Tag Archives: street photography

The Chaos of Hong Kong

Duran Levinson is a filmmaker originally from Cape Town, South Africa. Aside from filmmaking, he’s an avid globetrotter and photographer whose travels have taken him throughout Asia. He admits the massive metropolises of Asia fascinate him way more than his hometown. Out of his travels, one of his favorite locations to capture is Hong Kong, a place he frequently visits every year for weeks at a time.


Duran Levinson是一名来自南非开普敦的影片制作人,但在拍摄影片之外的时间,他也喜欢带着他的相机去四处拍照。除了他的家乡南非之外,他更情迷亚洲的城市,香港就是其中一个他特别钟情的拍摄地点。Duran每年会去香港旅行几次,每次待上半个月左右的时间。

“The Kowloon side of Hong Kong appeals to me the most because of the chaos and beauty,” Levinson fondly describes. “I love that it’s so messy, so busy, and so cluttered. For photography I would say it is one of the most interesting places in the world I have ever photographed in.”


“我喜欢九龙地区的杂乱,这里就像是整个世界被浓缩在一小块区域里。这种混乱嘈杂和忙碌正是九龙最吸引我的地方。这里有最有趣的建筑,但走几条街又有自然风景。对于一个摄影师来说,我可以说这是全世界我拍过最有意思的地方了。”

Beyond the chaotic beauty of Hong Kong, Levinson’s love of the city can also be attributed to the people he’s met there. “I have so many great friends in Hong Kong. I always enjoy spending time there working and shooting with new and old friends. I believe people in Hong Kong are more exposed to creativity than a lot of other Asians, and this can help with planning and organizing shoots. I find that my friends in Hong Kong are always down for adventure and spontaneous photo missions.” See more of Hong Kong through his eyes below.


另一个喜欢香港的原因,Duran说是因为那里的人。“我有很多好朋友在香港,我很享受拍摄时和老朋友叙旧,也喜欢通过拍摄认识新的朋友。比起亚洲其他地方,这里的人更多受到西方文化的影响,他们更大胆。拍摄时我有什么新奇大胆的想法,他们都很愿意去尝试去冒险,这也是我喜欢在这拍照的原因。”下面一起随Duran的镜头看看他眼中的香港吧。

Websiteduranlevinson.com
Instagram: @duranite

 

Contributor: Ye Zi


网站duranlevinson.com
Instagram@duranite

 

供稿人: Ye Zi

Kowloon Wasted Youth

Kowloon Wasted Youth is a photography series by Andreas Demeter, a German photographer, DJ, music producer, and art director currently based in Hong Kong. Shot on 35mm analog film without the use of any postproduction, the series is a visual diary of moments from the artist’s life, shot between 2016 and 2017.


Andreas Demeter是来自德国的一名摄影师、DJ、音乐制作人和艺术总监,现居香港。在2016年至2017年期间,他用35mm胶片拍摄了《Kowloon Wasted Youth》系列,作为一个记录生活的视觉日记,所有照片都没有经过任何后期编辑。

Demeter says about the series, “I wanted to give a glimpse into the odd beauty, seductive charm and harsh contrasts below the shiny surface of this hopelessly overpopulated post-colonial melting pot of Eastern and Western culture that likes to dub itself ‘Asia’s World City’ – a term that is being scoffed at by the local youth of today in a time of weltschmerz and political uncertainty, grasping for freedom and autonomy, while being forced to give in to the slow and sneaky erosion of hypercapitalism.”


Demeter在介绍这一摄影系列时表示:”我想展现那些奇特的美丽、诱人的魅力,以及在这个人口极度过剩的后殖民地、东方和西方文化的大熔炉中,光鲜繁荣的表面之下强烈的矛盾对比。这座城市自称为‘亚洲的世界都市’,然而,在这个充满悲观主义和政治不确定的时期,对于那些想要获得自由和自主权、又不得不屈服于超资本主义缓慢而诡秘的侵蚀的香港青年来说,这只是一个充满讽刺意味的称号。”

For Demeter, Kowloon encompasses a more authentic side of Hong Kong, in contrast to the shiny skyscrapers and sterilized streets of Hong Kong Island. Through his series, he hopes to capture a side of Hong Kong’s youth culture that is “a lot more local, charismatic, charming, and authentic.”


对于Demeter来说,与香港岛的摩天大楼和干净街道相比,九龙代表着香港更真实的一面。通过这一个摄影系列,他希望能够体现出他眼中”更地道,更有魅力和更真实“的香港青年文化。

Tumblrandreasdemeter.com
Instagram: @dredogue

 

Contributor: George Zhi Zhao


Tumblrandreasdemeter.com
Instagram: @dredogue

 

供稿人: George Zhi Zhao

DERIVE

Cody Ellingham is a designer and art director based in Tokyo, Japan. After moving to Tokyo in 2012, he became mesmerized by “the urban landscape and neon fantasies of the world’s first cyberpunk city.” His multimedia project DERIVE uses reflection and unique perspectives to explore his experience of the metropolis.


Cody Ellingham是居住在日本东京的设计师和艺术总监。 2012年搬到东京后,他被“世界第一个赛博朋克(cyberpunk)城市的霓虹灯夜景”迷住了。他的多媒体项目——《DERIVE》,使用反射和独特的视角探索着他在这个大都市的生活。

Website: cbje.jp
Facebook: ~/derive.tokyo
Instagram: @cbje_tokyo

 

Contributor: George Zhi Zhao


网站: cbje.jp
脸书: ~/derive.tokyo
Instagram: @cbje_tokyo

 

Contributor: George Zhi Zhao

Tokyo Compression

Tokyo Compression 12 (2010)

German-born artist and photographer Michael Wolf started his career as a photojournalist in 1994. After spending nearly a decade working in Hong Kong for the German magazine Stern, a lack of interest in many of his assignments and a lack of time for his personal projects led him to pursue fine art photography full-time in 2003. In 2004, he won first prize in the World Press Photo competition’s Contemporary Issues category for his compelling photo series China: Factory of the World where he captured workers in different types of factories. The award would be the first of many as his body of work continued to evolve and grow.


