Tag Archives: 摄影

Human Capital

Welcome to the Jing is a photobook project shot by French photographer Laurent Hou between 2013 and 2017. Hou, who’s based in Morocco, took the photos during his last few years living in Beijing, when he got to witness a special moment in the city’s history: after the Olympics and before the citywide demolition of illegal buildings that began in 2017. Hou snapped around 100,000 shots, mostly of people and things inside the city center.


Welcome to the Jing》(《京城欢迎你》)是始于 2013 年,止于 2017 年的摄影书项目。摄影师是来自法国的 Laurent Hou,目前生活在摩洛哥。这个项目创作于他在京生活的后几年,却正好见证了北京历史上的一个特殊时刻:在奥运会之后,在 2017 年开始的“全城拆违”前。Laurent 的镜头对准了北京三环内的人物和景色,按下了约 10 万次快门。

“Although central Beijing is already overphotographed, this project brings a different vision,” says Hou. “Other series focus either on the traditional aspects of the hutongs or the modern architecture in the business district. And pictures aren’t merely a description of Beijing, because the photographer’s vision plays a crucial role.”


虽然人们可能会认为,北京市中心已经被拍滥了,但这个项目带来了与所有系列照片不同的视角。” Laurent 如此说道,“这些照片要么侧重于胡同的纯粹传统方面,要么侧重于中央商务区的现代建筑方面。且图片并不仅仅是对北京的描述,因为摄影者的视野发挥着至关重要的作用。

Hou has chosen to make a photo book of the series because he thinks that’s the best way to present the work. He hopes to publish it soon. “The recurring motifs, the variety of the subjects, the tangle of different narratives, and the quantity of pictures called for a book rather than an exhibition of 20-30 pictures,” he explains. “The book form is also more intimate, and turning the pages mirrors the act of walking through the city. I want readers to look at the stream of pictures as if they were wandering the streets of Beijing and running into all these quirky situations.”


而之所以用摄影书的形式,则是展示这些作品最有趣的方式之一,Laurent 希望能早点看到它出版成册。反复出现的话题,主题的多样性,不同叙事的纠缠,以及图片的数量,都要求制作一本书,而不是做个 20-30 幅图片的展览。书的形式更为贴切,翻页反映了在城市中行走的模样。我想让读者看到一连串的图片,就能联想到自己在北京的街道上漫步,遇到所有这些有趣或离奇的情况。”

Since he started the project, almost six years have gone by. Hou says his vision for the project didn’t come into focus until long after he’d been taking pictures of his surroundings. Only once he made some preliminary selections did it start to take shape. “The vision developed during those six years, which was also a period when I learned a lot about photography,” he says. “And I don’t mean the technique, I mean getting to know the works of great photographers, emerging photographers—understanding different styles and trends, thinking about authorship in photography and the meaning of the photobook as a form.”


从项目伊始到现在,已历经了将近六年时间。Laurent 说这个主题的形成是在已拍摄周围很长时间之后,经过初步选择,才确定下来的。“这六年间发展出的主题,也是我学习摄影的一个阶段吧。我指的不是技术,而是了解伟大的摄影师、新兴摄影师的作品,了解不同的风格和趋势,思考摄影中的作者身份,以及摄影书作为一种形式的意义吧。”

Website: www.laurenthou.com

 
Contributor: Chen Yuan


网站: www.laurenthou.com

 
供稿人: Chen Yuan

Malaysian Colors

Bright. Bold. Brilliant. Just a few words that might come to mind when you see Daniel Adam’s photography. Currently based in Kuala Lumpur, Adam is inspired by social issues in Malaysia and by the visual stimulation of the country’s daily life, which he saturates with color and turns into something fresh. This is especially true in the vibrant photographs of his Batik series.

In this series, Malaysians of all colors, shapes, and sizes, predominantly women, are clothed in richly patterned fabric dotted with floral motifs and set against a backdrop of the same material. There aren’t any elaborate props, just designs and tones that catch the eye.


鲜艳、大胆、精彩——当你看到 Daniel Adam 充满活力的摄影作品时,脑海可能也蹦出这几个词。Daniel 现在生活在吉隆坡,他以日常生活中看到的视觉刺激以及马来西亚当地社会问题为灵感,创作出一系列满溢色彩与创意、令人眼前一新的作品,譬如他最近的摄影系列《Batik》(《蜡染》)。

在这一组照片中,不同肤色、体形与身材的马来西亚人(大部分为女性)身穿点缀花卉图案的华丽面料,站在同样色彩丰富的背景布前,没有任何精心设计的道具,画面中的色彩与图案已经足够引人入胜。

Adam first started dabbling in photography at the age of 14, armed a compact camera and a budding curiosity about the medium. His curiosity soon grew into passion, and he went on to take a degree in photography at Falmouth University in Cornwall before moving back to Malaysia late last year.

After returning from the UK, Adam felt something was missing. Having spent so much time outside of his home country, he was out of touch with his culture, and wanted a way to reconnect to his roots. For an artist, what better way to do so than to channel his feelings creatively?

Thus the Batik series was born.


Daniel 第一次接触摄影是在 14 岁的时候,带着一部小型相机,他开始好奇地探索着摄影这一种媒介。这种好奇心很快发展成一种热爱,之后,他前往英国康沃尔(Cornwall)的法尔茅斯大学(Falmouth University)修读摄影专业,直到去年年底回到马来西亚。

从英国回来后,Daniel 总觉得若有所失。在国外生活了这么长的时间,他感觉与自己的文化逐渐脱节,他想要重新与自己的文化根脉相联结。对于一个艺术家来说,还能有什么更好的方法来表达情感呢?

