Tag Archives: photography

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

Finding Family with Cheuk-Yin

   Listen to the full audio story in English / 点击此处收听完整故事(英语)

As the modern world continues to race toward the future, we can find ourselves constantly groping for radical or material ways to find our identities in it. But while we might be obsessed with going forward and discovering the new, we sometimes forget to look back and to the old — to our own pasts.


随着现代世界不断地向未来迈步,我们急于以各种方法和手段来找寻自我认知。但就在我们埋头向前和发现新知的过程中,我们时常就会忘记回首过往——我们自身的过往。

Cheuk-Yin To is a photographer we used to work with. One summer evening, we caught up at the office where he shared a special story with us, of how he took a side trip on a whim only to find both his roots and a few long-lost relatives.


Cheuk-Yin To是曾与我们合作过的摄影师。在一个夏夜里,我们就在他的办公室,听他说了一个特别的故事——那是在一次无意的旅行中,他竟意外发现了自己失散已久的远亲和血脉的故事。

To Family Village sits on one of the many distributaries in the Pearl River Delta region. Yin老家的村庄位于珠江三角洲地区众多分支之一

“To be honest, it kinda broke the spell a bit. I wanted my ancestral village to be with like, old school donkey carts and stuff. It’s not like that anymore. There’s mopeds, there’s smartphones. Everyone’s in on this now.” — Yin remarking on his unexpectedly modern ancestral “village.”


“老实说,这有点出人意料。我一度希望我祖辈的村庄,还留有老式的驴车和其他东西。但事实已经不是那样了,那里有电瓶车,还有智能手机。大家都迈入了现代社会。”

——Yin不曾料想到祖辈“村庄”早已现代化了

Yin with his uncles and cousin on the far right. His grandfather’s older cousin is seated. Yin和他的远房叔伯及表亲,他的大叔公坐在正中
Yin’s grandfather’s cousin (the younger of two brothers). Yin的小叔公
Yin’s grandfather’s cousin (the elder of two brothers). Yin的大叔公

“Within the next generation, it’s not going to be the same anymore. I don’t think kids these days will actually stay in these villages; they’ll all go to the cities and no one’s going to maintain the traditions.”


“到了下一代,这里的情况就会变得不一样了。我觉得现在的孩子不会再待在这些村庄里,他们都会去往城市,要留存这些传统都后继无人了。”

The two girls, Qingqing (left) and Yingying (right) are the daughters of a cousin Yin did not meet and are referred to as nieces. 青青和莹莹,这两个小女孩是Yin的侄女,她们的父亲是Yin未曾谋面的表亲
Lunch prepared the first day of Yin’s visit. Yin第一天到访时乡亲为他准备的午餐
Yin’s aunt with the family Gai Lan crop. Yin的阿姨和自家的芥兰田
Yin’s uncle and nephew (cousin once removed). Yin的叔叔和侄子
Yin’s cousin. Yin的侄子
Eating sugar cane the traditional way. 嚼甘蔗
Yin’s niece “plays” with a chicken during an evening stroll with the family. Yin的侄女在和家人傍晚散步时逗鸡玩

“My grand aunt made a feast that could have fed double the amount of people. […] We all ate together and watched TV at the same time, just like every other Chinese family.”


“我的叔祖母做了一桌大宴,都够两倍的人来吃了……我们都聚在一起边吃边看电视,就像其他中国家庭一样。

“To Family Village, Wangniudun Town, Dongguan City” 老家之村,东莞,望牛墩镇

“You can’t describe this experience. If someone else were to find their roots — completely unintentionally…I think that’s the reason why I was so happy.”


“你无法用语言描述这次的经历。如果是别人这样发现了自己的血脉——完全是无心插柳的情况下……我猜这就是我这么开心的原因吧。”

This story is part of a content partnership and media exchange between Neocha and MAEKAN. To see more of MAEKAN’s audio content on Neocha, click here.


本文为Neocha和MAEKAN媒体及内容合作篇。点击此处获悉更多在Neocha网站上的MAEKAN音频内容。

Media Partner: MAEKAN

Script and Narration by Nate Kan
Audio by Elphick Wo
Photos by Cheuk-Yin To

Images, Audio, & Text Courtesy of MAEKAN


媒体合作伙伴: MAEKAN

脚本解说: Nate Kan
音频制作: Elphick Wo
图片拍摄: Cheuk-Yin To

图片、音频与文字由MAEKAN提供

Media Partner: MAEKAN

Contributor: Nate Kan
Audio: Elphick Wo
Photographer: Cheuk-Yin To

Images, Audio, & Text Courtesy of MAEKAN


媒体合作伙伴: MAEKAN

供稿人: Nate Kan
音频制作: Elphick Wo
摄影师: Cheuk-Yin To

图片、音频与文字由MAEKAN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

Manhole Covers in China

Have you ever paid attention to what the manhole covers in your city look like? Maybe you’ve noticed that they don’t all look the same – they might be different for natural gas, for running water, for sewage, or for electrical cable systems. Manhole covers actually play many different roles, and their artistic designs are often ignored.

