Tag Archives: street photography

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

Human Capital

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


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

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


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

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


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

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


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

Website: www.laurenthou.com

 
Contributor: Chen Yuan


网站: www.laurenthou.com

 
供稿人: Chen Yuan

Vanishing Act

Ever since he moved to Shanghai in 2013, London-born photographer Alexis Goodwin has been fascinated by the city. He immediately found it “atmospheric, epic, and visually stimulating,” with high rises stretching into the clouds and bustling little alleyways coexisting in a strange harmony. Wherever he turned, there always seemed to be something to record, and he set out capture his experiences on film. The result is his new photography series, Shanghai Dreams. 


自从五年前踏足上海并在此生活的那一刻起,来自伦敦的摄影师 Alexis Goodwin 就深深地为之吸引。和很多人一样,Alexis 对这座城市的第一感觉,就是“大气、史诗般的壮阔和强烈的视觉冲击”,擎天入云的高楼和充满生活气息的羊肠小道,奇妙又毫不冲突地结合在一起。因此在每一个你转身的地方,好像都有一些特别的东西可以入镜,于是,他的新摄影系列《上海梦》(Shanghai Dreams)诞生了。

Living in the city, Goodwin slowly began to discover the lives of the people who live behind its prosperous façade, hawking goods in street stalls, playing chess or cards, or dancing in the plazas at dusk. And of course, he saw plenty of demolition crews.

Shanghai Dreams benefited from the fact that Alexis lived near Laoximen when large-scale demolitions were just getting underway. “I realized the region was changing fast, with entire blocks being demolished and street food vendors disappearing.”


在这座城市里生活,Alexis 慢慢发现了淹没在繁华背后的小人物的生活,有街头叫卖、柴米油盐,也有下棋打牌、跳广场舞,当然,还有拆迁的工地。

这个项目《上海梦》的开始,就得益于当时的 Alexis 住在老西门附近,而大规模的拆迁运动也正在同期进行。我发现这片地区的面貌在迅速改变,房屋推倒、整个街区被拆空,街头叫卖小商贩也逐渐销声匿迹。

Goodwin works in advertising and knows his way around post-production software. In this series, he used the same methods. “I chose to keep only the characters I was interested in and strip away everything else, creating an ethereal gradient background with just enough of the original ground to give an echo of reality,” he says. “But I used street photography of real people, which I hope is a little unexpected.”


从事广告摄影的 Alexis,很熟悉后期处理照片的程序。在他这个系列,他也用了一样的方法:(后期处理)我选择只保留我感兴趣的角色,并删除所有的其他东西,创造一个飘渺的梯度背景,仅有足够的背景基础,以提供一个生态的现实。但我使用的是街头摄影的真实的人,我想创造一些意外感。

Goodwin’s fragmentary moments of anonymous people—office workers navigating intersections as they cycle to work, street vendors scrolling through their phones in their downtime—are what “reflect the soul of the city,” in his view. “Theses scenes are a distillation of a real Shanghai moment.”

Perhaps the other Shanghai, the “Bewitching City” of concrete and glass towers, is just a mirage. What really leaves a mark are the people, or life itself. “I hope to show the soul of a city,” he says. “I hope these images serve as a record and an homage to the magic of Shanghai life.”


Alexis 的镜头中,无论是在建筑工地吸烟的女孩,还是骑着自行车正准备在路口拐弯的上班族,或者是市场里的小摊贩闲来无事翻着手机……这些不知名的小人物所呈现的零星片刻,却恰恰是 Alexis 心目中反映了城市的灵魂的所在。这些场景是真实的上海的升华。他说。

而钢筋水泥与反光玻璃搭建出来的魔都,那不过是海市蜃楼般的光景,真正能留下印记的,是人,和生活本身。我希望通过这些照片来展示一个城市的灵魂,也希望借此表示对上海生活的一种记录和致敬。

Behance: ~/alexis goodwin
Instagram@alexisogoodwin

 
Contributor:  Chen Yuan


Behance: ~/alexis goodwin
Instagram@alexisogoodwin


供稿人:  Chen Yuan

Please Mind the Gap

“Please mind the gap.”

It’s an announcement every urban commuter is surely familiar with. This phrase is also what inspired photographer Weilun Chong to create his eponymous photo series, Please Mind the Gap.

After attending university in Singapore, the Malaysian photographer decided to stay, and it’s there, in his adoptive city where he now works full-time as an advertising art director. A few years back, a serendipitous accident that happened on his way to work was what led to the project. “I nearly lost my phone through the gap between the train and the station platform one day,” he recalls. “That was when I glanced through the gaps towards the next carriage and came up with the idea.”