由此,《Batik》系列诞生了。

Batik is a cloth-dyeing technique that originated in Indonesia, and it’s used both for traditional garments like sarongs and everyday wear such as men’s shirts. Patterns are first drawn on the cloth with a pencil and then redrawn with a hot wax made from beeswax or paraffin and sometimes mixed with plant resins. The wax acts as  a “dye resist,” so that when the fabric is soaked in dye, the treated areas retain their original color, forming a contrast and thus creating the pattern.

The wax is applied to the cloth using a pen-like instrument called a canting or tjanting (in old Dutch orthography) for small dots and fine lines, a stiff brush for larger patterns, or a copper block stamp called a cap for very broad areas. After soaking, the wax is finally scraped or boiled off, and the process is repeated if there are multiple colors involved in the design. Malaysian batik differs from Indonesian Javanese batik in its larger and simpler patterns and its emphasis on brushwork. Most designs are derived from nature and are symbolic.


Batik,蜡染,是一种布染色技术,源自印度尼西亚,既用于制作传统服装,如“纱笼”(sarong,裹在腰或胸以下的长条布裙),也用于制作男式衬衫等日常服装。先用铅笔将图案画在布料上,然后用蜂蜡或石蜡(有时还会加上植物树脂)制成的热蜡重新绘画。蜡的作用是防止染色,所以当织物浸泡在染料中,有蜡的地方就能保留原来的颜色,从而通过不同色彩的对比,构成各种图案。

涂蜡时会用到不同的工具。用以绘出小点和细线的笔,是一种名为 canting 或 tjanting(古荷兰语)的笔尖式蜡染工具,而硬毛刷则用来画较大图案,被称为“盖子”(cap)的铜块印章,则用来印画更大面积的图案。浸泡后,蜡最终会被刮掉或煮掉,如果布料的设计涉及多种颜色,就要多次重复这个过程。

不同于印度尼西亚爪哇岛蜡染,马来西亚蜡染的图案更大、更简洁,同时更强调图案的笔触,大多数的图案设计灵感源于自然界,蕴含象征意义。

Daniel sourced his batik pieces from a corner shop in Chinatown for RM10 apiece, and then just started shooting. His models are set against giant sheets of batik, with clothes and headpieces made of the traditional fabric. But the portraits themselves are far from traditional, with faces of Malaysians with skin and features that show the many branches of the country’s family tree.

This blended aesthetic is fully intentional. Instead of photographing only the three “main” races of Malaysia—Chinese, Malay, and Indian—Adam wanted to break down racial barriers by including people of mixed heritage, like Chinese-Malay, Indian-Chinese, or Eurasian. What became the unifying point was Malaysian-ness itself, and batik stood in as its flag.


Daniel 在唐人街的街角小店以每件 10 马币的价格购买蜡染面料,然后直接开始拍摄。他让模特穿上色彩鲜艳的服装与头饰,然后站在巨幅的 batik 蜡染布前。然而不同于传统的肖像摄影,他的这一系列作品展现了来自不同种族、文化的马来西亚人们的面孔和特色。

这种多元化的美感正是 Daniel 的创作意图。他不想只拍摄马来西亚的三大种族,即华人、马来人与印度人,他希望打破种族壁垒,拍摄那些不同种族的混血儿,如中马混血、中印混血或欧亚混血儿,表达出他们之间的统一点,即他们作为马来西亚人的身份,而 batik 蜡染可以说是这一主题的鲜明代表。

“I wanted to showcase diversity,” Daniel says about his series and his inclusion of every kind of race in the photographs. “I want to take away all the barriers and labels that we put on each other—for everyone to see that we just belong to one community. This beautiful and traditional art form, this design—it’s Malaysian, so it’s all linked, it brings everyone together. It’s not just about educating others and myself on batik. It’s about this connection, that we’re all Malaysian.”


“我想展示出多元化。” Daniel 解释这个系列的创作初衷以及他为什么要拍摄不同种族的人群,“我想把人们所设立的所有隔阂与标签都去掉,让每个人明白,我们全都同属一个社区。而这种美丽的传统艺术、它的设计,代表了马来西亚,它是所有人的连接点,将大家联系在一起。这不仅仅是在向别人和我自己宣传 batik 蜡染,更重要是让人们联结起来,我们都是马来西亚人。”

It didn’t take long for this series, initially a self-education and reconnection project, to become a full-blown celebration of Malaysian diversity. On Hari Merdeka, the Malaysian Independence Day, celebrated every year on August 31, the Batik Series was on full display alongside works by two other fellow local photographers, Emma Khoo and John Kam, in an exhibition at APW in Bangsar, a suburb of Kuala Lumpur. This exhibition aimed to illustrate what it means to be Malaysian: differences were recognized, celebrated, and brought together in a single exhibition.

It was truly a moment of reconnection, as Adam fondly remembers. “It was really nice for opening night—especially since we only planned it a week and a half before the event!” he says. “You got to see different people from different cultures and religions coming together and mingling—that’s the Malaysia that you expect to see.”


很快,这个充满教育意义和促进社会团结的项目,也成为了对马来西亚多元文化的一次盛大展示。每年 8 月 31 日是马来西亚独立日(Hari Merdeka),为了庆祝这个国家最重要的日子,《Batik》与其它两名当地摄影师 Emma Khoo 和 John Kam 的作品一起,在吉隆坡的郊区孟沙 APW 的展览中共同展出。本次展览旨在表达“何为马来西亚人”的主题。在这个展览中,多元化得到了承认并被呈现出来,且将来看展的人们牢牢凝聚起来。

这是真正意义上的重新联结。Daniel 开心地回忆道:“开幕夜真的特别棒,尤其那是我们在活动举办一周半之前才开始筹备的!来自不同文化和宗教的人们全都聚集在一起,这正是我们所期望看到的马来西亚。”

China’s Contemporary Ruins

海边

Green fields stretching to the horizon and trees rising up to the sky, bridges crossing streams and trails of smoke rising from the chimney of a house—that’s what you expect to see in the traditional landscapes of Chinese shanshui art, whose name literally means “mountains and water.”

