Tag Archives: photography

Dear Sky

Arthur Mebius is a Dutch photographer and aviation enthusiast from Amsterdam. His photo series, Dear Sky, is a look inside Air Koryo, the state-owned national airline of North Korea. The airline boasts a fleet of 19 vintage aircraft, including Cold War models by Soviet manufacturers Antonov, Ilyushin, and Tupolev, many of which date back to the 1960s. Because of sanctions and environmental restrictions, Air Koryo’s only remaining international flights are its China and Vladivostok routes.


Arthur Mebius 是来自荷兰阿姆斯特丹的摄影师和航空爱好者。他的摄影作品系列《Dear Sky》(《亲爱的天空》)用镜头记录了朝鲜国有航空公司高丽航空(Air Koryo)。这家航空公司拥有 19 架老式飞机,其中包括苏联制造商安东诺夫(Antonov)、伊留申(Ilyushin)和图波列夫(Tupolev)冷战时期的机型,还有许多 20 世纪 60 年代的飞机。由于航空制裁和环境限制,高丽航空现在唯一的国际航班是往返中国和符拉迪沃斯托克的航线。

After learning of Air Koryo in 2015, Mebius journeyed from Amsterdam to Beijing to board a flight to Pyongyang and experience the airline for himself. Since then he’s taken a total of 24 flights on different types of aircraft. With his Fuji X100T he documented the planes, passengers, and crew he encountered in his travels.

Below you can view more of Mebius’s images and read a short excerpt from his book.


在 2015 年知道高丽航空后,Mebius 特意从阿姆斯特丹飞到北京,坐上了一趟飞往平壤的航班,亲身体验了这家航空公司。从那以后,他一共乘坐过 24 架不同型号的飞机。透过他的富士 X100T 相机,他用镜头记录了在旅行中遇到的飞机、乘客和机组人员。

下面即是由 Mebius 所拍摄的照片及他书中的片段节选。

“Sunan Airport City, September 14, 2016 ––

In one of the apartment buildings in Sunan, next to Pyongyang airport, the haze of 7.27 cigarette smoke is lit by flashing colored lights pinned to the wall and a Moranbong Band CD pumps from a stereo in the corner. Two flight attendants sit demurely on a sofa, an animated card game is in progress at the table. The flight engineer from the Tu-154 is already asleep in a chair. Animated conversation forms a steady roar as tales of the week are cut with memories of a Belgrade nightstop and a zero-zero landing in the depth of a Moscow winter.

The team effort of these comrades, patriots all, is the visible peak of a mountain of institutional knowledge as big as Mount Paektu made of Juche-orientated aviating, and whatever the obstacle, decade or politics, the mission is accomplished.”


“平壤顺安国际机场,2016 年 9 月 14 日——

在位于平壤顺安国际机场旁边的一栋公寓大楼中, 7.27 牌香烟的烟雾中,透着墙上彩色灯的灯光,角落的音响播放着朝鲜女子乐队牡丹峰乐团(Moranbong Band)的CD。两位空姐端坐在沙发上,兴高采烈地玩着扑克牌。Tu-154 客机的飞行工程师已经在椅子上睡着了。他们热烈地谈论着本周的八卦,以及在贝尔格莱德停飞过夜,在莫斯科的寒冬能见度为零时,客机盲降的回忆。

这些同志、爱国者们的团队努力,体现着体制教育的顶峰,犹如白头山(位于中朝边境的一座“圣山”)一样雄伟;而以“主体思想”(Juche,意为自立,是朝鲜劳动党的思想体系和理论基础,由金日成创立,因而也称为“金日成主义”)为导向的飞行,无论遇到什么障碍,历经多少个十年,或说政治形势如何,这个任务都已经完成了。”

Dear Sky is now available on the Neocha Shop in limited supply.


《Dear Sky》现已于 Neocha商店限量发售。

To pay via PayPal or international credit card, please check out through our Shopify. To pay with AliPay or WeChat, please visit our Weidian.


如需使用PayPal或国际信用卡支付,请转至我们的 Shopify 页面;如需使用支付宝或微信支付,请至我们的微店


《Dear Sky》The People and Planes of North Korea’s Airline

¥350

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Product Details:

  • Year of Publication: 2017
  • Hardcover
  • Number of Pages: 128
  • Size: 20 cm x 27.5 cm
  • Price: 55 USD

详情

  • 出版年份: 2017
  • 精装版
  • 页数: 128
  • 尺寸: 20 x 27.5 厘米
  • 价格: 350 RMB

Website: arthurmebius.com
Instagram: @arthurmebius.com_

 

Contributor: George Zhi Zhao


网站: arthurmebius.com
Instagram: @arthurmebius.com_

 

供稿人: George Zhi Zhao

Losing Face

Korean-American photographer Argus Paul Estabrook believes that art should contribute to a greater understanding of our surrounding world, and he, as a photographer, has the responsibility to help present new perspectives and provoke critical thinking. While he’s best known for his street photography, Estabrook considers his work to be more a form of personal documentary rather than photojournalism. “Everyone who shoots on the street has a relationship with it,” he tells us. “They know what it means to be on a journey, searching for something yet not knowing what that might be.”


美籍韩裔摄影师 Argus Paul Estabrook 认为,艺术应该有助于我们去更加了解这个世界。而他作为一名摄影师,肩负着提出新观点和批判思维的责任。 虽然他以街头摄影闻名,但 Estabrook 认为自己的作品更像是个人观点的纪录,而非单纯纪录外在事件的新闻摄影。 “每个在街上拍照的人都与‘街头’有着特殊的连结关系。”他告诉我们, “他们知道当带着相机上街头,这段旅程代表的真正意义为何。是在路上寻找一些东西,即使还不知道那些东西是什么。”

His photo series, Losing Face, offers a candid look inside the Seoul protests that arose from the revelation of former South Korean President Park Geun-hye’s scandal. Processed entirely in black and white, the powerful series uses slow shutter speeds and a bright flash to dramatic effect. Last year, the powerful series went on to win the prestigious Magnum Photography Award as well as the LensCulture Street Photography Awards.