Captivated by manholes covers, street photographer Horsefly1988 created a photo project centered around his observations (filing the project under a Chinese hashtag that translates to #snappingrandommanholecovers). Since 2015, he’s toured almost thirty cities across China, amassing a collection of around 300 photographs of unique manhole covers. As to why he chose this particular hobby, he tells us with candor: “Manhole covers are a part of the city, and those that are well designed bring beauty to their surroundings.” In the interview below, he shares more about why he’s so fascinated by these overlooked manhole lids.


你所在的城市,路上的窨井盖是什么模样?也许你已经发现它们长得并不都一样:燃气有燃气的井盖,消防有消防的井盖,自来水、污水、电缆……其实窨井盖上大都会写明自己的身份,有很多甚至有专用的设计。

热衷拍井盖的业余街拍摄影师 黑乌鸦的嘴 ,开了个私人摄影项目 #携机乱拍窨井盖# ,自2015年至今,他跑过了全国各地将近30个城市,现在已经集齐将近300只形色各异的窨井盖。对于为什么想拍窨井盖这个问题,他坦然地告诉我们:因为窨井盖也是城市的一部分,美丽的井盖能给城市增色不少。但对于常常被人忽视的窨井盖,他还有更多想要和我们分享的故事——

Neocha: Out of all the manhole covers you’ve photographed, which one stands out the most?

Horsefly1988: There’s the one with double dragons from a water utility company in Wuhan. It was actually huge, with a diameter of about 70 centimeters! And this was a manhole cover that I came across early on in my project. I considered it a real milestone. For most people, they probably think of manhole covers as boring, and it was even hard for me to find interesting ones when I first got into photographing them. But after finding that particular one, I began finding more and more good ones, it was like a valve suddenly being opened.


Neocha: 拍了这么多窨井盖,让你印象最深刻的是哪个?

黑乌鸦的嘴: 武汉自来水公司的,双龙的那个。它其实很大,直径大约70厘米!而且这是我开始拍井盖没多久遇到的一个有趣的井盖,可以算是一个里程碑吧。你知道井盖在普通人看来比较无趣,我开始拍的时候也没遇到多少好看的。但自从发现了这个,后面发现的就很多了,感觉像打开了阀门。

Neocha: What kind of manhole covers are you personally drawn to?

Horsefly1988: My favorites are the ones that incorporate Chinese cultural elements, such as Chinese dragons and more ornate patterns. Next are the ones with interesting landmarks, and then it’s the ones with beautiful textures. It’s pretty difficult to find one that have all three of these traits, but I’m still hopeful that I’ll find more. There’s the one with the Shenyang Imperial Palace on it that combines all of these characteristics, I guess it counts.


Neocha: 你个人比较喜欢怎样的窨井盖?

黑乌鸦的嘴:设计含有中国元素的井盖是我的最爱,比如龙虎、传统纹饰这类。其次是有趣的地标,再次是美丽的花纹。要是三者完美结合比较难,但还是希望能看到。像这个沈阳故宫的就算是结合了吧,哈哈。

Neocha: Have you ever looked into who designed or manufactured these manhole covers?

Horsefly1988: I’ve thought about it before, but most of the time I wasn’t able to figure out exactly how to go about it. All of these manhole covers have designers, perhaps on the manufacturer side, or an engineer from the city government. Last year at Shanxi’s Datong Huayan Temple, I took a photograph of a manhole cover and looked into it a bit. It had what appeared to be English script written on it, and no matter how I tried, I couldn’t decipher what it said. After awhile I tried a different approach and used a translation app to look up the word “REGISTRO” and realized it wasn’t English but Spanish. One of my readers, Fein, helped to decipher the text as “Ayuntamiento de Madrid alcantarillado,” indicating that it was made for the Madrid sewage system. I made an educated guess that this cover was from an order of manhole covers that Madrid made to have manufactured in China, and for some reason they were made defective, so the Madrid contractees decided to just leave them to Datong city. After following these clues, I found the original manufacturer in Shanxi and sent an email to them inquiring about the matter, but I haven’t received a response yet.


Neocha: 有没有尝试调查过这些井盖是由谁设计和制作的?

