Tag Archives: photographer

The Moments In Between

Despite having worked as director Wong Kar-wai’s official set photographer and accumulated years of experience under his belt photographing strangers, landscapes, and countless celebrities, this legendary photographer still isn’t accustomed to being the focus of attention. With cameras turned on him at a recent press conference, he tells the room, “Feel free to ask plenty of questions because I don’t really know what to talk about.”

That’s Wing Shya for you.


他是香港著名导演王家卫的御用摄影师,也曾为张国荣拍过个人写真。他拍过许多明星,也拍过无数路人和风景。但是在面对几个记者的镜头时,他却说,你们可以多问我一些问题,因为我好像不知道要说什么。

这就是夏永康

Wing prefers keeping a low profile and to let his camera do the talking. Even though he’s always on movie sets and working with famous celebrities, he remains humble. “Everyone is busy filming the movie, and I’m there, crouched on the ground, trying to snap a few photos.”

On movie productions, there can be no interruptions when a take begins. It’s only after the director yells “Cut” that any photographs can be taken. As a result, what’s captured is the moment immediately following a take, a split second where the actors let their guards down and show themselves in a more vulnerable state. Wing loves to capture these authentic moments.


夏永康喜欢把姿态放低,躲在镜头背后。虽然时常出没于大牌云集的片场,但通常都是大家都在拍电影,只有我蹲在地上拍剧照。

那是身为剧照师的工作习惯——在正式拍摄的时候,不能够打扰入戏的演员们,只能在导演喊停了之后再拍。这样一来,镜头会捕捉到情绪和姿态都一下子放松的演员,那照片所呈现的感受,也就常常更为私密。夏永康很享受这样的视角,能够躲到背后记录下人们最真实的一面。

Wing says, “I like to document what happens after we wrap on set. People will often ask me, ‘Everything’s finished, so what is there left to shoot?’ But I pay them no mind and keep shooting.” Wing’s always ready on the side, waiting for the right moment – it’s this patience that has allowed Wing to capture his iconic image of Leslie Cheung in contemplation as the actor waited to begin a take. His understanding on the importance of waiting has also allowed him to document the honest range of emotions experienced by directors and crew members alike on various movie sets.

“I won’t try to overshadow the moment. I always try to make myself as ‘small’ as possible. I just enjoy the process of photography; I want to take in the atmosphere and people I’m photographing.” Wing confesses he won’t even look at photographs he’s taken in the past. For him, photography is about being present – it’s about witnessing the moment in real time. 


夏永康说:“我喜欢拍大家收工之后的状态。大家说,都结束了,怎么你还拍?我就还是拍。”缩在角落,等到最后,或许正因为这样,他拍到过张国荣在等开机时的沉思,也拍到了从导演到工作人员或忙碌或放空的神情,人世百态好像尽在其中。

我没有把自己放得太大,我把自己缩得很小。我就是享受,享受拍东西的过程,享受当下的那个环境,那些人。夏永康甚至不看自己曾经拍下的照片,对他来说,拍下的那一刻过去也就过去了,唯独当时当刻、此时此景,才是拍照最真实的意义。

Of course, the subjects, environment, and lighting aren’t always in ideal conditions. Often, Wing has to play around and experiment. “I like mistakes. So a lot of the time, I’ll just have fun and create something out of a mistake.” Wing recalls a time when he was faced with the challenge of shooting in an almost pitch-black room. After improvising and moving light sources around, he ended up taking a three-minute-long exposure. When the photograph was finally developed, he described the shot to be “beautiful, similar to shadows cast by tree branches.”


当然,人物、场景、光线,不可能时时刻刻都完美,这时候夏永康就会想着和光影玩游戏。因为我喜欢错误。所以常常会在错误中去玩些什么。曾经有一次,在近乎全黑的空间里摄影,他亲自上阵打光,上下左右移动光源,最后把接近三分钟的长曝光照片洗出来,光影显得影影绰绰,像是枝叶树林的影子,很好看

Wing’s affinity for making mistakes is linked to his love of authenticity. As someone who’s passionate about capturing genuine moments, Wing prefers using film cameras, seeing it as a medium that’s able to better reproduce reality. The inherent constraints of analog film limit how much his photographs can be manipulated in post-production. What’s initially captured with the camera will often be the final result. For Wing, this is infinitely more fascinating.


所谓喜欢错误,其实是因为喜欢真实。夏永康偏爱使用胶片相机,无法加工修改,无需合成处理,照片中定格的瞬间往往就是最终呈现的模样,这对夏永康来说却更为迷人。真实就是有错误的。

Sometimes Wing will design a narrative and a setting to allow his subjects to better ease into a certain mood. But according to Wing, more often than not, he won’t set anything up at all. Instead, he’ll just let his models chat with an assistant, and he’ll start shooting from the side. “When shooting different people, I’ll use different methods.”


夏永康会设定一个剧本和环境来告诉被拍摄的人,好让人进入情绪,去捕捉情感流露的瞬间。但夏永康说,有时候他也不会假设场景,只让助理和那人先聊起来,他在一旁拍,拍摄不同的人,方法是不一样的。

These past few years, Wing has started photographing landscapes. Hazy, dark, and cryptic, his landscape photography is representative of the photographer’s own changing outlooks on life. Nowadays, when a day isn’t going right, he’ll embrace it as is rather than lamenting. “When it suddenly rains, I used to blame the weather. But now, I’ll work around the weather’s temperamental nature. I treat the weather as if were my girlfriend.”

For Wing, he sees many of his photos as a direct representation of his feelings at the time of capture. As life goes on, his photography changes with it. But to him, there’s never a need to look back and over-analyze the past – Wing lives and shoots in the present.

