Tag Archives: photography

Feel the Night Breeze

“I don’t believe you can depersonalize your work—that’s too idealistic,” says Wu Liewei, whose photos, like everything about him, pulsate with energy. This energy might be understood as the collision of the frenetic and the still, like a breaker crashing against a reef.

“My works pay homage to intuition and the subconscious,” he says, though he’s also been known to click the shutter 70 times just to get the image he wants. What Wu really wants seems to be to satisfy some unmet craving.


“去个人化太理想主义了,我不相信。” 这句话来自邬烈威,他是一位摄影师。他的作品和人一样,透出精力旺盛的样子。这种旺盛可以理解成是疯狂和沉寂的相互冲撞,就像浪花拍打在礁石上。他说:“我做作品更尊崇直觉和潜意识” 。但同时,他也会因想要的一瞬镜头而重复按 70 次快门。欲求不满才像是邬烈威追逐的目的。

Wu grew up in Ningbo and moved to Hangzhou for college, but he dropped out after one year. “It was really boring, and at the time I just sort of wanted to be free,” he says. He always liked to explore on foot, and in summer 2013 he began using a camera to record his observations, taking pictures like crazy, as a sort of urban adventure. “I remember I had a Canon 600D, one of the most basic cameras,” he says. He didn’t begin seriously studying photography until he ordered a twin-lens reflex camera. Given how outgoing and talkative he is, it’s hard to imagine him ever being shy, yet he says before he picked up a camera he was quite withdrawn. Photography opened up a valve, and the words and thoughts he used to keep inside came pouring out.


宁波长大的他,大学来到杭州,一年多后选择了辍学,“特别无聊,加上当时又有点渴望自由吧”。2013年夏天,爱到处转的邬烈威开始用摄影记录观察,疯了似的去哪都用相机拍,像是种都市冒险,“我记得那台还是最普通的佳能单反 600D”。然后他又在网上看到胶片的双反相机,买了台后,正式琢磨起摄影。现在的他很健谈,网络上和生活中都是。但你不会想到现在看起来外向又健谈的邬烈威,在接触摄影前,内向而不太说话。摄影就像打开了他体内的某个水龙头,积蓄的话语与观察哗啦地流了出来。

The first thing that catches your eye in Two-Dimensional Code Maze, Wu’s first series, which he began shooting in 2013, are the naked bodies. “Only when you strip off your clothes are you your true self,” he explains. Young, bare-skinned figures appear against a variety of backdrops: city towers, abandoned houses, wooded areas on the outskirts of town. Everything feels both natural and out of place, and it’s hard to imagine what the models would look like with clothes on. “I want viewers to cast aside their labels, to be in this setting and explore how that person relates to that place at that time,” he says. For him, each photograph is a mirror. But what do all these mirrors reflect?

Wu says he can see himself continuing to shoot this series as long as he lives. But he also has another project underway, which he calls The Best of Times.


他最早的系列是 2013 年的《二维宫坊》。连续的裸体,是视觉上对这个系列的第一印象,“去除衣服表现的自己,才是真的自己。” 脱下外衣的年轻身体出现在城市楼宇、郊野绿林、废弃空房之中,一切看上去自然而又带来冲击。我们想象不到穿上外衣,他们会是什么模样。“我想让人去掉原本一切的标签,处于环境中,探索当时那个人和那个地方之间的关系。” 邬烈威说摄影是镜子,那么这一面面镜子,反射出了什么?《二维宫坊》他说会拍到死,除此之外,还有《最好的年代》。

In 2013, the same year he started Two-Dimensional Code Maze, he began documenting his peers, and the photos he’s taken make up the series The Best of Times. “I’m actually a pessimist,” he explains when asked about the title, “but I wanted give this series a more positive name.” The photos focus on his friends, though some are of online contacts who volunteered to model. “I’ve shot a lot of people. Some have kids, some have their own business, some have been abroad for school, and some have even spent time in prison.” Since photographing them, Wu has quietly followed their lives. “I’m thinking of tracking them down in a few years and shooting them again,” he explains.