But the scenes captured by Zhang Kechun have none of this. His series Between the Mountain and the Water is shrouded in stillness, poverty, and thick smog. The locations he shot certainly lie between mountains and water, but high rises have replaced the green peaks, and debris has stopped up the flowing rivers.


山水之间,本应是绿野遍布,古树参天,再有小桥流水人家,炊烟袅袅。

但在张克纯用镜头所记录的景象中,没有这些。它们沉寂、凋敝、甚至说雾霾重重——这系列《山水之间》的取景之地,确确实实在中国内陆的大山大水中间。只是,高楼取代了青山,断垣截住了流水。

山涧修路
游泳重庆
断桥 达坂城

In 2008, Zhang Kechun experienced first-hand the cataclysmic Wenchuan earthquake in northwestern Sichuan, and the snapshot he took of that terrifying moment won him the National Geographic Picks Global Contest.  The experience, he says, “broadened his field of vision and made his work more systematic.” After shooting his series The Yellow River, in which he traced the waterway up to its source, his photography “naturally expanded to cover the entire country.” And that’s how this new series came about.

Scouting out the perfect location is essential to every shoot. Barren mountains, crumbling walls, surreal scenes with clusters of high rises—they’re all hidden in plain sight, waiting to be discovered. The hazy, low-contrast feel of his images also doesn’t need much post-processing, it just needs to be shot on an overcast day.


2008 年,张克纯亲历了那场灾难性的汶川大地震,抓拍到震撼的瞬间,让他一举获得美国国家地理学会全球摄影大赛自然类大奖。这段经历所带给张克纯的,他说,是让他的 “视野更宽泛,工作更系统”。在拍摄完沿着黄河溯源的《北流活活》系列之后,张克纯镜头里的视野,就 “自然而然地覆盖到整个国家”。因此,这个系列也就应运而生了。

通常,他会先通过各种渠道找到这些地方,然后前去拍摄。荒山、断壁、高楼群起的超现实的场景,都是现成的。那画面中朦胧阴郁的色调,要拍到也并不难,只要在阴天的时候去拍,再经过一些处理就可以了。

江边喝茶的人
警校
环球中心

“My focus has really always been how ordinary people get by in such a rapidly developing country. Against a sweeping historical backdrop, I look at the lives of those who play bit parts,” Zhang says. “I covered practically the whole country to take these photos.”

The scene that left the deepest impression on him is an image of students holding class under a truncated bridge. The imposingly tall structure cuts through the landscape, heading who knows where, while a group of students lined up in rows attend a physical education class underneath, obediently following instructions.

“I think it’s a metaphor for the current state of China,” he says of the photo. He thinks all of his works are very explicit: they’re the kind of image that can be easily understood at a glance. Perhaps his photos, in the subjects they capture and the stories they tell, offer a thinly veiled commentary on a country constantly in the throes of sweeping change.


“其实我一直在关注处在高速发展中的这个国家下的普通人的状态。一个大的时代背景下,小人物的生活。” 张克纯说。“我几乎跑遍了整个中国来拍摄这些照片。”

让他感触最深的,是这张站在断桥下上课的学生们——擎天的大桥横断,不知去往何处;而底下的学子莘莘在上体育课,排排站立,悉听规训。

我觉得它隐喻了中国的现状。” 张克纯说。他说他的作品很直白,是那种观众可以一眼看明白的照片。那么,也许他要说的东西,要阐述的故事,作为观者的你我,应该也可以通过这一张张照片体悟出来罢。

泸州长江桥后
矿山前
朝天门大桥下

Website: www.zhangkechun.com


Contributor:  Chen Yuan


网站: www.zhangkechun.com


供稿人:  Chen Yuan

Korea’s Pastel Schoolhouses

Macaron-colored walls composed in tidy symmetry. An intoxicating, sugary dream where time seems to have stopped. These aren’t stills from a Wes Anderson film—they’re real shots of Korean schools taken by Spanish photographer Andrés Gallardo Albajar.

Gallardo, who now lives in Estonia, took these photos in Seoul and Busan while traveling. “It all started by accident, when I got a little lost in Seoul and ended up in the playground of a school. I was fascinated by their pastel colors, their trees, their symmetries, and the symbols like clocks, the national flag and the alphabet I didn’t understand,” he says. “But I never expected I’d do a series about Korean schools.”


马卡龙色的外墙,整洁对称的构图,时光仿佛静止于甜美梦境里,让人沉醉。而这一切,并非是韦斯·安德森的电影画面,这是 Andrés Gallardo Albajar 镜头里韩国校园内的真实景色。

生于西班牙、目前长居爱沙尼亚的摄影师 Andrés,在旅行途中拍下了首尔和釜山两地的校舍,这一切都出于偶然。当时我在首尔汉城迷了路,最后走到了一所学校的操场上。我被他们柔和的颜色、树木、钟表、国旗,还有它强烈的对称感和我不认识的字符给迷住了。” Andrés 说,但我从来没有想过,我最终会组成关于韩国学校的一系列作品。”

Gallardo’s experiences in Europe and Asia have given him diverse impressions and experiences. Korea and Spain have different styles of architecture, but they have a lot in common, he notes, since they both have centuries-old cultures. For him, the process of exploring and taking pictures in each one is equally fascinating.

Asked how Korea differs from Europe, he says, “the people in South Korea were extremely nice to me, and that made a great impression. One can tell that South Korea is doing well financially, since you can see plenty of modern architecture by some of the biggest contemporary architects. That doesn’t happen in Estonia, for instance, where everything is more local.”