ドイツ出身アーチスト兼写真家のMichael Wolf は、1994年にフォトジャーナリストとしてそのキャリアを歩み始めました。香港に在住中の10年近くをドイツ系雑誌・Sternのジャーナリストとして過ごす間は、大半の職務に興味を見出せないまま、自分のやりたいプロジェクトが行えない日々を過ごす時期が続きました。そのような状況の中、2003年にプロの美術写真家に転向し、翌2004年には世界報道写真展の現代社会部門にて、様々な工場で働く労働者達の姿を捉えた作品集のChina: Factory of the World で初の賞を獲得しました。この賞はその後の作品の進化と成長や、多くの受賞作を生むきっかけになったのです。

Tokyo Compression 54 (2010)
Tokyo Compression 57 (2010)
Tokyo Compression 35 (2010)
Tokyo Compression 31 (2010)

In the years since, he’s become a significant name in the contemporary art scene, developing an exceptional body of work around life in the cities of China, Hong Kong, Tokyo, Chicago and Paris. His photographs are a profound embodiment of urban life, from Bastard Chairs and 100×100 to Transparent City and Real Fake Art among other numerous projects. Most of Wolf’s images display a unique internal look into peoples’ lives within both the suburbs and bustling centers of megacities. Through his photography, Wolf’s intent is to capture and present his vision of the dynamics of city life as well as his perspective on the turbulent nature of the urban environments. Tokyo Compression is one of those stark manifestations.


それ以来、当人は現代のアートシーンで重要な役割を担う存在となり、中国の他、香港、東京、シカゴ、パリなどの都市生活を描く素晴らしい作品を制作してきました。数多くの作品の中でも特にBastard Chairs100×100Transparent CityReal Fake Art は、都市生活の鋭い洞察が具体的に表されています。本人が想像するイメージの大半では、大都市の目まぐるしく動く中心部や、近郊の人々の生活を捉えた独特な眼差しが映し出されています。カメラのレンズを通して都市生活の原動力となるビジョン、そして都市という渦巻く環境を彼なりの視点で捉えて描こうとしたのです。その視点は、Tokyo Compressionプロジェクトに最もよく表されています。

Tokyo Compression 125 (2010)
Tokyo Compression 126 (2010)

First presented in 2010 as a book, Tokyo Compression is a photo series that consists of candid portraits of Japanese people inside the jam-packed Tokyo subway trains, a stream of nameless faces pressed up against a window wet with condensation. Creating a sense of hardship, the images depict an urban hell, a mental compression of sadness and despair, madness and anxiety.


2010年にまず単行本として発表されたTokyo Compressionは、東京の地下鉄の満員電車内でお互いが押し合いながらも汗まみれとなり、窓に押し付けられて何とも言えない表情が映し出された、日本人のありのままの姿を集めた作品集です。人々の苦労を映し出すイメージは、都市の苦しみ、悲しみに溢れた精神的な圧迫感、そして絶望、狂気、不安な様子が表されています。

Tokyo Compression 18 (2010)
Tokyo Compression 75 (2010)

Wolf’s photography has shown the adaptability of human spirit against adversity in one of the most ultimate urban environments: the city’s underground. Capturing the everyday commuter life in Tokyo’s subway, Wolf has managed to present the physical and mental reduction of privacy and space in the daily routine, imbued with a feeling of dismal, overwhelming and total vulnerability to the city.


写真からは、大都市の地下という最も過酷な環境において、逆境に耐えて順応しようとする人々の精神が伺えます。普段の東京の地下鉄の様子から私生活が奪われ、行き場が減ることで心身共に衰えゆく人々の様子と、大都市に対する優越感や圧倒感、そして心の弱さが表現されています。

Tokyo Compression 55 (2010)
Tokyo Compression 77 (2010)
Tokyo Compression 80 (2010)
Tokyo Compression 52 (2010)

In 2009, Wolf’s Tokyo Compression series won first prize in the World Press Photo Award’s Daily Life category. Now interchangeably living and working in Hong Kong and Paris, Michael Wolf continues to pursue his personal projects where he explores and reveals an inward world of big cities through his lens.


このTokyo Compressionシリーズは、2009年世界報道写真展の日常生活部門で最優秀賞を獲得しました。現在当人は、香港とパリを仕事と生活の拠点として活動し、レンズを通して大都市の奥深くを追いかけて表現する、独自のプロジェクトを手掛け続けています。

Tokyo Compression 17 (2010)
Tokyo Compression 66 (2010)
Tokyo Compression 123 (2010)

Micheal Wolf’s solo exhibition Hong Kong – Informal Solutions is now on display at the M97 Gallery in Shanghai. The new exhibit features photographs, video loops, and artifacts collected from the back alleys of Hong Kong.