Most of these snapshots are intentionally styled and posed. Perhaps, as Wu says, “there’s no such thing as a truly candid photograph.” But what is truth? In this pile of images, one figure holds a toy gun and gazes into the distance, while another one looks up, mouth open, standing in a corner. A third face is covered in coins. Are these not true? “Sometimes I feel I’m really not taking pictures—I’m more of an observer, using the camera as a recording device.”


同年,他开始用摄影记录身边的年轻人,这个系列就是《最好的年代》。我问他为什么取这个名字,他说:“其实我是悲观的,但我想作品名积极一点”。这个系列他基本是拍的朋友,也有自发找过来想被拍的网友,“我拍过很多人,他们有些已经生儿育女,当老板的、出国留学的、甚至进牢的。”拍完后,邬烈威仍然会默默关注他们的生活,“我想着过几年再找这些人拍拍。”你能看到,这个系列定格的瞬间大多是刻意为之的造型、身体形态。也许就像他说的:“没有真正意义上的抓拍” 。但什么才是真实呢?这一大堆照片,举起玩具手枪的眼神、靠墙角仰着的头和上扬的嘴角、落满钱币的脸,就不是真实吗?“我有些时候觉得我真的不是拍照的,我更像是一个观察者,只不过摄影当是个记录工具而已。”

Two-Dimensional Code Maze and The Best of Times explore individuals, identities, and social labels, and they seem liberating both for Wu and for the people he shoots—like scratching an itch. Even more liberating was completing his handmade book, Explicit Night Wind, in late 2016. At only 92 pages, it’s surprisingly heavy, and it takes about an hour to look over carefully. “People often say my work is explicit, but what does ‘explicit’ mean?” This question is one of the reasons he created this book. He says he’s seen people looking through it be brought to tears.


《二维宫坊》和《最好的年代》主要是探索人、身份和社会标签,也像是给年轻人和他自己挠痒而伴随的释放。而更让他自己释放的是 2016 年末,这本亲手做的手工书——《露骨的晚风》。整整 92 页,男生一只手拿都会觉得重。如果你仔细读下来,需要大约一个小时。“经常有人说我的作品露骨,但什么才是露骨呢?”,这个疑问是他做这本书的原因之一。他还告诉我,有人读着读着就当他面哭了。

Beyond the large number of photographs and images of people, in this book he tried something new: he recorded the wind blowing over various natural obects, put the recordings on a palm-sized circuit board, and stuck it in the book. “The first page had sound. I sampled the wind and put the recording on a circuit board. But then it broke.”
Paging through the book gives a more intimate feel than seeing the photos in a gallery. It shows images on all kinds of materials and forms a sort of “graphic narrative.” Going through it page by page triggers a visual response and personal memories. “By flipping through this book, you’re actually creating wind,” says Wu. These images lead us through boredom to a world of imagination and vitality.


在当时这本手工书里,除了大量照片、人为形成的图像和痕迹之外,他做了更新的尝试,采集了许多风拂过自然万物时的声音,并利用技术放在了一块巴掌大的电路板里,然后卡在书页上。他告诉我:“其实第一页打开是有声音的,我采样了风声,放在了这块电路板里。但后来坏了”。

翻阅一本手工书比起观看照片来说,带来的体验更为私密。这本书里用各种材料呈现出图像,串联起“图像小说”。一页一页的翻看,能牵动起你的视觉回应和个人记忆。“翻动书本,其实也是在制造风。”他说道。这些图像,带领我们穿过无聊,进入想象力和生命力的世界。

Last year Wu stopped grabbing his camera every time he goes out. He used to think that taking pictures and documenting things was important, documenting. Now he says, “I often forget to take my camera. When I see something I want to shoot, I just stare and blink, and I feel like I’ve got it.”

It’s like they say: to take a good picture, you have to see a good picture.


