Tag Archives: photography

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, Chomet’s journey took him to Seoul, South Korea, where he captured a series of images that present his perspective of the city. Chomet 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,Chomet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。Chomet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?

Chomet: 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?

Chomet: 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?

Chomet: 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?

Chomet: 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?

Chomet: 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?

Chomet: 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?

Chomet: 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?

Chomet: 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?

Chomet: 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?

Chomet: 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?

Chomet: 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?

Chomet: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?

Chomet: 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?

Chomet: 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

Neko Neko Ai Ni

San Francisco-born and Taipei-based, Sean Marc Lee is a photographer with a keen eye for capturing the playful aspects of day-to-day life. His debut zine, Neko Neko Ai Ni, stays true to his love of quirkiness, offering a candid glimpse into Lee’s life at home with his girlfriend, Carina Hsu, and their two mischievous cats, Guabao and Susuwatari. 


来自旧金山的摄影师李子仁目前生活在台北,他的兴趣是用镜头捕捉日常生活中那些好玩的时刻。他个人首本zine杂志《那个那个爱你》延续了他一贯对奇特风格的喜爱,坦然地展示了他与女友Carina Hsu、以及他们在家中那2只淘气小猫 Guabao和Susuwatari的生活。

“It’s all about something silly someone does, or something semi-provocative in some quirky way,” Lee says. “Many times, it’s that half moment in between gestures someone does while posing or being ready to have their photograph taken. The biggest obsession that I have is mostly of my loved ones, whether it be my father, my girlfriend, or my cats. They are always the constant source of my inspiration.”


他说:其实拍的都是人们做的一些傻里傻气的事,或是一些略显突兀的搞怪东西。许多时候我定格下的画面正好介于他们正在摆造型和完全摆好之间。我最着迷的是那些我爱的人,比如我的父亲、我的女朋友,还有我的猫,他们一直是我永无止尽的灵感来源。

Neko Neko Ai Ni is now available in the Neocha Shop. The zine is available in a limited edition of 500, with each copy personally signed and numbered by Sean Marc Lee.


《那个那个爱你》 现已于Neocha商店限量发售。限量制作40张,每一本都由李子仁亲笔签证和编号。

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《那个那个爱你》by 李子仁

¥100

立刻购买

Details:

  • Year of Publication: 2017
  • Number of Pages: 40 (including front and back cover)
  • Size: 14.8cm x 21cm
  • Print Quantity: 500
  • Printing Method: Offset
  • Binding: Saddle stitch
  • Paper: 150gsm Matte Coated Photo Paper
  • Price: $15 USD

详情:

  • 出版年份: 2017年
  • 页数: 40 页 (包括封面和封底)
  • 尺寸: 14.8 x 21 厘米
  • 发行量: 500
  • 印刷: 平版印刷
  • 装订: 骑马订装
  • 纸张: 150gsm 哑光照片纸
  • 价格: ¥ 100 RMB

Websiteseanmarclee.com
Facebook~/sean-marc-lee
Instagram@seanmarclee

 

Contributor: David Yen
Images Courtesy of Sean Marc Lee


网站seanmarclee.com
脸书~/sean-marc-lee
Instagram@seanmarclee

 

供稿人: David Yen
图片由Sean Marc Lee提供

Reconstructing Loneliness

Chinese photographer River Zhang says he likes being alone. Having studied in four universities between China and the UK, Zhang’s daily routine consists of getting up on time, making breakfast, eating it, and either attending class or creating art. He says that “this state of loneliness” is something he values, as it introduced him to thoughts about loneliness and thereafter his photographic works on the subject of loneliness.


