Tag Archives: photography

The Night We Never Met

Cities change at a rapid clip. Blink and your favorite spot is gone. You’re lucky if you even get a chance to say goodbye. When you do get fair warning, you’ve got to make the best of the time you have left. Club Hawaii has weathered the constant upheaval of Singapore’s development frenzy for so long that some claim it’s the oldest remaining nightclub on the island. But time is creeping up on it, too. While it’s not closing its doors, it will get a significant renovation.


城市总是以超乎想像的速度在变化,一转眼,你最喜欢的那个地方可能就消逝不见了。如果你有机会能向它说再见,那你是少数的幸运儿,但一句诚心的忠告:你最好充分利用这段所剩不多的时间。

夏威夷夜总会(Club Hawaii)长期下来随着新加坡狂潮般的发展,经历了许多改变。这一间有人说是当地历史最悠久的夜总会,正日渐月染地受到时间侵蚀,虽然没有关闭营业,但一场重大的改造正在计划中。

That news caught the attention of AikBeng Chia, a photographer who first experienced the venue back in 2000 but didn’t return for over a decade when he started shooting then. Hawaii had remained in a sort of stasis, and the impending change triggered a sense of nostalgia for him. With the owner’s permission, he set out to immortalize its unique vibe before the old made way for the new.


这个消息引起了 AikBeng Chia 的注意。当时已经是一位摄影师的他,在 2000 年第一次来到夏威夷夜总会,自此已经十多年没有来过。这座俱乐部一直处于停滞的状态,迫近的改造计划引发了他的怀旧感。在获得老板同意的情况下,他想要在一切被翻新之前,把这里旧有的独特氛围转化为永恒。

Worn orange booths, red cushioned walls, rainbow LEDs: he captured all of it, this whole familiar space that envelops a cast of characters he’d grown to consider friends. A largely elderly clientele listens to a collection of female singers on stage, many of whom immigrated from China. Some customers busy themselves at the pool table or huddle up at the bar. Others lounge in the booths. “It’s filled with characters,” Chia says. “From loan sharks, bookies, and gangsters to retirees, uncles, and aunties. It’s an interesting mix.” He shoots them in various ways, either with their permission after sharing a beer (or two) , or sneaking shots without their knowledge. “Obviously, I can’t photograph the gangsters,” he laughs.


破旧的橙色摊位、红色软垫墙、彩虹 LED 灯——他捕捉到了这一切。这整个熟悉的空间充满一群朋友般的角色:一批听众主要是老年人的女歌手在舞台上演唱,台下大多是来自中国的移民。有些顾客在台球桌上忙碌着,或者挤在吧台。有些人就在位子上小歇一会。“它充满了各种角色。” Chia 说,“从放高利贷的人、赌博公司的人、流氓、到退休人员,叔叔和阿姨。这是一个再有趣不过的组合。”他会用不同的方式拍摄他们,在分享一两杯啤酒后获得许可,或是就在他们不知情的情况下偷偷拍摄。 “当然,我没办法拍到流氓。”他笑着说。

The series is entirely digital, and he adds grains and color grade to give it the feel of film. Since film is a dated medium, it immediately evokes a sense of the past. Maybe that’s why people often refer to film as “warm.” It may be heretical to shoot digital that looks like film in some circles, but Chia is unconcerned with purist nitpicking. Photography is a form of therapy for him.


该系列全是通过数码处理,他加上更多颗粒感和后期调色,赋予了胶片的感觉。由于胶片本身就是一种过时的媒介,它能立刻唤起了一种怀旧的气氛。也许这就是为什么人们经常感觉胶片拍出来的照片“温暖”的原因。用数码相机拍摄却去模拟胶片,这对于一些在摄影圈的人来说可能是异端,但 Chia 并不关心这种太矫枉过正的挑剔。摄影纯粹是他的一种治愈自我的方式。

As a professional illustrator, Chia felt stuck creatively, so he decided to pick up photography in 2008, at age 40 using an early model iPhone. And he got hooked. Today he uses a Leica Q digital camera, but he’s still fond of shooting with his iPhone (now an XS Max). “Photography is a way for me to manage my depression,” he says. “Sometimes it works, sometimes not.”


2008 年,当时40岁的 Chia 作为一名专业的插画家,他觉得自己在创作上遇到瓶颈了。于是他开始使用早期的 iPhone 去拍摄,从此他就迷上摄影。今天他使用的是 Leica Q 数码相机,但他仍然喜欢用 iPhone 拍摄(现在他用的型号是 XS Max)。“摄影是我控制抑郁症的一种方式。”他说,“有时有效,有时不行。”

He shot the Club Hawaii series in collaboration with filmmaker Nicky Loh. They call it The Night We Never Met, because each started the same project without the other’s knowledge until they coincidentally bumped into each other in the street.


他与电影制作人 Nicky Loh 合作拍摄了夏威夷夜总会系列。 他们称之为《我们从未见过的夜晚》(The Night We Never Met),因为两人都在双方不知道的情况下开始了这个项目,直到他们在街上巧遇彼此。

Although it’s about a single nightclub, it speaks to the city at large: “Singapore is constantly changing. Recently a 100-year-old flea market closed down to make way for commercial buildings. So this is Singapore.”


虽然这个系列只关于一个夜总会,但它想传话的对象是整座城市:“新加坡不曾停下改变的脚步。最近,一个有百年历史的跳蚤市场为了兴建商业大楼而关闭了。新加坡就是这样的地方。”

Websitewww.aikbengchia.com
Instagram: @aikbengchia

 

Contributor: Mike Steyels


网站www.aikbengchia.com
Instagram: @aikbengchia

 

供稿人: Mike Steyels

Jimei x Arles 2018

On November 23, the fourth annual Jimei x Arles International Photo Festival will open its doors in Xiamen, on China’s southeastern coast. Those lucky enough to nab tickets to the event, which closes on January 2nd, will catch sight of work by some of the most innovative artists working in photography today.

A spin-off of the Rencontres d’Arles, the prestigious photo festival held every summer in southern France, Jimei x Arles will bring together work by established international figures and up-and-coming artists in China. Inspiration for the event came from Chinese photographer RongRong, one of the founders of the Three Shadows Photography Art Centre—the first museum of its kind in China—and Sam Stourdzé, director of the Arles festival.

Each year the festival gives a Discovery Award to an emerging Chinese photographer. This year’s ten finalists—Shen Wei, Shao Ruilu, Su Jiehao, Pixy Liao, Coca Dai, Yang Wenbin, Lau Wai, Hu Wei, Lei Lei, and Wong Wingsang—show intensely personal work that spans the breadth of the medium. Neocha is proud to showcase the work of these photographers.