 


这些年夏永康也拍风景。镜头对准的内容有时候迷雾朦胧,有时候昏暗晦涩,很难让人不去联想到那是否是因为镜头背后的人产生了心境上的变化。夏永康说,如果突然下雨,以前我会怪天气,想为什么今天这么不顺利。但现在我会去和天气玩,把它当作我的女朋友。

但要说什么变化,夏永康却觉得他拍的内容只是当时情景和感受而已,每个阶段都有不同,不曾回头琢磨,也不曾思量过心态的改变——活在当下,就拍在当下。

So when approached with the opportunity to organize a solo exhibition, Wing delivered over 10,000 photographs to Karen Smith, the curator of the exhibition, allowing her to choose which images to showcase. The exhibition isn’t separated by celebrity portraits or personal projects; it spans across different time periods and is difficult to categorize into a single, all-encompassing theme. When asked about this, Wing chuckled, saying, “Theme? It’s hard to paint this exhibition in a single color. If you want to talk about the theme, it would be reality.”


所以在要办展览的时候,夏永康就把一万多张照片统统交管给策展人Karen Smith挑选,最后呈现时既没有刻意区分明星摄影和随手拍的内容,却又都涵盖到了各个时期,他很喜欢,却也让人很难一以概括,用一种相似的底色去描述。对此,夏永康笑着说:底色?那很难说是一种颜色。要说底色的话,就是真实吧。

Wing Shya’s solo exhibition is currently on display at the Shanghai Center of Photography. He’s also recently released a personal photography compilation book, which is available for purchase here. 


现在,夏永康的个人摄影展正在上海摄影艺术中心举行,他的个人摄影集也同期发售,点击此处可以购买。

Event: ACTING OUT – Wing Shya
Exhibition Date: 11/8/2017 ~ 1/10/2018
Opening Hours: Tuesday ~ Saturday

Address:
Shanghai Center of Photography
2555-1 Longing Avenue
Xuhui District, Shanghai
People’s Republic of China

Website: www.wingshya.com

 

Contributor: Chen Yuan
Images Courtesy of SCoP 


活动: “越轨・夏永康”
展期: 2017118——2018110
时间: 周二至周日

地点:
中国
上海徐汇区
龙腾大道2555-1
上海摄影艺术中心

网站www.wingshya.com

 

供稿人: Chen Yuan
图片由上海摄影艺术中心提供

Frenetic City

Frenetic City is a series from Singaporean photographer, printmaker, and art director Zhou Hanshun that examines the pace of modern life in Hong Kong. A graduate of the Nanyang Academy of Fine Arts Singapore and RMIT University, Zhou uses photography as a way to investigate and document culture and people in cities he’s lived in.


《Frenetic City》(狂热的城市)是新加坡摄影师、版画家和艺术总监Zhou Hanshun(周傼顺)所创作的一个摄影系列,通过一系列黑白影像探讨了现代香港社会的生活步伐。周傼顺毕业于新加坡南洋艺术学院和皇家墨尔本理工大学,他选择了用摄影的方式来探讨和记录自己所生活的城市里的文化和人。

Frenetic City was created during a three-year residence in Hong Kong, in which Zhou became fascinated with the chaotic rhythm of the city. Using multiple exposures of black-and-white film with upwards of 25 exposures per image, Zhou photographed busy locations across Hong Kong, capturing its residents in haunting form.


《Frenetic City》是他在香港生活的三年期间所拍摄的,在这里,他爱上这座城市的混乱节奏。他用黑白胶片拍摄了香港各个繁华地段,通过多重曝光的方式,重叠 25个以上的画面,以重复交叠的影像记录下生活在这里的人们。

According to a report by the U.N., the world’s population will reach 10 billion by 2050, with three quarters of humans living in cities. For Zhou, Hong Kong is just a starting point for the Frenetic City series, which he plans on extending to document other crowded cities across our increasingly overpopulated world. According to Zhou, “To say life moves fast in a city is an understatement. Time in the city seems to flow quicker; memories in the city tend to fade away faster. Nothing seems to stand still in a city.”


据联合国报告显示,世界人口到2050年将达到100亿,而生活在城市的人口将占四分之三。对于周傼顺来说,香港只是《Frenetic City》系列的一个起点,他打算继续记录这个日益人口过剩的世界上其它拥挤的城市。周傼顺说:“生活节奏快,这个词还不足以说明城市之快。在城市,时间似乎流失得更快,回忆往往也会消失得更快。在城市里,没有一样事物是停滞的。”

Websitezhouhanshun.com
Instagram: @zhouhanshun

 

Contributor: George Zhi Zhao


网站zhouhanshun.com
Instagram: @zhouhanshun

 

供稿人: George Zhi Zhao

No Word From Above

Li Hui is a Hangzhou-based photographer who has been trying to express her sensitive personality and feelings through photography ever since she got her first film camera. Influenced by cinema, music, nature, and the human body, Li’s creative development stems from her willingness to continuously experiment with the medium. When viewing her masterful use of light and distinct style, many find it hard to believe that she’s a self-taught artist. Recently, the talented photographer self-published her third photography book, No Word From Above, which features a collection of her images from 2016 to 2017.


李晖是一名身在杭州的摄影师,自她有了第一部相机之后,她就一直在试图通过镜头传达自己的切身感受和易感的个性。受到来自电影、音乐、自然和人体的影响,李晖作品中的创造性正是因为她热衷于不断实践。她熟练掌握的光影技能和具有个人辨识度的风格,让人很难相信她是一个自学成才的艺术家。 她出版了几本摄影书籍,最近刚刚发行了自己出版的书《No Word From Above》。她的作品已被世界各地不同的出版物和杂志刊登。


No Word From Above is available for purchase on Li’s website, Tictail, and Weidian. Signed and numbered in a limited edition of 500.