上海のM97画廊では個展のHong Kong – Informal Solutionsが開催されています。新作が披露されているこの展覧会では、写真、動画ループ、香港の裏通りで見つかった工芸品が展示されています。

Websitephotomichaelwolf.com
Facebook: ~/michael-wolf

 

Contributor: Anastasia Masalova
Images Courtesy of Michael Wolf & M97 Shanghai


ウェブサイトphotomichaelwolf.com
Facebook: ~/michael-wolf

 

寄稿人: Anastasia Masalova
Images Courtesy of Michael Wolf & M97 Shanghai

On the Road with Kenzo Ejiri

Kenzo Ejiri is a Japanese-Australian photographer, graphic designer and architect. He is currently a designer by profession, but his passion for photography has led him to become the award-winning photographer he is today. In 2015, Kenzo’s portrait entitled My Father and Mother, part of the series Tokyo Revisited, was included in the Taylor Wessing Photographic Portrait Prize at London’s National Portrait Gallery, one of the country’s high-profile photography prizes. He recently spoke with us about his prolific career as a photographer.


ケンゾー・エジリ氏は、日系オーストラリア人の写真家であり、グラフィックデザイナーであり、 建築家でもあります。多文化の家庭で育ったエジリ氏の受け持つ分野も多様です。エジリ氏の職 業はデザイナーであり、娯楽として行う写真撮影は、受賞歴があります。2015 年、Tokyo Revisited シリーズの一部であるエジリ氏の肖像写真「My Father and Mother」は、ロンドンナシ ョナルポートレートギャラリーのイギリス有数の写真賞である、テイラー・ウェッシング・ポー トレート写真賞(Taylor Wessing Photographic Portrait Prize)受賞作品の一つとなりました。最近、写真家としての豊富なキャリアについて、エジリ氏に話してもらいました。

Neocha: You work across several different disciplines, from web and application design to photography and architecture. How did you get started with these different disciplines along the way?

Kenzo: I think it’s down to me being a “grass is greener” kind of person, meaning I have a short attention span. I like to continuously learn new things without ever really knowing what I want to be in the long run. I have a good feeling that I will always be like this. I don’t mind bouncing between different disciplines. I knew from relatively early on that I wanted to be doing something design related or just something in the creative field. So while I was in university, I thought that I would choose a subject which would allow flexibility, something in creativity, design, or architecture. I knew that if I trained as an architect, I would be able to go into other creative fields if I wanted to change my mind. It also helps that both my parents are architects.


Neocha: あなたの作品は、ウェブ・アプリケーションのデザイン、写真、そして建築というように、いくつかの分野にわたっています。異なる分野を習得した経緯をお聞かせください?

Kenzo: それは、自分自身に理由があります。私は、「他人のものが何でもよく見える」と思うタイプの人間であり、注意力が持続する期間が短いのです。長続きするかどうかあまりわからずに新しいことを学び続けることが好きです。新しいことを絶え間なく学ぶことは、心地よいことです。キ ャリアの比較的初期から、デザイン的なことや、単に創造的なことをしたくなるだろうと思って おり、大学では創造やデザインでかなり柔軟になれる建築を選ぶだろうと考えてはいましたが、 異なる分野をあれこれと試すことを厭いません。建築家としての訓練を受ければ、気が変わると 他のクリエイティブな分野に転向するだろうということは、わかっていました。また、両親が建 築家であったことも助かりました。

Neocha: How do you describe the importance of all those disciplines for you as an artist? For example, how do you differentiate what you do for the sake of art and what you do toward developing your career?

Kenzo: To be honest, I like to keep them separate. I’ve never really focused on photography as a career role because I didn’t want to taint it or rely on it. As soon as there’s pressure or a goal with photography, it can be easy to start to not enjoy it, so I’ve always kept it as my hobby that I can resort to and enjoy. I design for my career and take photos for enjoyment or as you said for “the sake of art”.


Neocha: 芸術家として、これら全ての分野の重要性について述べていただけますか?例えば、芸術のための仕事と、どちらかというとキャリアのための仕事をどう区別しますか?

Kenzo: 率直に言うと、自分はそれぞれを別々のことにしておく方です。写真撮影に染まることや、そ れを頼ることはしたくはないので、職業の役割として写真撮影に集中したことは全くありませ ん。写真撮影は、プレッシャーや目標ができるとすぐに楽しいものではなくなってしまうことで しょう。このため、写真は常に趣味の一つとして楽しんでいます。したがって、デザインはキャ リアのために行い、写真は楽しみのため、先ほどおっしゃった「芸術のため」に撮影していま す。

Neocha: You like traveling – what does the term “on the road” mean to you?

Kenzo: On the road to me means a good thing. It means travelling without really knowing or minding where you’ll end up. I did this around China and through Tibet, hitchhiking and going wherever the car, bus, bike would go.

I take pictures of places that I get inspired by, Tokyo definitely has a certain appeal that come across well in photos. A lot of it is down to the simple fact that I travel there every year to see family. If I travel anywhere, I’ll probably be taking pictures. If I’ve never been somewhere before that’s when I take the most pictures, like a true tourist.


Neocha: 旅行がお好きですよね。「旅に出る」とはあなたにどのような意味があるのでしょうか?

Kenzo: 旅に出ることは、良いことです。つまり、目的地を把握したり考えたりせずに、旅行をするこ とです。中国のあちこちやチベットの至るところでヒッチハイクや車、バス、自転車で行き先を 気にせずに、旅行をしました。

インスピレーションを受けた場所で写真を撮ります。東京は、写真を上手く撮れるような特定の 魅力があることは確かです。こうしたことの多くは、ただ私が毎年家族に会うために東京を訪れ るという単純なことが理由です。どこへでも旅行をするとしても、きっと写真を撮っているでしょう。初めて訪れる場所にいたとしても、その時は、まさしく旅行者のようにほとんどの写真を 撮影するでしょう。

Neocha: How people usually react to your camera in a strange place?

