Tag Archives: city

Vanishing Act

Ever since he moved to Shanghai in 2013, London-born photographer Alexis Goodwin has been fascinated by the city. He immediately found it “atmospheric, epic, and visually stimulating,” with high rises stretching into the clouds and bustling little alleyways coexisting in a strange harmony. Wherever he turned, there always seemed to be something to record, and he set out capture his experiences on film. The result is his new photography series, Shanghai Dreams. 


自从五年前踏足上海并在此生活的那一刻起,来自伦敦的摄影师 Alexis Goodwin 就深深地为之吸引。和很多人一样,Alexis 对这座城市的第一感觉,就是“大气、史诗般的壮阔和强烈的视觉冲击”,擎天入云的高楼和充满生活气息的羊肠小道,奇妙又毫不冲突地结合在一起。因此在每一个你转身的地方,好像都有一些特别的东西可以入镜,于是,他的新摄影系列《上海梦》(Shanghai Dreams)诞生了。

Living in the city, Goodwin slowly began to discover the lives of the people who live behind its prosperous façade, hawking goods in street stalls, playing chess or cards, or dancing in the plazas at dusk. And of course, he saw plenty of demolition crews.

Shanghai Dreams benefited from the fact that Alexis lived near Laoximen when large-scale demolitions were just getting underway. “I realized the region was changing fast, with entire blocks being demolished and street food vendors disappearing.”


在这座城市里生活,Alexis 慢慢发现了淹没在繁华背后的小人物的生活,有街头叫卖、柴米油盐,也有下棋打牌、跳广场舞,当然,还有拆迁的工地。

这个项目《上海梦》的开始,就得益于当时的 Alexis 住在老西门附近,而大规模的拆迁运动也正在同期进行。我发现这片地区的面貌在迅速改变,房屋推倒、整个街区被拆空,街头叫卖小商贩也逐渐销声匿迹。

Goodwin works in advertising and knows his way around post-production software. In this series, he used the same methods. “I chose to keep only the characters I was interested in and strip away everything else, creating an ethereal gradient background with just enough of the original ground to give an echo of reality,” he says. “But I used street photography of real people, which I hope is a little unexpected.”


从事广告摄影的 Alexis,很熟悉后期处理照片的程序。在他这个系列,他也用了一样的方法:(后期处理)我选择只保留我感兴趣的角色,并删除所有的其他东西,创造一个飘渺的梯度背景,仅有足够的背景基础,以提供一个生态的现实。但我使用的是街头摄影的真实的人,我想创造一些意外感。

Goodwin’s fragmentary moments of anonymous people—office workers navigating intersections as they cycle to work, street vendors scrolling through their phones in their downtime—are what “reflect the soul of the city,” in his view. “Theses scenes are a distillation of a real Shanghai moment.”

Perhaps the other Shanghai, the “Bewitching City” of concrete and glass towers, is just a mirage. What really leaves a mark are the people, or life itself. “I hope to show the soul of a city,” he says. “I hope these images serve as a record and an homage to the magic of Shanghai life.”


Alexis 的镜头中,无论是在建筑工地吸烟的女孩,还是骑着自行车正准备在路口拐弯的上班族,或者是市场里的小摊贩闲来无事翻着手机……这些不知名的小人物所呈现的零星片刻,却恰恰是 Alexis 心目中反映了城市的灵魂的所在。这些场景是真实的上海的升华。他说。

而钢筋水泥与反光玻璃搭建出来的魔都,那不过是海市蜃楼般的光景,真正能留下印记的,是人,和生活本身。我希望通过这些照片来展示一个城市的灵魂,也希望借此表示对上海生活的一种记录和致敬。

Behance: ~/alexis goodwin
Instagram@alexisogoodwin

 
Contributor:  Chen Yuan


Behance: ~/alexis goodwin
Instagram@alexisogoodwin


供稿人:  Chen Yuan

Losing Face

Korean-American photographer Argus Paul Estabrook believes that art should contribute to a greater understanding of our surrounding world, and he, as a photographer, has the responsibility to help present new perspectives and provoke critical thinking. While he’s best known for his street photography, Estabrook considers his work to be more a form of personal documentary rather than photojournalism. “Everyone who shoots on the street has a relationship with it,” he tells us. “They know what it means to be on a journey, searching for something yet not knowing what that might be.”