“The best part about the project was that it was something I could work on during my daily commute,” he adds. “It wouldn’t take up time I can spend with my wife outside of work.” At the time, Chong’s wife was close to delivering their firstborn, and so, working on a project that could fulfill his creative thirst while not intruding into family time was a heaven-send.

A month after inspiration struck, Chong took the first picture in the series. Ever since then he’s continued taking photos in Singapore and Hong Kong.


“请注意脚下空隙!”

这句话,大概常坐地铁和公交通勤的人们,丝毫不会陌生。而 Weilun Chong 创作的同名摄影系列,也正是受到这句话启发而来。

生于马来西亚,在新加坡念完大学的 Weilun,如今已是全职广告艺术总监。这个个人项目始于好几年前,契机来得很巧——“有一天,我的手机差点掉进地铁站台的空隙,然后我就扫到了一眼车厢的空隙,拍摄车厢间隙的想法就形成了:‘我可以在每天上下班上下班的路上做这件事,也可以陪我妻子一起。’”当时,Weilun 即将和他的妻子迎来第一个孩子,而这个摄影主题,恰好可以让他兼顾家庭与摄影创作,“这可能是命中注定的。”

于是,这个系列的第一张照片就始于此后一个月,从香港拍到新加坡,持续至今。

“Sometimes I spot an interesting character or anticipate a possible interesting scene. When I do, I approach the subject fast and inconspicuously, waiting to take the shot at the right moment,” he says. “Other times, if I have a bit more time, I’ll just take random snaps.” In the platform gap, as the doors are closing, with everyone calm or in a rush, fatigued or full of excitement, a moment is captured in time.

After all, each time we step onto the train platform, we begin a new journey. In his photography, Chong celebrates this, rightfully recognizing each of his subjects as the protagonists of their own stories.


“有时候我会看到一个有趣的角色,或者可以预料到一个有趣的场景,我会迅速且不引人注意地接近它,然后我就等着拍下那个瞬间。还有一些时候,如果我有更多的时间,我就会随机去拍。” Weilun 说。站台间隙中,车厢闭合时,每个人或紧张或从容、或疲惫或振作的神态,从此定格。

毕竟,每一次我们登上候车月台的时候,也正是每一趟行程故事也即将开启的时刻,而每一个人,也正是那一分钟的主角。

Websiteweilunchongphotography.com


Contributor: Chen Yuan


White Night

Chengdu-based photographer Feng Li has worked on a single project, White Night, for over a decade now. The series, quirky and surreal, is a visceral exploration of the odd moments between and behind those we most often pay attention to. With no plans to stop or start on another, he says the series will only come to an end if he loses interest in taking pictures altogether.

Though in his early days he experimented with black-and-white and film photography, he now works primarily with a Sony digital camera and a mounted flash. Capturing everything in flash is a purposeful decision, often making it difficult to distinguish the time of day, a hallmark of the series.


来自成都的摄影师冯立,已经在单个摄影项目《白夜》(White Night)上进行创作逾 10 年了。这个系列离奇而超现实,它是对那些我们最会关注的人之间和其背后的古怪时刻的一种本能探索。由于还未计划停止或开始另一个摄影项目,冯立说,只有当他对拍照完全失去兴趣时,这个系列才会结束。

尽管冯立早年曾尝试过黑白摄影,但现在他主要使用索尼的数码相机和外接闪光灯。冯立此系列的一个显著特点,是在一瞬间捕捉一切,而这个决定带着明确的目的性,常会让人难以分辨出照片究竟是在一天中何时所拍摄的。

In an old article, the interviewer attempted to draw a comparison between Feng’s photography and his original field of study – Chinese medicine and acupuncture – writing, “It’s as though he approaches portrait photography as clinical cases. When the bulb’s warning light flashes, he’s able to accurately pinpoint the illness’s acupuncture point.” When I asked Feng, however, if he thought his previous profession influenced his artistic work, he replied that he thought the period had at most an indirect connection.

In such a response, one sees ties to the fact that even within the realm of artistic photography, he does not seem to care for either comparisons or a discussion of influences. White Night began when he was taking photos for his job as a photographer with the Chengdu propaganda department; that evening, he recalls, was particularly foggy, and the fog and the lights wrapped themselves around each other in surreal ways which reminded him of scenes from films by influential directors such as Angelopolous or Tarkovski. When I brought up this story, however, with a shrug, he replies, “It happens those are a few of what amount to the few films I’ve seen.” When I asked about photographers he’s named in the past as being of interest – Diane Arbus, William Eggleston, Nobuyoshi Araki, Han Lei – he said he had never used his own photographs to draw any comparisons to those of others, and that he rarely looks at photo books himself.