Kenzo: I get the same reaction anywhere I take photos. I try not to invade people’s space or privacy, but it’s all relative to the person you’re taking a picture of. So I wouldn’t say there’s any difference. Of course, the more touristy a city or place is, the harder it is to take photos. I guess all the locals are kind of tired of having their photo taken. This was definitely the case in Morocco. Most of the time wherever I take photos I can get away with taking the photo by giving them a big smile. But it doesn’t work every time.


Neocha: 変な場所であなたのカメラを向けられる人達は、普通どう反応しますか?

Kenzo: どこで写真を撮る時も、反応は同じです。他の人達の心理的縄張りやプライバシーに踏み込も うとはしませんが、反応は全て被写体となる人によるので、反応が違うとは言えないと思いま す。もちろん、街や場所が観光地化されるほど、地元の人達は皆、写真を撮られることに少々う んざりしていると思うので、写真を撮るのは難しくなります。疑いなく、モロッコは、そういう ところでした。どこで撮影しても、ほとんどの場合、笑顔をすれば写真をただで撮らせてもらう ことはできますが、毎回それが可能ではありません。

Neocha: What’s your most memorable experience of confrontation between you and your subjects?

Kenzo: The most confrontational time was when I was taking pictures of the London riots that took place in the summer of 2011. I remember being surrounded, and I managed to talk my way out of a situation by deleting a lot of my photos, as people were worried I would report them to the police. I still managed to get some good shots, but I was a lot younger and more naive then.


Neocha: あなたと被写体の間での最も記憶に残っている対立は何でしたか?

Kenzo: 最も対立したのは、2011 年夏に起きたロンドンの暴動を撮影していた時でした。人々は警察に 通報されることを懸念しており、私は囲まれ、多くの写真を削除して、何とか話してその場を逃 れたことを覚えています。それでも、良く撮れた写真を何枚か得ることはできましたが、その 頃、私は今よりずっと若くナイーブでした。

Neocha: Have you ever felt in-between cultures and how do you handle it? How do you interpret this feeling in your work?

Kenzo: I always feel in-between cultures but I’ve never seen it as a bad thing. I’m half Australian and half Japanese, and the way I see it is I’m getting the best of both worlds and perspectives. It’s a key thing in my photography, I like to take pictures of things that are very different to what I’m used to and I try to make it interesting with little tricks. The tricks could be with lighting, or where I put my subjects. All in all, what I’m technically doing with my photos is reflecting what I am already seeing – which is something different. I try to avoid taking the photo that everyone else is taking or has taken. That’s always something that I’ve done and my friends encourages me and tells me I have to be different. Sometimes that’s a good thing, sometimes it’s a bad thing.


Neocha: 異文化の間にいると感じたことはありますか?また、そうしたことをどう扱いますか?仕事で そのような感覚をどう捉えますか?

Kenzo: 文化の間にいるということは、常に感じていますが、それをネガティブにとらえたことは一切 ありません。私は半分オーストラリア人で半分日本人であるので、そうした生き方を常にしてき ました。しかし、双方の世界または視点の最も良いところを持っているという見方をしていま す。それは、私の写真撮影における重要な点です。これまで慣れ親しんだこととかなり異なる物 の撮影をすることが好きで、ちょっとしたトリックを使い面白く見えるように撮るのです。その トリックとは、光や被写体の置き方かもしれません。技術的に言えば、私が写真で行っている全 ては、どこか他とは異なった自分が既に見ていることを反映させることです。他の誰もが撮影し ている写真や、既に撮影した写真の撮影は避けようとします。これは、私がこれまで行ってきた ことであり、友達が指摘することです。他と違うように撮影しなければならないのです。それは 時により良いことであったり、悪いことであったりします。

Websitekenzokenzo.com


Contributor: Shanshan Chen


ウェブサイトkenzokenzo.com


寄稿者: Shanshan Chen

A Short Tour of Manila

In her photography, Catherine Ramos (aka Kleng Ramos) likes to capture the life, charm, energy and the colors of the everyday scenarios that she encounters in the streets of the Philippines, or wherever she goes to travel. She first started shooting in high school with a simple point and shoot digital camera, and ever since then she gets a thrill in capturing things that are rarely seen.


Sa kanyang potograpya, gusto ni Catherine Ramos (na kilala rin bilang Kleng Ramos) na kumuha ng larawan ng buhay, alindog, enerhiya at  mga kulay ng araw-araw na senaryo na nakakasalubong niya sa mga lansangan ng Pilipinas, o saan man siya maglakbay. Nagsimula siyang kumuha ng larawan noong siya ay nasa mataas na paaralan na may simple point at shoot digital camera, at simula noon ay nakakuha siya ng kagalakan sa pagkuha ng larawan ng mga bagay na pambihirang makita.

When asked about Manila, her home city, Catherine tells us, “What I like the most in this city is that there’s always something going on here. This city is busy, yet so lively.” For her, there are always new hang-out places, dining and drinking places pop up constantly, and there never seem to be a shortage of events. The locals in Manila also really know how to have fun and be hospitable.


Nang tanungin siya tungkol sa Maynila na kanyang tahanang lungsod, ikinuwento sa amin ni Catherine na, “Ang pinakagusto ko sa lungsod na ito ay laging mayroong kakaiba dito. Ang lungsod na ito ay abala ngunit buhay na buhay.” Para sa kanya, laging maraming lugar na pasyalan, kainan at inumang lugar na patuloy na lumalabas, at waring hindi kailanman nauubusan ng mga pagdiriwang. Alam din ng mga tao sa Maynila kung paano magsaya at maging magiliw sa panauhin.

