Tag Archives: photography

Protected: 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 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。”

Over the year that Zhang spent examining the theme of loneliness, all of his works, including landscape photos are interconnected with his examination of loneliness. He says all the people who he’s met along the way have all helped him to transition his creative approach. “I’m lucky – in every stage of my life, there are important people that come and show me a different viewpoint of the world.”


张沛之用了一整年的时间探讨“孤独”这个主题,所以在这个阶段,他的风景作品也不仅仅是只是风景,而是孤独的象征。他说,自己生命中不同阶段遇到的人都会深深影响他的作品,比如从激进的创作方式到后来的孤独的转型,就是很好的例子。张沛之说:“很幸运,在我的每一个阶段都有非常重要的人站出来,带我去看见不同的世界。”

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。”

Tumblrhaithanhptw.tumblr.com
Instagram@haithanhptw

 

Contributor: George Zhi Zhao


Tumblrhaithanhptw.tumblr.com
Instagram: @haithanhptw

 

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。

What Time Is It There?

Back in 2011, photographer Sean Marc Lee officially moved to Taiwan from the US, setting up camp in the city of Taipei. Despite his family’s Asian roots, he grew up with a fully Westernized upbringing in California. Needless to say, Lee felt rather out of place upon first arriving. Having to readjust to a new region, where a completely different set of cultural values and social etiquettes are in place, naturally takes time. But Lee says that even today, he still hasn’t felt like he’s fully assimilated. “It certainly feels like home now because of where my life is at,” he comments. “Yet, I still feel very much a chameleon pretending to somewhat fit in because I look the part but I’m not.”


2011年, 摄影师李子仁正式从美国搬到台湾,定居台北。尽管他身上有着亚洲血统,但他第一次到达台湾时还是会感觉很陌生。其实这并不奇怪,毕竟他是在西方文化的熏陶下长大的。重新适应一个新的地方,适应一种完全不同的文化价值观和社交礼仪,自然需要时间,但子仁说,即使到了今天,他也不觉得自己完全融入了这个社会。他说:“当然,现在这里感觉就像我的家,因为我的生活就在这里,但我仍然觉得自己只是表面上看上去融入了这个社会,实质上并没有,就像一只变色龙一样,假装着混入了这个社会。”

Perhaps, subconsciously, this notion of identity is offered an outlet in his photo series What Time Is It There? (A title inspired by both his friends back in the US – who often began every conversation with this question after he moved – and the same-titled movie from Chinese Malaysian director Tsai Ming-liang). The ongoing series documents Lee’s observations of strange and quirky moments in the streets of Taiwan, and one of the reoccurring elements in the series is the often obscuring of faces. When considering his impressive portfolio, which is chock-full of strong portrait work, it might be strange to see this different approach on this personal project. “I think faces can distract the viewer from the formal elements of the situation and ‘story’ sometimes,” Lee says, explaining this approach. “For instance, a pretty girl will draw most of the attention to the girl itself, and then, the subject makes the photo, rather than all the surrounding elements of it. When you keep people anonymous, the viewer can use their imagination a bit and concoct their own story in all its mysteries.” He describes his decision to omit faces as creating “blank moments,” which is meant to instill a cinematic quality in his work, helping to establish mood and context in his visual narrative.


也许,在他的摄影作品系列《What Time Is It There?》中,他潜意识里也是为自己的这种身份认同寻找发泄的出口。《What Time Is It There?》的名字起因,不单是自从他搬到台湾后,每次和美国的朋友们聊天时的第一句话,还因为受到台湾导演蔡明亮的电影《你那边几点》的启发。在这个还在进行中的摄影系列里,子仁用镜头捕捉住自己在台湾街头上观察到的各种奇怪和独特的时刻。整个系列中有一个明显的特点:不露出被拍摄者的脸。考虑到他平常拍摄的那些大量令人印象深刻的人像作品,这个个人摄影项目的风格就显得尤其特别了。他解释道:”我认为,面孔会分散观众的注意力,让他们忽略照片中的重要元素,当下的场景和其中的‘故事’。例如,一个漂亮的女孩会吸引掉大部分的关注,那么,这张照片的主角就成了这个女孩,而不是周围所有的元素。当你隐藏掉人们的脸时,观众可以利用他们的想象力,编造自己的故事。”他指出,决定省略掉面孔是为了创造出 “空白的片刻”,让照片增加一点电影风格,营造特定的氛围和背景,加强作品的视觉叙事。