他的作品《Losing Face》(《丢脸》) ,纪录了发生在韩国首尔街上,因前总统朴槿惠的丑闻而起的抗议活动,他的摄影为此事件提供一个坦率的视角。照片完全采用黑白处理,使用低快门速度和明亮的闪光灯拍摄,以达成极具戏剧张力的视觉效果。 2017年,此系列作品为 Estabrook 赢得了著名的玛格南摄影奖和 LensCulture 街头摄影奖。

“When the street leads me to an experience like the Seoul protests, I feel like my job is to zero in on the energy and then conceptualize it in a way that enables it to be reintroduced back into the world,” Estabrook explains of his process. “It’s like a creative circuit. I just try to keep my mind open, so whenever a moment moves me, I’m able to ‘describe’ it with my photography.”


“当我被街头带着去体验像这次首尔的抗议活动时,我觉得我的工作是将注意力全部集中在当场释放出的能量上,然后捕捉并概念化这样的能量,再以一个能重新被导入世界的方式呈现出来。” Estabrook 这样解释他的创作过程。“这是一个创作循环的回圈。我尽量让自己的心思保持开放,所以每当有一个瞬间感动到我,我就能用我的照片去把那一瞬间 ‘描述’ 出来。”

Website: arguspaul.com
Instagram: @arguspaul

 

Contributor: Shanshan Chen


网站: arguspaul.com
Instagram: @arguspaul

 

供稿人: Shanshan Chen

The Art of Censorship

During the 1960s and 1970s, Thailand was a thoroughly conservative place. In the West, sexual liberation had prompted a reexamination of values and views on sexual orientation, premarital sex, birth control, abortion, and expressions of desire, gradually freeing people from the fetters of antiquated thinking. But that wave of open-mindedness didn’t make its way east until later, and in Thailand any hint of sexuality was still viewed as dirty, obscene, and immoral.

At the time, a censorship law banned nudity—which after all tends to make people think of sex—in all public media, whether in print, on television, in film, or in art. Parts of this law remain in place today, and nude images in Thailand are still subject to strict controls.


六、七零年代的泰国,是一个极端保守的地方。尽管当时风靡西方的性解放运动(上世纪 60 年代从美国发起的社会运动,针对性欲的表达、性向、婚前性行为、避孕行为、堕胎……种种性价值观进行重新检讨)正把人民一步一步从守旧的思想地狱解救出来,在这波开明的理念东传之前,泰国依然处在一个任何有关性爱的联想,都被看作肮脏、淫秽、伤风败俗的年代。

比如裸露的身体容易让人想到性,所以当时泰国有这么一条法律,规定裸体必须接受审查,禁止在任何公开的传播管道上出现,印刷品、电视电影、艺术品都不行。这条法律一部分甚至沿用至今,所以在现今的泰国,裸体的影像依然受到严格控管。

That’s not to say there was no private demand for such images in the 1960s and 1970s. The popular erotic magazine Siam’s Guy is emblematic of the times. Like any erotic magazine worthy of the name, it contained all kinds of titillating photos, but given the government censorship, it couldn’t publish images with full nudity. Far from giving in, the editors took censorship as an opportunity to test their creativity: they let their imaginations run wild, playfully covering nipples and private parts in flowers, butterflies, blooming geometric forms, and other indistinct shapes. The images, which almost never appear twice, practically upstage the women themselves, becoming the magazine’s most conspicuous feature.


但是人们私底下寻欢作乐的时候不是没有这个需求——比如红极一时的情色杂志《Siam’s Guy》,它可是当年标志性的刊物。作为一本堂堂正正的情色杂志,里面可见各种性感的裸体照。但由于受到政府审查的限制,裸体照又不能大方的直接刊登。

可杂志编辑并没有因此打退堂鼓,反而心想“这是一个发挥创意的好机会”。于是他们异想天开,玩了起来,画出各种几乎不会重复的简笔画,比如绽放的几何形状、花和蝴蝶,或是你认不出来的有趣图形,覆盖在乳头和生殖器官上。这些图案抢尽了裸体女郎的风采,甚至成为杂志中最抢眼的部分 。

Tiane Doan Na Champassak, a French photographer who collects old photographs and magazines, stumbled across early issues of Siam’s Guy at a Bangkok flea market. The find set him on a journey to collect Thailand’s pornographic magazines, some five hundred of which now sit piled on his bookshelves. Eventually, he realized he had an encyclopedic collection of erotic censorship, so he scanned all the images and published them as a book titled Censored. “I was first drawn to the very sophisticated design,” he says. “In the 1970s many different erotic magazines were released, but none came close to the originality and quality of Siam’s Guy.”


有一位喜欢收藏各种老照片和旧杂志的摄影师的法国摄影师 Tiane Doan Na Champassak,一次偶然在曼谷的跳蚤市场上发现了早期的《Siam’s Guy》,从此开启了一段搜集早期泰国色情杂志的漫长旅程。在他的书柜里,堆叠了超过五百本这样的色情杂志。直到后来他意识到自己对于“情色审查”这个主题,已经拥有如百科全书一般的影像资料库。

于是,他把这些幽默的图像全都扫描整理成册,成为了共有六册的图集《Censored》(《被审查》)。Tiane Doan 说:“我想我最受这些杂志吸引的地方是它精致的设计。即使后来有更多色情杂志出现在市面上,但无论是质量上、原创性或创意上,都比不上早期像《Siam’s Guy》这样的杂志。”

Censored contains over four thousand of these photographs. “I find it amazing that all models posed completely naked in front of the camera later to be ‘covered’ so creatively,” says Champassak. “In some photos, it’s clear it would have been easier for them to pose in bikinis.” That way they could have complied with the censorship rules, and the results would have been more or less the same. But that’s exactly what they didn’t want to do—they wanted to be playful.