Catherine comes from San Juan City, Metro Manila. This is the city that she loves the most and is most familiar with. This part of Manila offers many little surprises to visitors, from cool neighborhood street art to delicious food served in its small local restaurants. While not exactly a pedestrian city, she tells us Manila is rapidly making improvements to make the city more walkable and safer.


Si Catherine ay nagmula sa Lungsod ng San Juan, Kalakhang Maynila. Ito ang lungsod na pinaka gustong-gusto niya at pinaka pamilyar sa kanya. Ang bahagi ng Maynilang ito ay nag-aalok ng maraming maliliit na sorpresa sa mga bisita mula sa magagandang sining sa kalsada ng lugar hanggang sa masasarap na inihahaing pagkain sa maliliit na lokal na restawran dito. Habang hindi pa eksaktong lungsod ng mga taong naglalakad, sinabi niya na mabilis na nagkakaroon ng mga pagbabago ang Maynila para malakaran nang ligtas ang lungsod.

“If you are into thrift shops or you would like to shop for vintage and artsy stuff,” Catherine tells us, “you can go to Cubao X, which is located in Cubao-Quezon City, or the Future Market in Manila.” If you want to check it out, Catherine advises that Future Market only happens on Saturdays. At the thrift stores in Cubao X, you can find used clothing, shoes, vintage memorabilias, old cameras, watches, furnitures, vinyl records, books and much more.


“Kung ikaw ay mahilig mamili sa mga ukay-ukay o gusto mong mamili ng antigo at masining na kagamitan,” sinabi sa amin ni Catherine na, “maaari kang magpunta sa Cubao X, na matatagpuan sa Cubao-Lungsod ng Quezon, o sa Future Market sa Maynila.” Kung gusto mong mamili, ipinapayo ni Catherine na ang Future Market  ay nagaganap lamang tuwing Sabado. Sa mga ukay-ukay sa Cubao X, makikita mo ang mga nagamit nang kasuotan, sapatos, antigong mga palamuti, lumang kamera, relo, muwebles, vinyl records, aklat at marami pang iba.

If you want to eat and have a good variety of choices, Catherine recommends that you try the Greenfield Weekend Market on Shaw Boulevard in Mandaluyong City. “A lot of food stalls are set up there during the weekends. Apart from that, artwork and vintage finds could also be bought there,” she says. Sometimes, it is possible to catch some musical performances from local bands while enjoying your food at this park.


Kung gusto mong kumain at magkaroon ng maraming pagpipilian, inirerekomenda ni Catherine na subukan mo ang Greenfield Weekend Market sa Shaw Boulevard sa Lungsod ng Mandaluyong. “Maraming puwesto ng pagkain doon tuwing huling linggo. Bukod doon, mabibili rin ang mga gawang-sining at antigo,” kuwento niya. Minsan, maaaring makakita ng ilang musikang pagtatanghal mula sa mga lokal na banda habang kumakain sa parkeng ito.

“If you would like to watch local bands, be it mainstream or indie,” Catherine says, “I suggest that you go to Saguijo and B-Side which are located in Makati City, or Route 196 which is located in Quezon City.” For contemporary art, Catherine highly recommends the Pinto Art Museum in Antipolo City, Rizal. While it is actually just outside of Manila, the museum is a very famous destination for art enthusiasts.


“Kung gusto mong manood ng mga lokal na banda, mapa- mainstream o indie,” kuwento ni Catherine, “Iminumungkahi ko na magpunta ka sa Saguijo at B-Side na matatagpuan sa Lungsod ng Makati, o Route 196 na matatagpuan sa Lungsod ng Quezon.”Para sa mga napapanahong sining, higit na inirerekomenda ni Catherine ang Pinto Art Museum sa Lungsod ng Antipolo sa Rizal. Habang sa katunayan, ito ay nasa labas ng Maynila, ang museo ay napakasikat na destinasyon para sa mga tagahanga ng sining.

“Nowadays,” Catherine says, “people here in Manila are starting to favor more local cafes, even though famous coffee chains could be found in almost every street – especially around the busy areas of Manila.” To try the local brews, she recommends checking out Local Edition, Yardstick and Commune, which are located in Makati City.


“Sa kasalukuyan,” kuwento ni Catherine, “ang mga tao dito sa Maynila ay nagsisimulang higit na paboran ang mga lokal na kapehan, kahit na ang mga kilalang tindahan ng kape ay matatagpuan sa halos lahat ng kalsada– lalo na sa buong abalang lugar ng Maynila.” Para subukan ang lokal na paggawa ng kape, inirekomenda niya na magpunta sa Local Edition, Yardstick at Commune, na matatagpuan sa Lungsod ng Makati.

As a street photographer, Ramos has come across a lot of different encounters while out shooting. There was one time when she approached a homeless woman to ask if she could take a portrait of her. “Despite the hardships that the woman obviously had been through, I was amazed how excited and happy she was when I asked her to be photographed,” Catherine says, “That encounter made me realize a lot of things and I can say that it was the most memorable experience I had so far while shooting the streets of Manila.”


Bilang litratista ng lansangan, naranasan ni Ramos ang maraming iba’t ibang hamon habang kumukuha ng larawan. Isang beses nang lumapit siya sa babaeng walang tahanan para hilingin kung maaari siyang makakuha ng kanyang litrato. “Sa kabila ng kahirapan na halatang pinagdaraanan ng babae, humanga ako kung gaano siya kasabik at kasaya nang hilingin ko na kunan siya ng litrato,” kuwento ni Catherine, “Ang karanasang iyon ay nagmulat sa akin sa maraming bagay at masasabi ko na ito ang pinaka hindi malilimutang karanasan na mayroon ako habang kumukuha ng larawan sa mga lansangan ng Maynila.”