Click on the arrows to see more of each artist’s work.


11月23日,第四届集美·阿尔勒国际摄影季将在厦门开幕。有幸前往参观的观众,在展览 1月2日闭幕之前,将能欣赏到当下最具创新精神的摄影艺术家的作品。

集美·阿尔勒摄影季是世界著名、每年夏天在南法举行的阿尔勒国际摄影节(Rencontres d’Arles)所衍生出来的展览。由阿尔勒摄影节的总监萨姆·斯道兹(Sam Stourdzé)和中国当代摄影艺术家荣荣(中国第一家专业摄影艺术中心—三影堂摄影艺术中心创始人)联合发起,致力于展示来自中国的国际摄影大师及新晋摄影师的作品。

每年摄影季都会为杰出的新晋中国摄影师颁发 “集美·阿尔勒发现奖”。今年的十位入围者分别为沈玮、邵睿璐、苏杰浩、廖逸君、杨文彬、刘卫、戴建勇、雷磊、黄永生和胡伟。他们带有强烈个人色彩的作品,拓展了摄影媒介的广度。Neocha 这次很荣幸能展示这些摄影师的作品。

点击箭头,欣赏他们的更多作品。


 

沈玮 Shen Wei

Shen Wei‘s photos have a deceptive stillness, like a muscle at rest. An image of the artist pausing as he descends into a pool is permeated with an eerie tension, while a photo of newly opened cherry buds seem to leap out of the frame. Two close-up self-portraits—one with eyes open, one with eyes closed—cloak his features in darkness, hiding as much as they reveal. Shen’s careful manipulation of light and color imbue static images with dynamic strength.


沈玮的照片富含一种假象性的寂静,就像静止的肌肉一般。其中一张作品,显示他正在进入一个水池,整个画面透露出一股诡异的张力。

在另一幅作品中,刚盛开的樱花花蕾似乎随时要跃出画面。而在两幅特写的自拍像里,一幅睁开眼睛,一幅闭着眼睛,让黑暗掩盖一半的面容。沈玮对光线和色彩的精心操控,令静态的画面充满了饱满的力量。


 

邵睿璐 Shao Ruilu

Shao Ruilu’s photos are visual riddles whose answers lie just beyond our reach. Perhaps the coins in various currencies suspended in mid-air offer a commentary on international finance or economic uncertainty. Perhaps the two still lifes, composed like paintings by Zurbarán, are a gloomy meditation on mortality: between one frame and the next, the peaches have rotted, the ash pile has grown, the newspaper’s been replaced. With her unusual subject matter, Shao raises questions that linger long in your mind.


邵睿璐的照片是一道视觉谜语,解答让人猜不透。也许在半空中悬挂的各国硬币是在表达国际金融和经济环境的不确定性;也许两张构图如同苏巴朗(Zurbarán)作品的静物照是对死亡的悲观思考—上一张照片中新鲜的桃子,在下一张照片中已经腐烂,积满灰尖,报纸也已经被替换。邵睿璐以这些不寻常的题材,提出了那个在你脑海里挥之不去的问题。


 

苏杰浩 Su Jiehao

At first glance, Su Jiehao‘s photographs look like pure compositions of color and form—you could be forgiven for mistaking them for abstract paintings. Only upon closer examination do they come into focus as ordinary scenes: a ruler, a rainbow, a rooftop covered in snow. The final three images—stills from his video The Storm in the Morning—are less abstract but no less enigmatic. With his stunning sense of composition, Su creates images with an arresting beauty.


乍一看,苏杰浩的作品像是单纯由色彩和形状的集合,很容易让人误认为是抽象画。仔细观察,你会发现这些其实都是生活中的普通场景:一把尺、一道彩虹、一个被雪覆盖的屋顶。最后三张照片来自他的影像作品《早晨的风暴》,虽然看上去不那么抽象,但依然神秘。凭借着他出色的构图,苏杰浩创作出一系列充满美感、引人入胜的画面。


 

廖逸君 Pixy Liao

For the past eleven years, Pixy Liao has been documenting her life with her boyfriend Moro in the photo series Experimental Relationship. Often she places him in submissive positions, upending the traditional gender roles in which she was brought up. In these images, Liao, previously the subject of a Neocha profile, examines intimacy with a playful eroticism.


在过去的 11 年里,廖逸君点此阅读过去Neocha对她的报导)一直在《实验性关系》系列中记录她和男友 Moro 的生活。她经常把男友置于顺从角色的位置,颠覆传统的性别角色。在这些照片里,廖逸君以轻松、大胆的情欲表达,来审视两人的亲密关系。


 

戴建勇 Coca Dai

Shot over a period of seven years, Coca Dai‘s series Judy Zhu 2008-2015 chronicles the life of his girlfriend (now wife) Judy through pregnancy and motherhood. His images have an unrehearsed quality that only film can provide, and taken together, they offer a candid, multi-faceted portrait of one woman in contemporary China.


戴建勇用 7 年的时间拍摄了《朱凤娟(2008-2015)》系列,记录了他的女朋友(现在的妻子)朱凤娟从怀孕到成为母亲的过程。他的作品有一种不假修饰的自然特质,只有胶卷才能呈现出来。两者相结合,全方位地呈现出一名当代中国女性的真实写照。


 

杨文彬 Yang Wenbin

While other artists here explore love and relationships, Yang Wenbin shows the technology involved in solitary expressions of desire. The photos in his series Euphoric Mirror are utterly without eroticism: in one, vibrators are presented as simple industrial products, assembled on production lines in factories; in another, a computer mouse in a crotch hints at the dissatisfactions of internet stimulation. Yang’s offers an unsentimental view of sexuality in the digital age.


当其他艺术家在探讨爱情与关系时,杨文彬展示了科技如何介入人们的欲望表达。在一点也不色情的《欢愉之境》系列中:自慰振动器被呈现为简单的工业产品,正在工厂的生产线上被组装;鼠标落在裆部,暗示了互联网刺激带来的不满足。杨文彬对数字时代的 “性”,提出了一种不带情感的冷静观点。


 

刘卫 Lau Wai

In her series Memories of the Future, Hong Kong artist Lau Wai takes old photos and film stills of her hometown and adds her own cyberpunk touches. The effect is playful but hints at a more serious purpose: is she suggesting that the city’s history, as documented in photos from the last century, is as fake and retouched as her own images? Or is she hinting that Hong Kong’s future won’t be so different from its past? Lau’s work offers an ambiguous meditation on fantasy and time.