美籍韩裔摄影师 Argus Paul Estabrook 认为,艺术应该有助于我们去更加了解这个世界。而他作为一名摄影师,肩负着提出新观点和批判思维的责任。 虽然他以街头摄影闻名,但 Estabrook 认为自己的作品更像是个人观点的纪录,而非单纯纪录外在事件的新闻摄影。 “每个在街上拍照的人都与‘街头’有着特殊的连结关系。”他告诉我们, “他们知道当带着相机上街头,这段旅程代表的真正意义为何。是在路上寻找一些东西,即使还不知道那些东西是什么。”

His photo series, Losing Face, offers a candid look inside the Seoul protests that arose from the revelation of former South Korean President Park Geun-hye’s scandal. Processed entirely in black and white, the powerful series uses slow shutter speeds and a bright flash to dramatic effect. Last year, the powerful series went on to win the prestigious Magnum Photography Award as well as the LensCulture Street Photography Awards.


他的作品《Losing Face》(《丢脸》) ,纪录了发生在韩国首尔街上,因前总统朴槿惠的丑闻而起的抗议活动,他的摄影为此事件提供一个坦率的视角。照片完全采用黑白处理,使用低快门速度和明亮的闪光灯拍摄,以达成极具戏剧张力的视觉效果。 2017年,此系列作品为 Estabrook 赢得了著名的玛格南摄影奖和 LensCulture 街头摄影奖。

“When the street leads me to an experience like the Seoul protests, I feel like my job is to zero in on the energy and then conceptualize it in a way that enables it to be reintroduced back into the world,” Estabrook explains of his process. “It’s like a creative circuit. I just try to keep my mind open, so whenever a moment moves me, I’m able to ‘describe’ it with my photography.”


“当我被街头带着去体验像这次首尔的抗议活动时,我觉得我的工作是将注意力全部集中在当场释放出的能量上,然后捕捉并概念化这样的能量,再以一个能重新被导入世界的方式呈现出来。” Estabrook 这样解释他的创作过程。“这是一个创作循环的回圈。我尽量让自己的心思保持开放,所以每当有一个瞬间感动到我,我就能用我的照片去把那一瞬间 ‘描述’ 出来。”

Website: arguspaul.com
Instagram: @arguspaul

 

Contributor: Shanshan Chen


网站: arguspaul.com
Instagram: @arguspaul

 

供稿人: Shanshan Chen

The Comforter

For Korean photographer Wonjun Jeong, a blanket is essentially a barrier that can shield you from the chaos of life; it offers a moment of respite that allows for introspective clarity and recognition of one’s humble existence in the greater context of the world. At the same time, it forces a personal confrontation with feelings of futility, fear, relief, boredom, anxiety, and the suffocating nature of reality. His new photo series, The Comforter, depicting an unidentifiable subject wrapped up in a white duvet, captures all of these feelings in a quirky, unusual way.


《The Comforter》是来自韩国摄影师 Wonjun Jeong 的系列摄影作品,照片的主体是包裹在一条被子里部分裸露的人体。而正是通过这种遮挡自己视线的方式,Wonjun 试图以向内的审视来认清自己卑微的存在,并从日常生活中,甚至可说是从令人窒息的现实中,向人们传达出徒劳、恐惧、解脱和焦虑之感。

Jeong has often been haunted by a sense of apprehension, dread, and boredom. When overwhelmed by these feelings, he would retreat to his bed. The bed and duvet essentially became a sanctuary for him. Festering within, these negative emotions ultimately became the catalyst for The Comforter. “During that period in my life, I’d often just lie in bed and pull up the blanket over my head. At first, these emotions I felt would then spread internally, tormenting and confining me. But I began to wonder whether the feelings truly originated due to my own internal problem or due to my external influences. But within my blanket, I would begin to feel relief. Nobody can see me and nothing can influence me. I think the boredom and negative feelings I experienced was because I felt trapped by society. When I’m alone, I felt much more relaxed.”


最初想到以“被子”作为给人以安慰的物品,是因为 Wonjun 在想到未来的时候,有种无法排遣的焦虑和恐惧,日常生活又使他感到毫无生气。“在那些时候,我躺在床上,把毯子拉在头上,万千思绪蔓延开来,折磨着我自己,也禁锢着我自己。可我开始怀疑,这种感觉到底是我的内在问题,还是由于外在的影响呢?”