在《Censored》里,总共收录了四千张以上这样子的照片。有趣的是,这些裸身女子在镜头前摆出撩人的姿势,之后又必须想尽办法“遮盖”起来。 “杂志编辑不是有更轻松的方法吗?比如让模特儿穿上比基尼,或是避开特写的镜头——可以符合审查的规范,效果其实也差不多。但他们偏偏不要,他们就是要这样玩。”

Today, nearly half a century after the height of erotic censorship, nudity still hasn’t shed its negative associations: it’s often labeled pornographic, brazen, or even depraved, a view Champassak rejects as unnatural, unnecessary overinterpretation. “As for comparing the past and the present, not much has changed. Hypocrisy is still high,” he says. “Our societies are becoming more and more prude, and at the same time tolerating violence as if it were natural. What is natural is the body we were born with.”

Censored is now available for purchase on RVB Books.


时至今日,即使距离情色审查的年代已经过了近半世纪之久,裸露这个概念的负面形象尚未褪去,它依然容易被贴上腥膻色情、大胆、甚至荒淫的标签。这些看在 Tiane 的眼里,全部都是不自然、而且不必要的过度解释。 “我认为即使过了这么久,事情依然没有改善。社会上伪善的人还是很多,他们嚷嚷着裸体多么破坏风气,却对传播着更多暴力的东西视而不见。裸体不应该被当作禁忌,它不就是人的身体而已吗?”

《Censored》现已于RVB Books发售

Websitewww.champassak.com

 

Contributor: Yi Xuan


网站www.champassak.com

 

供稿人: Yi Xuan

Seeking Sacred

When visiting new places, traveling off the beaten path can often yield unexpected surprises, as was the case with photographer Enoch Contreras’s trip to Cambodia. Jaded by the hordes of tourists on his visit to Angkor Wat, he wandered off from the crowds in search for a moment of quiet and ended up stumbling upon an adjacent monastery. There, he was met with a monk covered in tattoos, a look that Contreras hadn’t ever associated with Buddhist practitioners. Intrigued by the disparity between his preconceived notions of monkhood and the monk’s actual appearances, he sought to learn more about their lifestyles. For the next few days, with the aid of a younger monk at the monastery who spoke passable English, he embedded himself within their community and produced the Seeking Sacred photo series.


每到一个新地方,独辟蹊径往往能让人收获意想不到的惊喜。摄影师 Enoch Contreras 在柬埔寨的旅程正是如此。前往历史悠久的吴哥窟旅游时,Enoch 避开了热门的旅游景点,却在偶然间发现了附近的一个寺院。

在这间寺院,他遇到一个身上布满纹身的僧人正在切菜,这位僧人看上去与 Enoch 印象中的僧侣形象如此不同,让他感到十分好奇。在接下来的几天里,通过一位会一点英语的年轻和尚的帮助,Enoch 得以融入到这座寺院的生活中,拍摄了《Seeking Sacred》(《寻找神圣》)这一系列的作品。

“I thought that all monks were serious practitioners who chose their path because they wanted to dedicate their lives to the teachings of Buddha,” Contreras told us.

But as it turns out, many from this particular monastery didn’t join out of religious devotion alone. For many of the monks there, Buddhism was more than a religious belief. The monastery provided shelter and food, and so, following the path of Dharma became a practical way for them to survive.

“Many of the younger monks especially,” Contreras tells us. “Their families couldn’t afford to provide for them so they were brought to live there where they knew their kids’ basic necessities would be taken care of. Others were orphans who came for the same reason, as a means of survival. One of the older monks became an orphan during the Cambodian genocide when he lost his entire family. He chose this path in order to maintain a life off the streets.”


“我一直以为僧侣都是严肃的教徒,他们之所以选择成为僧侣,都是想为佛陀的教诲奉献出自己的生命。”Enoch 说。

然而,他发现,在这座寺院里,许多僧侣最初都不是出于纯粹的宗教信仰而加入的。对于这里的许多僧侣来说,佛教不单只是一种宗教信仰。寺院能为他们提供住所和食物,所以,遵循佛法的道路也成为了他们生存的途径。

“对于许多年轻的僧侣,尤其如此。”Enoch 解释道,“他们的家人因为无法负担他们的生活,才把他们带到这里,因为他们知道,小孩在这里可以得到基本的生活必需品。而另一些僧侣则原本就是孤儿,来这里也是出于同样的原因——生存下去。寺院里有一位较年长的僧侣在柬埔寨大屠杀期间成了孤儿,为了免于流落街头,他也选择成为了僧人。”

With an authentic interest in these monks’ lives, Contreras was able to create compelling photos that are a refreshing departure from the typical, detached perspectives of a photographer experiencing a new culture for the first time. Seeking Sacred shows these monks not as mysterious zealots. but reveals them for who they really are, as regular people with their own hopes and struggles. “When there were no tourists around, they relaxed and allowed themselves to be exactly who they were without any masks,” he tells us. “They were gritty and playful, yet balanced by their beliefs. Despite their decision to walk the path of Dharma, they were still holding on to who they were before they became devoted. That’s exactly what I wanted to show.”


通过深入了解生活在那里的僧侣,Enoch 的照片不同于业余摄影师照片中那种置身事外的视角。在《Seeking Sacred》镜头下的僧人,并不属于一个神秘的狂热宗教,相反,这些照片呈现了他们内心真实的一面,和普通人一样,他们也有着自己的希望、梦想和奋斗。“我想表达的是,尽管他们选择了佛教,但他们仍然坚持着做真正的自己。当周围没有游客时,他们会放松下来,卸下面具,做真实的自己。他们坚强又风趣,同时有着自己的信念。”

Websitewww.enochcontreras.com
Instagram: @enochcontreras

 

Contributor: David Yen


网站www.enochcontreras.com
Instagram: @enochcontreras

 

供稿人: David Yen

Persona

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Ao Kim Ngân (aka Yatender) is a Vietnamese photographer who enjoys being in front of the lens. She shoots self-portraits that capture her own feminine essence in all of its authenticity, vulnerability, and sensitivity. From peculiar poses alongside household furnishing to drips of menstrual blood dispersing in toilet water, Yatender’s softly lit photos are surreal but intimate. Despite having achieved an aesthetic and style that’s easily recognizable, Yatender humbly tells us, “I actually never think of myself as a ‘photographer,’ as I usually only take photos for myself.”