香港艺术家刘卫在她的《明日记忆》系列中,利用了香港旧照片和电影剧照,加上赛博朋克(cyberpunk)风格的元素。最终的效果很逗趣,同时也隐含了严肃的寓意:她是否在暗示这座城市的历史与她经过后期处理的照片一样虚假?抑或她是在暗示香港的未来与过去并非那么不同?刘卫的作品,让人对虚幻和时间产生了暧昧不清的思索。


 

胡伟 Hu Wei

Hu Wei explores the commemoration of the past in his unconventional series Proposal for Public Assembly / Encounter. A native of Dalian, he presents photos and souvenirs of the monument built in 1995 to mark the fiftieth anniversary of the city’s liberation from Japanese occupiers. By using found images nearly as old as he is, Hu challenges the very notion of what constitutes photography. And when the past can’t be openly discussed, he perhaps offers an oblique commentary on which histories are remembered and which are passed over in silence.

 


胡伟在这个特别的作品《为公共集会(邂逅)的提案》中,探讨了对过去的纪念。这位大连艺术家的作品展示了1995 年为纪念大连从日本占领者手中解放五十周年而建造的纪念碑和相关的纪念品。通过这些几乎和他年龄一样大的旧有现成图像,胡伟挑战了摄影的定义。他的作品或许能对那些被铭记、以及被沉默传承到下一代的历史,提供一点注释。


 

雷磊 Lei Lei

Like many of the other Discovery Award finalists, Lei Lei uses digitally altered images to test the boundaries of photography. His 1700 Poses of Human Gesture shows the same girl sitting in countless different positions, while other images of his shown here present small variations in a violinist’s pose. Carefully manipulated to look old, Lei’s photos explore the ability of photography to capture the reality and the past from more than one perspective.


和许多其他 “发现奖” 入围者一样,雷磊也采用了数码处理图像来探索摄影的界限。在他的《人体动势1700例》中,同一个女孩以无数个不同的姿势坐着。在另一作品中,一名小提琴手在不同画面中细微地变换姿势。雷磊精心地 “做旧” 图像,以此探索摄影从不同角度捕捉现实和过去的能力。


 

黄永生 Wong Wingsang

Reflection and repetition underpin the work of Wong Wingsang. Polaroid head shots, samples of leaves, a sunset framed through reflections in a window: in each case, Wong draws our attention to tiny differences in nearly identical images. Conversely, his final photo included here—a triptych consisting of a house cat, cruise ships, and a solid black square—seems to dare us to find a common thread among seemingly unrelated images.


反思和重复,是黄永生作品的基础。宝丽来头像、树叶标本、窗口反射的日落:在每一张作品中,黄永生让我们在几乎相同的图像中,观察那些微小的差异。与之相反,在此次展出的最后一张照片里,他又用家猫、游船和纯黑色方块三张图片并排拼成一张图像,似乎在挑战我们,能不能在看似无关的图像之间找到共同点。

Website: jimeiarles.com
Facebook: ~/jimeiarlesphoto
Instagram: @jimei_arles

 

Contributor: Allen Young


网站: jimeiarles.com
脸书: ~/jimeiarlesphoto
Instagram: @jimei_arles

 

供稿人: Allen Young

China in Black & White

Camera slung across her back, self-taught photographer Qiang Jing has criss-crossed Gansu, Chongqing, Beijing, and Sichuan, eventually ending up in Yunnan, a province of captivating beauty in southern China. In her photos, she drains the color from China’s street scenes, leaving only a desolate black and white. Even the country’s panoramic landscapes look less magnificent through her lens.


她带着相机,走过甘肃、重庆、北京、成都等地方,最终落脚在云南这片恍若仙境的土地。从大学开始自学摄影的强婧,在她的照片里,中国日常街景的颜色都被删去,留下一片略显萧瑟的黑与白。此时,再辽阔的山河,看上去也不那么壮丽了。

Qiang Jing was born in Gansu province and now lives in Kunming, a city she didn’t choose at random: “I like the dazzling sun here, it takes me back to my childhood. Kunming has a brilliant blue sky and soft, billowy clouds. The city moves at an unhurried pace, and locals are the salt of the earth—simple, honest people.”

But the year-round warmth hasn’t brightened her shots. Instead, she captures scenes of ruins and debris that seem caught amid the constant changes of the world, steeped in both life’s bitterness and its joy. Their immense silence draws you in, speaking more eloquently than any words.


强婧生于中国甘肃省,现定居于云南昆明,会选择留在这里并不是偶然, “我喜欢这里灿烂的阳光,让我有种恍然回到小时候的气息。这里有蔚蓝的天空,云卷云舒,还有城市里慵懒的步调和没什么心眼、老实憨厚的当地人。”

可是,这里常年的温暖却未照亮她的景框,取而代之,是烟消云散后的残破景象。之中透露出一丝穿梭于人间冷暖、品尝到悲欢离合的细末余味,叫人深深沉浸在这画面制造的巨大静默里,无声胜有声。

“I take my camera and wander aimlessly through the streets, snapping photos of things that resonate with my current mood.” Her specialty, street photography, relies on individual emotions, because she doesn’t just document outdoor scenes from an objective angle. It’s more personal.

“Photography, for me, is an expression of inner feelings, an emotional outlet, as well as a form of therapy. What I shoot is just my inner state, and that’s why I enjoy taking pictures. On streets full of uncertainty and conflict, I find a peace, a unity with myself.”


“我拿着相机在街上漫无目的地游荡,拍下那些和当下内在的我引起共振的事物。” 她擅长的街头摄影,是要带着浓郁的个人情感去拍的,因为她记录的不仅仅是从客观视角出发的外在景象,更多的,还有自己的内心。

“摄影对于我是一种抒发内心感受的行为,一种情绪的宣泄,也是一种自我疗愈的方式。我拍下的即是我内心的样子,这也正是我享受摄影的原因,在充满不确定性和各种冲突的街头,找到一丝平静、和与自我的统一。”

Ever since she first began taking pictures, Qiang has made a habit of going out shooting on a semi-regular basis. She uses black and white so no colors will interfere with her vision—it’s the format that best expresses her feelings of solitude.

Set against the vastness of the world, people are insignificant specks, and her photos convey this sharp sense of loneliness and isolation. “I hold my breath and press the button to open the shutter: for me, photography is a sort of ritual. It’s like I’m mourning the passing of an instant, of everything that’s vanished around me, a reality that actually existed and will never exist again.”


从开始拍照到现在,强婧一直保持着一段时间就会固定上街拍摄的习惯。之所以选择黑白摄影,是因为没有颜色去扰动视觉,是最能表达她内心的孤独感的形式。

对比这个偌大的世界,人不过是渺小的客体。从她的照片里,的确感受得到这一股强烈的孤寂与脱离感。“吸气屏息,按下快门——对我来说,拍摄像是一种祭祀仪式,仿佛在追悼过去每一刻时间的逝去,那些从我身上消逝的一切,真实存在过、现又不复存在的事实。”

“Behind my photos, there’s a story about the loneliness of growing up, about love and hate, and ultimately about letting go,” she says. She puts all her pent-up feelings into her photography and creates a series of images that brim with emotion.

