Tag Archives: 摄影

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。”

 

无法观看?前往优酷

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。”

 

无法观看?前往优酷

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

Danchi Dreams

Toshima Gochome Danchi across Sumida River

DANCHI: Dreams of Modernity is a project by Tokyo-based photographer Cody Ellingham that captures the decline of Tokyo’s ultramodern dreams through its decaying apartment complexes. For the project, Ellingham explored over 40 Japanese public housing blocks, which are known as danchi.


DANCHI: Dreams of Modernity》(团地:现代化的梦想)是东京摄影师 Cody Ellingham 所创作的摄影项目,旨在通过东京市内荒废的公寓大楼,呈现这座城市超现代化梦想的衰落。Cody 探访了大约40个被日本人称为“danchi”(团地)的公共住房大楼。

Kawaramachi Danchi
Toshima Gochome Danchi across Sumida River
Kawaramachi Danchi

Danchi are often built in clusters of up to 70 buildings, with identical exteriors for individual apartments. They began being built in Japan in the 1950s to replace the wooden buildings that were destroyed during World War II. At the time, danchi represented the country’s post-war aspirations and its path towards a new modernity. The vast apartment blocks, often built on the suburban outskirts of the city, were meant to satisfy the booming housing demand of Japan’s rapidly urbanizing population. In 1960, the Hibarigaoka Danchi had even attracted a visit from the Japanese Crown Prince, but fast forward to today, the once-dignified housing complex is now being used as a car park.


“Danchi”通常是由多达70座公寓楼组成的密集建筑群,每一间的公寓楼都有着一模一样的外观。从20世纪50年代开始,日本开始建造 danchi,以取代二战期间被摧毁的木制建筑。当时,danchi 代表着日本的战后愿望及其走向新现代的道路。大片的 danchi 公寓楼群通常建在郊区,用来应对日本因为城市化迅速发展的人口膨胀带来的住房需求。1960年,曾经代表中产阶级地位的云雀丘团地(Hibarigaoka Danchi)甚至吸引了日本王储的访问,但这幢建筑如今已经被改造成停车场使用。

Hibarigaoka Danchi
Shibazono Danchi
Takashimadaira Danchi

As fewer and fewer Japanese choose to live in them, many danchi have fallen into decay. The ones that remain are now mostly inhabited by immigrants and the elderly. According to Ellingham, many of the surviving danchi are viewed by the public as being archaic and pointless – they are often not up to date with earthquake and fire safety standards, and many are not serviced by elevators.


从20世纪60年代以来,danchi 逐渐老化,其中一些甚至沦为荒废之地。今天,越来越少日本人愿意住在 danchi,现在居住在里面的大多都是移民和老人。Cody 表示,在人们眼中,danchi大都是一些过时的建筑,它们通常都不能符合现代地震和消防安全标准,许多甚至都没有装电梯。

Shirahige Danchi
Nakanoshima Tamagawa Danchi
Hiro Gochome Apartment

Ellingham tells us his thoughts about the project and how it began: “The exhibition was inspired by places. It started as an interest in form, but it’s evolved into an interest in why. It’s to understand the way a place can influence lives. In a way it’s quite Kafka-esque – you have the same life as the person next door to you.”


Cody 跟我们分享了他对这个项目的想法以及创作的初衷:“整个展览是以地点为启发的。一开始,我只是出于对形式的兴趣,但慢慢演变成对‘为什么’感兴趣,即地点是如何影响生活的。在某种程度上,这是非常卡夫卡式的——你和你隔壁的人有着同样的生活。”

Toei Hongo Itchome Apartment
Suwa Danchi
Hirao Danchi

Ellingham’s project is an attempt to record a part of Japanese history that will slowly fade away in time, as the danchi are destined to be demolished for newer residential buildings. Despite the melancholic mood conveyed in his photographs, Ellingham sees hope and beauty in the danchi that remain: “There’s a certain kind of nostalgia in these places. The look of it is cold concrete, but inside, you find playgrounds, mural art, community facilities, glimmers of hope, and thei original dream: tomorrow will be better than yesterday.”


Cody 试图通过这个摄影项目,记录日本的一部分历史。随着 Danchi 被逐渐拆除,新的住宅建筑取而代之,这些历史将会随着时间的推移而逐渐消失。尽管他的照片中透露着忧郁的情绪,但 Cody 依然在 danchi 中找到了希望与美丽:“这些地方有着某种怀旧之情。它的外观是冰冷的混凝土,但在内心深处,你会发现一丝希望,运动场、壁画艺术、社区设施,以及最初的梦想——明天会更好。”

Takashima Daira Danchi
Kawaramachi Danchi
Takashimadaira Danchi

DANCHI: Dreams of Modernity will be exhibited on May 12th, 2018. The exhibition will be held in Tokyo’s Koto District. To find out more about the event, click here.


《DANCHI: Dreams of Modernity》摄影展览将于东京江东区 2018年5月12日开幕。了解更多,请点击此处

Shibazono Danchi
Kamakota Apartment
Aoyama Kitamachi Danchi
Shibazono Danchi
Aoyama Kitamachi Danchi
Takashimadaira Danchi
Hirao Danchi
Hiroo Apartment
Mori Danchi
Takashima Daira Danchi

Website: danchi-dreams.com
Instagram: @cbje_tokyo

 

Contributor: George Zhi Zhao


网站: danchi-dreams.com
Instagram: @cbje_tokyo

 

供稿人: George Zhi Zhao

Reaching New Heights w/ Zhou Yusi

Based in Shenzhen, Zhou Yusi (or better known by his Instagram handle @ucchow) is a Chinese photographer who finds himself captivated by the rapid development of modern cities. His photography, comprised of awe-inspiring aerial perspectives and geometric structures, captures the chaotic beauty of China and surrounding regions. “I like cities where the new and the old clash together,” Zhou shares. “Hong Kong, Shanghai, and Shenzhen are great examples of this.”