越南摄影师  Ao Kim Ngân (a.k.a Yatender) 喜欢把镜头对着自己,捕捉自己身为一个女性, 最真实、最脆弱、最敏感的时刻。在柔和的光线中,她拍摄自己摆的奇怪的身体,经血落在马桶里自然散开的红晕、或是和家中一些摆设的互动……透过日常的物件,当然还有她自己,创造一种既亲密又迷离的氛围。尽管早就自成独特的摄影风格,但她说 “我从不觉得我是一个摄影师。因为我拍自己,也只为自己拍照。”

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“Before I started photographing myself, I was my first love’s muse for a long time,” she recalls. “After I started to develop a sense for photography and considered creating something with a camera of my own, I felt there was something missing in the process of making photos with others, so I chose to shoot and work with myself. It made sense to me because who else knows how we wish to be captured in front of the camera better than ourselves?”


“在拍摄自己之前,我长期是我初恋的拍摄对象。跟摄影开始建立关系后,我一直觉得与别人之间的合作好像少了什么。于是当我拿起相机,第一个想到的就是拍我自己。这不是很合理吗?因为有谁会比我自己更清楚我想要捕捉的画面呢。”

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And thus, the Persona series was born. In the early days of the series, Yatender solely shot with a digital camera. But four months into the project, she picked up her first point-and-shoot film camera and fell in love with the graininess and subdued tones that comes with shooting analog. “I found that there are some limitations with shooting film that really amazed me: the unexpected results, the excitement of waiting for a roll to be developed, the strangeness and unusualness of a ‘bad outcome,’ and so on. It’s these unique qualities that have made me such a huge film lover.”


当《自画像》(《Persona》) 系列刚开始进行时,Yatender 用的是数位相机,四个月后她得到一台底片相机,从此就用底片拍摄。赋予了她作品中这样温柔的色调和特别明显的颗粒感。“我想我喜欢用底片的原因是它的限制——无法预期的结果、和等待它们被冲印出来那种紧张的期待感。最不寻常的惊喜常常都是来自一张‘坏掉’的照片。”

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For Yatender, photography isn’t merely a way for her to capture specific moments of her life. She often doesn’t face the camera in her self-portraits, purposeful avoiding eye contact with viewers. Other times, a movement or lone body part may be the sole focus of a photo. With this approach, she sees her photography as being more of a vessel for her emotions. “This process helps me learn how to accept feelings as a part of our body,” she explains. “To me, the most important thing is being honest with yourself about how you feel – even when you’re hurt or not feeling well. We’re human beings. We’re sensitive and vulnerable creatures, and it’s okay to not always be okay when it comes to dealing with anxiety, stress, or depression.”


Yatender 想透过摄影捕捉的不仅仅止于她某个瞬间当下的样子。很多时候她选择背对镜头,不与我们对视,透过一个肢体动作,她想记录下来的是自己的感受。“情绪也是身体延伸出的一部份。对我来说,最重要的是要对自己的感受诚实——不管你是受伤了、或是感觉不好 。我们都是人类,是敏感、脆弱的生物。并不需要一直假装感觉良好,尤其是当焦虑、压力、忧郁来临的时候。”

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“My life is actually pretty ordinary – sometimes quite boring,” Yatender confesses. “The fact that I only feel alive and driven to take photos when I’m traveling means that I’m often struggling to find inspiration here in Vietnam. It’s hard to stay in one place for too long and still maintain productivity.”

She admits feeling disheartened by the stagnation of Vietnam’s creative environment, believing that the art scene is severely hampered by the country’s authoritarian governance. However, at the same time, she remains optimistic towards the future. It’s limited, underdeveloped – but it is growing – albeit slowly. I truly believe that it will change in time. There are a lot of good opportunities for young artists here to develop themselves and their work.”


“我的生活很平凡,甚至有一点点无聊。我一般都是在旅行路上会获得灵感和特别想拍照,这表示我在越南没办法得到很多刺激。但我想待在同一个地方太久,无论是什么地方,都会有同样的倦怠感。”

谈到越南的艺术创作环境,Yatender 抱著有点灰心、但依然乐观的态度。她认为越南是个被政府控管的社会,艺术产业受到相当程度的限制。“即使现在越南的艺术环境还没完全发展起来,但是已经有在成长了,以一种缓慢的速度。这是我的看法,年轻的艺术家有越来越多机会,我相信情况总有一天会变得更好。”

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Websitecargocollective.com/yatender
Instagram: @yaothemoon

 

Contributor: Yi Xuan


网站: cargocollective.com/yatender
Instagram: @yaothemoon

 

供稿人: Yi Xuan

Unexpected Boxes

A behind-the-scenes look at how Unexpected Boxes was created.

Taiwanese artist Sydney Sie is a photographer and graphic designer who creates surreal, dream-like pictures that blur the line between imagination and reality. Using pastel colors and playful illusions, her work radiates a gentle feminine energy that eases viewers into each scene. Sie approaches every project like they’re her personal playgrounds, places where she can use candy-colored backdrops, mundane props, and familiar body parts to play games of hide-and-seek with the viewers.


来自台湾的谢昕妮(Sydney Sie)是一名摄影师,也是一名平面设计师。如果说要用一个词来概括她的作品,那或许就是:如梦似幻。

她的作品经常充斥着渐变的色彩、错位的视觉效果和柔软的女性气息。平凡的人物和场景,似乎统统隐匿在纯色背景之后,相片中呈现出来的只有经过筛选的景物,宛如置身真实与虚假的边界,并将其镶嵌到一个糖果色的故事气氛中去。

An image from Unexpectable Boxes
An image from Unexpectable Boxes

From the color usage to the methodical compositions, Sie’s experience as a graphic designer shines through in her photography work. But this intermingling of cross-medium concepts doesn’t end there. Having graduated with a degree in animation, influences from her major are also evident in her work – this is perhaps most apparent in her usage of close-up shots and attention to layering. Sie believes merging concepts from all three is what allows her to tell a complete story. In her eyes, photography should be more than just documenting reality – they’re opportunities to create something completely original and never before seen.