去年开始,邬烈威不再一定会背着相机出门。从“认为摄影很重要、相机记录很重要”到现在“好几次手机忘带,看见想拍的,就眨眨眼,也觉得自己感受到了”。

我想到一句话:“要拍摄一张好的照片,就必须已看见它”。

Website: wuliewei.com
Weibo: ~/邬烈威
Instagram: @wuliewei1123

 

Contributor: Yang Liazhi
English Translation: Allen Young


网站: wuliewei.com
微博: ~/邬烈威
Instagram: @wuliewei1123

 

供稿人: Yang Liazhi
中译英: Allen Young

Conscientious Storytelling

It’s a rainy afternoon in Manila, and the few pedestrians who remain in the streets are moving along with hurried steps, desperate to get out of the downpour. Under the cover of a black umbrella, 27-year-old photographer Jilson Tiu is walking along at a much more leisurely pace, seemingly unfazed by the rain; this indifference towards the weather is made more apparent by the uncapped 70-200mm Canon lens on the DSLR loosely slung around his shoulder, gathering droplets of rain with every gust of wind. “Sometimes I wish my camera was as waterproof as me,” he chuckles as he wipes it with a shirt sleeve.


在马尼拉的一个下午,雨正淅淅沥沥地下。街上行人稀少,大都行色匆匆,着急地避开这场大雨。在一把黑色雨伞的庇护之下,27 岁的摄影师 Jilson Tiu 的步伐显得悠闲得多,似乎丝毫未受倾盆大雨的影响。一颗没有掩护的佳能 70-200 mm 镜头和单眼相机就这么挂在脖子上,随风刮来的雨水沿着镜头滴落,更衬托出他对雨天的毫不在意。“有时候,我真希望相机能和我一样防水。”他笑着说,随手用衬衫袖子擦拭相机。

Tiu is a street photographer and photojournalist who’s been covering stories across the Philippines since 2010. He’s worked with media outlets like CNN Philippines, the Financial Times, Esquire, and more. Today, he isn’t on assignment but seems no less purposeful as he makes his way through Tondo, one of the most densely populated parts of Manila. This district houses some of the city’s most derelict slums and is where Tiu was born and raised; it’s also become one of his favorite places to shoot street photography. “There’s so much going on and it’s challenging to frame the scenes around here,” he says, “I feel like my photography gets better every time I visit.”


Jilson Tiu 是一名街头摄影师和摄影记者,从 2010 年开始拍摄菲律宾各地的故事。他曾为多家媒体工作,包括菲律宾 CNN、《金融时报》(Financial Times)、《君子杂志》(Esquire) 等等。他今天没有工作任务在身,但也并非是漫不经心地闲晃在汤都区(Tondo)的街道上。汤都区是马尼拉人口最密集的地区之一,许多被社会所遗弃的贫民窟以此地为家。而这里,正是 Jilson Tiu 出生和成长的地方,最近则成为他最喜爱街拍的地点之一。“这里总是有很多有趣的事情在发生,找寻构图的过程也充满挑战。我觉得每次来这里,我的摄影技术都会进步。”

It’s not just technical skills that make Tiu such a brilliant street photographer, though—he’s been able to avoid a common pitfall of street photography: a lack of authenticity and connection. Although often unintentional, many street photographers falsely represent the individuals they’re capturing. They end up with images that offer a distorted view into the lives of people they know nothing about. And without a real connection between the subject and photographer, the resulting images lack crucial context. This means that the shots only feed into a self-serving narrative the photographer has dreamed up, one that’s completely detached from reality.

As a Manila native, Tiu has an insider perspective that imbues his work with an unmistakable sincerity and empathy. His images present the city as he knows it, a vibrant and beautiful metropolis teeming with untold stories.


作为街头摄影师,Jilson Tiu 的出色之处并不仅限于他的摄影技术。更重要的是,他成功避开了街头摄影一个常见的问题:缺乏真实性和连结性。很多街头摄影师常常会以错误的角度呈现他们的拍摄对象,以至于最终成果反映出的不过是自己一无所知的陌生人的生活切面。如果摄影师和拍摄对象之间不能产生真正的联系,那么也会使照片缺少重要的背景情境。意味着这样的创作,只是一个以自我为中心的叙事者的个人满足,是完全脱离现实的。

身为土生土长的马尼拉人,Jilson Tiu 能够从当事人的角度出发,这让他的作品充满一种无可比拟的真诚和同理心。他的街头摄影真切地呈现出他所了解的马尼拉,一个充满活力的美丽城市,包容着无数不为人知的故事。

Since Manila isn’t often seen in a positive light, his work is a breath of fresh air. The capital of the Philippines is often associated with trash-strewn streets, derelict slums, and in recent years, Duterte’s bloody, inhumane war on drugs. “There’s no denying that, it’s here,” Tiu says. “But there is so much life in Manila. It’s a place where both the positives and negatives of life intertwine, and I want to bring it all out through my photography. I want to change people’s view of Manila not by removing the true, negative aspects of the city but by showing the smiles and hope that coexist alongside these things.”