The darkness in Qiang’s pictures coexists with the light: neither is possible without the other. “Kunming is gradually having an effect on me,” she says. “Just as plants grow toward the sun, maybe I can eventually break free from my former melancholy and give voice to a tougher, stronger version of myself.” Now that she’s mastered darkness and light, her journey as a photographer goes on.


最后,强婧向我们娓娓道来,“在我摄影的背后,是一个关于成长过程中所感受到的孤独,以及爱与恨,最后放手的故事。” 她将长久以来累积的情绪通通投注在摄影里,成就了这一张张承载饱满情感的影像。

但事实上,强婧照片里的黑暗,与光亮永远都是并存的,两者是缺少了彼此即不成立的存在。她说 “昆明这座城市,正慢慢影响着我。仿佛植物会向阳生长一样,渐渐地,也许我能从最初的忧郁中挣脱出来,表达一个更有韧性、更坚强的自己。” 掌握了光和暗,她的摄影之旅将继续下去。

WeChat: jingjingzai2010

 

Contributor: Yang Yixuan


WeChat: jingjingzai2010

 

供稿人: Yang Yixuan

The Faces of Youth

Youth has never had just one face. Indonesian photographer Faisal Y. Djaja points his camera at youth from different backgrounds in his country, giving snapshots of their lives in one beautiful instant.

Djaja was born in the small seaside city of Manado, in northern Indonesia, not far from the Philippines. His hometown boasts a clear blue sea, an unbroken mountain chain, and streetscapes that combine old and new. Now in his twenties, Djaja isn’t a full-time photographer: he previously taught English and now works at the mayor’s office in the firefighting division and emergency call center. Only in his spare time can he pick up a camera and capture these subjects in the flower of their youth.


青春从来都不只有一种样貌,来自印尼的摄影师 Faisal Y. Djaja 将镜头对准了当地来自不同背景的年轻人,将他们的生命定格在这美好的一瞬。

90 后的 Faisal Y. Djaja 出生并成长在印尼北边、靠近菲律宾的一座海滨城市美娜多,这里有清澈的海、绵延的山,还有新旧文化共存的街景。这里丰富的自然人文景色,提供了他许多创作的灵感。但事实上,平常的 Faisal 并不是一位全职摄影师。之前曾经当过英文补教老师,目前在市政厅的消防与紧急事件部门工作。空闲时间,他才拿起相机,捕捉下这些正值青春年华的人们。

Why does he take photos of these youths? “They’re the people I can most relate to,” he says. “I started doing portraits when I was younger myself, and we have a lot of things in common—for example, the struggles of being a young citizen in a fast-growing city and trying to figure out our identity.”


为什么拍摄这些年轻人呢?他回答 “原因可能是因为他们是我最能够连结到的对象。我差不多在十九岁开始拍摄人像,我和他们之间共享很多东西,比如说在年轻时候,都同样面临到身在发展如此快速的城市中,寻找和定义自我的挣扎。”

 

When we’re young, we all want to stand out from the crowd. But Djaja thinks that this should be something that occurs naturally—you can’t force yourself to be unique. Perhaps that’s because each of us comes from a different cultural background, or possesses a talent that sets us apart from others. Such inherent distinctive traits are one of the things Djaja pays most attention to when selecting subjects. He’s grateful to have encountered so many unique personalities in his work. “I’m lucky I met my model friends, because I’ve experienced a lot of unexpected things working with them. Without them, my art is nothing,” he says.


作为一个年轻人,每个人都想要独一无二。但 Faisal 认为这应该是一件自然而然发生的事,而不是刻意强迫自己去产出某种独特性。也许是因为来自于不同的文化背景、或是拥有一项异于常人的才能。这种与生具来的独特性,是他在挑选拍摄对象时,最重视的特质之一。因此在他的照片中,处处可见到那些散发独特气质的人的踪影,“我很幸运能认识到一些模特儿朋友,目前为止我经历了很多意想不到的事情。没有他们,就没有我的艺术。”

Aside from his photography projects, Djaja has worked with his model friends in setting up an online community called imagi.native. The goal is to bring young local models together and let them forge closer ties. “We want to be the medium, and to show that our hometown has great models with potential,” he says. He hopes his own photography can be an inspiration and encourage other young artists to start creating, and not to hesitate. “Step out and start fresh, chase the sunrise or the sunset and see the extraordinary in little things.”


除了常在拍摄项目中与年轻模特儿合作,Faisal 还进一步与朋友共同创办了一个平台 imagi.native,旨在聚集当地的年轻模特儿,为他们提供一个更紧密的联系网络。“我们希望能成为中间的媒介,让大家看到我们的家乡也有这么多极具潜力的年轻人。” 总有一天,他希望自己的照片能作为一种启发,鼓励其他年轻的艺术家毫不犹豫地投入创作。“踏出去,重新开始,发现美好的日出日落,和那些生活中非比寻常的小事。”

Instagram@falsaldjaja | @imagi.native
VSCO: ~/faisaldjaja

 

Contributor: Yang Yixuan


Instagram: @falsaldjaja | @imagi.native
VSCO: ~/faisaldjaja

 

供稿人: Yang Yixuan

Human Capital

Welcome to the Jing is a photobook project shot by French photographer Laurent Hou between 2013 and 2017. Hou, who’s based in Morocco, took the photos during his last few years living in Beijing, when he got to witness a special moment in the city’s history: after the Olympics and before the citywide demolition of illegal buildings that began in 2017. Hou snapped around 100,000 shots, mostly of people and things inside the city center.


Welcome to the Jing》(《京城欢迎你》)是始于 2013 年,止于 2017 年的摄影书项目。摄影师是来自法国的 Laurent Hou,目前生活在摩洛哥。这个项目创作于他在京生活的后几年,却正好见证了北京历史上的一个特殊时刻:在奥运会之后,在 2017 年开始的“全城拆违”前。Laurent 的镜头对准了北京三环内的人物和景色,按下了约 10 万次快门。

“Although central Beijing is already overphotographed, this project brings a different vision,” says Hou. “Other series focus either on the traditional aspects of the hutongs or the modern architecture in the business district. And pictures aren’t merely a description of Beijing, because the photographer’s vision plays a crucial role.”