《No Word From Above》现在可以通过李晖的个人网站Tictail微店进行购买,限量签名版总计500份。

No Word From Above by Li Hui

$37

Buy Now


Li Hui《No Word From Above》

¥168

立刻购买

Full Product Details:

  • Year of Publication: 2017年
  • Size: 21cm x 14cm
  • Number of Pages: 72
  • Paper: 170gsm fine art paper
  • Print Quantity: Limited edition of 500 copies
  • Each book is numbered and signed
  • Price: 37 USD

全副产品信息:

  • 出版年份: 2017年
  • 尺寸: 21 x 14 厘米
  • 页数: 72
  • 纸张: 170gsm 新伯爵纸
  • 发行量: 限量500本
  • 每本独立编号亲笔签名
  • 价格: ¥ 168 RMB

Websitewww.huiuh.com
Instagram: @huiuh_

 

Contributor: George Zhi Zhao


网站: www.huiuh.com
Instagram: @huiuh_

 

供稿人: George Zhi Zhao

Tibet Trilogy

Roof 雪顶

Matt Lindén is an English-Finnish photographer who, for many years, has journeyed again and again to a place dear to his heart: the Himalayas. A graduate from the Master’s program in documentary photography at the London College of Communications, Lindén prefers his life of photographing distant lands to a life spent chasing society’s status quo. When traveling, he spends a large portion of his time learning about the local people, cultures, and histories of the places that he visits. In the two years that he spent living in Tibet, Lindén experienced everything from coming down with altitude sickness, to communicating in the Tibetan dialect that he learnt while living in Lhasa, to living with and alongside local families. While immersed in the local culture, Lindén documented his experiences in the Tibet Trilogya series of works that captures the majestic mountains and endless skies of Tibet in both color and monochrome.


马特·林登(Matt Lindén),芬兰籍英国摄影师,他常年会出没于挚爱之地:喜马拉雅。毕业于伦敦传媒学院纪实摄影硕士的他,不爱名利爱江山——他钟爱去到荒芜而严酷的环境中拍摄,用大量时间去了解特定地区的人文历史。在西藏旅居的两年中,他体会过高原反应、用在拉萨学会的藏语与当地人沟通、与藏民一同生活起居。深入了解当地的文化的时候,他亦创作了系列摄影作品《西藏三部曲》,有彩色、有黑白,有凌厉的雪山、也有包容的蓝天。藏地的自然风景,在他的镜头下,展现出浸润着情感的微光。

Overcome 征服
Stupas From Hepo Ri 哈不日山的佛塔
The King 万山之王

In Lindén’s Black and White series, the contrast between the land and the sky creates a stunning visual impact. Without having to worry about color, Lindén was able to capture the interplay of light and shadow to express the desolate mood of the unforgiving environment.


在对比分明的《黑白》系列中,贫瘠的山石和耀眼的天光相互映衬,Matt试图用黑白照片向大家阐述藏地严酷艰苦的生存环境。

Energy 能源

“I felt like I was so far away from everywhere,
from Lhasa, from the world, from everyone.
Almost as if I’d found some distant, long-lost world.”

— Matt Lindén


那一刻我感觉世界上所有地方都离我很远
我远离拉萨,远离所有人
就好像我找到了一个失去已久的全新世界
——马特·林登

Stormy clouds near Sera 色拉寺的雨云

In Lindén’s eyes, Tibet isn’t only a monochromatic world – it’s full of color as well, especially in moments when the sun highlights the fissures of the mountains, revealing them in all their splendor. His Colour series seems almost like a love letter from the photographer to his surroundings, recounting his treks through the Karuola glaciers.


但是在Matt眼里,西藏不仅仅是非黑即白的世界,它充满着独特的色彩,高原上强烈的阳光往往也会让山脉上的色彩更加生动。《彩色》系列,就是摄影师献给卡若拉冰川徒步之旅的情书。

Yak at Kharola 卡若拉冰川的牦牛
Slide 坡
Kharola I 卡若拉冰川 I
Blur 模糊

Lindén’s Electric series documents the photographer’s trip across Tibet by automobile. Capturing dusk and nightfall outside of his car’s window, Lindén somehow makes the vastness of the landscapes seem smaller and quieter. Through long and double exposure, Lindén reveals the blur of mountain ranges, shapes, and animals in dreamlike images.


Matt开车穿越西藏时拍摄了《电光》系列。透过夜晚昏暗的车窗,那些广袤的风景似乎变得更加渺小了,山峦、动物,形象模糊且不可辨认,经过他的长曝光加二次曝光的艺术化处理,《电光》系列中令人着迷的显影映入眼帘。

Swim 游泳
Squiggle 波纹
Jump 跳跃
Earth 大地

Tibet Trilogy is currently on display at the BROWNIE Gallery Store in Shanghai, see details of the exhibition below.