摄影师张沛之说自己是不喜欢从众的人。在中国大陆和英国四所大学接受过摄影教育的他,每天生活规律,早上定时起床,做早餐、吃早餐,然后上课或创作。他说自己很享受“孤独的状态”,也是这种仪式般的孤独带给他对“孤独”的思考,而创作了一系列关于孤独的作品。

Zhang, who graduated from the University of Creative Art in the UK earlier this year, created the photography series Dialogue with Memory as his graduation project. The series explores his loneliness of being an only child. To complete the project, Zhang’s father helped him scan over 400 photos from their family albums. Zhang says, “Among those photos, some I can remember vividly, others I have no memory of at all. I believe all these memories are from my confusion as an only child. So I ended up working with the photos that I remember the most.”


今年刚从英国创意艺术大学毕业的张沛之创作了名为《与记忆的对话》的毕业作品。该作品在年度毕业生大展伦敦“无围栏”毕业作品展展出,讨论了自己作为独生子的孤独感。张沛之的父亲帮他扫描了400多张家庭相簿里面的照片。张沛之说:“这些照片中,有的会让我有非常强烈的记忆,有些则完全记不起来,我相信那些记忆都是来自于‘独生子女孤独的困惑’,于是我筛选了有强烈记忆的作品进行二次创作。”

To create the series, Zhang selected the photos that he liked the most, pixelated them, and printed them out. From afar, viewers can make out the content of the image. However, viewing at a closer distance, the colored photos turn into abstract collages of colorful blocks. In order to give context to the contents of each photo, Zhang filled certain squares with Chinese text, each standing alone in the middle of certain blocks. Zhang intentionally used photos that might outwardly show harmony and happiness, but to him, they represent painful memories – this contrast is invisible to the viewer, and that is why he used mosaics to conceal the superficial harmony and happiness. The blocks also represent another aspect of his childhood, which is that they’re similar to the paper he worked with for writing practice around the time when these photos were taken. Zhang’s carefully composed text not only serves as a form of self-expression but as a form of catharsis. These works were created in the context of China’s family planning policy and ideas of Confucianism, topics that, to him, have direct connections to the notion of loneliness.


张沛之从童年的照片里选出最合心意的照片,将他们像素化并印制出来。在远处,观者可以恍然辨认相片的内容,而凑近之后,色彩斑斓的战片变成印着汉字的方框,却辨别不出照片的内容。为了解释图片内容,张沛之以书法练习方格的模样在马赛克上写上了汉字,这些字比起方格来要小许多。对张沛之来说,这些文字才是照片的真正意义。张沛之选择了表面看起来欢乐和谐,但是背后却隐含痛苦回忆的照片,而这种强烈的反差使得外人完全看不到。所以,他选择用马赛克来掩盖表面的欢乐和谐,而马赛克又正好和他小时候练字的田字格有着非常多的相似点,照片上他的年纪也正是学写字的年纪。张沛之写下这些表达内心的文字,并把自己的作品作为“一种自我救赎的方式”。张沛之在创作初期就把这组作品放在“计划生育”以及“儒家思想”的大背景下去考虑,这两个背景有着非常充分的关联:孤独。

Zhang says: “In Confucianism, which has existed in Chinese society for 2500 years, loneliness isn’t something to be openly discussed. The five cardinal relationships in Confucianism tell us that everyone has close relations to those around them, so those who feel lonely are thought of as being incomplete humans. However, under the family planning policy in the past, it feels impossible – every family only has one child, which is a lonely thing, but we cannot talk about it.”


张沛之说:“在束缚了中国2500多年的儒家文化中,是不允许讨论孤独的存在的。儒家文化中的五伦,都是在讨论每个生命与周边生命的关系,感受到孤独的人,在五伦的关系中,是不完整的,不能被称作完整的人。但是在之前有计划生育的大背景下,这就显得格格不入,明明一家就一个孩子,明明就是一个个孤独的个体的存在,却无法被讨论。”

Website: zhangriver.com

 

Contributor: Shanshan Chen


网站: zhangriver.com

 

供稿人: Shanshan Chen

Roller Coaster India

 

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


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

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


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

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

 

Contributor: Whitney Ng


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

 