考虑到那些常和马尼拉联想在一起的负面形象,他的作品相当令人耳目一新。说起这座菲律宾首都城市,人们总会想到垃圾遍地的街道、废弃的贫民窟,以及近年来,因为杜特尔特所发起那场违背人道的毒品战争而成为的一处血腥战场。“这些都是不可否认的事实,确确实实发生着。”Jilson Tiu 说,“但是,在马尼拉有非常多样的生活,光明和黑暗在这里交织汇合。我希望通过自己的摄影,将这些不同面向都呈现出来。我想改变人们对马尼拉的看法,不是靠抹去那些负面事实,而是将与这些阴暗共存的希望和笑容展示出来。”

While Tiu enjoys capturing the city’s charms, his background in photojournalism means that he believes the good and the bad both deserve equal representation, In fact, capturing the ugly truths is often times of greater importance to him. “No matter if it’s the drug war, the pollution, or the city’s congested streets, there’s something to be learned,” he says. “These documentations can help show us the errors of our ways, and remind people—whether they be individuals, communities, or politicians—that we can do better.”


虽然 Jilson Tiu 喜欢捕捉这座城市的魅力,他的新闻摄影背景也使得他相信好的和坏的事实都应该获得平等的展现。对他而言,揭示丑陋的真相往往更具有显着的意义。“不论是毒品战争、污染、或城市拥挤的街道,都能让人们有所启示。”他说。“这些纪录可以帮助我们认识所犯下的错误,并提醒人们,不论是个人、团体或政治人物,我们都可以做得更好。”

As the day winds down and the rain subsides, Tiu begins packing up his camera. Just a few hours on the streets has filled his CF card with hundreds of images. While he’d be happy if he ended up with a few shots he liked from the day, it’s not a big deal if he doesn’t. Rather than being driven by a need to “get the shot” at all times, he finds that it can be more meaningful to just appreciate moments for what they are. Grinning, he says, “Sometimes the greatest scenes are the ones you see when you don’t have your camera.”


随着狂风逐渐平息,雨水也逐渐消退,Jilson Tiu 收起了他的相机。在街上游荡的几个小时已经让他的相机记忆卡多了数百张图片。如果有拍到让自己满意的照片,当然很值得高兴。但即使没有,也无所谓。他并不是怀着“拍到好照片”的意图在拍摄的,他觉得单纯去感受那些时刻的存在更耐人寻味。他咧嘴笑道:“最好的画面往往出现在你亲眼看到,但手边却没有相机的时候。”

Website: www.jilsontiu.com
Instagram: @jilson.tiu

 

Contributor: David Yen
Chinese Translation: Olivia Li


网站: www.jilsontiu.com
Instagram: @jilson.tiu

 

供稿人David Yen
英译中: Olivia Li

In the Streets of Saigon

A woman walks past a smoky food cart, turning to hear a vendor a few yards away who appears to be calling out to her. It’s an ordinary scene on an unremarkable street corner in Saigon, but the composition has an accidental perfection: a triangle formed by the lamppost and the rays of sun frame the central figures, whose two faces are separated only by a narrow strip of color. Above them, billows of smoke from the grill suffuse the scene with an otherworldly light. The snapshot seems to conjure a whole social world and elevate to some higher, more ethereal realm. This is street photography at its most eloquent.