 

Exhibition Dates: November 9th to December 7th, 2017
Opening Hours: Daily, 10am~10pm

Address:
Kerry Center (North Section)
1515 Nanjing West Rd, 2nd Floor, 06B
Jing’an District, Shanghai
People’s Republic of China


现在,马特·林登的摄影展《西藏三部曲》正在BROWNIE Gallery Store展出,欢迎大家前往观瞻。

 

展期: 2017年11月09日——2017年12月07日
时间: 早上10点至晚上10点

地址:
中国
上海市静安区
南京西路1515号 二楼 06B
静安嘉里中心北区

Website: www.mattlinden.co.uk
Instagram: @itsmattlinden

 

Contributor: Chen Yuan
Images Courtesy of BROWNIE


网站: www.mattlinden.co.uk
Instagram: @itsmattlinden

 

供稿人: Chen Yuan
图片由 BROWNIE 提供

Roadside Lights

Roadside Lights is a charming series from Japanese photographer Eiji Ohashi that captures vending machines in their natural surroundings. A native of the northernmost Japanese city of Wakkanai in Hokkaido prefecture, Ohashi was initially inspired to create the series during a tumultuous winter in his hometown. In the midst of a particularly heavy snowstorm, Ohashi became lost on the road, and could only find his way home by navigating the glow of vending machines that stood as the only familiar landmarks on the snow-covered streets. After that fateful event, Ohashi spent the next nine years photographing vending machines in various locations across Japan.


《Roadside Lights》(“街灯”)是日本摄影师Eiji Ohash以各个角落里的自动贩卖机为主题拍摄的一个摄影作品系列。Ohashi出生在日本最北端的城市——位于北海道的稚内市。在家乡一个大雪纷飞的冬天,他产生了创作这一系列的灵感。当时正在下一场特别大的暴风雪,Ohashi迷路了,在冰雪覆盖的街道上,他最后靠以自己所熟悉的那些明亮的自动贩卖机为路标,才成功回到家。经历了那次关键事件之后,Ohashi花了九年的时间,走遍日本各地,拍摄自动贩卖机。

Ohashi’s subjects glow with life in his photographs, with each vending machine seeming to exude a distinct personality of its own. For Ohashi, the vending machine serves as a metaphor to further examine the human condition. Ubiquitous in every corner of urban and rural Japan, these machines reflect human themes such as loneliness and alienation, corporate efficiency, and workforce automation – all relevant to life in modern Japanese society.


在Ohashi拍摄的照片中,那些自动贩卖机亮着充满生命力的光芒,每台自动贩卖机似乎都有其独特的个性。对于Ohashi来说,自动贩卖机是一个隐喻,用来进一步探讨人类的生存条件。这些自动贩卖机散布在日本的城市和农村的每个角落,几乎无处不在。它们折射出了人类社会关于孤独和人际间的疏远、企业效率和劳动力自动化等一系列的话题,与现代日本社会的生活息息相关。

Ohashi says in his own words, “Coming close to dusk, the city and country both alike, the roadside vending machines light up. This particular scene of vending machines placed on ordinary roadsides is unique to Japan. Looking at the vending machines having been placed in the wilderness or downtown, one can see loneliness being illustrated. The machines work non-stop, despite it being day or night, but would be taken away once the sale drops. The machines would not exist if each and every one does not have its own color and shine. It just might be depicting the nature of us humans.”


Ohashi说:“黄昏的时候,城市和乡村都是一样的,路边的自动贩卖机都会亮起来。放在路旁的普通自动贩卖机成为了日本独有的场景。看着那些被放置在旷野或市中心的自动贩卖机,你仿佛能看到人们孤独的内心。这些机器不分昼夜,一刻不停地工作,而一旦销量下降,就会被拆走。如果一台自动贩卖机丧失了自己的色彩和光泽,它就会消失。可以说,它们正是人类本质的写照。”

Roadside Lights has been featured in solo exhibitions across Japan and has also been compiled into a book of the same name, available for purchase here.


《Roadside Lights》目前已于日本各地举办展览,并被编成一本同名书籍,点击这里即可购买。

Websitesapporo-creation.com

 

Contributor: George Zhi Zhao


网站sapporo-creation.com

 

供稿人: George Zhi Zhao

Long Time, No See

Long time, no see is a series from Zack Vitiello, a Toronto-based photographer who travels to China frequently for his job as creative director of the lifestyle fashion brand Vitaly. Shot entirely on 35mm film, the series highlights the sense of otherworldliness that Vitiello experiences when he travels to China. The graininess of the analog film helps convey a sense of distance and alienation, feelings that the photographer often experiences in these places that he so often visits.


《Long time, no see》是多伦多摄影师Zack Vitiello的一个摄影系列作品,作为生活时尚品牌Vitaly的创意总监,他经常要去中国出差。这一系列完全采用35mm胶片相机拍摄,突显出了Vitiello在中国旅行时所体验到的陌生感,胶片的颗粒感有助于传达摄影师在他经常到访的地方所感受到的那种距离感和疏离感。

Describing the series, Vitiello says, “Long time, no see attempts to capture the feeling that I experience every time I visit Shenzhen, Guangzhou, and the surrounding area for biannual manufacturing trips. Images of empty restaurants with stacks of unused chairs, stark buildings with dark windows, and deserted street scenes give off a feeling of denseness and loneliness simultaneously. By not including any people in the photos, I hope that the viewer will feel a similar sense of alienation to that experienced when visiting a country as vast, unknowable, and remarkably interesting as China.”


跟我们介绍这一系列时,Vitiello说:“《Long time, no see》试图捕捉住我每两年去深圳、广州和周边地区的生产商出差时所体验到的感觉。照片上,空荡荡的餐厅里堆满闲置的椅子,荒置的大楼里窗户黑漆一片,还有冷冷清清的街道,这些场景同时给人一种密集和孤独的感觉。通过拍摄没有任何人物的照片,我希望观众能从照片上感受到,那种去到像中国这样广阔、充满未知和有趣的国家时,所体验到的疏离感。”

Instagram: @latelight

 

Contributor: George Zhi Zhao


Instagram: @latelight

 

供稿人: George Zhi Zhao

DELAYED

Written in not-so-perfect English, a sign at the Bangkok Railway Station reads, “Travelling by Train is Comfort, Economical, Fast and Safe.” This nostalgic form of transport has long piqued the curiosity of Thai photographer, Watcharawit Phudork, who created his series, DELAYED, centered around the 19-hour train journey from Bangkok to his hometown of Hat Yai.