供稿人: Whitney Ng

Motherland

Shanghai VII, 2016

For Chinese American photographer Daniel Lee Postaer, his interest in photography originates from his endless fascination with the relationship between cities and their inhabitants. Through his lens, he strives to capture the overlooked beauty of ordinary moments in urban settings around the world. “There’s an un-staged theatricality to our everyday world that I search for through picture-making,” he says. “So, whether it’s San Francisco, Tokyo, or Chongqing – I’m trying to make sense of time and place through my photography… A photo has the ability to say something about the larger moment in time that we collectively live in. It’s an inherent value of the medium that I deeply respect.”


华裔美国摄影师李强(Daniel Lee Postaer)对摄影的兴趣源于他对城市和居民之间关系的迷恋。透过自己的镜头,他在平凡生活中,努力捕捉住那些被人们所忽视的美。他解释道:“在我们的日常生活中, 有一种不经排练、自然发生的戏剧性, 我正是要通过照片来寻找这种戏剧性。所以,无论是在旧金山、东京, 还是重庆, 我都试图通过摄影来了解自己所在的时间和空间……每张照片可以讲述出比那一个时刻更广阔的时间,那是我们共同生活着的时代。对于摄影这种媒介,我一向满怀敬畏,而这也正是摄影的内在价值。”

Beijing VIII, 2015
Shanghai XV, 2016
Shanghai XII, 2016

In his ongoing photo series, Motherland, Postaer explores the ever-changing urban fabric of modern-day China, a country that, to him – as someone who’s half-Chinese – feels both familiar yet foreign. “I’m both an insider and outsider. I’ve lived, worked, and sweated here in China,” Postaer says. “But I’m American and was born with that perspective. So I inherently come with that outsider perspective and sensibility. That being said, even on the streets of Los Angeles I can feel like an outsider.”


他目前正在创作的摄影系列《故土》(Motherland)探讨了现代中国不断变化的城市景象。对于有着一半中国血统的他来说,这个国家既熟悉又陌生。李强说:“我既是局内人,也是局外人。我在中国生活过、工作过,在这里努力过。但我也是美国人, 这是我从出生起就有的观念。所以我天生就有一种局外人的观点和感悟。也就是说,即使是在洛杉矶的街头,我也会觉得自己是局外人。”

Shanghai XVI, 2015
Shanghai VII, 2014
Chongqing II, 2015
Shanghai II, 2014

Postaer regards photos that only exist digitally as unfinished products, believing that a photograph isn’t truly a photograph until it’s seen in print, He wants to encourage people to experience photography in a tangible form, as something that can be physically held and shared with others. “In our Instagram-image-saturated, iPhone-picture-billboarded world, I still revere the experience of a finely printed photograph in a book or framed on a wall,” he says. “I believe the photographic print can deliver and emote a tactile visual experience like no other medium.”


在Postaer看来,只有冲印出来后的照片才算得上是真正的照片,到于那些数字媒体里的照片都是未完成的作品。他希望人们能够亲身感受摄影,将它拿到手上,以可触可感的形式与他人分享。他说:“现在这个年代,Instagram 上图片泛滥,iPhone 图片拿来当广告, 但我还是更喜欢那种书中或墙上装裱的印刷精致的照片,那是一种令人敬畏的体验。我相信,打印出来的照片可以提供和表现出带有触觉感受的视觉体验,这一点是其它媒体所缺乏的。

Beijing III, 2015
Shanghai XXII, 2016

To experience Postaer’s large-format photos in person for yourself, drop by his solo exhibition, Daniel Lee Postaer: Motherland, which will be showcasing 32 prints from his Motherland series that contains over 200 works. The exhibition will be kicking off later this week at Shanghai’s Longmen Art Projects and will run from August 12th to September 16th.