一个女人正走过一台热气蒸腾的食物摊车,她转过头去,似乎在回应站在几米外的小贩的呼喊——这是发生在越南西贡 (胡志明市)街边一个极为平常的日常场景,但画面的构图却意外的完美:由灯柱和光束所构成的三角形舞台,正中央是面孔被光线照射的明暗区分开来的主角人物。在他们之上,烤架升起的烟雾弥漫四方,化为一片超凡脱俗的光芒。这张照片抓取到了凡世的一瞬,并将其升华至更空灵的境界。这就是街头摄影叙事张力的极致展现。

Phuong Tran, the Saigon-based photographer who took this photo, is largely self-taught. A copywriter by day, he started taking pictures simply because he had a smartphone and decided to play around with it. “Back in the day, I’d go around Saigon and take pictures of whatever I liked,” he recalls. “I just captured things, and it brought me a lot of fun.”


拍摄这张照片的是自学成才的摄影师 Phuong Tran。他生活在西贡,全职工作是一名文案,会开始拍照仅仅是因为他买了一支智能手机,想要摸索一下而已。“白天的时候,我会在西贡四处乱逛,拍下我喜欢的照片。我只是想捕捉住一些时刻,这个过程很有趣。”他回忆道。

Like many other amateurs, he discovered he had a knack for photography, and that talent quickly turned into an obsession. “It was like another world I could escape to. I thought about it all the time, I began to read materials, and I got praise from friends,” he says. Eventually he decided to upgrade to a mirrorless camera, which allowed him more control over the shots he took. He now shoots with a Sony Alpha 6000, and easy-to-use model that suits his needs.


像许多业余的摄影爱好者一样,他发现了自己在摄影方面的天赋。很快这种天赋演变成为他的热爱。“摄影是我可以躲进的另一个世界。我无时无刻都想拍照,于是我开始阅读相关的资料,朋友也对我的作品给予很多肯定。”最终,他决定从手机升级到微单相机,这让他在拍摄时能有更多掌控。现在,他用的是一台索尼 Alpha 6000 相机。这是一台操作简单的相机,正符合他的需求。

Tran’s work has earned him a devoted following on Instagram. “The most important thing I want to capture in a photograph is the connection between myself and the subject,” he explains. “If that event brings me excitement, or a thrill, or gives me pause—well, that’s something worth capturing. Then comes the question of light, colors, composition, etc., to tell the story in a beautiful way.” Many of his images show light refracted or reflected—piercing smoke, streaming through windows, or blurring background and foreground in a shop window.


Phuong Tran 的作品为他赢得了 Instagram 上一批忠实的粉丝。“一张照片最重要的是要捕捉到我和被摄者之间的连结。”他解释说,“如果某件事物让我感到兴奋、激动,或让我为此停留,那就值得拍下来。再来就是光线、色彩、构图的问题,如何通过好看的画面来讲述故事。”他的许多照片都利用烟雾、窗户等物体来表现光线的折射或反射,或是透过玻璃橱窗模糊背景和前景。

While he’s also taken photos in Burma and Taiwan—where the above image is from—his favorite subject is still Vietnam, and especially his hometown Saigon. Its “messy streets, strange people, and changing appearance” have inspired him since he first started pointing and clicking. His Saigon is a city of bicycles, scooters, overhead wires, its buildings comfortably weathered and daubed in a ubiquitous turquoise.


曾在缅甸和台湾(上面这张照片的拍摄地)拍摄,他最喜欢的拍摄地依然是越南,尤其是他的家乡西贡。这座城市“杂乱的街道、陌生的人和不断变化的市景”都是他至今的灵感泉源。他镜头下的西贡充满自行车、摩托车和高架电线,这里的建筑也披上了一层赏心悦目的绿松石色。

It’s also a city that’s changing quickly. “Just like other Asian cities, Saigon has its own conflict between preservation and development,” Tran says. “Every day I witness the replacement of old by the new, and I think I need to capture these images before they’re gone, to give them a second life.”