Andrés 在欧亚两地的经历,给他留下了不同的印象与感触。首尔与西班牙的建筑虽然风格不同,但区别并不大——它们都留有古代文化的印记。对他来说,探索和拍摄的过程都一样迷人。要说到比较,Andrés 说:韩国的人民对我非常好,这给我留下了深刻的印象。另外你可以看出,韩国在财政上做得很好,因为你可以看到很多当代最伟大的建筑师的现代建筑,而在爱沙尼亚,情况并非如此,那里的一切都更有本土气息。

“As a matter of fact, visiting all these schools had a big nostalgia effect on me. As a child my only purpose in going to school was to see my friends and play football or other games during breaks,” he explains. “When doing this series, I often had to wait until the break was over so I could take photos freely. While waiting I could observe the kids playing on the playground, and I could see how, even though thousands of kilometers and around 30 years separated them from my experience, kids will always be kids.”


事实上,参观所有这些学校,让我产生了很大的怀旧感。孩童时代,我上学的唯一目的就是去见好朋友,在课间休息时我们可以一起踢足球或者玩别的运动。但在拍这些照片的时候,我不得不等到休息时间结束,才可以自由拍照。在等待的时候,我可以看到孩子们在操场上自由自在地玩耍嬉戏。即使我的童年和他们隔着几千公里,也隔着大约 30 年的时光,但孩子永远都是孩子啊。” Andrés 如此感慨道。

The East Was Red

“The east is red, the sun is rising. From China comes Mao Zedong.” So goes China’s most famous propaganda song, “The East is Red.”

China in the 1960s and 1970s was indeed red. From the propaganda posters covering the streets and alleyways, to the copies of the little red book in everyone’s hands, to the Mao badges on their chests, red—symbolizing leftism, communism, socialism, and revolution—filled every aspect of people’s lives and thoughts.

In a new project entitled The East Was Red, artist Sheila Zhao finds old photographs from that time and retouches them, highlighting the political atmosphere of the time.


就像歌里唱的那样:“东方红,太阳升,中国出了个毛泽东。”

六七十年代的中国,确实是红色的。从大街小巷遍布的宣传画,到人手一份的 “毛主席语录” 或毛主席勋章——象征着左派、革命、社会主义和共产主义的政治红色,充斥着人们生活和思想的方方面面。

而这个系列名取自红歌《东方红》(The East Was Red),Sheila Zhao 找到当时的老照片,并进行了再度创作以突出那个时期的政治气氛。

Born in Beijing in the 1980s, at age seven Zhao moved to the US, where she grew up and studied. Of course, without the benefit of personal experience, Zhao is a stranger to those times, so hard for outsiders to grasp or comprehend.

But Zhao’s love of documentary photography, especially historical images, transports her back in time. “I’m not a historian or an expert in the Cultural Revolution, by any means,” she says. “I look at that time in history from the point of view of someone interested in the images it created, and in what that says about the country’s collective identity at the time.”


Sheila Zhao 其实是 80 后,在北京出生,七岁时搬到美国,并在那里完成了学业。照理说,Sheila 对那个时代是陌生的,没有亲身经历的加持,也很难理解和感受。

但对纪实摄影尤其是老照片的热忱,把 Sheila 带到了这段历史面前。“我不是一个历史学家,也不是一个研究当时运动的专家。我从一个对所创造的形象感兴趣的人的角度来看待历史上的那段时期,以及这个国家当时普遍存在的集体认同感。”

All of the images in The East Was Red, and all her other archival images, were acquired from second-hand antique markets near Beijing and Shanghai. As the majority of the photos were taken in the 1960s and 1970s, a common theme stood out:  “I noticed the photographer and those being photographed from this period, whether consciously or not, brought politics into the shot,” she says. Clearly, people in that time lived entirely under its shroud.

Fascinated by this, Zhao began retouching select photos from her collection, coloring over the posters, images, Mao badges, and books of quotations with a cherry red, using the color to stand in for these thoroughly political objects. On the one hand, this alludes to the color’s political significance, and on the other, it lets the viewer, who can see how prominent the red is, understand just how widespread Communist ideology and the cult of personality had become throughout China. 


《东方红》系列的所有照片,Sheila 档案中的其他照片一样,都是在北京和上海附近的古董二手市场淘到的。这个系列则大多选取于上世纪六七十年代间所拍摄的照片,几相比较,有个异常明显的特征浮现出来:“有趣的是,我注意到在这个时期,摄影者和被拍摄者都有意无意地把代表政治的东西包括进来。” 可见,那时期的人们完全生活在其笼罩之下。

于是,Sheila 在再度创作的过程中涂红了标语、照片、勋章和 “红宝书”。鲜艳的大红色被用以代替这些照片中这些充满政治意味的 “物件”,一来对应 “红” 的隐喻,二来,观者只消参见照片里红色有多么壮观,就能发现当时的共产主义思想和个人崇拜情结,在全中国是有多普及。

“China underwent a very unique socioeconomic movement at the time, which coincided with the rise of photography. It happened to be when cameras became more accessible, leading to more people using them as a means of self-expression,” Zhao says. “In the early 20th century, photography was still something that was reserved for the privileged. By the mid-20th century, cameras became even more common. Although they were still considered a luxury, there wasn’t that sense of exoticism of being imported anymore. Looking at photos from that era, it’s quite interesting to see how political doctrines influenced people’s lives.”