无论从色调还是构图的角度来看,Sydney 的作品都带有平面化的风格,那是因为平面设计出身的她,在研究所时期读了动画专业,所以她常用特写镜头,构图也更分解化。但 Sydney 觉得,这样反而更接近“完整呈现”,因为对她来说,摄影不仅仅是“记录”,更是“创造”。

A behind-the-scenes look at how Unexpected Boxes was created.
A behind-the-scenes look at how Unexpected Boxes was created.
A behind-the-scenes look at how Unexpected Boxes was created.

“I like to capture the surreal moments of ordinary life,” Sie tells us. “Rather relying on the pre-existing beauty of subject matters I’m capturing, I like to create unique settings and look at things from atypical perspectives.”

Each one of Sie’s projects is a window into the varied terrains of her active imagination, and this willingness to push the limits of her creative boundaries is what has captivated viewers again and again.


“我喜欢去捕捉现实生活中的超现实时刻……我喜欢去创造一个新的空间,或是新的构图,不依赖本来就很美好的东西。”但或许这就是 Sydney Sie 作品的魔力,让人在她创造的色彩梦境中,不断流连徜徉。

An image from Unexpectable Boxes
An image from Unexpectable Boxes
An image from Unexpectable Boxes
An image from Unexpectable Boxes
An image from Orange Requiem
An image from Orange Requiem
An image from Orange Requiem
An image from Orange Requiem
An image from Orange Requiem
An image from Orange Requiem

Website: www.sydneysie.com
Behance: ~/sydneysie
Instagram: @sydneysie
Vimeo: ~/sydneysie

 

Contributor: Chen Yuan


网站: www.ydneysie.com
Behance: ~/sydneysie
Instagram: @sydneysie
Vimeo: ~/sydneysie

 

供稿人: Chen Yuan

Between Two Cultures

An Rong Xu, a New York-based photographer and filmmaker, explores the world from a unique perspective. Born in China and raised in New York City’s Chinatown, Xu has a wistful and cinematic aesthetic, as well as a deep appreciation for capturing the beauty of the ordinary.


许安荣是来自纽约的一名摄影师和导演。在中国出生,后在纽约唐人街长大,许安荣以自己独特的文化视角探索他身边的世界。他的作品以弥漫着朦胧愁绪的电影美学为标志,尤其擅长捕捉平凡人的美。

Xu says he was raised between two cultures. “Growing up in Chinatown was like learning how to be Chinese through a translator and learning how to be American through my own experiences. I learned about my cultural heritage through my parents and their daily rituals, which was essentially hustle, hustle, hustle. I watched the Chinese New Years parade, with lion dancers going down Mott Street, but I didnt understand its significance. I learned about my culture, yet I was still unsure what any of it meant.” This uncertainty about culture and identity is a consistent theme across Xu’s art: “Often children of immigrants grow up feeling as if we belong neither to our inherited culture nor to our adoptive culture, so in my work, Im in search of what it means to be Chinese-American.”


许安荣跟我们分享了作为一名华裔美国人,在两种不同文化之间成长的经历:“在唐人街长大就像是通过翻译来学习如何成为中国人,同时通过自己的经历来学习如何成为美国人。我从父母和他们的日常礼仪中学习中国文化,这基本上可以用喧嚣这个词来总结。我看过中国的新年游行,看着舞狮沿着莫特街(Mott Street)表演,但却不明白舞狮的文化意义。我在学自己的文化,但是,我仍然不确定也不清楚它意味着什么。”这种关于文化和自我认同的不确定性已成为许安荣所有作品中的一致主题:“作为移民的孩子,长大后我们常常会觉得自己既不属于自己的原生文化,也不属于自己后天成长所在的文化,所以在我的作品中, 我也会去探讨华裔美国人的真正涵义。”

 

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Xu’s work has appeared in Time, GQ Taiwan, Rolling Stone, and The New York Times, among other publications, and he’s shot for companies such as Instagram, Airbnb, Under Armour, and Google. He also directed a series of short films called New Romantics that depicts Asian-American love and relationships. About his creative process, Xu says: “As a photographer, I focus only on the image. As a director, I have to keep in mind image, story, and concept, all while things are moving.”


许安荣曾合作的出版物和公司包括《时代》杂志、《GQ》(台湾)、《纽约时报》、Instagram、Airbnb、Under Armour、Google和《滚石》杂志等。作为电影导演,他拍摄了月播短片剧《New Romantics》,讲述亚裔美国人的爱情和关系的故事。谈及自己的创作过程,许安荣说:“作为摄影师,画面永远是我最看重的方面。作为导演,在画面不断推进的同时,我还必须时刻关注画面、故事和概念。”

Xu tells the story behind an image he captured on a recent visit to Seoul. Not long before he had to return to the United States, he took a walk from Gangnam to his apartment in Haebangchon, on the other side of the river. “As I walked across the bridge, I saw this one couple hugging and looking out onto the river, just talking,” he recalls. I stood across from them, watching them enjoy their night, in love. And at that moment, all these feelings came over me. I wondered whether Id ever feel something like their love, whether I’d ever find someone to share life with. As I watched, they got on their motorcycle, and I waited for them to start pulling away. I caught that moment, just as those two young lovers were about to ride off into the night, so absorbed by each other that they didnt care about anything else.”


许安荣给我们讲述了他最近去韩国首尔时拍摄的一张照片背后的故事。在他即将离开韩国回美国的两天前,他从首尔的江南地区走路回去位于 Haebangchon 河边的公寓。他说:“那天晚上我穿过公园的时候, 看到许多年轻人在野餐,在享受夏日的夜晚。当我走在桥上时,我看到一对夫妇,他们相拥着,凝望着河边聊天。我站在他们对面,看着他们陶醉地享受着这个夜晚,沉浸在爱河中,在那一刻,我的内心涌起了各种的情绪和疑问,譬如,我以后有可能感受到像他们那样的爱情吗?我会找到一个可以一起生活的人吗?又或者,我以后会学会骑摩托车吗?他们开始骑上摩托车,然后我就等着他们骑车离开,我要捕捉住这一个时刻,捕捉住这两个年轻的恋人,两个相互吸引的年轻恋人,他们骑车没入这个黑夜,在他们眼中只有对方,别无他物。”

 

无法观看?前往优酷

In all his work, Xu captures his subjects with an emotional complexity that’s both revealing and intimate. “I try to go in with as much research as possible, to see if I can connect with them, so there’s a sense of trust and intimacy,” he says. “My favorite thing is to go for a walk, or follow along with them to see them in their element.” The honesty behind Xu’s approach to photography and filmmaking may be what makes his work so compelling. He says simply, “For me, an image is beautiful when it makes me ask more questions than it has answers.”