虽然人们可能会认为,北京市中心已经被拍滥了,但这个项目带来了与所有系列照片不同的视角。” Laurent 如此说道,“这些照片要么侧重于胡同的纯粹传统方面,要么侧重于中央商务区的现代建筑方面。且图片并不仅仅是对北京的描述,因为摄影者的视野发挥着至关重要的作用。

Hou has chosen to make a photo book of the series because he thinks that’s the best way to present the work. He hopes to publish it soon. “The recurring motifs, the variety of the subjects, the tangle of different narratives, and the quantity of pictures called for a book rather than an exhibition of 20-30 pictures,” he explains. “The book form is also more intimate, and turning the pages mirrors the act of walking through the city. I want readers to look at the stream of pictures as if they were wandering the streets of Beijing and running into all these quirky situations.”


而之所以用摄影书的形式,则是展示这些作品最有趣的方式之一,Laurent 希望能早点看到它出版成册。反复出现的话题,主题的多样性,不同叙事的纠缠,以及图片的数量,都要求制作一本书,而不是做个 20-30 幅图片的展览。书的形式更为贴切,翻页反映了在城市中行走的模样。我想让读者看到一连串的图片,就能联想到自己在北京的街道上漫步,遇到所有这些有趣或离奇的情况。”

Since he started the project, almost six years have gone by. Hou says his vision for the project didn’t come into focus until long after he’d been taking pictures of his surroundings. Only once he made some preliminary selections did it start to take shape. “The vision developed during those six years, which was also a period when I learned a lot about photography,” he says. “And I don’t mean the technique, I mean getting to know the works of great photographers, emerging photographers—understanding different styles and trends, thinking about authorship in photography and the meaning of the photobook as a form.”


从项目伊始到现在,已历经了将近六年时间。Laurent 说这个主题的形成是在已拍摄周围很长时间之后,经过初步选择,才确定下来的。“这六年间发展出的主题,也是我学习摄影的一个阶段吧。我指的不是技术,而是了解伟大的摄影师、新兴摄影师的作品,了解不同的风格和趋势,思考摄影中的作者身份,以及摄影书作为一种形式的意义吧。”

Website: www.laurenthou.com

 
Contributor: Chen Yuan


网站: www.laurenthou.com

 
供稿人: Chen Yuan

Photography in the Raw

Beijing-based photographer Yum Tang is particular about food. “I like to challenge myself to try new things,” she says. Her passion for food challenges goes well beyond eating it—more often than not, what really fascinates her is finding the most original ways to photograph it.


现居北京的摄影师 Yum Tang(汤汤)是这样形容自己 “有时候比较挑食,喜欢挑战没吃过的食物”。她挑战食物的热情不只展现在料理上,很多时候,如何拍出食物最让人意想不到的样子,更是让她如此为之着迷的原因。

“People tend to think about what they like to eat, but even if they go to the market every day, they haven’t really thought about what those foods look like in their original state,” she says. “The ingredients come from nature, and many of them, when you look closely, have limitless potential, just like people. I want to document nature’s creativity.”

As a photographer, Tang is focused entirely on shooting food. She’s constantly exploring new ingredients and revealing the inherent beauty in their structure, color, and texture. Even in the raw, food can become a work of art.


“很多时候大家总在想什么好吃,即使天天逛菜市场,似乎也没有仔细看过这些食物本来的样子。食材是大自然创造出来的,很多食材其实仔细看,它们和人一样拥有无限的可能性,我想记录下大自然的别出心裁。”

作为一位摄影师,汤汤全心投入在食物摄影的领域,不停地在各种食材之间探索,把它们与生具来的美感,从结构、颜色、到肌理都发挥到极致。单就食物本身,无需料理,也能成为一道艺术品。

Tang painstakingly designs each scene and shot: it’s almost as though she built a miniature stage just for food. Here the ingredients are are front and center. They’ve taken on a new life, and they’re no longer just for eating. With these intriguing creations, Tang invites us to view food in its overlooked, uncooked state.


她别具匠心的场景和画面设计,就像是一个用尽心思、专为食物打造搭建的小剧场。食材登上舞台,脱离了平常只用来品尝的既定印象,仿佛都获得了新生。通过这样有趣的创作,邀请你来一起看看这些食材平时被忽略的原貌。

Behance~/yumtang
Weibo~/Yumtang

 

Contributor: Yang Yixuan


Behance: ~/yumtang
微博: ~/Yumtang

 

供稿人: Yang Yixuan

Malaysian Colors

Bright. Bold. Brilliant. Just a few words that might come to mind when you see Daniel Adam’s photography. Currently based in Kuala Lumpur, Adam is inspired by social issues in Malaysia and by the visual stimulation of the country’s daily life, which he saturates with color and turns into something fresh. This is especially true in the vibrant photographs of his Batik series.

In this series, Malaysians of all colors, shapes, and sizes, predominantly women, are clothed in richly patterned fabric dotted with floral motifs and set against a backdrop of the same material. There aren’t any elaborate props, just designs and tones that catch the eye.


鲜艳、大胆、精彩——当你看到 Daniel Adam 充满活力的摄影作品时,脑海可能也蹦出这几个词。Daniel 现在生活在吉隆坡,他以日常生活中看到的视觉刺激以及马来西亚当地社会问题为灵感,创作出一系列满溢色彩与创意、令人眼前一新的作品,譬如他最近的摄影系列《Batik》(《蜡染》)。

在这一组照片中,不同肤色、体形与身材的马来西亚人(大部分为女性)身穿点缀花卉图案的华丽面料,站在同样色彩丰富的背景布前,没有任何精心设计的道具,画面中的色彩与图案已经足够引人入胜。

Adam first started dabbling in photography at the age of 14, armed a compact camera and a budding curiosity about the medium. His curiosity soon grew into passion, and he went on to take a degree in photography at Falmouth University in Cornwall before moving back to Malaysia late last year.

After returning from the UK, Adam felt something was missing. Having spent so much time outside of his home country, he was out of touch with his culture, and wanted a way to reconnect to his roots. For an artist, what better way to do so than to channel his feelings creatively?

Thus the Batik series was born.


Daniel 第一次接触摄影是在 14 岁的时候,带着一部小型相机,他开始好奇地探索着摄影这一种媒介。这种好奇心很快发展成一种热爱,之后,他前往英国康沃尔(Cornwall)的法尔茅斯大学(Falmouth University)修读摄影专业,直到去年年底回到马来西亚。

从英国回来后,Daniel 总觉得若有所失。在国外生活了这么长的时间,他感觉与自己的文化逐渐脱节,他想要重新与自己的文化根脉相联结。对于一个艺术家来说,还能有什么更好的方法来表达情感呢?