在一篇先前的文章中,采访者试图将冯立的摄影与他最初的研究领域──中医和针灸──进行比较,曾论及:“拍照时像是将人作为临床病例,总能在闪光灯发出警示的刹那找准病症的穴位。”然而,当我再问冯立他是否认为他以前的职业影响了他的艺术作品时,他的回答却是,他认为这段时期至多是一种间接的联系罢了。

即使在摄影领域,冯立似乎也不太爱比较或讨论影响的作用。《白夜》这个系列,开始于他在成都市宣传部门当摄影师的时候。在他记忆里的那个夜晚尤其模糊,蒸腾的雾气和朦胧的灯光,以超现实的方式把夜包裹,这让冯立想起了安杰洛波卢斯(Angelopolous)或塔尔科夫斯基(Tarkovski)等导演的电影场景。然而,当我提起这些的时候,他却淡然地答道:“碰巧这些只是我看过的为数不多的几部电影中的一部分。”当我问及他曾提起过感兴趣的摄影师,诸如黛安娜·阿伯斯(Diane Arbus)、威廉·埃格尔斯顿(William Eggleston)、荒木经惟和韩磊时,他说他从来没有用自己的照片来和这些人作比较,他自己也很少看影集。

It is difficult even to say that Feng considers himself an artist. Instead, he says, “I think of myself as a photographer, but use an artist’s style in order to think.” He has not tried other artistic mediums, and expresses no desire to do so. His primary inspiration, he says, is life, and his sole aim seems to be to approach life as a kind of unreal, storied fabric; he looks for unreal moments that to him ultimately comprise our chaotic reality. Nor does he spend his time fastidiously choosing the photos he likes best. There aren’t any unpublished White Nights photos, he says; basically anytime he takes a picture, he releases it online. Asked whether he minds that some have evaluated his work as ugly and amateurish, he said he’s never minded others’ experiences, and that ugly and amateurish are good evaluations as far as he’s concerned. Indeed, when I asked him to talk about composition and aesthetic, he claimed his photos have neither.


甚至,说冯立自认为是个艺术家也很难。反之,他说:“冯立没有尝试过其他艺术形式,也没有表达过这种想法。据他而言,他的主要灵感是生活,唯一的目标似乎就是把生活当作一种虚幻的、传奇式的材质来对待;他寻找不真实的时刻,且对他来说,这些时刻最终构成了我们混乱的现实世界。

对待自己喜欢的照片,冯立也毫不犹豫地直接发布,不经过任何选择。他说,《白夜》系列几乎没有未发布的照片,基本上任何时候拍下的任何照片,都会立刻在网上公开。

而当问及冯立是否介意有人评判他的作品丑陋又业余时,他的回答是,他从不关心别人的评论,而且就他而言,无论丑陋还是业余,那都是很棒的评价。事实上,当我请他谈论构图和美学时,他甚至声称他的照片根本不包含这些东西。

What, then, does Feng Li look for when he is photographing? Tellingly, when I asked him to describe a moment he’d been unable to capture, he said he was unable to describe it – “just like the moments I captured.” He told another interviewer that a good photo prevents you from understanding what happened and that it is filled with unknown, mystery, and uncertainty. I tried to go a step farther and ask what he thought a successful photo is, only to have him tell me that there is no such thing as a successful photograph – “just difficult-to-put-to-words photographs, no-way-to-use-writing photographs, or no-need-to-use-writing-to-describe photographs.” In terms of subjects, he says he can only run into them, that they cannot be sought out.


那么,冯立在摄影时在寻找什么呢?我请他描述一个他无法捕捉到的瞬间,但他却说这无法描述──“就像那些拍到的瞬间一样。” 他说,“一张好照片,它阻止了你理解发生的事情。它充满了未知、神秘和不确定的因素。”

我试着再进一步追问,问他认为一张成功的照片究竟是怎样的,结果他却告诉我,根本没有成功的照片这一说──“而对于被拍摄的对象,冯立说,他唯一能做的是与他们偶遇,而不是去寻找他们。

But despite his reticence to discuss influence, style, form, aesthetic, Feng Li has in fact expressed a pretty clear worldview throughout interviews and in his own artist’s statement: the world is problematic and in a state essentially of primeval chaos, such that a distinction between the real and the unreal is difficult to achieve. The moments he seize tell a story of a dangerous world, “reality’s others face,” an underbelly of existence that essentially is our reality, only too many people are too afraid to look directly at it. The only way to live, in Feng Li’s mind, is to do one’s utmost to understand the reality of existence through experiencing the world around oneself, the value of which cannot be replaced by others’ stories and experiences.