而在床上用被子蒙住头创造出的小空间,却让 Wonjun 感到很放松,“没有人能看得到我,也没有事可以影响我。”Wonjun 说那是他最后的一小块“私密场所”。“我觉得,我之所以感到空虚和沮丧,是因为我被社会所禁锢了吧。所以在我一个人的时候,我会觉得舒坦多了。”

In an effort to understand how Seoul – his city of residence and a place he’s become so familiar with – could have contributed to these negative thoughts, Jeong shot the entire project in various places he often visited around the city. “I wanted to shoot along my normal routes and in locations that I normally go to because I wanted to review the feelings I’d feel when I walked around these places,” he explains. “I also only chose spots where I could get my subjects alone because I want the audience to focus on the isolated figure and reflect on their experiences.”


Wonjun 说,之所以选择在自己生活的城市首尔拍摄这个系列,是因为“我想要选择我居住的地方、我行走的路线,然后回顾我每次行走其中的感受。并且,我只会选择没有人只有物的场景。我想让观众把注意的焦点放在被拍摄的主体之上,并且能映射出他们自己的经历。”

This photo series ultimately serves as an outlet for Jeong’s pent-up frustrations; it’s a reflection of similar feelings that many young Koreans experience today due to the imbalance of wealth within Korea’s social hierarchy. With no attempt to hide his disappointment, Jeong tells us, “There are countless troubles, tensions, and conflicts in our fast-growing country. The country’s rapid progress in such a short period has caused many societal values to be lost. In Korea, the conflict now is between the generation that experienced growth and opportunity and those who did not. It’s often said that Korean society is where young people must make many compromises and I agree. I share the same worries towards the future as many of my peers, and I’m deeply affected by them. I believe that a lot of changes need to happen in the future.”


相片中呈现的挫败感,亦是一部分韩国青年的写照。“大多数人觉得,当他们有什么问题的时候,原因常常都在于他们自己。其实却未必。我觉得问题之源可能在于人们所处的社会体系。”Wonjun 说,“在韩国,短时间内取得的快速发展,已经导致很多社会价值观缺失。经历过发展与机遇的一代人和没有经历过的一代人之间,存在着激烈的矛盾……无尽的忧虑、紧张和矛盾充斥在这个高速发展的社会。我也有这些忧虑,也深受它们的影响。但我相信今后一定会迎来改变。”

Click here to check out Conversation, a photo series co-created by Jeong that we previously featured.


点击此处,可继续浏览我们先前对 Wonjun 另一个系列《对话》(Conversation)的报道。

Website: www.hello-sailors.com
Behance: ~/WonjunJeong
Instagram: @zza_sam


Contributor: Chen Yuan

Image Courtesy of  Wonjun Jeong & Sailors Studio


网站: www.hello-sailors.com
Behance: ~/WonjunJeong
Instagram: @zza_sam


供稿人: Chen Yuan

图片由 Wonjun Jeong 和 Sailors Studio 提供

Behind the Shoulders of Saigon

Students in uniform heading home after a day of classes, riding on the back of their parent’s motorcycles; a cyclist delivering takeout, masterfully steering with one hand and balancing a tray of steaming hot food on the other; and a pickup truck loaded with furniture heading to their third destination of the day. These are all-too-common scenes in the busy streets of Ho Chi Minh City, and graphic designer Maxk Nguyen revels in this frenetic energy. Finding inspiration in this hustle and bustle, Nguyen and his team created the Sài Gòn sau vai, which presents unconventional portraits of the city’s busy inhabitants as a series of beautiful illustrations. “Here in Saigon, every time I step out into the street, I see someone’s back. Even though I do not see their faces, they all bring me endless inspirations.”