由此,《Batik》系列诞生了。

Batik is a cloth-dyeing technique that originated in Indonesia, and it’s used both for traditional garments like sarongs and everyday wear such as men’s shirts. Patterns are first drawn on the cloth with a pencil and then redrawn with a hot wax made from beeswax or paraffin and sometimes mixed with plant resins. The wax acts as  a “dye resist,” so that when the fabric is soaked in dye, the treated areas retain their original color, forming a contrast and thus creating the pattern.

The wax is applied to the cloth using a pen-like instrument called a canting or tjanting (in old Dutch orthography) for small dots and fine lines, a stiff brush for larger patterns, or a copper block stamp called a cap for very broad areas. After soaking, the wax is finally scraped or boiled off, and the process is repeated if there are multiple colors involved in the design. Malaysian batik differs from Indonesian Javanese batik in its larger and simpler patterns and its emphasis on brushwork. Most designs are derived from nature and are symbolic.


Batik,蜡染,是一种布染色技术,源自印度尼西亚,既用于制作传统服装,如“纱笼”(sarong,裹在腰或胸以下的长条布裙),也用于制作男式衬衫等日常服装。先用铅笔将图案画在布料上,然后用蜂蜡或石蜡(有时还会加上植物树脂)制成的热蜡重新绘画。蜡的作用是防止染色,所以当织物浸泡在染料中,有蜡的地方就能保留原来的颜色,从而通过不同色彩的对比,构成各种图案。

涂蜡时会用到不同的工具。用以绘出小点和细线的笔,是一种名为 canting 或 tjanting(古荷兰语)的笔尖式蜡染工具,而硬毛刷则用来画较大图案,被称为“盖子”(cap)的铜块印章,则用来印画更大面积的图案。浸泡后,蜡最终会被刮掉或煮掉,如果布料的设计涉及多种颜色,就要多次重复这个过程。

不同于印度尼西亚爪哇岛蜡染,马来西亚蜡染的图案更大、更简洁,同时更强调图案的笔触,大多数的图案设计灵感源于自然界,蕴含象征意义。

Daniel sourced his batik pieces from a corner shop in Chinatown for RM10 apiece, and then just started shooting. His models are set against giant sheets of batik, with clothes and headpieces made of the traditional fabric. But the portraits themselves are far from traditional, with faces of Malaysians with skin and features that show the many branches of the country’s family tree.

This blended aesthetic is fully intentional. Instead of photographing only the three “main” races of Malaysia—Chinese, Malay, and Indian—Adam wanted to break down racial barriers by including people of mixed heritage, like Chinese-Malay, Indian-Chinese, or Eurasian. What became the unifying point was Malaysian-ness itself, and batik stood in as its flag.


Daniel 在唐人街的街角小店以每件 10 马币的价格购买蜡染面料,然后直接开始拍摄。他让模特穿上色彩鲜艳的服装与头饰,然后站在巨幅的 batik 蜡染布前。然而不同于传统的肖像摄影,他的这一系列作品展现了来自不同种族、文化的马来西亚人们的面孔和特色。

这种多元化的美感正是 Daniel 的创作意图。他不想只拍摄马来西亚的三大种族,即华人、马来人与印度人,他希望打破种族壁垒,拍摄那些不同种族的混血儿,如中马混血、中印混血或欧亚混血儿,表达出他们之间的统一点,即他们作为马来西亚人的身份,而 batik 蜡染可以说是这一主题的鲜明代表。

“I wanted to showcase diversity,” Daniel says about his series and his inclusion of every kind of race in the photographs. “I want to take away all the barriers and labels that we put on each other—for everyone to see that we just belong to one community. This beautiful and traditional art form, this design—it’s Malaysian, so it’s all linked, it brings everyone together. It’s not just about educating others and myself on batik. It’s about this connection, that we’re all Malaysian.”


“我想展示出多元化。” Daniel 解释这个系列的创作初衷以及他为什么要拍摄不同种族的人群,“我想把人们所设立的所有隔阂与标签都去掉,让每个人明白,我们全都同属一个社区。而这种美丽的传统艺术、它的设计,代表了马来西亚,它是所有人的连接点,将大家联系在一起。这不仅仅是在向别人和我自己宣传 batik 蜡染,更重要是让人们联结起来,我们都是马来西亚人。”

It didn’t take long for this series, initially a self-education and reconnection project, to become a full-blown celebration of Malaysian diversity. On Hari Merdeka, the Malaysian Independence Day, celebrated every year on August 31, the Batik Series was on full display alongside works by two other fellow local photographers, Emma Khoo and John Kam, in an exhibition at APW in Bangsar, a suburb of Kuala Lumpur. This exhibition aimed to illustrate what it means to be Malaysian: differences were recognized, celebrated, and brought together in a single exhibition.

It was truly a moment of reconnection, as Adam fondly remembers. “It was really nice for opening night—especially since we only planned it a week and a half before the event!” he says. “You got to see different people from different cultures and religions coming together and mingling—that’s the Malaysia that you expect to see.”


很快,这个充满教育意义和促进社会团结的项目,也成为了对马来西亚多元文化的一次盛大展示。每年 8 月 31 日是马来西亚独立日(Hari Merdeka),为了庆祝这个国家最重要的日子,《Batik》与其它两名当地摄影师 Emma Khoo 和 John Kam 的作品一起,在吉隆坡的郊区孟沙 APW 的展览中共同展出。本次展览旨在表达“何为马来西亚人”的主题。在这个展览中,多元化得到了承认并被呈现出来,且将来看展的人们牢牢凝聚起来。

这是真正意义上的重新联结。Daniel 开心地回忆道:“开幕夜真的特别棒,尤其那是我们在活动举办一周半之前才开始筹备的!来自不同文化和宗教的人们全都聚集在一起,这正是我们所期望看到的马来西亚。”

Picturing Loneliness in Japan

Even though everyone experiences it in their lives, loneliness remains stigmatized. Acknowledging it can feel shameful, like an admission of weakness or vulnerability. But thinking about loneliness in a different light, and fully embracing it, can be liberating. Photographer Gili Benita recently traveled to Japan, where a glimpse into the country’s solitary life transformed his negative outlook: he realized he wasn’t alone in his loneliness—and he could even grow to enjoy it.


所有人都曾经历过孤独。可人们却觉得孤独是可耻的,承认孤独,就等同于承认自己的弱点或缺陷。不如,换一种角度来思考孤独呢?拥抱孤独,也是在解放自己。摄影师 Gili Benita 最近前往日本,在那里,他所瞥见的各种孤独生活,改变了他对孤独的负面想法:他意识到,孤独者并非他一个,他甚至学会去享受孤独。

Benita’s newfound understanding inspired his photo series Kodoku (Japanese for “loneliness”).  While the series is filled with snapshots of strangers, the project was a way for Benita to look inward and understand himself. Each passerby represents Benita’s own solitude: a single figure in the distance strolling along sandy dunes with the vast ocean spreading out before him; a man enjoying the pleasant weather, reading and lounging in the park by himself; a single beam of light illuminating the face of a woman with her eyes closed, as if savoring the shadows that seem to be swallowing her. In each image, Benita removes the melancholy associations of being alone, substituting a sense of freedom, serenity, and empowerment.