然而,尽管他不愿讨论影响、风格、形式、美学,但事实上,在整个采访和他发言中,冯立都表达出了相当清晰的世界观:这个世界是有问题的,本质上是一种原始的混乱状态,以至于很难区分真实与虚幻之间的差别。他拍下的一个个瞬间,都在讲述这个世界的危险故事,“现实世界是他人的脸庞”,我们所处的现实本质上正是存在的阴暗面,只是太多的人不敢直视它。在冯立的心中,唯一的方式就是通过体验周遭的世界,尽最大的努力去了解存在的现实,这种存在的价值是其他故事和经验所无法取代的。

For all that, though, he does not claim to understand reality; far from it. When previously asked to define his works in a few words, he responded he had finally reduced it to one: “Why?”

He calls eternity a question mark and says that he is still unable to understand the world, in the same way that he can’t express in words what his photographs might mean. This is a particular paradox: Feng thinks it of utmost importance to understand the chaotic world but rejects attempts to define or contextualize the photographs that attempt to capture that chaos. But paradoxes by nature wrap in on themselves: so perhaps the paradoxical nature of Feng Li’s mission – finding the unreal cracks that make our reality so real – made further inconsistency inevitable, and perhaps ultimately that is this artist’s point.


但即便如此,冯立却并不认为他理解了现实,甚至远不及理解。此前,冯立被要求用几句话来定义自己的作品,他最终简化为一句话作答,即:“为什么?”

他把永恒称为一个问号,并说他仍不能理解这个世界,就像他不能用语言表达他的照片的意味何在一样。而在这,矛盾显得尤其特殊:冯立认为了解混乱的世界是至关重要的,但他拒绝给那些试图捕捉混乱的照片下定义或加以语境。但这种矛盾自然而然地出现,所以,也许冯立的使命也正是相互矛盾的──去寻找使我们的现实如此真实的虚幻裂缝──以使得进一步无常性不可避免,或许最终,这就代表了这位艺术家的观点所在吧。

Website: fengli-photo.com
Instagram: @fenglee313

 

Contributor: Kiril Bolotnikov


网站: fengli-photo.com
Instagram: @fenglee313

 

供稿人: Kiril Bolotnikov

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

Hefei Through the Lens of Liu Tao

Liu Tao is a Chinese photographer from Hefei, Anhui Province. With his keen sense of humor and an insider’s perspective of the city, Liu has been given the nickname “wild street photography master.” Despite the extravagant title, Liu actually works as a water meter inspector for the public utility services. The contrast between his day job and his street photography has made Liu a subject of interest in the media in the past few years. However, Liu doesn’t see any conflict between these two parts of his life. His job for the public utility services gives him a set schedule, allowing him the freedom to go out and consistently take photographs throughout the year. Now, with seven years of street photography experience under his belt, Liu has captured the everyday lives of many of Hefei’s residents and has documented almost every emotion on the human spectrum along the way.


来自安徽合肥的摄影师刘涛,作品诙谐有趣且接地气,被号称为野生街头摄影大师”,而他的本职工作却是一家自来水厂的抄水表工。这两个身份的戏剧性冲突,让刘涛一度成为了前两年媒体竞相报道的热点。

刘涛却不以为然。水表工这份工作给了他固定的休息时间,也为他提供了全天候的街拍时间。7年寒来暑往的拍摄,不仅记录了当地人柴米油盐的日常生活,也记录了嬉笑怒骂的人生百态。

Liu’s favorite place to shoot is one particular street in Hefei, located in an old neighborhood that’s bustling with life. Whenever he has a day off, he’ll take his camera there, often spending the entire day shooting. Initially, when he first started taking photos here, some of the residents would react in a disapproving or standoffish manner. Liu says, “Two years ago at the door of the food market, I would come across a bulky guy selling peaches every day, and we would exchange glances. He thought I was from the city. Last year, at the intersection, we met again and he was selling sugar cane, and he thought I lived nearby. I told him I was just a photographer. This year, we crossed paths again at night, at the entrance of an alleyway where he was selling watermelons. As soon as he saw me, he yelled, ‘What are you up to! Why do I see you everywhere! Don’t mess around with me!’ His yelling startled all of the other streetside vendors around us.” Liu tells that normally when a photographer becomes a familiar face in the area, people will be more receptive to being photographed.