他的的个人作品展览《李强:故土》将于本周在上海龙门雅集(Shanghai’s Longmen Art Projects)开幕,开放时间为8月12日至9月16日。整个《故土》系列包含超过200张摄影作品,而本次展览将会展系列中的32幅作品。快来亲临现场,体验大画幅摄影作品的震撼力量吧。

Event: Daniel Lee Postaer: Motherland
Exhibition Dates: August 12, 2017 ~September 16, 2017

 

Address:
Tian An Centre Building
Suite 102
No. 338 Nanjing West Road
Huangpu District, Shanghai
People’s Republic of China


活动名称: 李强: 故土
展览日期: 2017年8月12日——2017年9月16日

 

地址:
中国
上海市黄埔区
南京西路338号
102室
天安中心

Website: danielpostaer.com

 

Contributor: David Yen


Websitedanielpostaer.com

 

Contributor: David Yen

The Private Label / Pre-Fall 2017

Recently, independent clothing brand The Private Label released Last Days, the newest lookbook for its 2017 Pre-Fall collection. Shot by French photographer Laurent Segretier, the series takes place in Hong Kong’s Chai Wan District, in an old shopping arcade that’s been scheduled for demolition. The project is a commentary on the rapid development of Hong Kong, especially the invasion of corporations that have rendered these traditional shopping malls obsolete. With the belief that this mass production and developmental frenzy is eroding the very essence of Hong Kong and wiping away the city’s many unique characteristics, the designer behind The Private Label set off to try and capture a vanishing side of Hong Kong. Last Days is a documentation of the final days of one these communities and encapsulates a sense of wistful regret and nostalgia.


最近, The Private Label 发布了2017秋季服装目录“LastDays”,此系列照片由法国摄影师Laurent Segretier掌镜,于香港柴湾区一个即将被政府拆除的商场拍摄。在香港,城市的快速更替让一些旧式商场和社区小店接连被淘汰,取而代之的是大型连锁商铺。The Private Label的幕后团队认为这些高复制性的产出在发展的同时却让城市变得单调乏味,失去了原本的独特性和人情味,为了尽可能地保留住这些即将逝去的回忆,他们创作了”Last Days“,用相片记录下这个旧式商场被清除前最后的日子,同时表达出对旧香港文化流失的惋惜和留恋。

The designer behind The Private Label consider the 80s and 90s as the golden era of Hong Kong and is influenced by the kung-fu movies and romance movies of the period, envisioning a photo series that could convey the texture and ambiance of the Chinatowns depicted in the films from this time period. To establish this particular aesthetic and mood, Sergretier chose to use 120 film. The end result is a palette of soft colors that appear to seamlessly combine the clothing, subject, and environment into one unified frame.


受到八九十年代香港功夫片及爱情片的影响,The Private Label的设计师希望照片能传递出一种旧电影中唐人街的质感和气氛,那个黄金年代也正是香港文化对外输出最为旺盛的日子。此次拍摄摄影师Laurent Segretier选用了120胶片相机,照片柔和的色彩使服装和周围的环境协调地融在一起。

In addition to the lookbook’s retro vibes, the designs of the collection itself are also derived from the designer’s nostalgia. Growing up at the turn of the millennium, the designer behind The Private Label have observed hip-hop and NBA culture’s influence on the trends of this generation. This realization translates into this collection’s designs, appearing in the form of oversized fits inspired by the streetwear of the 2000s. Coupling this with the choice of a finer fabric and modified silhouette commonly seen in Eastern garments, the collection blends the best of both worlds, accomplishing the designer’s goal of combining the spirit of Western street culture with the aesthetic sensibilities of Eastern culture. The new collection is now available on The Private Label’s official website.