在许安荣的镜头下,他的拍摄对象总是呈现出一种讲述故事的欲望、亲密的情绪和复杂的情感。他解释了自己是如何去了解拍摄对象的:“接近他们时,我会先尽可能做充分的调查,思考应该怎样去接触他们,在我们之间建立信任和亲密感。我最喜欢做的事是去散步,所以如果可能的话,我常常会带着拍摄对象一起散步,沿路看他们做的事情,去观察他们和他们的心情。”正是这种真诚的创作方式,令许安荣的摄影和电影作品在情感上格外引人入胜。他用一句话概括道:“如果一张照片能让我除了看到画面上呈现的答案之外,还想要去追问更多的问题,那么在我眼中,这张照片就是美丽的。”

Website: www.anrongxu.com
Instagram: @anrizzy

 

Contributor: George Zhi Zhao


网站: www.anrongxu.com
Instagram: @anrizzy

 

供稿人: George Zhi Zhao

Danchi Dreams

Toshima Gochome Danchi across Sumida River

DANCHI: Dreams of Modernity is a project by Tokyo-based photographer Cody Ellingham that captures the decline of Tokyo’s ultramodern dreams through its decaying apartment complexes. For the project, Ellingham explored over 40 Japanese public housing blocks, which are known as danchi.


DANCHI: Dreams of Modernity》(团地:现代化的梦想)是东京摄影师 Cody Ellingham 所创作的摄影项目,旨在通过东京市内荒废的公寓大楼,呈现这座城市超现代化梦想的衰落。Cody 探访了大约40个被日本人称为“danchi”(团地)的公共住房大楼。

Kawaramachi Danchi
Toshima Gochome Danchi across Sumida River
Kawaramachi Danchi

Danchi are often built in clusters of up to 70 buildings, with identical exteriors for individual apartments. They began being built in Japan in the 1950s to replace the wooden buildings that were destroyed during World War II. At the time, danchi represented the country’s post-war aspirations and its path towards a new modernity. The vast apartment blocks, often built on the suburban outskirts of the city, were meant to satisfy the booming housing demand of Japan’s rapidly urbanizing population. In 1960, the Hibarigaoka Danchi had even attracted a visit from the Japanese Crown Prince, but fast forward to today, the once-dignified housing complex is now being used as a car park.


“Danchi”通常是由多达70座公寓楼组成的密集建筑群,每一间的公寓楼都有着一模一样的外观。从20世纪50年代开始,日本开始建造 danchi,以取代二战期间被摧毁的木制建筑。当时,danchi 代表着日本的战后愿望及其走向新现代的道路。大片的 danchi 公寓楼群通常建在郊区,用来应对日本因为城市化迅速发展的人口膨胀带来的住房需求。1960年,曾经代表中产阶级地位的云雀丘团地(Hibarigaoka Danchi)甚至吸引了日本王储的访问,但这幢建筑如今已经被改造成停车场使用。

Hibarigaoka Danchi
Shibazono Danchi
Takashimadaira Danchi

As fewer and fewer Japanese choose to live in them, many danchi have fallen into decay. The ones that remain are now mostly inhabited by immigrants and the elderly. According to Ellingham, many of the surviving danchi are viewed by the public as being archaic and pointless – they are often not up to date with earthquake and fire safety standards, and many are not serviced by elevators.


从20世纪60年代以来,danchi 逐渐老化,其中一些甚至沦为荒废之地。今天,越来越少日本人愿意住在 danchi,现在居住在里面的大多都是移民和老人。Cody 表示,在人们眼中,danchi大都是一些过时的建筑,它们通常都不能符合现代地震和消防安全标准,许多甚至都没有装电梯。

Shirahige Danchi
Nakanoshima Tamagawa Danchi
Hiro Gochome Apartment

Ellingham tells us his thoughts about the project and how it began: “The exhibition was inspired by places. It started as an interest in form, but it’s evolved into an interest in why. It’s to understand the way a place can influence lives. In a way it’s quite Kafka-esque – you have the same life as the person next door to you.”


Cody 跟我们分享了他对这个项目的想法以及创作的初衷:“整个展览是以地点为启发的。一开始,我只是出于对形式的兴趣,但慢慢演变成对‘为什么’感兴趣,即地点是如何影响生活的。在某种程度上,这是非常卡夫卡式的——你和你隔壁的人有着同样的生活。”

Toei Hongo Itchome Apartment
Suwa Danchi
Hirao Danchi

Ellingham’s project is an attempt to record a part of Japanese history that will slowly fade away in time, as the danchi are destined to be demolished for newer residential buildings. Despite the melancholic mood conveyed in his photographs, Ellingham sees hope and beauty in the danchi that remain: “There’s a certain kind of nostalgia in these places. The look of it is cold concrete, but inside, you find playgrounds, mural art, community facilities, glimmers of hope, and thei original dream: tomorrow will be better than yesterday.”


Cody 试图通过这个摄影项目,记录日本的一部分历史。随着 Danchi 被逐渐拆除,新的住宅建筑取而代之,这些历史将会随着时间的推移而逐渐消失。尽管他的照片中透露着忧郁的情绪,但 Cody 依然在 danchi 中找到了希望与美丽:“这些地方有着某种怀旧之情。它的外观是冰冷的混凝土,但在内心深处,你会发现一丝希望,运动场、壁画艺术、社区设施,以及最初的梦想——明天会更好。”

Takashima Daira Danchi
Kawaramachi Danchi
Takashimadaira Danchi

DANCHI: Dreams of Modernity will be exhibited on May 12th, 2018. The exhibition will be held in Tokyo’s Koto District. To find out more about the event, click here.