“中国当时所经历的是一场非常独特的社会经济运动,也恰巧发生在摄影史上,当时越来越多的人开始有机会通过摄影媒介表达自己的观点。” Sheila 说,“在 20 世纪初期,摄影仍然是特权阶层的活动。但到了中期,相机的使用开始变得越来越平民化,尽管还稍显奢侈,但它已不再那么具有‘舶来品’的异国气质。所以在照片中,我发现当时的政治辞令是如何影响人们描述和记录自己生活的方式,这是非常有趣的。”

Websitesheila-zhao.com

 

Contributor: Chen Yuan


网站sheila-zhao.com

 

供稿人: Chen Yuan

Please Mind the Gap

“Please mind the gap.”

It’s an announcement every urban commuter is surely familiar with. This phrase is also what inspired photographer Weilun Chong to create his eponymous photo series, Please Mind the Gap.

After attending university in Singapore, the Malaysian photographer decided to stay, and it’s there, in his adoptive city where he now works full-time as an advertising art director. A few years back, a serendipitous accident that happened on his way to work was what led to the project. “I nearly lost my phone through the gap between the train and the station platform one day,” he recalls. “That was when I glanced through the gaps towards the next carriage and came up with the idea.”

“The best part about the project was that it was something I could work on during my daily commute,” he adds. “It wouldn’t take up time I can spend with my wife outside of work.” At the time, Chong’s wife was close to delivering their firstborn, and so, working on a project that could fulfill his creative thirst while not intruding into family time was a heaven-send.

A month after inspiration struck, Chong took the first picture in the series. Ever since then he’s continued taking photos in Singapore and Hong Kong.


“请注意脚下空隙!”

这句话,大概常坐地铁和公交通勤的人们,丝毫不会陌生。而 Weilun Chong 创作的同名摄影系列,也正是受到这句话启发而来。

生于马来西亚,在新加坡念完大学的 Weilun,如今已是全职广告艺术总监。这个个人项目始于好几年前,契机来得很巧——“有一天,我的手机差点掉进地铁站台的空隙,然后我就扫到了一眼车厢的空隙,拍摄车厢间隙的想法就形成了:‘我可以在每天上下班上下班的路上做这件事,也可以陪我妻子一起。’”当时,Weilun 即将和他的妻子迎来第一个孩子,而这个摄影主题,恰好可以让他兼顾家庭与摄影创作,“这可能是命中注定的。”

于是,这个系列的第一张照片就始于此后一个月,从香港拍到新加坡,持续至今。

“Sometimes I spot an interesting character or anticipate a possible interesting scene. When I do, I approach the subject fast and inconspicuously, waiting to take the shot at the right moment,” he says. “Other times, if I have a bit more time, I’ll just take random snaps.” In the platform gap, as the doors are closing, with everyone calm or in a rush, fatigued or full of excitement, a moment is captured in time.

After all, each time we step onto the train platform, we begin a new journey. In his photography, Chong celebrates this, rightfully recognizing each of his subjects as the protagonists of their own stories.


“有时候我会看到一个有趣的角色,或者可以预料到一个有趣的场景,我会迅速且不引人注意地接近它,然后我就等着拍下那个瞬间。还有一些时候,如果我有更多的时间,我就会随机去拍。” Weilun 说。站台间隙中,车厢闭合时,每个人或紧张或从容、或疲惫或振作的神态,从此定格。

毕竟,每一次我们登上候车月台的时候,也正是每一趟行程故事也即将开启的时刻,而每一个人,也正是那一分钟的主角。

Websiteweilunchongphotography.com


Contributor: Chen Yuan


The Old

According to the most recent statistics, as of October 2017, 27.7% of Japan’s population, or around 35 million people, are 65 or older. While Japan’s rapidly aging population has long been an issue for the country, the numbers are still shocking.

Born in Manchester, England, photographer Lee Chapman has lived in Japan for over two decades. His photo series The Old turns his lens onto Japan’s aging society. They still stagger along on traffic-clogged thoroughfares and eke out a living in alleyway shops.


最新统计显示,截至 2017 年 10 月,日本 65 岁以上老年人口为 3515.2 万人,占总人口的 27.7%。虽说对日本老龄化社会所面临的诸般问题早有耳闻,但真正看到数据时,却依然显得触目惊心。

出生于英国曼彻斯特的摄影师 Lee Chapman,已经在日本生活了二十多个年头,他的这个摄影系列《The Old》,正把镜头聚焦于在日本生活的垂垂老者──车水马龙的大路上,他们依然蹒跚地走着;沿街的小店里,他们依然勉力维持着生计。

“I was initially fascinated by Tokyo’s older areas and districts,” Chapman says. “These neighborhoods often have large elderly populations, so a series of photos featuring them just gradually built up.”

Almost none of the individuals featured in this series were deliberately chosen – most were just chance encounters. “They are mostly all people I spotted on the street, in bars, or in restaurants,” he says. “People that to me at least are interesting, and people whose faces, or the situation I photographed them in, seemed to tell a story.”


“我是先为东京较古老的城区所吸引,而这些地方往往聚集着大量的老年人口,因此一系列以他们为特色的照片才逐渐建立起来。” Chapman 说。

所以镜头里的老人们绝大多数都是 Lee Chapman 在街上随机遇到的,而并非经过层层挑选的拍摄对象,“他们基本上都是我在街上、酒吧或餐厅看到的人。他们是对我而言至少有意思的人。他们的脸上,或者我拍下他们的那刻情景里,似乎都在讲述一个故事。”

One particular photograph that’s engraved in Chapman’s memory is his shot of a silver-haired woman rolling up metal shutters.

“I initially saw only her hands and feet, and then as her face appeared, I quickly got the shot,” he says with a grin. “But the main reason it’s one of my favorites is that when she saw me standing there, she immediately – and rather forcefully – commandeered me into helping her . . . After opening it, she invited me inside to chat with her.”