Gili 的新发现激发了他创作《Kodoku》(日语意为“孤独”)摄影系列。虽说系列中他所拍摄的都是陌生人,但这个项目也是 Gili 自我反思与了解自己的一种方式。照片中的每位陌生人都折射出 Gili 自己内心的孤独:一抹剪影,在远处沙丘上漫步,他面前是无垠大海;一个男子,独自在公园里读书和闲逛,享受着宜人天气;黑暗中的一束光,照在一名女子的脸上,而她正闭着眼,像是在细细品味这即将把她吞没的阴影。在这些照片中,Gili 抛弃掉孤独一贯所伴随的忧郁情绪,取而代之呈现出自由、安祥和静默的能量。

“This project is really important for me, because it allowed me to reconcile one of my biggest issues in life,” Benita shares. “These photos allowed me to finally have an honest conversation with myself.”

Rather than avoiding solitude, Benita now welcomes it. He now understands loneliness to be a natural part of human existence and believes that once a person accepts this, they can begin to appreciate its beauty.


“这个项目对我来说非常重要,因为它帮我克服了在生活中面临的一个最大的问题。” Gili 说,“这些照片让我终于能和自己进行了一次坦诚的交谈。”

现在,Gili 不再逃避孤独,转而去拥抱它。他明白,孤独是人类存在的一部分,如果你能坦然接受它,就可以开始欣赏到它的美。

Website: www.gilibenita.com
Instagram: @gilibenita

 

Contributor: David Yen


网站: www.gilibenita.com
Instagram: @gilibenita

 

供稿人: David Yen

A Moment’s Encounter

Some photographers find their calling at an early age, playing around with a parent’s camera and taking snapshots of their friends. Not Su Yang, who also works under the name Jan Sol. As a child, he never felt drawn to photography, and he didn’t really start taking pictures until college. “I was studying advertising, and a professor told us to carry around a camera, so we could capture inspiration on the fly,” he says. “I liked taking shots of scenery everywhere, and when I put them online, to my surprise a lot of people liked them, which motivated me to keep going.” Eventually, magazines and fashion brands took note and started seeking him out for collaborations—and before long, almost by accident, he’d become a professional photographer.


有些摄影师很早就对摄影产生兴趣,喜欢摆弄父母的相机,拍摄他们朋友。但对苏洋来说却并非如此。小时候的他从未对摄影格外感兴趣,直到上大学他才真正开始拍照。他说:“我当时在学广告,那时候老师会建议我们随身带一个小相机,可以随时抓到一些灵感。然后我就喜欢到处拍一些风景,没想到传到网上还挺多人喜欢的,这就给了我一些动力继续拍下去。” 杂志和时尚品牌最终注意到他的作品,并开始与他合作。就这么偶然间,他很快成为了一名专业摄影师。

Unsurprisingly for a fashion photographer, most of Su’s work features human subjects. Yet that wasn’t always the case. “When I first started out, I didn’t like to take pictures of people at all,” he says. “I was far more interested in the world around me than in other people—and not just in terms of photography.” Shots of scenes and landscapes seemed let him more easily express his moods.

Later, as he started taking fashion assignments more regularly, he began to study the works of classic photographers and became fascinated with how they captured their subjects at a particular moment. “Only then did I start to practice, and the more I shot human subjects, the more interesting I found them.”


作为一名时尚摄影师来说,他的作品自然大多是人像作品,但他说,“其实最开始拍照的时候,我是一点都不爱拍人的。” 他说,“我当时对周遭环境事物的兴趣远远大过对人的兴趣,不仅仅是在摄影上。” 对他来说,场景和风景照片更适合传达情绪。

后来,因为时装项目越来越多,他开始研究著名摄影师的作品,对他们在瞬间内捕捉人物的技术入迷万分。“那时候起我自己也才开始进行练习,之后就是越拍越觉得人物非常有意思。”

Even Su’s noncommercial photography carries the imprint of his background in fashion. He often shoots his models alone in a room, sitting half-naked on a bed or on the floor, sunlight filtering onto rumpled bedsheets. The models have an air of self-conscious vulnerability as if they’re aware of how exposed they are—and aware too of how unnatural their position is, how strange it is to be sitting for a photograph. Su seems almost to be reminding us how carefully staged the moment is.   

In one photo, for example, two models, chests bared, look directly at the camera, their eyes meeting the viewer’s gaze. Yet their candor is at odds with their tension in their arms and the affectation of the props in front of them—a dinosaur figurine, a dragonfruit, and an open pomegranate. This combination of intimacy and artifice resembles nothing so much as a fashion shoot.


甚至连苏洋的非商业摄影也带有时尚摄影作品的痕迹。他的作品常常是他与一名模特呆在一间房间里就完成拍摄的。模特半裸地坐在床上或地板上,阳光投射在皱巴巴的床单上。镜头下的模特展现出一种害羞不安的脆弱,仿佛他们清楚知道自己暴露于镜头前,也意识到自己的姿势有多不自然,意识到这样坐着被人拍照的自己有多奇怪。几乎可以说,苏洋是要提醒我们,照片所捕捉的这一刻正是经过精心安排的。

例如,在以下的照片,两名模特裸露上身,直视相机,他们的眼睛直接迎向了观众的目光。然而,与模特坦率的眼神相对应的,是他们双臂的姿势及面前道具(恐龙公仔、火龙果与剥开了的石榴)所呈现的,这种半亲密半虚构的感觉难免让人联想到时尚摄影。

For Su, taking photos of human subjects offers than just an glimpse of a life at a moment in time. It forges a link between photographer and subject. “It’s about you participating in an interactive relationship—in the relationship between you and someone else. Your every move affects it,” he notes philosophically. “Whenever I shoot people, I’m actually constantly learning new ways to interact or connect. This is something really wonderful, even a bit zen.”