放学后跨上摩托车顺路回家的同班同学,一手把着方向盘一手举着托盘穿梭在人群里的“外卖高手”,满载家具的小货车一脚油门赶往今天的第三个目的地。这座城市到处都是匆匆而过的人,还没留意看清楚,就已经从你旁边擦身而过了。居住在越南胡志明市的设计师Maxk Nguyen,钟情于这些匆忙的背影,他选择了这个与容易被人忽略的角度,和他的团队一起创作了这个名为《Sài Gòn sau vai》插画作品。“在西贡,我每次走上街,眼前仿佛都是一个个或匆忙或优雅的背影,虽然我不曾看清他们的正脸,但这些背影也给我带来了无限的想象。”

Instagram:
@maxknguyen
@8rebornstudio

Behance:
~/maxknguyen
~/8Rebornstu3829

Facebook:~/ Maxknguyen91

 

Contributor: Ye Zi 


Instagram:
@maxknguyen
@8rebornstudio

Behance:
~/maxknguyen
~/8Rebornstu3829

脸书~/ Maxknguyen91

 

供稿人: Ye Zi

Exploring Hidden Hong Kong

 

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Urban exploration dates back many centuries. In 1861, Walt Whitman wrote about New York City’s first abandoned subway tunnel. In the 1970s, the notorious Suicide Club of San Francisco set the precedent for many of the traditions in modern day urban exploration. The secret society would explore abandoned utility tunnels, old hospitals, government structures, and other disused urban locales. This sparked the thriving urban exploration movement of today, where many avid and curious explorers attempt to remind people of the value that exists in forgotten areas of our vast, urban landscape. It’s this same sense of endless curiosity and dedication that brings the members of HK Urbex together in Hong Kong, one of the world’s densest cities.


城市探险的历史可以追溯到多个世纪前。 1861年,沃尔特·惠特曼(Walt Whitman)写下有关纽约城首个废弃地铁隧道的文字。上个世纪70年代,旧金山Suicide Club虽臭名昭著,却奠定了现代城市探险的多项传统。这个秘密的社会团体在诸多地方留下了足迹:废弃的公用隧道、古旧的医院、政府机构,以及其他荒芜的城市地带……这一切点燃了当今蓬勃发展的城市探险运动的燎原之火,在这个运动中,一腔好奇的探险者们以他们的行动,提醒着人们莫大城市中那些被遗忘的角落中的价值。正是出于同样强烈的好奇心和致力精神,在香港,这个全球最为密集的城市之一,HK Urbex的成员们走到了一起。

Formed by a band of artists, journalists, and media workers, HK Urbex emphasizes a deep respect and connection to the locations they explore. Urbex is not about selfies, egos, or “rooftopping” acts of bravado, they say. It should help to form an understanding of the legacy behind neighborhoods and structures in our cities, to help connect the dots of why heritage is important in places undergoing rapid and destructive urbanization.


由艺术家、新闻工作者和媒体工作者组成的HK Urbex,对于每一个探索之地都深怀敬意,并着重探究他们与所探索之地间的联系。 HK Urbex无关自拍,无关自我,更无关爬楼党那种单纯的冒险,他们表示。这一行为应该是去帮助人们对城市中社区和建筑背后的故事和遗产形成理解,是在疾速和具破坏性的城市化进程中,帮助人们明白传统的重要性。

Urban exploration comes with its fair share of dangers and nuisances. Stealth, athleticism, and a level-headed disposition are a few of the crucial attributes an explorer should possess. The members of HK Urbex are anonymous, but each contribute their own set of skills to round out the group. They include climbers, drone-operators, photographers, and writers, local and international Hong Kong dwellers. They produce albums, videos, and essays about each location they explore. Before deciding on a site, they research and scout the location first, gathering background information and clues that can enrich the context of the story. “Abandon porn” is not interesting, says Echo Delta, one of the founders of the group. To them, exploring a location without knowing anything about its background is pointless.


城市探险伴随着一定的危险和麻烦。所以参与人员做事隐秘,身手矫捷以及冷静的头脑都是关键。 HK Urbex成员虽然都保持匿名,但每个人都各怀技能,组成强大的团队。这个团队中有攀爬者,有无人机操作员,有摄影师,有作家,有香港的当地和国际居民。他们为每个所探索之地创作相关的专辑、视频,以及文章。在进行踩点时,他们首先会仔细研究和勘探具体位置,然后收集大量背景信息,不放过任何能使整个故事更为饱满的线索。团队创始人之一Echo Delta表示,“废弃大片”并没有意思,不了解其背景只是单纯过一个地方并不是他们的目的。

Seeing a side of Hong Kong that many people overlook is a special experience, says Ghost, another founder of HK Urbex. In a city where noise, people, and relentless traffic swirls around you at all times, it’s almost zen-like to find an abandoned space in the middle of it all – quiet and untouched for years. They’ve explored over a hundred locations since forming: the Hong Kong MTR tunnels, an abandoned island resort, a rundown psychiatric hospital, a haunted school, and a disused slaughterhouse are just a few of the places they’ve visited. “These gems often espouse Hong Kong culture, Hong Kong heritage, and in the face of an ever-gentrifying city, we are in the past few years in danger of losing our physical culture… our heritage.”