最让 Lee Chapman 感到动容的一张照片故事,是这个拉卷帘门的老婆婆。

“这是我很满意的一张照片。她站在卷帘门背后,起初我只看到她的手和脚,当卷帘门缓缓上升,她的脸最终出现的时候,我当即按下了快门。” Chapman 说,“但我最喜欢这张照片的主要原因之一,是她看到我站在那里,她立即,甚至是不容分说地,请我帮她拉开卷帘。然后老婆婆还邀请我进屋聊聊天。”

She ended up becoming just about the only person in the series Chapman would spend time with. Chatting with her, he learned that this was her former store, but as age began taking its toll, she closed down the shop and converted it into a living space.

“It was a very interesting half an hour or so that I wouldn’t have had without taking that photograph,” he says. “It’s also even more poignant now as I’ve never seen the shutters raised since, let alone seen the lady herself.”


这次经历几乎算是 Chapman 在拍摄这一系列中唯一与之“共度时光”的老人了。聊天里,Chapman 得知照片里拍的是老婆婆从前开的小店,但因为她年事已高,疲于经营,现在这里只算是她的住所,早已不作商铺。

“如果我没有拍这张照片的话,我们就不会共度非常有趣的半个多小时。可惜的是,现在我再也没撞见过这样拉卷帘的瞬间,也没有再见过这位婆婆了。”

With the sheer amount of elderly citizens in modern Japan, many have voiced concern for their well-being. Must they live the rest of their lives alone? What are the realities of their living situations?

“The lady who I talked with was living by herself and was clearly very lonely,” Chapman notes. “Her kids didn’t live nearby, and she couldn’t get out much, a situation that, given Japan’s aging population, is sadly only going to get more common.”


但是街上随处可见的老人,让人不得不对日本的高龄化现象萌生隐忧。照片中的老人们,难道一直离群索居、独自生活吗?他们真正的生活境遇又是如何呢?

“就我之前提到的那位拉卷帘门的老太太来看,她一个人生活,显然很孤独。她的孩子不住在附近,她也无法独自出门。” Chapman 说,“鉴于日本人口老龄化的情况,很遗憾这样的事只会变得更加普遍。”

In the middle of the fast-paced city, the old get by at their own inevitably slower rhythm. Leading slow lifestyles, the aging population of Japan can struggle to find belonging in the rapidly developing metropolis. Chapman says that this series has helped him come to terms with the impermanent nature of the world around him.

He tells us, “These areas I often shoot in are changing at an alarming rate and fascinating old buildings are being demolished everywhere. Of course, it’s not just the buildings that are disappearing, but also the people who once inhabited them. This element also makes my work seem more pressing, and in some small way, more important,” he says.


在快速发展的城市夹缝中,老人们用自己缓慢而不得已的节奏生存着。因此拍摄这个系列,让 Chapman 更加意识到了周围世界的无常性。

“我经常拍摄的这些区域正在以惊人的速度发生变化,各处迷人的古老建筑正在被拆除。当然,这不仅仅是建筑物正在消失,还有曾经在其中居住的人。这也让我的摄影工作看起来更加紧迫,而且在某种程度上,显得更为重要。”

Website: leechapman.photos
Instagram: @tokyotimes_lee

 

Contributor: Chen Yuan


网站: leechapman.photos
Instagram: @tokyotimes_lee

 

供稿人: Chen Yuan

Dear Sky

Arthur Mebius is a Dutch photographer and aviation enthusiast from Amsterdam. His photo series, Dear Sky, is a look inside Air Koryo, the state-owned national airline of North Korea. The airline boasts a fleet of 19 vintage aircraft, including Cold War models by Soviet manufacturers Antonov, Ilyushin, and Tupolev, many of which date back to the 1960s. Because of sanctions and environmental restrictions, Air Koryo’s only remaining international flights are its China and Vladivostok routes.


Arthur Mebius 是来自荷兰阿姆斯特丹的摄影师和航空爱好者。他的摄影作品系列《Dear Sky》(《亲爱的天空》)用镜头记录了朝鲜国有航空公司高丽航空(Air Koryo)。这家航空公司拥有 19 架老式飞机,其中包括苏联制造商安东诺夫(Antonov)、伊留申(Ilyushin)和图波列夫(Tupolev)冷战时期的机型,还有许多 20 世纪 60 年代的飞机。由于航空制裁和环境限制,高丽航空现在唯一的国际航班是往返中国和符拉迪沃斯托克的航线。

After learning of Air Koryo in 2015, Mebius journeyed from Amsterdam to Beijing to board a flight to Pyongyang and experience the airline for himself. Since then he’s taken a total of 24 flights on different types of aircraft. With his Fuji X100T he documented the planes, passengers, and crew he encountered in his travels.

Below you can view more of Mebius’s images and read a short excerpt from his book.


在 2015 年知道高丽航空后,Mebius 特意从阿姆斯特丹飞到北京,坐上了一趟飞往平壤的航班,亲身体验了这家航空公司。从那以后,他一共乘坐过 24 架不同型号的飞机。透过他的富士 X100T 相机,他用镜头记录了在旅行中遇到的飞机、乘客和机组人员。

下面即是由 Mebius 所拍摄的照片及他书中的片段节选。

“Sunan Airport City, September 14, 2016 ––

In one of the apartment buildings in Sunan, next to Pyongyang airport, the haze of 7.27 cigarette smoke is lit by flashing colored lights pinned to the wall and a Moranbong Band CD pumps from a stereo in the corner. Two flight attendants sit demurely on a sofa, an animated card game is in progress at the table. The flight engineer from the Tu-154 is already asleep in a chair. Animated conversation forms a steady roar as tales of the week are cut with memories of a Belgrade nightstop and a zero-zero landing in the depth of a Moscow winter.