对于苏洋来说,拍摄人像照片不仅仅是对生命中某个时刻的一瞥,更是在摄影师和模特之间建立联系。“这个过程不仅仅是你单方面地去捕捉一些画面和角度,而是你本身就参与在这一个互动关系——你与他人的关系之中,你自己的一举一动都牵动着它。” 他指出,“我后来会认为我自己在拍摄人物的过程中其实是在不断学习与人交流或者交往的一个途径,这个事情非常奇妙,甚至有些禅意。”

His most recent project, Shanghai Passengers, is a study in the fleeting connections forged by the outsiders who pass through China’s largest city. “In recent years, Shanghai has had more interaction with the broader world. Every day a lot of people come and go, either stopping by for a few days or staying on for a year or two.” These visitors come with diverse backgrounds, and they mold their identity in response to their surroundings. “I find this fascinating. It’s like peering out from a box into a room, and this room is a part of the city.”


他最近的项目《Shanghai Passengers》(《上海过路人》)探讨着外来人在这座大都市参与的那些短暂互动关系。“我觉得上海近几年来与外界发生的联系越来越多,每天都会有很多人来来去去,短暂停留几天或是来呆个一两年。他们来自不同的文化社会背景,来到上海之后自然而然有一个自我身份与环境融合的过程,我觉得这个东西很有趣,像是从一个盒子里窥视一个房间,而这个房间又是城市的一部分。”

Recently Su has begun re-evaluating his relationship to his art. “For the last year or two what I’ve focused on is pausing and returning to my own life, immersing myself in my relationship to my surroundings, and trying to get out of the ruts of my previous photography.” 

Oddly enough, his philosophical view of photography as source of human connection has led him to turn his lens back to scenes without people. “I’ve become interested in real things again. I’ve returned to landscapes and documentary photography,” he says. “It’s like a circle, and you’ve reached a certain point again. But then you discover it’s really different from last time.”


最近,苏洋开始重新审视自己与艺术的关系, “近一两年更多是停下来重新回归到自己的生活里,融入到自己与周遭的关系里,尽力抛除以前拍摄时候的 ‘惯性’。”

奇怪的是,他这种将摄影视为人际关系源泉的想法却使他将镜头再次转向没有人物的场景。他说:“我又开始感兴趣那些最真实的事物,所以也会再度去拍一些风景或是纪实类摄影,这就像一个圆,又回到了某一个位置,但你会发现。这次和上一次又很不一样。”

This newfound interest in things is less a move away from human subjects than an attempt to hone a style. Whether he’s shooting for a fashion brand or working on his own projects, Su seeks to make his photography distinctively his own. “Now I understand my work as conveying a sense that it’s mine,” he says. “It’s a pretty individualized thing.”


重拾对事物的兴趣并不意味着他要减少人像作品,而更多的是磨练风格的尝试。无论是时尚品牌委托的拍摄还是个人项目,苏洋都试图让自己的摄影作品与众不同,正如他说:“现在我对作品的理解,就是传递一些自己的气息,它带有强烈的个人化特质。”

Website: jan-sol.com
Instagram: @jan_sol

 

Contributor: Allen Young


网站: jan-sol.com
Instagram: @jan_sol

 

供稿人: Allen Young

China’s Contemporary Ruins

海边

Green fields stretching to the horizon and trees rising up to the sky, bridges crossing streams and trails of smoke rising from the chimney of a house—that’s what you expect to see in the traditional landscapes of Chinese shanshui art, whose name literally means “mountains and water.”

But the scenes captured by Zhang Kechun have none of this. His series Between the Mountain and the Water is shrouded in stillness, poverty, and thick smog. The locations he shot certainly lie between mountains and water, but high rises have replaced the green peaks, and debris has stopped up the flowing rivers.


山水之间,本应是绿野遍布,古树参天,再有小桥流水人家,炊烟袅袅。

但在张克纯用镜头所记录的景象中,没有这些。它们沉寂、凋敝、甚至说雾霾重重——这系列《山水之间》的取景之地,确确实实在中国内陆的大山大水中间。只是,高楼取代了青山,断垣截住了流水。

山涧修路
游泳重庆
断桥 达坂城

In 2008, Zhang Kechun experienced first-hand the cataclysmic Wenchuan earthquake in northwestern Sichuan, and the snapshot he took of that terrifying moment won him the National Geographic Picks Global Contest.  The experience, he says, “broadened his field of vision and made his work more systematic.” After shooting his series The Yellow River, in which he traced the waterway up to its source, his photography “naturally expanded to cover the entire country.” And that’s how this new series came about.

Scouting out the perfect location is essential to every shoot. Barren mountains, crumbling walls, surreal scenes with clusters of high rises—they’re all hidden in plain sight, waiting to be discovered. The hazy, low-contrast feel of his images also doesn’t need much post-processing, it just needs to be shot on an overcast day.


2008 年,张克纯亲历了那场灾难性的汶川大地震,抓拍到震撼的瞬间,让他一举获得美国国家地理学会全球摄影大赛自然类大奖。这段经历所带给张克纯的,他说,是让他的 “视野更宽泛,工作更系统”。在拍摄完沿着黄河溯源的《北流活活》系列之后,张克纯镜头里的视野,就 “自然而然地覆盖到整个国家”。因此,这个系列也就应运而生了。

通常,他会先通过各种渠道找到这些地方,然后前去拍摄。荒山、断壁、高楼群起的超现实的场景,都是现成的。那画面中朦胧阴郁的色调,要拍到也并不难,只要在阴天的时候去拍,再经过一些处理就可以了。

江边喝茶的人
警校
环球中心

“My focus has really always been how ordinary people get by in such a rapidly developing country. Against a sweeping historical backdrop, I look at the lives of those who play bit parts,” Zhang says. “I covered practically the whole country to take these photos.”

The scene that left the deepest impression on him is an image of students holding class under a truncated bridge. The imposingly tall structure cuts through the landscape, heading who knows where, while a group of students lined up in rows attend a physical education class underneath, obediently following instructions.

“I think it’s a metaphor for the current state of China,” he says of the photo. He thinks all of his works are very explicit: they’re the kind of image that can be easily understood at a glance. Perhaps his photos, in the subjects they capture and the stories they tell, offer a thinly veiled commentary on a country constantly in the throes of sweeping change.


“其实我一直在关注处在高速发展中的这个国家下的普通人的状态。一个大的时代背景下,小人物的生活。” 张克纯说。“我几乎跑遍了整个中国来拍摄这些照片。”

让他感触最深的,是这张站在断桥下上课的学生们——擎天的大桥横断,不知去往何处;而底下的学子莘莘在上体育课,排排站立,悉听规训。

我觉得它隐喻了中国的现状。” 张克纯说。他说他的作品很直白,是那种观众可以一眼看明白的照片。那么,也许他要说的东西,要阐述的故事,作为观者的你我,应该也可以通过这一张张照片体悟出来罢。

泸州长江桥后
矿山前
朝天门大桥下

Website: www.zhangkechun.com


Contributor:  Chen Yuan


网站: www.zhangkechun.com


供稿人:  Chen Yuan