Website: triplekleng.blogspot.com
VSCO Gridvsco.co/klengramos

 

Contributor: Leon Yan
Photographer: Kleng Ramos


Website: triplekleng.blogspot.com
VSCO Grid: vsco.co/klengramos

 

Kontribyutor: Leon Yan
Litratista: Kleng Ramos

On the Move in Hong Kong

Although Chow San works mainly as a graphic designer, he has a camera with him everyday and shoots regularly. His street photos seem to capture people often in transit and on the move in his native Hong Kong. One rather gets the sense that his photos document fleeting moments from an ephemeral world. In this restless and fast-moving world, the people in it seem always to be moving from one destination to the next.


周生雖是一名平面設計師,卻每日隨身攜帶相機,紀錄生活。他的街拍作品記錄著在他的家鄉香港,人們步履不停、行色匆忙。他的照片記錄著那些稍縱即逝的瞬間。在這個躁動不安飛轉不停的世界裡,人們永遠在趕往下一個目標。

Perhaps because of the constant need to deal with digital media for work, Chow San prefers instead to shoot with film. One of his heroes is the great Nobuyashi Araki. San tells us that, even though today there are many new photographers out there, for him it is worth reexamining Araki’s output in greater detail – such is the depth and ingenuity of his work. Read more about Chow San’s work in our recent interview with him below.


或許因為工作上長期與數字媒體打交道,周生更偏好用菲林進行創作。他告訴我們,盡管當今新生代攝影師層出不窮,但他始終認為他的偶像,日本攝影師荒木經惟對於細節的理解和重視的精神,才是他追求創作深度和獨創性的原始動力和支柱。閱讀以下採訪,了解更多關於周生的作品。

Neocha: What kind of spaces do you like to photograph? What kind of lighting do you prefer?

Chow San: Actually any kind of space is suitable for shooting, whether it is in an office or just on the street. A lot of the times, I just shoot the daily commute on the subway, which is more or less because of my routine. I hope that the lighting in my photos is fairly even – it helps with the storytelling aspect. I don’t like to use flash, or to art direct my shots. The lighting shouldn’t be too forced or contrived.


Neocha: 你喜歡在什麼樣的空間裡拍攝?傾向於用什麼樣的光線?

周生: 其實任何地方都可拍攝,辦公室如是,街道上如是。很多時候我的相片是在地鐵的路途上拍攝的,因為工作的關係吧。我希望相片在光線上分佈可以強烈,會較有故事性。但我不愛用閃光燈,也不善長於設計相片。所以我覺得光線不可強求。

Neocha: What are your thoughts on film versus digital?

Chow San: Actually eventhough there are probably more benefits to shooting digital, I personally think digital photography feels quite cold. Film photography for me feels more satisfying. It just feels warmer and has more human qualities, which for me, is similar to how a human being has a body and soul.


Neocha: 你怎麼看待菲林和數碼?

周生: 其實數碼拍攝優點大於菲林拍攝,但數碼給我感覺很冷漠,菲林攝影感覺上整件事比較「完滿」和人性化,好像一個人般有靈魂和驅體一樣。

Neocha: How does Hong Kong inspire you?

Chow San: There really are too many things here in Hong Kong that are inspiring. You can say that there are a lot of interesting social issues here; for example, the relationship between people here in Hong Kong and trees is rather strange. This subject inspired me to shoot my project Together.


Neocha: 香港給予你什麼樣的啟發?

周生: 香港這個地方,太多東西令你有啓發,可能社會上太多問題了。例如在香港人與樹木的闗係是比較奇怪的。這個闗係吸引我拍攝了「共處」了這主題。

Neocha: What are some challenges you face as an artist?

Chow San: In a material, capitalist society like Hong Kong, it is really difficult to make a living as an artist. The government doesn’t help us or give us any kind of aid. The common consumer tends to appreciate art that is just visual appealing or trendy, but then just about ignores everything else. In Taiwan, and even in the mainland, you can see more high-level art.


Neocha: 哪些是你作為藝術家所面臨的挑戰?

周生: 在香港功利主義裏要靠藝術創作生活是艱難的,政府也不會幫助我們。在觀眾層上,我覺得香港人欣賞藝術創作必然要視覺衝擊和潮流這些重要因素,忽略了其他。反觀台灣甚至大陸也有很多高水準藝術創作。

Neocha: What are some things that you have planned in the near future?

Chow San: I’m now looking for a new exhibition space. Last year, I gained a lot of experience after my first solo exhibition Flower at Yi Hu. The next one, Ja Yen Mo Cheung, will compile six to seven years of my photography work. I hope in a few years’ time I’ll have the chance to publish an album of all this work.


Neocha: 近期有什麼計劃嗎?

周生: 尋求合適展覽場地。去年在藝鵠第一次個展「花期」展覽得到很多經驗。「雜影無章」是大約6至7年时间内我的拍摄作品,希望幾年後有機出版自己的「雜影無章」影集。

Websitechow-san.com
Flickr~/notitlexx

 

Contributor: Leon Yan


网站chow-san.com
Flickr~/notitlexx

 

供稿人: Leon Yan

Through Tatsuo Suzuki’s Lens

Tatsuo Suzuki takes black and white photographs that document the fast pace of urban life in Shibuya, Tokyo. Tatsuo first started shooting in 2008, after getting a Nikon D70. After initially finding the art of photography to be very interesting, he soon became increasingly addicted to the medium. At the beginning he shot mainly in color, but over the years he shot more and more in black and white, as he felt that it captured the passion and emotions of his subjects more effectively.