《DANCHI: Dreams of Modernity》摄影展览将于东京江东区 2018年5月12日开幕。了解更多,请点击此处

Shibazono Danchi
Kamakota Apartment
Aoyama Kitamachi Danchi
Shibazono Danchi
Aoyama Kitamachi Danchi
Takashimadaira Danchi
Hirao Danchi
Hiroo Apartment
Mori Danchi
Takashima Daira Danchi

Website: danchi-dreams.com
Instagram: @cbje_tokyo

 

Contributor: George Zhi Zhao


网站: danchi-dreams.com
Instagram: @cbje_tokyo

 

供稿人: George Zhi Zhao

Accentuating Mongolian Beauty

Shagdarsuren Bayarsaikhan, or better known to her fans as Shmio, is a Mongolian fashion photographer residing in Japan. Although she’s currently studying architecture at university, she’s been using photography to challenge the conventions of how the world sees her native country ever since she took up the medium in 2014. Mongolia has long been seen through elements of its traditional culture that the outside world finds exotic, such as yurts, lush grasslands, and fur-clad nomads herding livestock. Shmio’s photographs are a striking departure from this stereotype: Mongolians grace her images in all their unabashed beauty, but without the tropes of Western exoticism.


Shagdarsuren Bayarsaikhan 是一位居住在日本的蒙古时尚摄影师,她更为粉丝所熟悉的名字是 Shmio。尽管她目前正在大学修读建筑学,但自从2014年拿起相机起,她就一直在通过摄影这一媒介来改变人们对她的祖国的一些偏见。一直以来,其它国家人们对蒙古的了解,大都局限于其传统文化的元素,一些充满异国情调的画面,譬如蒙古包、茂盛的草原,或是身穿皮草大衣的牧民在放牧牲畜。而 Shmio 的摄影作品却和这些刻板印象大相径庭:蒙古人独特的面貌让她的照片别具魅力,但却避免了西方世界所理解的那种异国情调。

Shmio’s soft tones and striking subjects have earned her high praise. In her series, Beautiful Mongolian Woman, she shot her subjects in her apartment, in Ulaanbaatar, in front of a plain blue backdrop. The color is a subtle homage to Munkh Khukh Tengri, a Mongolian tradition of worshipping the vast blue sky. Shmio juxtaposes the blue background with the red circles painted on her model’s cheeks. These elements of tradition enhance rather than distract from her subject’s beauty. “I saw her at a party, and saw how she had a very unique Mongolian look,” she recalls, “and I just wanted to capture that look. So we planned a photo session at my home.”


Shmio 作品中的柔和色调和醒目的主题让她倍受赞赏。在创作她的摄影系列《Beautiful Mongolian Woman》(《美丽的蒙古女人》)时,她邀请摄影对象来到自己位于乌兰巴托的公寓里,在简单的蓝色背景前面进行拍摄。这种颜色是蒙古人对“Munkh Khukh Tengri”(指无垠且永恒的蓝天)的一种微妙致敬。Shmio 将蓝色背景与模特脸颊上描画的红色圆圈并列在一起。这些传统元素的添加,意外地突显了模特的美感。“我是在一次聚会上遇到她的,当时就觉得她的脸属于非常典型的蒙古面孔。”她回忆说,“我只是想用镜头记录这样面孔。所以,我们就商量好在我家拍一组照片。”

Shmio also departs from the casual excess of typical Mongolian fashion photography. A meticulously planned minimalism punctuates her work. “I typically imagine what kind of photo I want to take. I feel when I do that I get better photos than when I just show up and see what happens. I have trouble getting good shots if I don’t plan,” she says. She also believes that the background shouldn’t overwhelm an image. “If you have too much going on in the background,” she explains, “you have to make the subject stand out more, and that just makes the image too busy.” Her work stands in stark contrast with the luxury-laden imagery often found in her country’s commercial shoots.

Still, she believes Mongolian fashion photography is starting to move in the right direction.  “Photographers are finally capturing the style and imagery of Mongolian youth,” she says. “Yes, on some occasions even major brands have blatantly plagiarized foreign photographers. Overall, though, it’s getting better.”


Shmio没有遵循蒙古国内许多时尚摄影那种华丽的风格。而是选择以精心策划的极简风格来凸现自己的作品。“我通常会先想好我想拍什么样的照片。比起直接到现场即兴发挥,我觉得这样更能拍出好的照片。如果我不事先计划好,很难能拍到好的照片。”她说道。除此之外,她认为,照片的背景不应该喧宾夺主。她解释道:“如果照片的背景过于复杂,你要更用力地让模特突出来,这样一来,画面就会变得很乱。”她的作品与蒙古商业摄影向来的华丽风格形成了鲜明的对比。

尽管如此,她认为蒙古国内的时尚摄影正开始朝着正确的方向前进。“摄影师终于抓住了蒙古族年轻人的风格和形象。”她说,“确实,有时即使是大品牌也会公然剽窃国外摄影师的作品。但总的来说,还是在进步的。”

Though she doesn’t see herself as breaking with the status quo, she’s considered a bold artist by her peers. “I’m not planning to become a professional photographer anytime soon. I want to pursue a career in architecture. Photography is something I love, something that makes me happy.” The honesty Shmio brings to her photography is also evident in her definition of beauty: “Beauty for me is not something fake. It’s original. It makes you feel calm. As soon as you see it, you can’t help but gasp and say, ‘That’s beautiful.’”