The team effort of these comrades, patriots all, is the visible peak of a mountain of institutional knowledge as big as Mount Paektu made of Juche-orientated aviating, and whatever the obstacle, decade or politics, the mission is accomplished.”


“平壤顺安国际机场,2016 年 9 月 14 日——

在位于平壤顺安国际机场旁边的一栋公寓大楼中, 7.27 牌香烟的烟雾中,透着墙上彩色灯的灯光,角落的音响播放着朝鲜女子乐队牡丹峰乐团(Moranbong Band)的CD。两位空姐端坐在沙发上,兴高采烈地玩着扑克牌。Tu-154 客机的飞行工程师已经在椅子上睡着了。他们热烈地谈论着本周的八卦,以及在贝尔格莱德停飞过夜,在莫斯科的寒冬能见度为零时,客机盲降的回忆。

这些同志、爱国者们的团队努力,体现着体制教育的顶峰,犹如白头山(位于中朝边境的一座“圣山”)一样雄伟;而以“主体思想”(Juche,意为自立,是朝鲜劳动党的思想体系和理论基础,由金日成创立,因而也称为“金日成主义”)为导向的飞行,无论遇到什么障碍,历经多少个十年,或说政治形势如何,这个任务都已经完成了。”

Dear Sky is now available on the Neocha Shop in limited supply.


《Dear Sky》现已于 Neocha商店限量发售。

To pay via PayPal or international credit card, please check out through our Shopify. To pay with AliPay or WeChat, please visit our Weidian.


如需使用PayPal或国际信用卡支付,请转至我们的 Shopify 页面;如需使用支付宝或微信支付,请至我们的微店


《Dear Sky》The People and Planes of North Korea’s Airline

¥350

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Product Details:

  • Year of Publication: 2017
  • Hardcover
  • Number of Pages: 128
  • Size: 20 cm x 27.5 cm
  • Price: 55 USD

详情

  • 出版年份: 2017
  • 精装版
  • 页数: 128
  • 尺寸: 20 x 27.5 厘米
  • 价格: 350 RMB

Website: arthurmebius.com
Instagram: @arthurmebius.com_

 

Contributor: George Zhi Zhao


网站: arthurmebius.com
Instagram: @arthurmebius.com_

 

供稿人: George Zhi Zhao

Unexpected Boxes

A behind-the-scenes look at how Unexpected Boxes was created.

Taiwanese artist Sydney Sie is a photographer and graphic designer who creates surreal, dream-like pictures that blur the line between imagination and reality. Using pastel colors and playful illusions, her work radiates a gentle feminine energy that eases viewers into each scene. Sie approaches every project like they’re her personal playgrounds, places where she can use candy-colored backdrops, mundane props, and familiar body parts to play games of hide-and-seek with the viewers.


来自台湾的谢昕妮(Sydney Sie)是一名摄影师,也是一名平面设计师。如果说要用一个词来概括她的作品,那或许就是:如梦似幻。

她的作品经常充斥着渐变的色彩、错位的视觉效果和柔软的女性气息。平凡的人物和场景,似乎统统隐匿在纯色背景之后,相片中呈现出来的只有经过筛选的景物,宛如置身真实与虚假的边界,并将其镶嵌到一个糖果色的故事气氛中去。

An image from Unexpectable Boxes
An image from Unexpectable Boxes

From the color usage to the methodical compositions, Sie’s experience as a graphic designer shines through in her photography work. But this intermingling of cross-medium concepts doesn’t end there. Having graduated with a degree in animation, influences from her major are also evident in her work – this is perhaps most apparent in her usage of close-up shots and attention to layering. Sie believes merging concepts from all three is what allows her to tell a complete story. In her eyes, photography should be more than just documenting reality – they’re opportunities to create something completely original and never before seen.


无论从色调还是构图的角度来看,Sydney 的作品都带有平面化的风格,那是因为平面设计出身的她,在研究所时期读了动画专业,所以她常用特写镜头,构图也更分解化。但 Sydney 觉得,这样反而更接近“完整呈现”,因为对她来说,摄影不仅仅是“记录”,更是“创造”。

A behind-the-scenes look at how Unexpected Boxes was created.
A behind-the-scenes look at how Unexpected Boxes was created.
A behind-the-scenes look at how Unexpected Boxes was created.

“I like to capture the surreal moments of ordinary life,” Sie tells us. “Rather relying on the pre-existing beauty of subject matters I’m capturing, I like to create unique settings and look at things from atypical perspectives.”

Each one of Sie’s projects is a window into the varied terrains of her active imagination, and this willingness to push the limits of her creative boundaries is what has captivated viewers again and again.


“我喜欢去捕捉现实生活中的超现实时刻……我喜欢去创造一个新的空间,或是新的构图,不依赖本来就很美好的东西。”但或许这就是 Sydney Sie 作品的魔力,让人在她创造的色彩梦境中,不断流连徜徉。

An image from Unexpectable Boxes
An image from Unexpectable Boxes
An image from Unexpectable Boxes
An image from Unexpectable Boxes
An image from Orange Requiem
An image from Orange Requiem
An image from Orange Requiem
An image from Orange Requiem
An image from Orange Requiem
An image from Orange Requiem

Website: www.sydneysie.com
Behance: ~/sydneysie
Instagram: @sydneysie
Vimeo: ~/sydneysie

 

Contributor: Chen Yuan


网站: www.ydneysie.com
Behance: ~/sydneysie
Instagram: @sydneysie
Vimeo: ~/sydneysie

 

供稿人: Chen Yuan

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Between Two Cultures

An Rong Xu, a New York-based photographer and filmmaker, explores the world from a unique perspective. Born in China and raised in New York City’s Chinatown, Xu has a wistful and cinematic aesthetic, as well as a deep appreciation for capturing the beauty of the ordinary.