Like his daddy_lee photo series, humor is a prevalent part of What Time Is It There? It’s not surprising when taking into account Lee’s own jovial and easygoing personality; he’s hardly the type to take himself too seriously. Inquiring about the repeated appearances of duality in the series – which come in a variety of forms, such as two painted dalmatians on the side of a bus, two kids in matching outfits glued to a television screen, or a pair of riders on a moped with matching helmets – Lee chuckles, saying, “This might be a boring response, but it’s just a visual motif I started noticing and I went from there. Most of the time, I’m not conscious of it. When I was pulling the series together, I just built upon this theme here and there. Perhaps I can respond with something like, ‘Oh, the concept of duality comes from me feeling like I have a home in Taiwan and in the US.’ But alas, nope!”


一如他的《daddy_lee》写真系列, 《What Time Is It There?》中也充满了幽默的风格,考虑到子仁自己的性格本来就很开朗随和,所以这也并不令人惊讶。他不是那种对待生活特别严肃的人。在这个系列中,多次出现了各种形式出现的二元性元素,譬如巴士外层上印着的两只斑点狗,两个穿着相同衣服的小孩专注地盯着电视机,或是摩托车上带着相同头盔的两个人。子仁笑了笑,解释道:“这可能只是一种无聊的反应,但它只是我注意到的一种视觉主题,引发我想要拍摄创作的元素。但大多数时候, 我自己甚至都没有意识到这一点。我在创作这个系列的过程中,会不断加强这个或那个主题。当然,我也可以这样回答 ‘哦,二元性的概念源自于我自己在台湾和美国有两个家的经历。’但事实并不是这样。”

For many photographers, staying in one place for an extended period of time can lead to creative slumps and a loss of motivation. Even though Lee has lived in Taipei for over six years now, he’s still able to self-motivate and find interesting moments in the familiarity of day-to-day life. This is a talent that’s lost on many young photographers today, especially many of the newcomers who are only after mass-appeal imagery that can quickly rake up thousands of likes on social media. “I definitely shot more in the earlier years because everything was fresh and new, but I still get genuinely excited when I stumble upon moments that I feel are worth catching,” he shares. “When it comes to portraits of people, the highlight is finding that connection between me and the person I am shooting, to make it feel less like work and more like hanging out and getting to know each other. With personal projects, it’s a bit different mentality, and I think I’ve mentioned this in previous interviews, but it just comes down to love. Whether it’s my father, my girlfriend Carina, or my cats, it just comes down to my personal relationships with them and that’s what motivates me.” Scroll down to see more of Taiwan through the lens of Sean Marc Lee.


对于许多摄影师来说,长期呆在一个地方会丧失创意和创作动力。虽然子仁在台北已经住了六年多了, 但他仍然充满创作灵感,在日常生活的熟悉场景中发现有趣的时刻。这种能力是如今许多年轻摄影师所缺乏的,尤其是那些新摄影师,他们之所以拍照,只不过是想拍摄出吸引主流观众的作品,那些能够在社交媒体上获得成千上万个点赞的照片。他说: “我在前几年肯定拍得更多,因为当时一切对于我来说都是新鲜的,但是,现在当我偶然发现一些值得拍摄的时刻时,我还是会感到由衷的兴奋。至于拍摄人像,最重要的就是发现我和拍摄对象之间的联系,让拍摄过程不那么像是在工作,而是更像是两个人在闲逛和互相了解。至于个人项目,我会用不同的心态来创作,我在上面也提到过了,但说到底就是爱。无论是我的父亲、我的女朋友Carina、或者是我的猫,归根到底就是我与他们之间的关系,这是激发我创作的动力。”下面一起随李子仁的镜头逛游台湾的街头吧。

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

 

Contributor: David Yen


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

 

供稿人: David Yen

I Wish You Be Cooler

 

无法观看?前往优酷

Whether he’s rocking an oversized sweatshirt or an orange sportswear set, one thing’s for certain – this little boy’s got style. At first glance, you might think he’s some celebrity child or the heir to a fashion empire, but in reality, he’s just an ordinary five-year-old boy from Hangzhou named yoyo. His mother tells us about him being a fashion icon: “Children grow up so quickly, so we just wanted to document more of yoyo’s life as he matures. It all started when I randomly dressed him up in my shirt and his father’s pants. Because the pants were way too big, I used shoelaces as a belt, and the outfit came out looking unexpectedly great. yoyo’s father thought it was cute too, so we snapped a photo of it.”