乘火车旅行,舒适、经济、快速、安全”—— 这是曼谷火车站的一个标语。这种传统交通方式,激起了泰国摄影师Watcharawit Phudork的好奇心,将镜头对准从曼谷到他的家乡合艾共19个小时的火车旅程,创作出摄影系列《DELAYED》(晚点)。

Phudork notes that whilst other forms of transportation excel both in speed and economically, there is a still a sizable demand for Thailand’s slowest form of domestic travel. With a mind full of questions and a camera in hand, he bought the cheapest ticket available and embarked on his near day-long journey home.


Phudork注意到,虽然其它交通方式在速度和价格上都比火车有优势,但作为泰国国内最慢的交通方式,火车依然有着很大的需求。带着一堆疑问和手中的相机,他买了一张最便宜的车票,踏上时长将近一整天的归家旅程。

The subjects of DELAYED are noticeably from an older generation; commuters who likely accepted their longer journeys as the norm. The half empty, run down carriages inspired Phudork to explore the other side of railway travel; the inevitable abandonment caused by dwindling demand. His second series, Out of Service, lead him to visit Hat Yai train garage, where worn out train compartments are sent for repair or abandonment.


DELAYED》镜头下的对象大都是上了年纪的人;他们早已习惯了如此漫长的旅途。残旧的车厢中有一半的座位都是空的,受此启发,Phudork又去探讨火车旅行的另一面——需求下降后,那些被扔弃的火车。在第二个摄影系列《Out of Service》(停止服务)中,他前往合艾火车车库,这里堆满了送来维修和废弃的火车车厢。

“Every compartment will be brought to a garage, even if they are in a completely bad condition,” he says. This includes the compartments that were near obliterated during a bombing by the South Thailand insurgency, the remains of which have been left behind alongside other trains to wither away with passing time. Today, Phudork works out of Bangkok and continues to tell stories of disappearing slices of Thai culture through his trusty lens.


“每节车厢最后都会被卖到某个车库去,即使是已经完全报废的车厢。”即使是那些在泰国南部叛乱时期被轰炸到的废车厢也不例外。随着时光推移,这些旧车厢逐渐消失。今天,Phudork生活在曼谷,依然用镜头讲述那些逐渐消逝的泰国文化的故事。

Website: watcharawit.wixsite.com
Instagram: @watcharawitwat

 

Contributor: Whitney Ng


网站: watcharawit.wixsite.com
Instagram: @watcharawitwat

 

供稿人: Whitney Ng

The Long Journey

Johan Chomet is a French photographer born in Paris. In 2013, he set out on The Long Journey, a series of travels that led him overland through Europe, Russia, Mongolia, China, Japan, Vietnam, Thailand, Myanmar, and Nepal. Most recently, Johan’s journey took him to Seoul, South Korea, where he captured a series of images that present his perspective of the city. Johan tells Neocha more about his work and his travels below.


Johan Chomet是来自法国巴黎的摄影师。2013年,他上了《The Long Journey》,进行了一场跨越欧洲、俄罗斯、蒙古、中国、日本、越南、泰国、缅甸和尼泊尔的漫长旅程。最近,Johan又去了韩国的首尔,在那里,他拍摄了许多照片,记录下他眼中的这座城市。Johan跟Neocha分享了许多关于他的作品与旅行的故事。

Neocha: What’s your process for planning your travels?

Johan: I never have a plan or route. I don’t try to organize anything in advance. I usually get transportation and visa sorted to my first destination and then take it from there. It gives me a lot more freedom as I don’t have to be somewhere at any specific time and can change my plans at the last minute if I feel like it. I also try not to have any time constraints.

Traveling overland is a totally different experience. You have to endure every kilometer of your trip, you have to find your way, and you have to deal with uneasy, sometimes unpleasant, situations. But you also get to live and share so much more. You see the landscapes changing and get to meet people along the way. To me, travel means freedom. It means adventures, meeting people, seeing things from a different perspective, and obviously photography! Travel and photography can hardly be separated for me.


Neocha: 你是怎样计划你的旅行的?

Johan: 我从来不会做计划或设计路线,我不喜欢提前计划好任何事情。我一般只会先把第一个目的地的交通和签证办好,然后就出发。这样我可以有更多的自由,因为我不需要在特定的时间到达某个特定的地方,也可以随时改变计划。我也尽量不给自己时间上的限制。

横越大陆的旅游是完全不同的体验。你不得不忍受旅行时每一公里的路途,你必须找到方向,你要处理一些不安,甚至令人不愉快的情况。但你也能够有丰富的生活体验,可以分享更多。你可以看到沿途风景的变化,一路认识新的朋友。对我来说,旅行意味着自由、冒险和结交朋友,从不同的角度来看待事物,当然还有摄影!对我来说,旅行和摄影是密不可分的。

Neocha: How did your trip to Seoul come about?

Johan: I really had no idea about what to expect when I decided to go to Seoul. I had been in Japan for a few months and my visa was expiring, meaning that I had to leave the country for a while. South Korea had always been on my list, and I was really looking forward to seeing it for myself, as for some reason I never got to see many images of the country. When I got to Seoul, it took me about 24 hours and a lot of walking around the city to take my first photo. Things were a lot less accessible and obvious than in Japan, and it felt like I had to soak it all in before I could start taking any photographs.


Neocha: 为什么会想要去首尔?