HK Urbex的另一位创始人Ghost说,去捕捉香港鲜为人知的另一面是一种非常特别的体验。在一个无时无刻不喧嚣的城市当中,找到一处静置多年无人探访的地方几乎不可能。在过去的几年时间里,HK Urbex已探索了上百个地方:香港地铁隧道、荒废的小岛度假村、破败的精神病院、闹鬼的学校、废弃的屠宰场,这些只是他们发现的隐藏珍宝中的几处。 “这些珍宝,与香港文化、香港传统是一脉相承的。面对不停中产化的城市,我们在过去几年里,面临着丢失我们的物质文化遗产的危险。“

Website:  hkurbex.com
Facebook~/hkurbex
Instagram: @hkurbex


网站: hkurbex.com
脸书~/hkurbex
Instagram: @hkurbex

Contributor, Videographer & Photographer: Jia Li
Additional Footage Courtesy of Echo Delta


供稿人,图片摄影师与视频摄影师: Jia Li
附加视频脚本来自Echo Delta

In the Studio with TWOONE

 

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TWOONE, otherwise known as Hiroyasu Tsuri, leads a charmed and freewheeling life painting in and out of his studio. Born in Yokohama, Japan, Hiro started getting into graffiti in high school, influenced by the street art he saw while skateboarding through Yokohama. He soon after began experimenting with various artistic styles. Having little formal art education, he wasn’t sure what to do after high school – so at the age of 18, he decided to move to Melbourne, Australia, on a whim.


TWOONE,即Hiroyasu Tsuri,常常出入于画室过着一种随心所欲的创作生活。Hiro出生于日本横滨市,从高中开始接触涂鸦。他在玩滑板时深受沿途的街头艺术所启发,至此他开始试验不同的艺术创作风格。高中毕业后,并没有受过很多正统的艺术教育的他不知道接下来该做些什么。一时兴起,18岁的时他决定搬去澳洲的墨尔本。

In Melbourne, Hiro couldn’t speak too much English. Street art and skateboarding turned into a form of language through which he communicated. Over the years, he slowly became a rather well-known fixture in the Melbourne street art scene. Since then, he’s painted murals indoors and outdoors all over the world. But as an regular sketcher and versatile illustrator, Hiro is equally well versed in the studio and has exhibited his art in galleries worldwide.


初到墨尔本,Hiro说不了很多英文,因此街头艺术和滑板变成了他独特的交流方式。过去的几年,他渐渐的成为了墨尔本街头艺术圈的一张名片。从那时开始,他在全世界创作室内外的壁画。不过作为一个熟练的绘画者和多才多艺的插画家,Hiro在艺术家工作室同样游刃有余并且在世界各地的画廊都展出过他的艺术作品。

Hiro’s work is bold and dynamic – loose yet grounded. His lines are fluid and he embraces spontaneity. Citing the need to use materials that are relevant and more representative of our times, he often prefers to work with fluorescent paint colors, which have only really existed in the modern era.


Hiro的作品很大胆多元——看似松散却接地气。他的线条笔触很流畅却又显随意。他倾向于用更当代的材料像是荧光色去创作,以此来强调和针对我们这个时代的特殊性。

Hiro is now working on a series of portraits of a hundred different faces for a gallery show later in the year. Often, he takes photos on film to use as reference material – or he simply sits and observes people on public transportation, in an attempt to grasp the stranger’s personality and impression to turn into a quick sketch. He later expands on these sketches with watercolor, markers, white-out, paint, and layers of paper. Hiro says his work isn’t particularly rooted in any one culture – it’s neither Eastern or Western, but his spatial sense may be influenced by his Japanese roots.


Hiro正在为他年后的一个画廊展出准备,这个展包含一系列百人脸肖像。他经常从电影画面中截取拍摄作为参考材料,又或者随意地观察乘坐公共交通的陌生人来获取他们的特质,然后转化成素描。他之后把这些速写用水彩马克笔,涂改液,颜料和多层纸来填色拓充。Hiro说他的作品并不是扎根于某一个特定的文化--非东方或西方,但是他的空间感也许是受到了他日本文化背景的影响。

Looking through his diverse portfolio of artwork, skulls seem to make recurring appearances. “The skull is more like a self-portrait,” he explains. “Because you are always judged everywhere you go, the skull is really what you are.”