除了打造复古质感的服装目录以外,这系列服装本身的设计灵感也同样来源于设计师的怀旧情怀。成长于千禧年代,The Private Label的设计师认为嘻哈文化及NBA文化深刻影响着他们这代人的潮流见解。他试图将那些宽大舒适的服装剪裁与中国元素的服装细节及面料融合在一起,也希望能将西方的街头文化精神和精致的东方美学串联在一起。此系列服装正于The Private Label官网发售,点此查看。

Websitetheprivatelabelclothing.com
Instagram: @theprivatelabelclothing

 

 Contributor: Ye Zi


网站theprivatelabelclothing.com
Instagram@theprivatelabelclothing

 

供稿人: Ye Zi

Hotel Okinawa

Greg Girard is a Canadian photographer who has spent the larger part of his career in Asia. His latest book, Hotel Okinawa, is a snapshot of Okinawan history and the legacy of U.S. military power, with photographs taken on U.S. military bases and their surroundings from 2008 to 2016. Supplemented by archival photographs, periodicals, and other historical materials, the book examines the changing social, historical, and physical landscape of a multilayered and complex region. In an excerpt from Hotel Okinawa below, Girard tells us more about the project.


加拿大摄影师Greg Girard在亚洲度过了他职业生涯的大部分时间。他最新出版的作品《Hotel Okinawa》(冲绳酒店),记录了日本冲绳的历史,以及美国在当地遗留下来的军事影响。书中主要包括了他在2008年至2016年期间在美军基地及其周围拍摄的照片,并辅以一些文献档案照片、期刊和其它史料。本书探讨了这个多层化的复杂地区中,不断变化的社会,历史和地理景观。在《Hotel Okinawa》中,Girard向我们介绍了这个项目。

Hazard to Aviation Checkerboard, Naha, 2008
Audrey Poster, 2008
A&W Drive-In, Route 58, 2016
Ginowan Overview, Dusk, 2009

“My first sighting of Okinawa came from the deck of a ferry, approaching the port of Naha after a 52-hour sailing from Tokyo. It was December 1982, and the tropical-ness I had looked forward to was nowhere to be found. I remember grey skies, rain, and cool temperatures. But I had long wanted to visit, hoping to see for myself what this Japanese honeymoon destination and U.S. military garrison island looked like.”


“我第一次看到冲绳是在一艘渡轮的甲板上,那是一艘从东京开往那霸港的渡轮,航程总共52小时。当时是1982年12月,我并没有看到预期中的热带景象。我只记得当时天空是灰暗的,下着雨,气温很凉爽。但我早就想来冲绳,希望能亲眼看看这个日本人蜜月胜地和美军驻军的岛屿到底是怎样的。”

USMC Camp Foster Base Housing, 2008
F-15 and AWAC Plane, 2008
Grady, Chatan, 2016

“Living in Tokyo in the 1970s, I unexpectedly encountered this vast network of U.S. overseas bases, of which Okinawa was, and remains, a part, via late night broadcasts of American Forces radio. Around this time, I also discovered Ryu Murakami’s first novel, Almost Transparent Blue, set in a town near a big U.S. air base west of Tokyo. He described a world where aimless young Japanese and young American servicemen partied, slept together, hung out, fought, and drifted apart, though not necessarily in that order.”


“上世纪70年代,我在东京生活时,意外在美军广播电台一档深夜节目中知道了美国的庞大海外军事基地网络,而冲绳正是其中的一个部分。大约也是在那个时候,我还发现了村上龙(Ryu Murakami)的第一部小说《接近无限透明的蓝色》正是以东京以西的美国空军基地附近的小镇为背景创作的。他在小说中,描述了漫无目的的日本年轻人和年轻的美国军人一起举办派对,一起玩,又互相战斗,然后慢慢疏远,大概是这样的故事。”

Man in Corvette reading "Star and Stripes", Okinawa, 2008
Family Housing, USMC Camp Foster, 2008
Watching Softball Game at Futenma Marine Corps Air Station, 2008

“But on that first short Okinawa visit, dodging the rain in the streets of the capital, Naha, I didn’t see much evidence of a local version of the scene Murakami had described. It was there, however. It was further up the highway in base towns north of the capital and being photographed, as I would later discover, by Japanese – including Okinawan – photographers. For myself, as far as these base towns went, I had been luckier in earlier years, making pictures closer to Tokyo, in Yokosuka, where the U.S. Navy’s 7th Fleet was (and still is) based. After a few sunless days, I left Okinawa on the twice-weekly JAL flight to Hong Kong; on board were a number of American military families, off to the British territory for Christmas vacation. My own Hong Kong visit ended up stretching into New Year, then the Lunar New Year and beyond, eventually making the city my home for the next fifteen years.”