这也是一座变化快速的城市。他说:“和其它亚洲城市一样,西贡也面临着发展和保护的两难困境。我每天见证着新旧的交替,我想趁着这些画面消失之前,将它们记录下来,给予它们第二次生命。”

Websitephuongtran.format.com
Instagram: @deewonderer

 

Contributor: Allen Young
Chinese Translation: Olivia Li


网站phuongtran.format.com
Instagram: @deewonderer

 

供稿人: Allen Young
英译中: 李秋群

Shadows & Mirrors

A self-described “skateboarder and photographer,” Chris da Canha has a keen eye for color and light. Raised in South Africa and now based in Seoul, he’s traveled and shot in cities across Asia and Russia. His work, which has been featured in Maekan, Hypebeast, Vanity Teen, Ignant, and many other platforms, explores the subtle changes that play across the city’s architectural and human landscape.

“I learned how to shoot by walking the streets and hunting for the moments that felt right,” he explains. “I’m particularly excited by scenes showing poetic contradictions.” Often these contradictions are just subtle contrasts: a building warped beyond recognition in the hood of a car, a telephone pole whose bewildering network of cables is doubled by shadows. These familiar scenes are rendered slightly unrecognizable by precisely calibrated angles and light.


Chris da Canha 自诩滑板手和摄影师,对色彩和光线有着敏锐的眼光。他在南非长大,现居首尔,在亚洲和中东的城市旅行和拍摄。他的作品曾在 MaekanHypebeastVanity TeenIgnant 和许多其他平台上出现过,主旨在于探索城市建筑和人文景观中的微妙变化。

我通过在大街上散步,寻找感觉正确的时刻,学会了如何摄影。他说,我对呈现诗性矛盾的场景尤为激动。而这些矛盾往往只是微妙的对比:一栋映在扭曲得面目全非的汽车引擎盖上的大楼,被阴影所覆盖的电线杆网路。这些熟悉的场景,在精确校准的角度和光线的作用下,却被渲染得有些难以辨认。

Often the details in these images don’t jump out at first glance, so they reward unhurried contemplation. In the mirrored glass of a skyscraper, a view of the city is slightly stretched and distorted, almost seeming to waver like a mirage—and this, combined with the haze in the distance, gives the scene a slightly unreal feel. In one of the photos below, the intense yellow of the wall makes the rust on the bars of scaffolding seem somehow redder and dirtier; in the other, an almost opaque window casts a greenish tint onto the street below. Such subtle effects give his work an understated drama.


通常这些图片中的细节不会在第一眼就跳出来,它们会回馈那些不慌不忙的观者。在摩天大厦的镜子里,城市的景色被稍微拉伸和扭曲了,看起来就像海市蜃一样摇摆不定——再加上远处的薄雾,给人一种轻微的不真实的感觉。在下面一张照片中,强烈的黄色墙壁,使得脚手架上的锈迹看起来更红更肮脏;而在另一张照片中,一扇几乎不透明的窗户,把一层绿色的色彩投射到下面的街道上。这种微妙的效果赋予他的作品一种低调的戏剧性。

Fascinated though he is by the sharp contrasts in color and shadow in the built environment, Da Canha also takes pictures of people. In fact, the bulk of his work centers on human subjects, often strangers he spots on the street.

These images seem to split the difference between portraits and candid snapshots, an effect he achieves by closely cropping them. “When I shoot, I’m thinking about what information I want to show, and what doesn’t belong,” he explains. “That helps with the composition, and I suppose makes it seem more careful,” he explains. “I find faces interesting, more often than not, and when the information around the face isn’t worthwhile, I shoot a little closer, and that’s developed into a kind of street portraiture.”


虽然他被城市建筑环境中那些鲜明的颜色和强烈的阴影对比所吸引,Chris 也还会为人物拍肖像照。事实上,他的大部分作品都是以人为主题的,且通常是他在大街上发现的陌生人。

这些照片似乎在肖像和人物抓拍之间划分了界限,因为 Chris 通过仔细的剪裁来达到这样的效果。当我拍照的时候,我会想我想要展示什么信息,什么信息需要删除。他解释说。这对构图很有帮助,我想这让它看起来更细致,他解释说。我发现人物的面部往往很有趣,当面部周围的信息不值得入镜时,我就拍得更近一些,这就发展成了一种街头肖像画。

Da Canha has lived in Seoul for the past five years, and thrives in the crackling electricity of the city’s creative scene. “Seoul was recommended to me by a friend living here at the time. I came and have never looked back. Korea’s a wonderful country, splitting at the seams with energy, and Seoul gets bigger every time you blink,” he says. He’s especially enthusiastic about the country’s photography community. “You won’t find a friendlier group of talented people excited to create rad imagery.”


