnhoekstra

 

Contributor: George Zhi Zhao


Behance~/stijnhoekstra
Instagram@stijnhoekstra

 

供稿人: George Zhi Zhao

Youth & Beauty in Taiwan

Cielo Yu is a Taiwanese photographer and a student at the Southern Taiwan University of Science and Technology. Although she has only been involved in photography for three years, Yu has developed a strong visual style with a keen sensitivity to subject, color, and composition. According to Yu, “After beginning photography, I’ve developed a deeper interest in exploring all things. I feel like the best part of photography is it motivates me to keep contemplating. That’s what I’ve gained the most, the feeling of being alive through contemplation.” See below for a selection of Yu’s works.


台湾摄影师 Cielo Yu 目前就读于南台科技大学。虽然开始摄影仅三年时间,她已经形成个人强烈的视觉风格,对摄影对象、颜色和构图展现敏锐的触觉。Yu说:“开始摄影之后,我对于探索各种事物越来越感兴趣。我觉得摄影最大的好处之一,是激励我不断思考,这是我最大的收获,通过思考感受活着。“下面一起来欣赏一下Yu的作品吧。

Flickr: ~/cieloyu
Instagram: @cielo_yu

 

Contributor: George Zhi Zhao


Flickr: ~/cieloyu
Instagram: @cielo_yu

 

供稿人: George Zhi Zhao

Utopia

Watermelon (2016)

Ina Jang is a South Korean photographer currently residing in New York City. Her creative method uses layers of physical and digital cut-outs, and incorporates collage, paper, and sketches to create playful images. Jang’s latest series, Utopia, speaks directly to the viewer about perceptions of women. Using a colorful, minimalist style with attention to the composition and the poses of the figures, Utopia allows viewers to project their own feelings and attitudes towards femininity onto the images.


韩国摄影师Ina Jang目前居住在纽约,她通过多层次的几何形状和数码式裁剪,结合拼贴、纸张和草图,创作出有趣的图像。Jang的最新作品系列《乌托邦》(Utopia),直接向观众展现现代社会对女性的看法。这一系列的风格简约、多彩,注重构图和人物姿势,让观众将自己对女性的理解和态度投射到图像上。

Blush (2016)
Lemonade (2016)
Peach (2016)

Jang tells us more about the series: “Years of image making made me curious about the dynamics between the subject and the image maker. Often, female figures are portrayed as a submissive subject in the original source. They evoke a range of playfulness, shyness, seduction and promiscuity. Bright colors, metaphorical shapes, and the anonymity in my reinterpretation can open a different conversation with the viewers beyond the original source material. Regardless of whether the viewers are familiar with the source or not, I hope viewers could build their own stories and measure their own relationships with female figures in our visual culture.”


Jang详细介绍了这个系列:“创作这类图像这么多年,我开始对主题和图像创作者之间的动态影响到好奇。通常,女性在图像素材中都是被描绘为顺从的形象。她们或有趣,或害羞,或诱惑,或滥交。而这个系列作品中的明亮色彩,隐喻式的形状和无名性可以抛开画像创作素材本身,与观众开启不同的对话。无论观众是否熟悉这些创作素材,我希望他们能够建立出自己的故事,并在视觉文化中衡量自己与女性的关系。“

Flamingo (2016)
Fuchsia (2016)
Bubblegum (2016)
Tangerine (2017)

Website: inaphotography.com

 

Contributor: George Zhi Zhao


网站: inaphotography.com

 

供稿人: George Zhi Zhao

Kowloon Wasted Youth

Kowloon Wasted Youth is a photography series by Andreas Demeter, a German photographer, DJ, music producer, and art director currently based in Hong Kong. Shot on 35mm analog film without the use of any postproduction, the series is a visual diary of moments from the artist’s life, shot between 2016 and 2017.


Andreas Demeter是来自德国的一名摄影师、DJ、音乐制作人和艺术总监,现居香港。在2016年至2017年期间,他用35mm胶片拍摄了《Kowloon Wasted Youth》系列,作为一个记录生活的视觉日记,所有照片都没有经过任何后期编辑。

Demeter says about the series, “I wanted to give a glimpse into the odd beauty, seductive charm and harsh contrasts below the shiny surface of this hopelessly overpopulated post-colonial melting pot of Eastern and Western culture that likes to dub itself ‘Asia’s World City’ – a term that is being scoffed at by the local youth of today in a time of weltschmerz and political uncertainty, grasping for freedom and autonomy, while being forced to give in to the slow and sneaky erosion of hypercapitalism.”


Demeter在介绍这一摄影系列时表示:”我想展现那些奇特的美丽、诱人的魅力,以及在这个人口极度过剩的后殖民地、东方和西方文化的大熔炉中,光鲜繁荣的表面之下强烈的矛盾对比。这座城市自称为‘亚洲的世界都市’,然而,在这个充满悲观主义和政治不确定的时期,对于那些想要获得自由和自主权、又不得不屈服于超资本主义缓慢而诡秘的侵蚀的香港青年来说,这只是一个充满讽刺意味的称号。”

For Demeter, Kowloon encompasses a more authentic side of Hong Kong, in contrast to the shiny skyscrapers and sterilized streets of Hong Kong Island. Through his series, he hopes to capture a side of Hong Kong’s youth culture that is “a lot more local, charismatic, charming, and authentic.”