Johan: 我一开始决定去首尔的时候,我真的没有带着什么特别的期望。当时我已经在日本呆了几个月,签证快要过期,所以我要离开日本一会儿。韩国一直是我想要去的国家之一,我也很期待去这个国家,但不知道为什么,我一直很少机会看到关于这个国家的图片。刚到首尔的时候,我在这座城市里逛了很久,过了快24小时才拍下第一张照片。比起日本,这里的一切更难以接触,更隐晦,感觉就像我必须要深入其中,才能拍到想要的照片。

Neocha: What were some of your first impressions of the city?

Johan: Seoul had been very confusing for me at first, as I could see very little related to its past and history, and what I could see did not always feel coherent. Architecture in many parts of the city made me feel like I was in some sort of communist country with all these identical concrete buildings shaping the landscape, and just a few kilometers away you’d find yourself walking on huge avenues filled with hundreds of high-end shops, and you’d be reminded that you were in a country that’s embraced capitalism like no other.

Another thing that struck me was the overabundance of churches everywhere. Every direction you look, you’d see them – red neon crosses that have invaded Seoul’s skyline. Talking about neon, it’s something I’ve been shooting a lot of lately. I love the light and the atmosphere that it creates. Neon definitely feels a little bit retro, but at the same time, it keeps us fantasizing about these futuristic vertical metropolises.


Neocha: 你对这座城市的第一印象是什么?

Johan: 一开始,首尔让我感到很困惑,我很难看到这座城市与其过去和历史的关联,我所看到的事物也总是感觉不是很一致。很多地方的建筑让我感觉这是一个共产主义国家,一模一样的凝土建筑物,组成了这座城市的景观,然后仅几公里之外,就是宽阔的商业大道,充满数以百计间高端商店,这时你才会意识到,这也是个不折不扣的资本主义国家。

另一件我最难忘的事是,这里的教堂无处不在。不论在哪里,你都能看到那些红色的霓虹灯十字架,占据着首尔的城市天际线。说到霓虹灯,这是我最近很喜欢拍摄的东西。我很喜欢这种灯光,以及它所创造的氛围。霓虹灯确实有点复古的味道,但同时又会令人幻想到未来的垂直化大都市。

Neocha: As a film photographer, what are your thoughts on the film versus digital debate?

Johan: There shouldn’t be any final conclusion about film or digital – they both have their pros and cons. Digital is easy to use, convenient, accessible to everyone, and gives flawless results. Unlike film, the processing is instantaneous, costless, and allows for endless post-processing modification. As always, industries deliver what consumers are asking for.

Film is expensive and frustrating. There’s no insane post-processing to make dull images look great in the end. You can’t take hundreds of photos in a day, hoping to have a good one in the end or take the same photo over and over again until it looks good on-screen. You have to get it right the first time, and this is without a doubt the best way to learn. Shooting mechanical cameras and film gives me the feeling that I’m part of the process, that I’m in control, and that I’m actually making the photo. Working with film, I realized that I was spending a lot more time on framing and working on composition, and more importantly, I would not rely solely on the camera for the result. If your photos are not good enough, you can’t blame the autofocus or justify it by the fact that you didn’t have the money for that ISO 204800 camera. If your photos aren’t good, it’s simply because you’re not a good photographer. Technology in photography doesn’t make things better. It just makes things more convenient.


Neocha: 作为一名用胶片拍摄的摄影师,你对于胶片摄影与数码摄影之间的争论有什么看法?

Johan: 对于胶片摄影与数码摄影之间的争论,应该永远也不会有最后结论,这两者都有各自的优点和弊处。数码摄影更容易、更方便,所有人都可以使用,拍出来的照片也很不错。与胶片摄影不同,数码摄影即时显像,不需要成本,也可以有无休止的后期修改。每个行业都会努力提供消费者所需要的产品,这一点向来如此。

而胶片摄影的成本更高,也往往容易令人沮丧,你不可以疯狂地进行后期处理,将一张原本平庸的照片变成一幅棒极了的照片;你也不能一天拍好几百张照片,然后指望其中会有一张好照片;或是一遍又一遍地拍同一张照片,直到在你屏幕上的照片看起来不错。你必须在第一次按快门就拍好,所以这无疑是学习摄影的最佳途径。用机械胶片相机和胶片拍摄,让我感觉自己成为了这个创作过程的一部分,我有控制权,我感觉这才是真正地在创作一张照片。用胶片拍摄时,我发现自己会花更多时间思考构图,更重要的是,我不会全然依赖相机。如果你的照片不够好,你不能说是自动对焦的问题,也没有藉口说是因为你没有足够的钱,买一台ISO 204800的相机。如果你的照片不够好,只是因为你不是一个好的摄影师。在摄影方面,科技不会让照片拍得更好。它只会让拍照变得更方便。

Neocha: How would you summarize your approach to photography, and what are some recurring themes in your work?

Johan: I used to take a lot of photos of people in busy places, mostly cities, of people in motion, people that would catch my attention. I’ve never tried to make any specific statement with my photos. I just want my photographs to be a reflection of a time and place. They’re just snapshots. I usually go out walking with a camera in my hand and take photos of the things that I react to. I don’t believe photography should be too cerebral, and I try not to overthink my shots. I like spontaneous things.

As I mentioned, film photography changed my approach a little. It forced me to take my time. It helped me to be more patient, and so I started to photograph things differently – more still images, pictures with no people, empty spaces. I also started paying more attention to colors and geometry. When I’m traveling, things are also a bit different. I try to build a series rather than taking a bunch of candid shots without any specific theme.