黑乌鸦的嘴: 这个曾经想调查,但不知道如何下手。应该都有人设计,也可能是井盖制造厂设计的,也可能是市政工程师设计的。
我去年在山西大同华严寺旁边拍到过一个窨井盖,算是调查过一下。那个窨井盖上面有一串英文字样,我怎么断句都没有成功。后来我突然开窍,拿翻译软件输入了“REGISTRO”,发现是西班牙语,一位读者Fein帮忙确定断句应该是“Ayuntamiento de Madrid alcantarillado”,西班牙排水的意思。我果断地猜测这是马德里市政在中国订购的井盖,因为做错了,厂家把这些残次品处理给了大同。然后我根据线索一直找,应该算找到了当时做这个井盖的山西供应商吧,发邮件去咨询了,但是至今还没有回复。

Neocha: In all of the cities you’ve visited, which one has the best manhole covers?

Horsefly1988: I feel like the developed coastal port cities always hold surprises. Presently, Wuhan, Beijing, and Dunhuang are the cities where I’ve discovered the most interesting manhole covers.


Neocha: 在你现在拍过的窨井盖中,哪个城市好看的窨井盖最多?

黑乌鸦的嘴: 我觉得以前开放口岸的城市井盖都会给人惊喜。目前在武汉、北京拍到的好看的最多,然后敦煌也发现不少。

Neocha: What kind of role do you think manhole covers play in the greater context of the city?

Horsefly1988: I think that they’re like the finishing touches of a city. If a city has developed to the point that it can consider something like the designs of manhole covers, then it says something about how well-managed that city is. If a city hasn’t developed too well, but their manhole covers are well designed, then it says something about the cultural inclinations of the city government.


Neocha: 你觉得窨井盖在城市文明中扮演怎样的角色?

黑乌鸦的嘴: 井盖应该是扮演着一个点睛的角色,如果一个城市的文明都已经考虑到用井盖来体现了,说明这个城市的管理基本面已经比较到位了;如果一个城市管理还未到位,然而他们的井盖却很有趣,说明这个城市的管理者有一定的人文情怀。

Horsefly1988’s ongoing #snappingrandommanholes project continues to bring attention to these neglected, metallic works of art, hopefully inspiring more people to be mindful of the beautiful details that can be found in their own cities, which might just very well be right beneath their feet.


黑乌鸦的嘴的私人摄影项目 #携机乱拍窨井盖# 依然还在进行中,这些我们脚下被忽视的铁皮画布所呈现的美,也让越来越多行色匆匆的人停下了脚步,去留意和记录以往不曾发现的城市细节。

Instagram@horsefly1998

 

Contributor: Chen Yuan


Instagram@horsefly1998

 

供稿人: Chen Yuan

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

Hefei Through the Lens of Liu Tao

Liu Tao is a Chinese photographer from Hefei, Anhui Province. With his keen sense of humor and an insider’s perspective of the city, Liu has been given the nickname “wild street photography master.” Despite the extravagant title, Liu actually works as a water meter inspector for the public utility services. The contrast between his day job and his street photography has made Liu a subject of interest in the media in the past few years. However, Liu doesn’t see any conflict between these two parts of his life. His job for the public utility services gives him a set schedule, allowing him the freedom to go out and consistently take photographs throughout the year. Now, with seven years of street photography experience under his belt, Liu has captured the everyday lives of many of Hefei’s residents and has documented almost every emotion on the human spectrum along the way.


来自安徽合肥的摄影师刘涛,作品诙谐有趣且接地气,被号称为野生街头摄影大师”,而他的本职工作却是一家自来水厂的抄水表工。这两个身份的戏剧性冲突,让刘涛一度成为了前两年媒体竞相报道的热点。

刘涛却不以为然。水表工这份工作给了他固定的休息时间,也为他提供了全天候的街拍时间。7年寒来暑往的拍摄,不仅记录了当地人柴米油盐的日常生活,也记录了嬉笑怒骂的人生百态。

Liu’s favorite place to shoot is one particular street in Hefei, an old neighborhood bustling with life. Whenever he has a day off, he’ll take his camera there, often spending the entire day shooting. Initially, when he first started taking photos here, some of the residents w0uld react in a disapproving or standoffish manner. Liu says, “Two years ago at the door of the food market, I would come across a bulky guy selling peaches every day, and we would exchange glances. He thought I was from the city… Last year, at the intersection, we met again and he was selling sugar cane, and he thought I lived nearby. I told him I was just a photographer. This year, we crossed paths again at night, at the entrance of an alleyway where he was selling watermelons. As soon as he saw me, he yelled, ‘What are you up to! Why do I see you everywhere! Don’t mess around with me!’ His yelling startled all of the other streetside vendors around us.” Liu says that only when a photographer becomes a familiar face in the area will people open up to being photographed.