鈴木達朗氏は白黒写真を撮影し、東京渋谷の都会の生活を記録しています。鈴木氏はNikon D70を手に入れた後、2008年に撮影を始めました。写真撮影に初めて強い関心を持った後、写真という媒体にますます夢中になってゆきました。最初の頃は、カラー写真を主に撮影していましたが、数年後、被写体の情熱と感情をより効果的に捉えると感じた白黒写真を撮影することが多くなってゆきました。

When asked about his background, he says that it is actually in music – and that punk rock, in particular, has left a very deep impression on him. Previously in high school and up until college, Tatsuo was in a punk band. Those days are now over, but one can still get a sense of his punk music past in his gritty black and white street photography.


鈴木氏は経歴について訊かれると、実は音楽にあった言います。そして、特にパンク・ロックが非常に深く印象に残ったと言うのです。かつて高校生から大学生の頃まで、鈴木氏はパンクバンドの一員でした。パンクバンドの日々はもう終わりましたが、今でも鈴木氏のザラザラした白黒のストリート写真からは、パンク的な感覚を感じ取ることができます。

Tatsuo admits the underlying impulse of punk has probably always existed in his photography. The uplifting energy, the irritability of punk, and frenetic rhythm are all in a way visually represented in his work. In his long exposure photography, for example, there is an expressiveness that seems almost musical.


鈴木氏は、内在するパンクロックの衝撃は、自身の写真に常に存在しているであろうと認めています。高揚するエネルギー、パンクの過敏性や熱狂的なリズムが彼の作品に視覚的に表現されています。例えば、彼の長時間露光撮影では、音楽的と思われる表現があります。

He shoots primarily on weekends when he is not working. Typically he would walk around the city and ask subjects if he can take their photo. Sometimes he doesn’t ask at all and just takes a spontaneous shot of a passerby. His interest is mostly in capturing people in their regular daily lives, and not so much about cool and perfect compositions.


彼は、主に働いていない週末に撮影します。普段は街中を歩き回り、被写体になってほしいと思った人に撮影の許可を求めます。時には、全く許可を求めずにに通行人をそれとなく撮影します。鈴木氏は、主として人々の日常生活を捉えることに興味を持っており、格好良く完璧な構図にはあまり興味を持っておりません。 

Tatsuo describes his photographic style as being emotional, impulsive and more documentary in nature. His favorite photographers include Robert Frank, William Klein, and Daido Moriyama. With Moriyama in particular, he shares a lot of stylistic similarities. Often described as being dark, gritty, rough, provocative and blurry, the same could be said of Suzuki’s work.


鈴木氏は自身の撮影スタイルについて、感情的、衝動的であり、どちらかというと記録的な性質が強いと表現しています。気に入っている写真家には、ロバート・フランク、ウィリアム・クライン、森山大道らがいます。特に森山氏とは、スタイルの類似点が多くあります。森山氏の写真は、ダーク、ザラザラしている、粗い、挑発的、ぼやけているとよく表現されますが、鈴木氏の作品にも同じことが言えるでしょう。

His inspiration, he says, comes mainly from within. He believes photographs can be a reflection of what goes on in a photographer’s mind, so if there is a perceived dark side in his work, he admits it probably also represents his inner state. He is not so interested in capturing humorous or comical street scenes, but is drawn more towards scenarios that have a high degree of tension and complexity.


鈴木氏によると、インスピレーションは自分の中から出てくるそうです。そして、写真は、写真家の心の中で起きていることの現れであろうと考え、作品の中に暗い部分が認識されれば、それは恐らく撮影者の心の状態の描写なのであろうと認めているのです。鈴木氏は、ユーモアがあったり、滑稽であったりするストリートシーンの撮影にはあまり興味がなく、かなりの緊張や複雑さを伴うシナリオにより惹かれます。

Like many other street photographers, Tatsuo is inspired by his chance encounters when out shooting, that sudden flash of a moment when first meeting someone. But at the same time, he admits that over the years there haven’t been that many especially memorable or monumental moments that he can recall while shooting. For Tatsuo, every day is a new day and one must always look to the future. He doesn’t typically like to look at past work, except mainly to learn from it and to try to improve on it. In his words, the photo he takes today he hopes will be better than the one that he took yesterday.


他の多くのストリートフォトグラファーと同様に、鈴木氏は外で撮影中に出会う機会からインスピレーションを得ます。それは、誰かに初めて合う時に突然ちらりと見える瞬間なのです。しかし、それと同時に鈴木氏は、ここ数年で思い出すことができるような、特に記憶や記念として残る撮影中の瞬間はないと認めています。鈴木氏にとり、毎日が新しい一日です。常に将来を見るべきなのです。鈴木氏は、過去の作品から学び、改善を試みるようなこと以外、普段は過去の作品に興味を示しません。「今日撮った写真は、昨日撮った写真よりもよく撮れていれば」というのが本人の言葉です。

The Work of Ata Mohammad Adnan

Ata Mohammad Adnan is a doctor by profession, but he is also a street photographer out of passion. His photography is primarily focused on storytelling, and in his own words, he likes to shoot anything that intrigues him, which usually includes places he visits to interesting faces he sees.

He typically shoots with a Nikon Df 35/85 1.4, a Leica Q and more recently, a Sony A7ii. Over the years, he has felt most comfortable using prime lenses only and that has largely shaped his vision and way of shooting. Ata enjoys shooting and presenting in monochrome. Most of the time he even shoots in monochrome first to get a photograph’s vibe. Over time, Ata has reduced the quantity of photographs he normally takes, as sorting and processing his work is especially important to him.