Chris 在首尔生活了五年,在它创意界蓬勃发展期中成长起来。当时住在这里的一个朋友向我推荐来首尔的。我来了,从未回头。韩国是一个神奇的国家,充满活力,你眨眼间,首尔就好像变得更大了。他说。他对这个国家的摄影界特别有热情。你不会找到一个更友好的充满才华的大集体来创造这样的图景了。

Da Canha has shot for fashion and lifestyle brands, and has a collection recently appear in Dreamingless. He’s also begun a yearlong project intended for print, with 12 series of photographs grouped together under different aesthetic themes. Photography is his job, but it’s also his hobby, and he’s always on the lookout for something striking. “Daily life is more enjoyable when you’re actively looking for what you like.”


Chris 也为拍摄时尚和生活方式品牌拍摄照片,并有一个专题集最近出现在 Dreamingless 上。他还开始了一个为期一年的项目,计划刊印成册,将呈现 12 个系列的照片和其不同的美学主题。摄影是他的工作,但也是他的业余爱好,他始终都在寻找那些令人注目的东西。当你积极地寻找你喜欢的东西时,日常生活就会变得更加愉快。

Websitefourfiftyonedegrees.com
Instagram: @chrisdacanha

 

Contributor: Allen Young
Chinese Translation: Chen Yuan


网站fourfiftyonedegrees.com
Instagram: @chrisdacanha

 

供稿人: Allen Young
英译中: Chen Yuan

Fighting Evil with Evil

“Ye Zhong and You Guang are evil spirits who appear in the dead of night and strike fear in other devils. Fighting evil with evil, men came to evoke their names to ward off war and plague, calling them the Gods of Night.”

 

This is the description that opens the photo series Historical Photographs of the Gods of Night Vanquishing Demons, by Chinese digital artist Zhao Guodong. The series was inspired by folktales that date back to the Han dynasty—in the tales, Ye Zhong and You Guang were menacing deities believed to be powerful and evil enough to fend off wounds and plague.


“野仲、游光厉鬼也,三更出而百鬼惧之。后人以恶制恶,题其名可避刀兵瘟疫,谓之夜游神。 ”

 

这是赵国栋夜游神降妖旧影系列所撰的开篇描述。作者本人是一位原画设计师,这原本是他自己的一个故事创作,灵感来自于汉代的民间传说:野仲、游光实为传说中的厉鬼,当时人们以其之名来辟兵辟疫(指避免受兵器伤害、免遭瘟疫)。

“The night deities are beings whose unparalleled malevolence is believed to counteract lesser evils,” Zhao explains. “I think the main reason people put their belief in these wicked deities as opposed to good spirits wasn’t that they wanted evil beings to destroy one another but that they considered the compassionate deities unreliable. Even today, the world is paralyzed with similar fears: for the common people, law and justice aren’t enough to shake off the uncertainty and fear of falling prey to evil-doers. People cheer on vigilantes who operate outside of the law. This observation, combined with my interpretation of the demons and gods of ancient lore, is what inspired this series.”


 “这里的夜游神,就是以恶制恶的凶神。”国栋说,“我觉得人们之所以寄希望于凶神而非善神,其根本原因不是希望恶鬼自相残杀,而是对于善神的手段并无信心。时至今日,全世界都依然会充满这样的恐惧,即法律和正义无法使普通人摆脱对恶人的恐惧和忧虑,我们越来越寄希望于个人英雄的非法制裁。正是基于这样的创作初衷,结合古代的神魔怪志,就有了这个系列的插图创作。”

While undeniably nightmarish, the demons and beasts of Zhao’s work are a marked departure from the over-the-top character designs of Hollywood blockbusters. He explains he didn’t want to overdo their features, and against the ramshackle, overgrown backdrops, they look even more realistic. The spirits he’s conjured—from a chimerical beast with a lion’s head and a dragon’s body to a humanoid creature with jagged horns—are all culled from Chinese mythology. I love animals, especially the legendary creatures depicted in traditional Chinese sculptures,” he notes. “It was from studying their forms that I learned about how art can be powerful and humorous at the same time.” 