Neocha: 你如何描述自己的摄影方式,你的作品中的常见主题有哪些?

Johan: 我曾经拍过很多人们在繁忙地方的照片,大多是在城市,拍摄一些行动中的人们,拍摄那些会引起我注意的人。我从来没有试图在我的照片中表达某种特定的态度。我只想通过自己的照片记录某个时刻和地方……它们只是一张张快照。我通常拿着相机就出门散步,看到想拍的事物就拍下来。我认为摄影的时候不需要思考太多的事情,我在拍摄时尽量不去考虑太多。我喜欢自然而然的东西。

正如我前面所说,胶片摄影也影响了我的摄影方法。它让我在拍摄时放慢速度、更有耐心,也因为这样,我开始拍摄不同的对象,更多的是静止的图像,没有人,空荡的场所。我也开始更多地关注颜色和几何形状。当我去旅行时,拍摄的方法也会有点不同。我会试着创作一个系列,而不是没有任何特定的主题,直接拍一堆照片。

Neocha: Are there any particular themes or lasting impressions from your series in Seoul?

Johan: Culturally, It feels like there’s this huge gap with massive differences of interests and lifestyle between generations. South Korea, and Seoul probably even more, has been changing so much and in such a short period of time. Because so many younger generations of South Koreans are able to travel and study abroad, I guess many came back with a different idea of what they wanted for their country and for their lives. South Korea has been heavily impacted by Western culture, but it feels like its people managed to adapt and blend it to their own culture, making it theirs. I definitely want to go back to South Korea and focus more on the youth next time.


Neocha:这一次在首尔摄影的作品中,有没有什么特别的主题或比较深的印象?

Johan:从文化上来说,我觉得韩国不同世代的人们之间在兴趣和生活方式方面有很大的差异。在韩国,尤其是首尔,在很短的时间内,这里发生了翻天覆地的变化。很多年轻一代的韩国人出国旅游和留学,我想,他们中很多人回来后对于自己的国家和生活都会有了不同的想法。韩国受到很多西方文化的影响,但似乎韩国人们将这种影响成功融入到他们自己的文化中,将其变成韩国的特色文化。我还想再去一次韩国,下一次会把目光更多地放在年轻人身上。

Neocha: What is your personal philosophy towards photography? What does photography mean to you?

Johan: To me, photography is about accurately remembering and capturing real life for future generations. Photographers are witnesses of time, documenting life. Some photographers are talented enough to add emotions and beauty to their images, to get reactions out of their viewers. I hope that people can see my photographs in 30, 40, 50 years in a different context. Who knows what will have become of photography and the world in general by then.

My relation to photography is very personal – it’s almost a kind of therapy for me. Walking with a camera in my hands is one of the rare moments when I manage to completely focus my mind on what I’m doing. It forces me to be in the moment, and it stimulates me. It keeps me curious and gives me the motivation to make new projects, or even just to simply go outside and do something.


Neocha: 关于摄影,你的个人理念是什么?摄影对你来说意味着什么?

Johan: 对我来说,摄影是要准确地记录和捕捉当下的现实生活,留给未来的人们看。摄影师是时间的证人,生活的记录者。一些才华横溢的摄影师能把情感和美融入到他们的照片中,引起观众的情感共鸣。我希望在30、40或50年后,不同时代的人们可以看到我的照片。谁知道到时候,摄影和世界会变成怎么样呢?

对我来说,摄影是挺个人的事情,几乎可以说是一种治疗。拿着相机散步是很弥足珍贵的时刻,因为我可以完全专注其中。它迫使我融入那一时刻,刺激着我。让我保持好奇,给我动力去进行新的项目,甚至只是简单地到外面去,做点什么。

Websitejohanchomet.com
Instagram@johan_chomet
VSCO~/thelongjourney

 

Contributor: George Zhi Zhao


网站johanchomet.com
Instagram@johan_chomet
VSCO~/thelongjourney

 

供稿人: George Zhi Zhao

The Chaos of Hong Kong

Duran Levinson is a filmmaker originally from Cape Town, South Africa. Aside from filmmaking, he’s an avid globetrotter and photographer whose travels have taken him throughout Asia. He admits the massive metropolises of Asia fascinate him way more than his hometown. Out of his travels, one of his favorite locations to capture is Hong Kong, a place he frequently visits every year for weeks at a time.


Duran Levinson是一名来自南非开普敦的影片制作人,但在拍摄影片之外的时间,他也喜欢带着他的相机去四处拍照。除了他的家乡南非之外,他更情迷亚洲的城市,香港就是其中一个他特别钟情的拍摄地点。Duran每年会去香港旅行几次,每次待上半个月左右的时间。

“The Kowloon side of Hong Kong appeals to me the most because of the chaos and beauty,” Levinson fondly describes. “I love that it’s so messy, so busy, and so cluttered. For photography I would say it is one of the most interesting places in the world I have ever photographed in.”


“我喜欢九龙地区的杂乱,这里就像是整个世界被浓缩在一小块区域里。这种混乱嘈杂和忙碌正是九龙最吸引我的地方。这里有最有趣的建筑,但走几条街又有自然风景。对于一个摄影师来说,我可以说这是全世界我拍过最有意思的地方了。”

Beyond the chaotic beauty of Hong Kong, Levinson’s love of the city can also be attributed to the people he’s met there. “I have so many great friends in Hong Kong. I always enjoy spending time there working and shooting with new and old friends. I believe people in Hong Kong are more exposed to creativity than a lot of other Asians, and this can help with planning and organizing shoots. I find that my friends in Hong Kong are always down for adventure and spontaneous photo missions.” See more of Hong Kong through his eyes below.