许安荣是来自纽约的一名摄影师和导演。在中国出生,后在纽约唐人街长大,许安荣以自己独特的文化视角探索他身边的世界。他的作品以弥漫着朦胧愁绪的电影美学为标志,尤其擅长捕捉平凡人的美。

Xu says he was raised between two cultures. “Growing up in Chinatown was like learning how to be Chinese through a translator and learning how to be American through my own experiences. I learned about my cultural heritage through my parents and their daily rituals, which was essentially hustle, hustle, hustle. I watched the Chinese New Years parade, with lion dancers going down Mott Street, but I didnt understand its significance. I learned about my culture, yet I was still unsure what any of it meant.” This uncertainty about culture and identity is a consistent theme across Xu’s art: “Often children of immigrants grow up feeling as if we belong neither to our inherited culture nor to our adoptive culture, so in my work, Im in search of what it means to be Chinese-American.”


许安荣跟我们分享了作为一名华裔美国人,在两种不同文化之间成长的经历:“在唐人街长大就像是通过翻译来学习如何成为中国人,同时通过自己的经历来学习如何成为美国人。我从父母和他们的日常礼仪中学习中国文化,这基本上可以用喧嚣这个词来总结。我看过中国的新年游行,看着舞狮沿着莫特街(Mott Street)表演,但却不明白舞狮的文化意义。我在学自己的文化,但是,我仍然不确定也不清楚它意味着什么。”这种关于文化和自我认同的不确定性已成为许安荣所有作品中的一致主题:“作为移民的孩子,长大后我们常常会觉得自己既不属于自己的原生文化,也不属于自己后天成长所在的文化,所以在我的作品中, 我也会去探讨华裔美国人的真正涵义。”

 

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Xu’s work has appeared in Time, GQ Taiwan, Rolling Stone, and The New York Times, among other publications, and he’s shot for companies such as Instagram, Airbnb, Under Armour, and Google. He also directed a series of short films called New Romantics that depicts Asian-American love and relationships. About his creative process, Xu says: “As a photographer, I focus only on the image. As a director, I have to keep in mind image, story, and concept, all while things are moving.”


许安荣曾合作的出版物和公司包括《时代》杂志、《GQ》(台湾)、《纽约时报》、Instagram、Airbnb、Under Armour、Google和《滚石》杂志等。作为电影导演,他拍摄了月播短片剧《New Romantics》,讲述亚裔美国人的爱情和关系的故事。谈及自己的创作过程,许安荣说:“作为摄影师,画面永远是我最看重的方面。作为导演,在画面不断推进的同时,我还必须时刻关注画面、故事和概念。”

Xu tells the story behind an image he captured on a recent visit to Seoul. Not long before he had to return to the United States, he took a walk from Gangnam to his apartment in Haebangchon, on the other side of the river. “As I walked across the bridge, I saw this one couple hugging and looking out onto the river, just talking,” he recalls. I stood across from them, watching them enjoy their night, in love. And at that moment, all these feelings came over me. I wondered whether Id ever feel something like their love, whether I’d ever find someone to share life with. As I watched, they got on their motorcycle, and I waited for them to start pulling away. I caught that moment, just as those two young lovers were about to ride off into the night, so absorbed by each other that they didnt care about anything else.”


许安荣给我们讲述了他最近去韩国首尔时拍摄的一张照片背后的故事。在他即将离开韩国回美国的两天前,他从首尔的江南地区走路回去位于 Haebangchon 河边的公寓。他说:“那天晚上我穿过公园的时候, 看到许多年轻人在野餐,在享受夏日的夜晚。当我走在桥上时,我看到一对夫妇,他们相拥着,凝望着河边聊天。我站在他们对面,看着他们陶醉地享受着这个夜晚,沉浸在爱河中,在那一刻,我的内心涌起了各种的情绪和疑问,譬如,我以后有可能感受到像他们那样的爱情吗?我会找到一个可以一起生活的人吗?又或者,我以后会学会骑摩托车吗?他们开始骑上摩托车,然后我就等着他们骑车离开,我要捕捉住这一个时刻,捕捉住这两个年轻的恋人,两个相互吸引的年轻恋人,他们骑车没入这个黑夜,在他们眼中只有对方,别无他物。”

 

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In all his work, Xu captures his subjects with an emotional complexity that’s both revealing and intimate. “I try to go in with as much research as possible, to see if I can connect with them, so there’s a sense of trust and intimacy,” he says. “My favorite thing is to go for a walk, or follow along with them to see them in their element.” The honesty behind Xu’s approach to photography and filmmaking may be what makes his work so compelling. He says simply, “For me, an image is beautiful when it makes me ask more questions than it has answers.”


在许安荣的镜头下,他的拍摄对象总是呈现出一种讲述故事的欲望、亲密的情绪和复杂的情感。他解释了自己是如何去了解拍摄对象的:“接近他们时,我会先尽可能做充分的调查,思考应该怎样去接触他们,在我们之间建立信任和亲密感。我最喜欢做的事是去散步,所以如果可能的话,我常常会带着拍摄对象一起散步,沿路看他们做的事情,去观察他们和他们的心情。”正是这种真诚的创作方式,令许安荣的摄影和电影作品在情感上格外引人入胜。他用一句话概括道:“如果一张照片能让我除了看到画面上呈现的答案之外,还想要去追问更多的问题,那么在我眼中,这张照片就是美丽的。”

Website: www.anrongxu.com
Instagram: @anrizzy

 

Contributor: George Zhi Zhao


网站: www.anrongxu.com
Instagram: @anrizzy

 

供稿人: George Zhi Zhao