来自深圳的摄影师周于斯(@ucchow),是个善于捕捉“上帝视角”的摄影博主。他的作品聚焦于城市建筑的主题,通过城市风光和建筑结构等拍摄,展现既有摩天大楼之现代,又有市井生活之怀旧的城市,比如香港、上海和深圳。这些城市高速发展的魄力与美,像谜一样吸引着他,也指引着他,一次次从高空俯瞰。

Zhou confesses that he didn’t plan on being a photographer in the beginning. Originally, he went to school to be a software developer, and at the time, he couldn’t even afford a proper DSLR. After graduating and buying his first real camera, he began shooting events and live performances, which, admittedly, weren’t especially creatively stimulating. However, as time went on, his interest in photography continued to grow.

The willingness to keep an open mind has been one of the most important factors in Zhou’s creative journey. Keeping an open mind has helped Zhou tremendously in not only his photography; it’s benefited him in nearly all aspects of life and has given him a refreshing perspective on his unconventional journey to success. “For regular people, they might look back and wish they could’ve seen the bigger picture beforehand or have a clear plan for the future. Not me though,” he tells us. “I revisited my university recently, and even though it’s been four or five years since I graduated and the world has changed so much, the school was the same as it ever was. It’s still out of touch with the real world, and in an environment like that, it’s easy to feel complacent and difficult to think outside of the box. If I had the chance [to give advice to my past self], I wouldn’t tell myself to change a thing.”


也许很难想象到,周于斯也是个“半路出家”的摄影师。他在大学时期学习的是软件工程,也就是俗称的“码农”。转行的契机源于毕业后,他终于有钱买了单反。随之才得以常常在音乐现场拍摄乐手们的演出,由此渐渐踏入摄影这个领域。

回望大学时代,周于斯的感慨显得有些特别:“一般人可能会对过去说,做事情要有眼界、格局之类的。然而现实是,前段时间我回去学校,发现虽然自己毕业已经四五年,外面的社会天翻地覆,学校仍是那个象牙塔,它什么都没变。其实在那种安逸环境中,是很难有大的格局和视野的。也许(我会对曾经的自己说)就继续虚度光阴吧。”的确,无论是摄影、工作还是社会生活,只有走上更宽的道路,登上更高的台阶,才能拥有更广的视野。

Following the purchase of his first drone, Zhou fell in love with taking photos from above. He says piloting a drone makes him feel like a “satellite, drifting idly above and watching the world beneath.” But with his drone, he does more than simply observe. Zhou likens the role of a drone photographer to that of a film director; much like a director, he has the control to frame specific scenes as he sees fit and present a narrative in line with his vision. While the drone is a great tool in his arsenal, what’s even more important than the tool is the creative output that can be achieved with it. It’s this understanding that motivates Zhou to continuously push himself and reach for new creative heights.


而真正意义上上帝视角的形成,是后来的事情。周于斯接触到了无人机拍摄,他笑称自己观看世界的视角,如今已渐渐变成了习惯从卫星地图去看周围生活的地方,因为那样可让他像电影导演一样,去掌控这个城市的画面。所谓会当凌绝顶,一览众山小”——或许吸引周于斯的,也正是这种凌空一切的观感。

“For me, exploration means finding new perspectives, even in parts of the city I’m familiar with,” Zhou shares of his creative philosophies. “It’s not just about hitting rooftops and shooting the same things aimlessly. It’s about discovering the beauty of a street I might’ve pass by countless times before or seeing an apartment or office building in a new light. By presenting unique perspectives of these familiar places, I want people to go, ‘Wow! I can’t believe this is what my neighborhood looks like.'”


探索,意味着在我们生活着的平凡城市,发现不一样的角度。它不只是在楼顶一模一样的位置拍下相同的风景,而是在每个平凡的街道,每天生活的公寓或者写字楼,通过探索发现特别的角度,让大家觉得,原来我们家附近还有这么一个地方!”

Zhou has now fully dedicated himself to both videography and photography but expresses a newfound preference in the former. “Photo editing is much faster. It can take only an hour or so. When it comes to video, it could take up to a day or much more. With the amount of time these two mediums take up, it’s hard to keep going if I wasn’t passionate. But the biggest difference between the two is that videos are much more elaborate. While you need to pay attention to many of the same things you have to watch out for in photography, you also need to consider the plot, storytelling cadence, transitions, sound design, and much more.”

Looking towards the future, Zhou expresses hopes of creating more travel-related video content. But regardless of medium, an earnest enthusiasm to share his adventures and showcase the beauty of our modern metropolises lives on in his work.


现在的周于斯用心经营着自媒体,对外输出着自己拍摄的图像和视频。他曾说:修图只需一小时,而剪视频要花上整整一天时间。如果不是热爱,很难坚持下来。两者比较,其实周于斯更倾向于视频创作。“最大的区别在于,照片是静止的,视频是动态的。除了照片所拥有的一切要求以外,视频还要具备情节、运镜、节奏、音乐等,可以说是更高维度的创作。”周于斯希望,未来能投入更多时间在旅行和影像上面,用宏观视角拍摄和纪录时,也就更能用心去体会各个城市的气质与魄力。

Instagram: @ucchow
Weibo: ~/UC大人

 

Contributor: Chen Yuan


Instagram: @ucchow
微博: ~/UC大人

 

供稿人: Chen Yuan