完美驾驭秀场大热的超长袖上衣、亮橙色的韩风运动套装,这位酷酷的时尚界新鲜血液不是什么星二代,也没什么时髦的出生,只是一个生活在杭州的普通五岁小男孩,名叫yoyo。关于时髦icon养成记,yo妈却这样告诉我们,小孩子长大得太快,我们只是希望能在yoyo成长的过程中帮他记录多一些东西。有次偶然的机会我给yoyo穿上了我的上衣和爸爸的裤子,因为大人的裤子太大了我就用鞋带当作腰带给yoyo捆在腰上,出来的效果却意外地和谐。yo爸觉得这画面好看又好玩,就拍了下来。

In the beginning, yoyo’s parents would post pictures of their child on social media just like any ordinary parents, but yoyo’s unique style and charm quickly attracted a large following. Neocha recently had the opportunity to shoot a video with this young fashion icon. On the day of the shoot, yoyo’s mother styled him with a tape measure for a belt and a pair of large adult men’s jeans. She tells us, “Sometimes yoyo feels like the clothes aren’t comfortable, so he’ll take them off himself, but most of the time he loves wearing oversized stuff.” yoyo’s parents describe their family’s fashion situation as so: if they buy a large-sized item, all of them can wear it. The item will fit perfectly on yoyo’s father, it will be a relaxed, casual fit on yoyo’s mother, and a super-oversized fit on yoyo. For them, this kind of arrangement is both economical and environmental.


最初只是普通的社交网络晒娃,但yoyo独特的穿衣风格和超强镜头感立即吸引了大批粉丝。最近,Neocha去到杭州会见这位小潮神,视频拍摄日当天,更是见证Yo妈用一条皮尺当成腰带为yoyo穿上了一件成人大号男士牛仔裤。有时yoyo觉得衣服不舒服,他就会自己脱掉,但是大部分时间yoyo还是很享受穿上这些oversize服装的。” yoyo爸妈和我们分享的时尚经是:我们买一件L号的衣服可以三个人穿,yo爸穿正好,yo妈穿是宽松休闲风,yoyo穿上就是现在大热的超级oversize超长袖风格,这种方法环保又经济。

When people see yoyo’s photographs, they’ll often assume that there’s an entire production team working to create these images. But the reality is that everything is produced by yoyo’s father, who set up a makeshift photo studio in their rented apartment (with just a stand to hold up a colored backdrop). Sometimes they’ll do a photoshoot outside when they take yoyo out to play on the weekends. They won’t use any professional equipment – all they use is a phone or a simple digital camera. yoyo’s father works as a designer, so he likes to add different graphic elements to yoyo’s photographs in post-production. The unique, vintage feel of the photographs caught the attention of German fashion magazine Coeval, which introduced yoyo to new fans outside of China.


很多人看到yoyo杂志大片,可能会以为他有个强劲的幕后团队,而现实是,这些相片几乎都是yo爸在他们的出租房客厅搭建了一个非常简易的摄影棚(其实就是用个用架子固定住彩色的背景布),或者周末和yoyo外出放风的时候,用非常土炮的方式拍摄的。没有专业的摄影设备,也没什么灯光设计,只是用手机或普通的数码相机拍摄。yo爸是一位平面设计师,他会把自己喜欢的设计元素在后期制作中加到yoyo的照片上。复古玩味的相片风格还被德国潮流杂志《Coeval》相中,带yoyo进攻国际市场,积累了一批跨国迷妹。

yoyo’s wardrobe is handled by his mother, who never had any formal fashion training. Instead, she follows her intuitive fashion sense to put together yoyo’s outfits. But one unexpected member of yoyo’s team is his grandmother. “Sometimes we’ll see a clothing item in a magazine that we like, but we won’t know where to buy it, or we don’t want to spend too much money, so sometimes yoyo’s grandmother will just make it for us.” For example, the orange sportswear set was tailored by yoyo’s grandmother. Although the handiwork might not be up to the standard of a professional tailor, one thing’s for sure – each of yoyo’s outfits is definitely made with lots of love.