Since he is a doctor, he also gets to meet a lot of people. That has prepared and helped him to interact with strangers outside when he wants to shoot portraits. “Also in our part of the world where doctors are regarded highly”, Ata admits, ”my subjects almost never reject being photographed by a doctor on the street.” His inspiration often comes from the people around him, and especially from the smiles that his camera infuses into complete strangers. Artistically he is influenced by photographers like James Nachtwey, Steve McCurry, and Nasir Ali Mamun – but most of all he is inspired by Nayeem Kalam whom he describes as his favorite photographer.

Ata Mohammad Adnan often spends from 12 to 15 hours a week shooting on the street. He has been photographing the kids in his neighborhood for the past four year, and they are always amused and quite friendly with him. “There was this one time,” Ata says, “when I photographed a deaf and mute girl. She was smiling and laughing with joy, because no one had ever found her special enough to take a photograph of her.” When he is out shooting, there are many challenges that he encounters. One of the greatest, he believes, is that there are many scenes that often look extraordinary to the eye, but can be very difficult to translate into a photograph. The eyes are, after all, equipped with the best sensors.

Regarding the local creative scene, Ata proudly says that Bangladesh is now one of the leading nations in terms of photography. Sadly however, the masses there are still far from understanding and valuing photography and art in general, so he feels photographers and artists from his region are actually more valued in other countries.

When asked to describe his work, he likes to think of it as being soulful, intuitive and heart-warming. His tips to aspiring photographers are to work hard and be very dedicated to the craft. He advises to “try to interact with people, observe them and understand human characteristics (even when you aren’t carrying your camera)”. This can play a vital part in helping you capture moments in the streets.

Website: ataadnan.com

 

Contributor: Leon Yan

The Photography of Shin Noguchi

When first looking at Shin Noguchi’s photographs, one is almost immediately drawn to the humor and vitality that is present in the images.


初めてShin Noguchiの写真を見る者は、画像に息づくそのユーモアと生命力にたちまち惹きつけられる。

Based in Tokyo and Kamakura, Noguchi has won a number of major photography awards for his perceptive and detailed photographs.


東京と鎌倉に拠点を置くNoguchiは過去に、遠近法を用いた克明な写真作品で一流の写真賞を受賞している。

In his words, he tries to “capture moments of excitement, beauty and humanism in the midst of everyday life”. His poetic and mysterious style of street photography is capable of showing us the intricacies and complexities of Japanese culture.


彼によると、「日常生活の中の高揚・美・ヒューマニズムの瞬間をとらえ」ようと努力している。ストリート写真に見られる彼の詩的かつ神秘的なスタイルは、日本文化の複雑性を如実に示すものである。

At the beginning of his career, Shin fell in love with the classic, black-and-white realism of Magnum Photos, as well as some color street photography from the 70’s and 80’s. Later on, he started to find and develop his own personal style of photography, focusing primarily on color photography.


その経歴の初期においてNoguchiは、マグナム・フォトの古典的なモノクロのリアリズムのほか、7080年代のカラーのストリート写真にも傾倒した。その後、主にカラー写真に焦点を当てつつ、彼独自の写真スタイルの開拓を始めた。

Street photography often depicts reality and realism, but the reality that Noguchi typically explores is not the kind that can be easily detected. There is a subtext to the moments that he captures. These moments exist in society, on the street, and in the lives of everyday people. As he observes and captures these moments, he tries to stay objective and as free from his own bias as possible.


ストリート写真は現実性や写実主義を描くものであるが、Noguchiが探究する現実性は容易に見抜かれる種のものではない。Noguchiがとらえる一瞬の背後に意味が隠されている。その一瞬一瞬は、社会や街角、そして人々の生活の中に存在する。その一瞬一瞬を観察し、とらえる時、彼は客観性を失わないよう、また、彼自身の先入観を排除するよう努めるのである。

When asked about his photography career and whether there have been any memorable experiences, Shin says that every moment has been memorable and special. There was one moment in particular when he saw and photographed a mother walking on the sidewalk in the Ginza district of Tokyo in 2014. She was carrying her children in her arms in an unusual way, which strongly contrasted with her surroundings. Seeing this moment on the street greatly inspired him.


彼の経歴について、また、これまで特に忘れられない体験をしたかと尋ねると、Noguchiはすべての一瞬が忘れられないものであったと言う。特筆すべき一瞬は、彼が2014年に銀座の歩道を歩くある母親を目撃し、写真を撮ったこと。Noguchiの目には、双子の子どもを珍しい格好で抱くその母親が、その周囲とひどく対照的に映った。街角で垣間見るそんな一瞬は彼を大いに刺激するものである。

Shin Noguchi often works in between Tokyo and Kamakura, two cities which are polar opposites in many ways. Tokyo is a busy and fast-paced metropolis, while Kamakura is a much more laid-back city with a rich history. Shin’s photography often reflects the differences in how he feels about these two cities.


Shin Noguchiはもっぱら、東京と鎌倉といういろいろな意味で両極端な2つの都市間で活動している。東京が慌ただしく目まぐるしく移り変わる大都市である一方、鎌倉は豊かな歴史を持つ穏やかな街である。Noguchiの写真は、この2つの都市に彼が感じる違いを反映したものが多い。

While Shin will often spend between six to nine hours on the street each day, he may only take one or two shots. Still, he rarely feels bored or gets tired of his work. For him, being able to observe the lives of other people is a wondrous and beautiful thing.


Noguchiは通常、毎日6~9時間を街角で過ごすものの、撮るのは1~2枚である。それでも、彼が作業に退屈したり飽きたりすることはめったにない。彼にとって、人々の生活を観察することは、素晴らしく、そして美しいことなのである。