“但是,第一次到冲绳短期旅游时,我在首府那霸的街头忙着避雨,也没有看到村上龙在书中曾描述的那种场景。然而,我后来发现,在那里沿公路往上走就是了,在那霸以北的小镇里,也是美军的驻扎地。曾有许多日本摄影师,包括冲绳本地的摄影师,到那里去拍摄。至于我自己,我在早些年挺幸运的,正巧在近东京的横须贺进行过拍摄,那里是美国海军第7舰队的基地(现在仍然是)。在度过了几天阴天之后,我乘坐每周两班的日航离开冲绳岛,飞往香港;在飞机上,有一些美国军人的家属,他们正要前往当时英国占领的香港过圣诞假期。我原本计划在香港的短期行程,后来一直延期到了新年,然后又过了中国的春节,最终,我在这座城市一直生活了十五年。”

Osprey and Marines, Camp Hansen, 2015
Protest House, Naha, 2012
Road Above Camp Lester, 2008

“I knew I wanted to return to Okinawa, but other decisions, other distractions, kept me occupied, and it would take more than 20 years before I was able to make pictures there again. During this period, a drawdown of US engagement in the region was taking place. Alliances were shifting or completely unraveling. The U.S. closed its bases in Vietnam and the last troops were withdrawn in 1973. Soon after, in 1975, the U.S.-backed South Vietnamese government collapsed. By 1976, the U.S. was forced to vacate bases in Thailand from where they had operated for more than a decade in support of the war in Vietnam. In 1979, following diplomatic recognition of Beijing, the U.S. closed its bases in Taiwan. Elsewhere in Asia, the U.S. had long operated a number of key facilities in the Philippines: Clark Air Base and Subic Bay Naval Base, in their day, were among the largest U.S. bases overseas. By 1992, those too were closed.”


“我一直都想重回冲绳,但是总会因为其它决定和事情而未能成行。20多年之后,我才有机会再次去那里拍照。在此期间,美国开始回撤在当地的军事力量。联军的关系在变化,或者说已经完全崩溃。美军关闭了在越南的基地,并在1973年撤回了最后的部队。不久之后,在1975年,美国支持的南越政府垮台。到1976年,美国被迫撤出在泰国的军事基地,在之前十多年间,他们在这里驻扎,以支持越南战争。1979年,美国与中国建交,美国又关闭了在台湾的基地。至于亚洲其它地区,美国曾长期在菲律宾经营多个重要基地:克拉克空军基地和苏比克湾海军基地,在当时,它们是美国其中两个最大的海外基地。到1992年,这两个军事基地也被关闭。”

Bar Interior, Okinawa City, 2008
Customers in Bar, 2016
Bar Interior, Sakura-zaka, Naha, 2016

“And so, in 2008, when I was finally able to undertake a project on ‘the bases’, their number was much reduced. The U.S. military presence in the region was now concentrated on bases in Japan and Korea, and on the U.S. territory of Guam in the western Pacific. The first step was to make formal requests (to the Pentagon and to individual bases). At last, in March 2008, with permissions in place, I was able to begin photographing. Within two years, I had photographed more than 20 separate bases, some numerous times.”