刘涛的拍摄地点是合肥一条充满生活气息的老街。每逢休息的日子,刘涛都会带着自己的小相机去街上拍照,常常一站就是一天。

而居民们对于这个定时造访的“怪客”,一开始都会有着天然的抵触:“前年在菜市场门口那个季节每日相遇,大汉在卖桃子,咱们两个眉来眼去的,他以为我是市容的……去年在十字路口那个季节相遇,大汉卖甘蔗,以为我住附近,我和他表白说我是爱好摄影。今年在巷口他卖西瓜,晚上相遇,他刚大喝一声:你到底干嘛的!怎么在哪都看见你!别开玩笑了!这声音大得惊动了周围卖冷饮的、卖日用的,还有卖煎饼的……

刘涛说,只有熟悉了这个街道,那里的人才会接纳摄影师的镜头。

Over the years, Liu has observed both the familiar sights of the old streets as well as the changes in both the city and its residents. He shares that he doesn’t go to commercial or business districts, disinterested in photographing skyscrapers. He says, “Those places don’t have the atmosphere of daily life.” As an ardent observer, Liu remains fascinated by the daily patterns of people on Hefei’s old streets. But what truly captivates his interest are the stories behind each and every person.


这些年,刘涛背着相机在路上,看到了年年岁岁相似的景象,也看到了从城到人各自的变迁与成长。他不去商业楼盘拍高楼大厦,“因为那里没有生活气。”

刘涛是个观察者,老街上人来人往的生活氛围吸引着他,而那些带着人情的故事更是。

Taking photographs in the same area for such a long time, Liu will often run into the same people again and again. This has led to no shortage of awkward moments. One time, a photo that he took of the female butcher shop owner taking a selfie with her legs kicked up on the table became the headlining photo of a local newspaper. He confesses that now, every time he passes by the butcher shop, both he and the owner will avoid making eye contact with each another. “It’s way too awkward,” he says.


固守在同一条街拍照就必然会撞见同样的人,尴尬的时刻当然不少。刘涛曾拍过一张肉铺店女老板翘脚自拍的照片,后来成了新闻报纸上的头条图片。他坦言现在每次去这家肉铺,女店主和他都会默契地避开眼神接触,“太尴尬了。”

Liu always finds interesting perspectives to shoot from. He may stay in the same spot for a few hours – even a few days – waiting for the perfect moment to present itself. Sharing the story behind the above photo, he says, “When I shot this, I saw that there were people coming to take photos in front of these flowers, while these aunties were doing exercises next to them. The aunties just happened to be bowing down while the woman posed in front of the flowers, so I captured that moment.” Liu’s street photography style draws from his own influences as well. He’s a lover of the films of Stephen Chow, and he never gets tired of their sense of humor and slapstick moments. What motivates Liu to keep exploring and shooting are coming across these humorous, interesting moments within the mundanity of daily life.


刘涛所拍的照片视角很有趣,他会在一个角度蹲点好几个小时甚至好几天,去等待那一瞬的绝妙时刻,让照片本身成为一个故事片段。拍这张照片是看到有人走进花坛里拍照,而跳健身操的两个阿姨和她正对着,又正好做个鞠躬弯腰的动作,就拍下来了。这也许和他的兴趣爱好相关,他很喜欢周星驰的电影,其中的幽默、熙攘、烟火滋味,让他百看不厌。而在无趣的生活中搜索有趣,在寻常的琐事中发现不凡,这也让他百拍不怠。

Now, as a father, Liu spends a lot of time photographing his daughter instead of Hefei’s old streets. When he was offered an opportunity to become a full-time photographer, he declined, choosing instead to humbly continue his work inspecting water meters. For Liu, photography was never about advancing his position or chasing fame and fortune – he just wanted to experience more of what life was about, to fully live life and live it well.


现在的刘涛已经当了爸爸,镜头除了对准人来人往的老街之外,也会拍些自己的女儿。他拒绝了做全职摄影师的机会,依然还是做着抄表工的工作。因为在相机背后的他从没想过居高临下,而是想真正走到生活中去,生活。

Instagram: @Grinch0748
Weibo: ~/Grinch1982

 

Contributor: Chen Yuan
Images Courtesy of Liu Tao


Instagram: @Grinch0748
微博~/Grinch1982

 

供稿人: Chen Yuan
图片由刘涛提供

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