另一个喜欢香港的原因,Duran说是因为那里的人。“我有很多好朋友在香港,我很享受拍摄时和老朋友叙旧,也喜欢通过拍摄认识新的朋友。比起亚洲其他地方,这里的人更多受到西方文化的影响,他们更大胆。拍摄时我有什么新奇大胆的想法,他们都很愿意去尝试去冒险,这也是我喜欢在这拍照的原因。”下面一起随Duran的镜头看看他眼中的香港吧。

Websiteduranlevinson.com
Instagram: @duranite

 

Contributor: Ye Zi


网站duranlevinson.com
Instagram@duranite

 

供稿人: Ye Zi

Flesh Love

Ichika & Arisa

Flesh Love is a photography project by Tokyo-based artist Photographer Hal. Over the years, Photographer Hal has explored the themes of love and attachment by taking photographs of couples in enclosed spaces across multiple projects. For the Flesh Love series, Photographer Hal began to vacuum seal couples together in plastic wrap as a way to examine modern relationships. Photographer Hal tells us more about the story behind his work below.


《Flesh Love》是由东京艺术家Photographer Hal创作的一个摄影项目。多年来,Photographer Hal曾在多个摄影项目中,用镜头捕捉情侣在封闭空间的照片,探讨爱情和迷恋的主题。在《Flesh Love》系列中,Photographer Hal将情侣装在一个巨型真空密封袋中,寓意对现代男女关系的一种审视。Photographer Hal向我们分享了更多关于这些作品背后的故事。

Yuya & Ritsuko
Kazan & Tomoe
Yohei & Yuri
Miho & Ritsu

“When you embrace your lover, sometimes you wish to melt right into them. To realize this wish, I’ve been photographing couples in small and cramped spaces like motels and bathtubs. As my work has become more and more intense, I’ve noticed that communication is indispensable.”


“拥抱着自己的爱人时,有时候你会突然希望自己可以融入他们的身体当中。为了实现这个愿望,我常常选择在狭窄拥挤的空间里拍摄情侣,譬如汽车旅馆和浴缸。随着自己作品的风格越来越强烈,我发现,沟通也是不可或缺的。”

Sakamaki & Makino
Take & Mari
Michico & Yuhei
Yajyu & Kaorin

“I go to Kabukicho in Shinjuku, underground bars in Shibuya and many other places which are full of activity like luscious night time bee hives. When I see a couple of interest I will begin to negotiate. I’m sure that many people initially think of my proposal as unusual or even look through me like I am completely invisible, but I always push forward with my challenge to them. The models appear from all walks of life, and individually, have included musicians, dancers, strippers, laborers, restaurant and bar managers, photographers, businessmen and businesswomen, the unsettled and the unemployed, and so on.”


“我去新宿的歌舞伎町,涩谷的地下酒吧,还有很多地方,都是一些夜生活比较热闹的地方。看到感兴趣的情侣时,我就会跟他们搭讪。我敢肯定,很多人一开始都会觉得我的建议很奇怪,甚至直接无视我,当我不存在,但我会继续说服他们,用激将法问他们敢不敢做我的模特。我镜头下的模特来自社会上的各行各业,他们中有音乐家、舞蹈家、脱衣舞者、劳工、餐厅和酒吧经理,也有摄影师、商人、流浪汉和无业人员等等。”

Rem & Marina
Zinzin & Norico
Ami & Kojiro
Mana & Koji

“This time, I reached the point of photographing couples in vacuum-sealed packs in a set that I’ve constructed in my own kitchen. The lights are in the ceiling, so I just flip one switch and have everything ready. I have a few different colored paper backgrounds, which I leave rolled up in the corner. After the couple gets in the vacuum pack, I suck the air out with a vacuum cleaner until there’s none left. This gives me ten seconds to take the shot. In this extremely limited time I can’t release the shutter more than twice. I’ve been in there myself, and the fear I felt was overwhelming.”


“这一次,我的想法是让情侣装在真空密封袋里拍摄,拍摄地点就在我自己的厨房里。天花板上有吊灯,所以我只需按一下开关,一切就准备就绪了。我有几种不同颜色的纸张作为背景,不用的时候可以卷起放在角落里。情侣进入真空密封袋后,我再用吸尘器吸光里面的空气。然后我只有十秒钟的时间来拍照片。在这极其有限的时间内,我最多只能按2次快门。拍摄的时候,我感觉自己也像是装在真空密封袋里一般,内心也会感到铺天盖地的恐惧。”

Makoto & Shinji
Sachiko & Atsushi
Lim & Kyohei
PinQ & Pomco

“As the shooting continues over multiple takes, the pressure of the vacuum seal grows stronger. At the same time, the two bodies start to communicate, and whether through unevenness of limbs or the curve of joints they begin to draw a shape of what they want to express. The two lovers draw closer until they finally transform into a single being. Looking at these vacuum-sealed packs of love, we can imagine a more peaceful world. For me, the vacuum pack is only a means: the important thing is connecting to someone.”


“随着拍摄继续,真空密封袋里的压力会越来越大。同时,里面两个人开始沟通,通过起伏不平的肢体,或关节的曲线,呈现出一定的廓形,以此表达出他们的想法。两个相爱的人拉近彼此的距离,直到他们最终结为一体。看着这些充满爱意的真空密封袋,会令人联想到一个更和平的世界。对我来说,真空密封袋只是一种手段,更重要的是人与人之间的联系。”

Chihiro & Takeshi
Mihaya & Takao
Yoshi & Naomi
Alice & Kazuya

Website: photographerhal.com

 

Contributor: George Zhi Zhao


网站photographerhal.com

 

供稿人: George Zhi Zhao