Shmio不认为自己是在打破现状,但在同行眼中,她已经被视为是一位风格大胆的艺术家。“目前我还没打算要成为专业的摄影师。我想从事建筑行业。但摄影是我所喜欢、能让我快乐的事情。”Shmio在摄影中所展现的坦诚也体现在她对美的定义中:“对我来说,美不应该是假的。而应该是原创的,能平静人心的。真正的美,是在你看到它时,你会忍不住吸口气,感叹道‘真是太美了。’”

Facebook: ~/Sh_Mio
Instagram: @Sh_Mio
Behance: ~/Sh_Mio

 

Contributor: Anand Tumurtogoo


脸书: ~/Sh_Mio
Instagram: @Sh_Mio
Behance: ~/Sh_Mio

 

供稿人: Anand Tumurtogoo

Reaching New Heights w/ Zhou Yusi

Based in Shenzhen, Zhou Yusi (or better known by his Instagram handle @ucchow) is a Chinese photographer who finds himself captivated by the rapid development of modern cities. His photography, comprised of awe-inspiring aerial perspectives and geometric structures, captures the chaotic beauty of China and surrounding regions. “I like cities where the new and the old clash together,” Zhou shares. “Hong Kong, Shanghai, and Shenzhen are great examples of this.”


来自深圳的摄影师周于斯(@ucchow),是个善于捕捉“上帝视角”的摄影博主。他的作品聚焦于城市建筑的主题,通过城市风光和建筑结构等拍摄,展现既有摩天大楼之现代,又有市井生活之怀旧的城市,比如香港、上海和深圳。这些城市高速发展的魄力与美,像谜一样吸引着他,也指引着他,一次次从高空俯瞰。

Zhou confesses that he didn’t plan on being a photographer in the beginning. Originally, he went to school to be a software developer, and at the time, he couldn’t even afford a proper DSLR. After graduating and buying his first real camera, he began shooting events and live performances, which, admittedly, weren’t especially creatively stimulating. However, as time went on, his interest in photography continued to grow.

The willingness to keep an open mind has been one of the most important factors in Zhou’s creative journey. Keeping an open mind has helped Zhou tremendously in not only his photography; it’s benefited him in nearly all aspects of life and has given him a refreshing perspective on his unconventional journey to success. “For regular people, they might look back and wish they could’ve seen the bigger picture beforehand or have a clear plan for the future. Not me though,” he tells us. “I revisited my university recently, and even though it’s been four or five years since I graduated and the world has changed so much, the school was the same as it ever was. It’s still out of touch with the real world, and in an environment like that, it’s easy to feel complacent and difficult to think outside of the box. If I had the chance [to give advice to my past self], I wouldn’t tell myself to change a thing.”


也许很难想象到,周于斯也是个“半路出家”的摄影师。他在大学时期学习的是软件工程,也就是俗称的“码农”。转行的契机源于毕业后,他终于有钱买了单反。随之才得以常常在音乐现场拍摄乐手们的演出,由此渐渐踏入摄影这个领域。

回望大学时代,周于斯的感慨显得有些特别:“一般人可能会对过去说,做事情要有眼界、格局之类的。然而现实是,前段时间我回去学校,发现虽然自己毕业已经四五年,外面的社会天翻地覆,学校仍是那个象牙塔,它什么都没变。其实在那种安逸环境中,是很难有大的格局和视野的。也许(我会对曾经的自己说)就继续虚度光阴吧。”的确,无论是摄影、工作还是社会生活,只有走上更宽的道路,登上更高的台阶,才能拥有更广的视野。

Following the purchase of his first drone, Zhou fell in love with taking photos from above. He says piloting a drone makes him feel like a “satellite, drifting idly above and watching the world beneath.” But with his drone, he does more than simply observe. Zhou likens the role of a drone photographer to that of a film director; much like a director, he has the control to frame specific scenes as he sees fit and present a narrative in line with his vision. While the drone is a great tool in his arsenal, what’s even more important than the tool is the creative output that can be achieved with it. It’s this understanding that motivates Zhou to continuously push himself and reach for new creative heights.


而真正意义上上帝视角的形成,是后来的事情。周于斯接触到了无人机拍摄,他笑称自己观看世界的视角,如今已渐渐变成了习惯从卫星地图去看周围生活的地方,因为那样可让他像电影导演一样,去掌控这个城市的画面。所谓会当凌绝顶,一览众山小”——或许吸引周于斯的,也正是这种凌空一切的观感。

“For me, exploration means finding new perspectives, even in parts of the city I’m familiar with,” Zhou shares of his creative philosophies. “It’s not just about hitting rooftops and shooting the same things aimlessly. It’s about discovering the beauty of a street I might’ve pass by countless times before or seeing an apartment or office building in a new light. By presenting unique perspectives of these familiar places, I want people to go, ‘Wow! I can’t believe this is what my neighborhood looks like.'”


探索,意味着在我们生活着的平凡城市,发现不一样的角度。它不只是在楼顶一模一样的位置拍下相同的风景,而是在每个平凡的街道,每天生活的公寓或者写字楼,通过探索发现特别的角度,让大家觉得,原来我们家附近还有这么一个地方!”

Zhou has now fully dedicated himself to both videography and photography but expresses a newfound preference in the former. “Photo editing is much faster. It can take only an hour or so. When it comes to video, it could take up to a day or much more. With the amount of time these two mediums take up, it’s hard to keep going if I wasn’t passionate. But the biggest difference between the two is that videos are much more elaborate. While you need to pay attention to many of the same things you have to watch out for in photography, you also need to consider the plot, storytelling cadence, transitions, sound design, and much more.”

Looking towards the future, Zhou expresses hopes of creating more travel-related video content. But regardless of medium, an earnest enthusiasm to share his adventures and showcase the beauty of our modern metropolises lives on in his work.


现在的周于斯用心经营着自媒体,对外输出着自己拍摄的图像和视频。他曾说:修图只需一小时,而剪视频要花上整整一天时间。如果不是热爱,很难坚持下来。两者比较,其实周于斯更倾向于视频创作。“最大的区别在于,照片是静止的,视频是动态的。除了照片所拥有的一切要求以外,视频还要具备情节、运镜、节奏、音乐等,可以说是更高维度的创作。”周于斯希望,未来能投入更多时间在旅行和影像上面,用宏观视角拍摄和纪录时,也就更能用心去体会各个城市的气质与魄力。

Instagram: @ucchow
Weibo: ~/UC大人

 

Contributor: Chen Yuan


Instagram: @ucchow
微博: ~/UC大人

 

供稿人: Chen Yuan