“因此,当2008年我终于接到一个有关这些美军‘基地’的项目时,这些基地的数量已经大大减少。现在,美国军事基地主要集中在日本和韩国,以及西太平洋地区,美国境内的关岛。我要做的第一步是(向美国五角大楼和相应的军事基地)提出正式请求。最后,在2008年3月,在获得这些地方的批准后,我终于可以开始拍摄了。在两年之内,我拍摄了超过20个美军基地,其中一些我还探访了好几次。”

Teishoku Marunaka, Okinawa City, 2016
Mt. Blanc Hotel, Okinawa City, 2016
Wooden Building, Naha, 2009

Previous publications by Girard include City of Darkness and City of Darkness Revisited, documenting Hong Kong’s infamous Kowloon Walled City, and monographs Phantom Shanghai and Hanoi CallingHotel Okinawa will be available for purchase from The Velvet Cell on August 15th.


Girard之前出版的作品包括记录香港臭名昭著的九龙寨城的《City of Darkness》和《City of Darkness Revisited》,以及《Phantom Shanghai》和《Hanoi Calling》。 《Hotel Okinawa》8月15将在The Velvet Cell发售。

"Home Base" Oden Restaurant, 2008
Grass/Plants/Neon, Chatan, 2016
Marine with Companion at USMC Birthday Ball, Okinawa, 2008

Websitegreggirard.com
Instagram: @gregforaday

 

Contributor: George Zhi Zhao


网站greggirard.com
Instagram@gregforaday

 

供稿人: George Zhi Zhao

Listening Through the Lens

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


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

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


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

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


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

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


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

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Contributor: George Zhi Zhao


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供稿人: George Zhi Zhao

Me & Me

Me and Me is a photography project from Wenjun Chen and Yanmei Jiang that documents the changing relationship and growth of the two artists. In their own words, “[after] meeting each other in 2007, we started to record each other’s daily lives unconsciously, treating the other one as a photographic experiment. It came to a turning point in 2014, when we tried to make a change in our life and work. We tended to shoot each other consciously, with self-portraits and group photos, exploring and understanding ourselves in this relationship.”


《我与我》(Me and Me)是陈文俊江演媚共同创作的摄影项目,记录这两位艺术家之间的关系变化和成长。正如他们的解释:“从2007年相识开始,我们便无意识地记录对方的日常生活,并将对方作为摄影实验的模特。2014年是个转折点,在生活和创作上,我们尝试作出改变,进行自我探索,开始有意识地互拍、自拍和一起自拍,希望去了解自己,并在这段关系里认识自己。”

The two eventually compiled the photographs into a handmade book project consisting of four parts. The first part contains self-portraits, portraits of one another, and photos of the two together. The second part contains two books, entitled Wenjun Chen In My Eyes and Yanmei Jiang In My Eyes, each compiled by their counterpart. The third part narrates the story of the artists in the form of letters from two perspectives. The fourth part contains topics and conversations between the two artists on social media.


两人最终把这些照片整理成一个手工书籍项目,分为四个部分。第一部分为主书,由互拍和自拍的作品组成。第二部分包含两本书,《我眼中的陈文俊》(Wenjun Chen In My Eyes)与《我眼中的江演媚》(Yanmei Jiang In My Eyes)。第三部分以书信形式,讲述两⼈人之间的故事。第四部分为两位艺术家在社交媒体上的互动和对话。

Chen and Jiang are currently based in Guangzhou, where they run their studio, Me and Me Photo Studio. They regularly hold talks and workshops on how to self-publish books across China. Their award-winning work has been featured in exhibitions across the world, including Taiwan, Japan, UK, Germany, Italy, Ireland, Norway, Croatia, Portugal, Denmark, and Slovakia.


他们目前在广州生活,在那里成立了自己的工作室——Me and Me摄影工作室。他们会定期在中国各地举办独立出版书籍工作坊、讲座和策展,其获奖作品曾在中国、台湾、日本、英国、德国、意大利、爱尔兰、挪威、克罗地亚、葡萄牙、丹麦和斯洛伐克展出。