yoyo的造型则由妈妈负责,yo妈并没有学过服装搭配,只是根据自己的灵感和喜好把衣服穿到yoyo身上,不会经过太多的设计和思考。而打造时髦yoyo背后的另一位大功臣就是yoyo的奶奶。有时候我们在杂志看到喜欢的衣服不知道去哪里买,也不想花太多钱,奶奶就会帮yoyo做出来。” 像是那套经典的橙色运动套装,就是奶奶为yoyo量身定制的mini版潮服,虽说做工可能不如专业裁缝般精细,但yoyo的每套搭配背后都可以说是充满了家人满分的爱。

Besides being impressed by the fashion sense of yoyo’s entire household, another thing I was struck by during our shoot was the family’s laid-back attitude towards parenting. Both parents were never overbearing or overprotective – when snacks fell on the floor and yoyo ate them, they wouldn’t make a big fuss; if yoyo wanted to pick out his own outfit, they wouldn’t interfere (even if the grownups didn’t understand his sense of style); or when yoyo wanted to play and roll around on the dusty floor, they would let him. We always hear parents telling their children that if you aren’t obedient, I won’t buy you this or that or take you out to play. But yoyo’s mother has a different mindset – she hopes that yoyo won’t be too obedient, that he can still be a little rascal from time to time, as long as he’s happy and healthy. Perhaps it’s this free and unrestrained style of parenting that has allowed yoyo to become the cute and lovable child that you see in front of the lens today.


除了一家子藏不住的时髦细胞之外,拍摄时对yoyo家庭的另一印象就是:他们不会去压抑yoyo小朋友的天性,也不会对他有过分的关爱和保护,例如掉在地上的零食直接捡起来塞进yoyo嘴里、任他挑选自己喜欢穿的衣服(即使那是成人无法理解的搭配)、任由yoyo抱着喜欢的道具在并不是那么干净的地面打滚。经常听到有父母会对孩子说:你再不听话就不给你买玩具,不带你出去玩儿。yo妈却希望yoyo不要太懂事,太听话。偶尔捣蛋,不时赖皮,哭笑都发自内心,只要他快乐善良健康,就是爸妈的好孩子。可能正是因为这样培养孩子的方式,才能在镜头下记录到这样一个自由自然可爱的yoyo吧。

Weibo: ~/yoyoiscool
Instagram@munayoyoo

 

Videographer & Contributor: Ye Zi
Images Courtesy of @无敌宥先生


微博: ~/yoyoiscool
Instagram@munayoyoo

 

视频摄影师与供稿人: Ye Zi
图片由@无敌宥先生提供

What Makes a Selfie “Good”?

No camera angle magic, no flawless porcelain-like skin, and not even a hint of a smile – the selfies that Izumi Miyazaki takes often shows her looking unflatteringly solemn or completely emotionless. It’s clear that her rise to internet fame wasn’t the result of crafting a facade of beauty and perfection like the typical female internet celebrity. Instead, her devoted online following and feature in TIME magazine are the results of the absurdly and delightfully surreal self-portraits that she regularly uploads. Born in 1994, the Musashino Art University graduate uses Photoshop to expand on and exaggerate the possibilities of reality, creating a quirky and outlandish world of black humor where she touches on the heavy subjects of death, loneliness, and identity. “The tomato sauce coming out of my decapitated head represent my feelings towards mortality,” Miyazaki explains of the above image. “The imagery is meant to present a positive attitude towards death. It’s the same with the photo of my head being cut in half with a fish, I wanted to share my feelings in a comical way.” Scroll down to check out some more of Miyazaki’s self-portraits.


没有黄金45度仰拍,没有无暇的蛋壳肌,甚至连一丝笑容都没有,总以一副严肃甚至有点呆滞的表情出现在镜头前。日本少女Izumi Miyazaki就是以她与众不同的超现实自拍照走红于网络,甚至登上了美国《时代周刊》。Izumi Miyazaki1994年出生于日本山梨县,就读于武藏野美术大学。她利用Photoshop放大了现实世界的可能性,营造出古怪荒诞的个人世界,用冷幽默的画面去传达她对孤独、死亡和身份认同等话题的理解。“脑袋里流出的番茄酱是我对于死亡的态度,这种意象有点乐观又有点滑稽。”在介绍自己作品的时候Izumi Miyazaki这样讲到,“被劈开的生鱼和脑袋也是这样,我想用喜剧的方式去呈现死亡。” 下面一起看看Izumi Miyazaki的更多“迷之自拍“。

Website: izumimiyazaki.tumblr.com

 

Contributor: Ye Zi


网站: izumimiyazaki.tumblr.com

 

供稿人: Ye Zi