刘涛的拍摄地点是合肥一条充满生活气息的老街。每逢休息的日子,刘涛都会带着自己的小相机去街上拍照,常常一站就是一天。

而居民们对于这个定时造访的“怪客”,一开始都会有着天然的抵触:“前年在菜市场门口那个季节每日相遇,大汉在卖桃子,咱们两个眉来眼去的,他以为我是市容的……去年在十字路口那个季节相遇,大汉卖甘蔗,以为我住附近,我和他表白说我是爱好摄影。今年在巷口他卖西瓜,晚上相遇,他刚大喝一声:你到底干嘛的!怎么在哪都看见你!别开玩笑了!这声音大得惊动了周围卖冷饮的、卖日用的,还有卖煎饼的……

刘涛说,只有熟悉了这个街道,那里的人才会接纳摄影师的镜头。

Over the years, Liu has observed both the familiar sights of the old streets as well as the changes in both the city and its residents. He shares that he doesn’t go to commercial or business districts, disinterested in photographing skyscrapers. He says, “Those places don’t have the atmosphere of daily life.” As an ardent observer, Liu remains fascinated by the daily patterns of people on Hefei’s old streets. But what truly captivates his interest are the stories behind each and every person.


这些年,刘涛背着相机在路上,看到了年年岁岁相似的景象,也看到了从城到人各自的变迁与成长。他不去商业楼盘拍高楼大厦,“因为那里没有生活气。”

刘涛是个观察者,老街上人来人往的生活氛围吸引着他,而那些带着人情的故事更是。

Taking photographs in the same area for such a long time, Liu will often run into the same people again and again. This has led to no shortage of awkward moments. One time, a photo that he took of the female butcher shop owner taking a selfie with her legs kicked up on the table became the headlining photo of a local newspaper. He confesses that now, every time he passes by the butcher shop, both he and the owner will avoid making eye contact with each another. “It’s way too awkward,” he says.


固守在同一条街拍照就必然会撞见同样的人,尴尬的时刻当然不少。刘涛曾拍过一张肉铺店女老板翘脚自拍的照片,后来成了新闻报纸上的头条图片。他坦言现在每次去这家肉铺,女店主和他都会默契地避开眼神接触,“太尴尬了。”

Liu always finds interesting perspectives to shoot from. He may stay in the same spot for a few hours – even a few days – waiting for the perfect moment to present itself. Sharing the story behind the above photo, he says, “When I shot this, I saw that there were people coming to take photos in front of these flowers, while these aunties were doing exercises next to them. The aunties just happened to be bowing down while the woman posed in front of the flowers, so I captured that moment.” Liu’s street photography style draws from his own influences as well. He’s a lover of the films of Stephen Chow, and he never gets tired of their sense of humor and slapstick moments. What motivates Liu to keep exploring and shooting are coming across these humorous, interesting moments within the mundanity of daily life.


刘涛所拍的照片视角很有趣,他会在一个角度蹲点好几个小时甚至好几天,去等待那一瞬的绝妙时刻,让照片本身成为一个故事片段。拍这张照片是看到有人走进花坛里拍照,而跳健身操的两个阿姨和她正对着,又正好做个鞠躬弯腰的动作,就拍下来了。这也许和他的兴趣爱好相关,他很喜欢周星驰的电影,其中的幽默、熙攘、烟火滋味,让他百看不厌。而在无趣的生活中搜索有趣,在寻常的琐事中发现不凡,这也让他百拍不怠。

Now, as a father, Liu spends a lot of time photographing his daughter instead of Hefei’s old streets. When he was offered an opportunity to become a full-time photographer, he declined, choosing instead to humbly continue his work inspecting water meters. For Liu, photography was never about advancing his position or chasing fame and fortune – he just wanted to experience more of what life was about, to fully live life and live it well.


现在的刘涛已经当了爸爸,镜头除了对准人来人往的老街之外,也会拍些自己的女儿。他拒绝了做全职摄影师的机会,依然还是做着抄表工的工作。因为在相机背后的他从没想过居高临下,而是想真正走到生活中去,生活。

Instagram: @Grinch0748
Weibo: ~/Grinch1982

 

Contributor: Chen Yuan
Images Courtesy of Liu Tao


Instagram: @Grinch0748
微博~/Grinch1982

 

供稿人: Chen Yuan
图片由刘涛提供

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