浏览他多元的艺术作品集时,骷髅似乎总是循复出现。“骷髅更像是自画像,因为哪里都会以貌取人,而骷髅才是真正的你“,他解释道。

Drawing is a constant, says Hiro, and he draws whenever he can; whether it’s done on a small or large scale is irrelevant to him. Moving from building-sized murals to book-sized sketches, the emotive quality of his lines seamlessly carries his ideas and thoughts through the different mediums he employs.


Hiro说绘画是一个常态,他到哪里都会创作各种规模的作品,不管是大还是小。从大型建筑的壁画到书本大小的素描,他用不一样的创作媒介和充满情感的线条来承载他的主意和想法。

Besides the types of creations in his current portfolio of work, public sculptures and films are also mediums he intends to explore in the near future. Hiro says, “Street art is only one part of what I do. I don’t even think of myself as a street artist. You might as well just call me an artist.”


除了他已经在创作的媒介种类,Hiro对公共雕塑和电影也很感兴趣。他说“我不只创作街头艺术,也从来不把自己看成街头艺术家,叫我艺术家就好。”

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Contributor, Videographer & Photographer: Jia Li


Profile of Zhu Kuan

Zhu Kuan is a native Shanghainese urban photographer. By day Kuan is a financial analyst, but by night and in his spare time, he is an urban explorer of Shanghai’s rooftops and back streets, documenting and shooting the city he was born and raised in.


祝宽是一位上海的城市摄影师。他的本职工作是一位金融分析师,下班后或是平常时间他会去上海的一些楼顶或不起眼的街道拍摄,记录这个他长大的城市。

Photography for him is “a method for capturing a scene, of recording life.” He describes his style of photography as darker and heavier, a visual style which perfectly suits the dramatic urban cityscapes he likes to capture.


摄影对祝宽来说就是”捕捉画面、记录生活“。用他的话来形容自己的摄影风格的话就是偏重偏暗色调的城市摄影。

For the heavier texture and look that Kuan likes in his photography, he usually uses Snapseed and VSCO Cam for photo editing. “With Snapseed, I can lift the colors in the picture, and then switch to VSCO Cam to use their filters, depending on the lighting of the photo,” he says.


祝宽个人喜欢厚重暗黑的照片质感,所以他经常使用Snapseed和VSCO两个手机软件来修图。最常使用的是Snapseed的氛围按钮提升画面整体色彩,然后保存并切换至VSCO,根据不同的光和环境使用不同的滤镜调整。

Although photography is just a side passion for him, Kuan hopes it can one day become his full-time profession as he enjoys fully immersing himself in it. As for any future trends in photography, he thinks that urban exploration is an emerging style that has a lot of potential.


虽然摄影只是祝宽的爱好,但他希望有一天能成为职业事业摄影师。摄影可以让他沉静下来。说起摄影的未来趋势,祝宽觉得城市探索可能会成为一种新形式。

Some of Kuan’s favorite photographers include 13thWitness, Trashhand, and Cocu Chen Liu. He also often finds inspiration in the small things he sees in everyday life when exploring the city.


祝宽喜欢的摄影师有13thwitness、Trashhand和Cocu Chen Liu。他也常常在探索城市的过程中或者在日常生活中汲取创作灵感。

His advice for photographers who are just starting out is to “take your emotions and ideas, and put them into your photos.” They are what will make your images unique. While composition for him is the basic foundation of a photograph, one shouldn’t get overly caught up on it.


对于那些摄影初学者,祝宽有一些小建议可以和他们分享“构图是照片的基础,其次是善于发现的眼睛,但切记不必过度在意构图环节,把自己的心情和想法代入照片,会让照片变的不一样。”

Kuan describes his photography as a combination of urban and trendy, but also a combination of urban and classic. “This will always be the main driving philosophy behind my work.”


祝宽形容自己的摄影是潮流与城市结合的风格,而这种经典与城市的结合也会是他不变的拍摄理念。

Instagram: @3dk129

 

Contributor: Leon Yan


Instagram: @3dk129

 

拱稿人:Leon Yan