Zhou, leveraging Chinese mythology and modern fears, has managed to restore one of China’s oldest folktales in spine-chilling fashion. Don’t stare too long at these images after dark, or you just might find yourself inside one of these haunting dreamscapes the next time you close your eyes.


这些宛如梦魇中的奇禽异兽,和好莱坞大片中的设计形象不一样,国栋说他“并没有给予过分夸张的造型设计”,龙首狮身、牛头人面,都从中国神话传说中而来,再加上荒草萋萋的布景,看上去就更真实。“我非常喜欢动物,更喜欢中国雕塑里的动物和神兽。它们都非常的有趣。我从这些传统的石兽形象中学到了一种艺术的拙劲,一种很内敛的幽默感。”

昏暗的光景下,看着图中的奇兽,仿佛令人置身幻境一般,而中国历代还有多少神话传说,也实在是巧绘难描。

Weibo: ~/sandaosi
 


Contributor: Chen Yuan
English Translation: David Yen


微博: ~/sandaosi
 


供稿人: Chen Yuan
中译英: David Yen

Using White Balance

This story is part of a content partnership and media exchange between Neocha and VSCO. Their membership program, VSCO X, is designed to help you reach your creative potential. Take the next step in your creative journey by starting your free 7-day VSCO X trial today and gain access to the complete VSCO preset library, the newest editing tools, and inspiring educational content.

 

The White Balance tool is best used for making broad color adjustments. If you use a preset that creates a strong color cast, or if you just captured an image where the colors feel a bit off, you can use the White Balance tool to create a more accurate feeling tone.


本篇文章来自新茶媒体合作伙伴 VSCO 的内容交换。VSCO X 是一个专门帮助摄影爱好者发挥创造潜力的会员项目。现在就开启你的 7 天免费 VSCO X 试用创意之旅,即可获得的 130+ 预设滤镜,以及新的编辑工具、视频编辑和教程内容。

 

白平衡工具最适用于进行整体的颜色调整。如果您使用的预设偏向某种特定颜色,或者你所拍摄的照片色彩感觉不太对时,你可以通过白平衡工具调整出更准确的色调。

Looking at Color / 观察色彩

The White Balance tool gets its name for its ability to make sure the white hues in an image display without any off tints or casts. By balancing for known white or light gray tones, other colors will often fall into place. With this in mind, look for a reference point in your image that you can confidently ‘match’ by making adjustments with the White Balance tool.


顾名思义,白平衡工具就是用来调整图像中的白色调,使其不带有任何其它色调。通过调整白色调或浅灰色调, 其它的颜色也会获得相应的调整。因此,不妨先在图片中找一个参考点,然后就可以更有把握地使用白平衡工具进行相应的调整。

Finding Balance / 寻找平衡

Once you find your reference point, try to identify what might be making it feel off or how you may want to intentionally shift the color.

Is it too warm and yellow, or too cool and blue?

Use the Temperature slider.


一旦你找到参考点, 试着找出色调感觉不合适的原因,想想你应该如何有目的地调整色彩。

颜色太暖、偏黄色调,或是太冷、偏蓝色调呢?

使用色温滑块。

Is there a green tint, or does everything feel a little too pink?

Use the Tint slider。


整体色调是不是偏绿,还是有点太粉了?

使用色调滑块。

By working with these four colors, you can use the White Balance tool to correct almost any kind of light. Working in small increments, use the sliders to gradually shift the color to a point that matches what you had in mind. By practicing this process, you’ll soon be able to spot easy adjustments and quickly eliminate color casts, especially in tricky lighting conditions.


通过调整这四种色彩,你可以通过白平衡工具校正各种类型的光线。使用滑块进行细微调整,直至色彩符合你的预想。不断练习这个过程,很快你就会发现,很容易就能知道该如何进行调整,快速校正在复杂光线条件下拍摄的图片色偏问题。

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