对于Demeter来说,与香港岛的摩天大楼和干净街道相比,九龙代表着香港更真实的一面。通过这一个摄影系列,他希望能够体现出他眼中”更地道,更有魅力和更真实“的香港青年文化。

Tumblrandreasdemeter.com
Instagram: @dredogue

 

Contributor: George Zhi Zhao


Tumblrandreasdemeter.com
Instagram: @dredogue

 

供稿人: George Zhi Zhao

Uncoloring North Korea

Shanghai-based photographer Ni Chen describes her time in North Korea as a surreal step back in time. “To be honest, whilst I don’t know much about North Korean politics, I was intrigued by this social system, one which was a stark contrast to anything that I have experienced before.” The most notable difference for her was the colors — or rather, the lack thereof. Pyongyang’s color palette consisted of blacks, grays, and navy blues. Shades of red, blue, and green were almost exclusively reserved for public facilities and ornaments.


在上海摄影师倪晨眼中,身处朝鲜的那段时间就像是一次回到过去的旅行。“关于朝鲜,老实说,对于政治我一无所知,只是好奇未曾经历过的社会体制。”对她来说,最大的区别在于色彩——这个国家的色彩相对寡淡。路上行人穿的衣服基本是黑/灰/藏青色,他们对红/蓝/绿十分执着,几乎只出现在所有公共设施和装饰上。

Ni Chen’s time in North Korea was split between Pyongyang and Kaesong; as most of the journey was heavily regulated, she was unable to capture some “truly beautiful” moments on camera. “After stepping out of the Pyongyang Railway Station, I found myself facing an iron-clad playground; it was a beautiful moment, observing these free-spirited kids playing. A shame that I couldn’t photograph them.” On her way to Kaesong, there was also an almost cinematic moment when a young boy stood on a hillside, watching their tour group’s bus drive by. He wore a green sweater and stared inquisitively at the vehicle as three crows flew past him. “That moment was so beautiful, it felt so much like a scene from an Andrei Tarkovsky film.”


倪晨在朝鲜期间主要去了平壤和开城两个城市。在朝鲜,游客会受到严格的管制,因此,有很多“真正美丽”的瞬间她都没有机会用镜头记录下来。从平壤火车站出来会经过一个儿童公园非常漂亮复古的铁质娱乐设施小孩子也都很高兴的样子可惜不允许下车拍照。” 从平壤到开城的巴士上,经过一个山坡时,有个穿绿色毛衣的小男孩站在山坡上观望着她所在的巴士,突然三只乌鸦从他身前掠过。她感慨道:“那是非常漂亮的瞬间,就像安德烈·塔科夫斯基的电影。

Ni Chen also visited the Pyongyang city library, which like typical libraries, feature a collection of books that are available for borrowing, but also courses for learning foreign languages. The most intriguing part of the visit was seeing how the computers in the library could only be accessed using LAN; locals are only able to use them to log on to North Korea’s tightly controlled Kwangmyong intranet system.


平壤市内的图书馆,除了借阅图书,还可以学习外语课程。图书馆内的电脑只能使用局域网, 人们可以登录到朝鲜的国家局域网路“光明网”(Kwangmyong Net)。

She also observed that the capital’s architecture was noticeably Soviet in style. Korean signage aside, this moment brought Ni Chen back to her time traveling and photographing Russia.


平壤的建筑受到了不少俄罗斯美学的影响尤其是那些有拱形过道的大楼。除了那些韩语标牌,这里的建筑让倪晨想起了自己在俄罗斯旅行和摄影的经历。

During the trip, one image of a girl reading on a public bus became one of Ni Chen’s favorites. “This was a candid moment that would not look out of place anywhere in the world.”


倪晨最喜欢的一张照片是在公交车上读书的女孩子。喜欢给在各地遇见的阅读者拍照即便是在色彩寡淡的平壤阅读者令这个地方生动了起来

Once outside of Pyongyang, Ni Chen managed to capture a moment that is truly out of the norm for most photographers that travel to North Korea. In the city of Kaesong, she serendipitously stumbled across a wedding. “They were just as surprised to see me as I was to find them. I could only guess that the collective reciting of revolutionary history and their fist pump actions were part of the ceremony.”


离开平壤后,倪晨捕捉到许多到朝鲜旅游的摄影师都难以拍摄到的画面。在开城,她偶然遇到了一场婚礼。“他们看到我时,和我一样吃惊。我猜测,猜拳可能是婚礼的一个传统,除此之外,他们还需要集体学习革命历史。”

Towards the end of her journey, she snapped an image of the small shark tank in the lobby of Pyongyang’s Yanggakdo International Hotel. “Whilst this hotel looked impressive from the outside, the furnishings and facilities inside reminded me of a local police station in one of China’s third or fourth-tier cities. This shark tank sort of symbolized North Korea as a whole to me – it’s a small nation that is trying so hard to appear terrifying.”


在这段旅程的结尾,她在平壤的羊角岛饭店的酒店大堂拍摄了养着鲨鱼的鱼缸。虽然酒店外观十分豪华但是内部装饰和设施都非常老派有点像中国三四线城市的小派出所。这个养着鲨鱼的鱼缸有些像朝鲜的一个缩影。

WeChat: linsam1990
Weibo: ~/spancer
Instagram: @elephant.show

 

Contributor: Whitney Ng


微信: linsam1990
微博: ~/spancer
Instagram: @elephant.show

 

供稿人: Whitney Ng