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中国建筑摄影师14 | Peter Dixie:诚实地反映建筑至关重要

中国建筑摄影师14 | Peter Dixie:诚实地反映建筑至关重要
梁钰钧 | 2017.08.03 09:20

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编者按:Peter Dixie,职业建筑摄影师,现居上海。14岁时就在夜校学习黑白摄影,在日本从事4年摄影工作后,来到中国拓展摄影事业,并在2011年与妻子创立了洛唐建筑摄影工作室。他表示:摄影和建筑有相似之处,都是通过客观的材料和工具来表达强大的概念,都是非常具体的艺术。

联系方式:peterdixie@lo-tan.com(英) wanghuiling@lo-tan.com(中)

行走:您从事建筑摄影工作几年了?现在是全职的状态吗?

How many years have you being working as an architecture photographer? Is it now your full time job?

Peter Dixie:是全职状态,工作6年了。

I have been working full time as an architectural photographer for just over six years.

行走:可以分享一下,您从事建筑摄影师之前的经历吗?

Could you please talk about your experience before doing architecture photography?

Peter Dixie:14岁的时候我就在夜校学习黑白摄影,那时候学了一些基本的冲洗和印刷技巧。之后我又去了布里斯托大学(University of Bristol)读哲学,这段学习经历对我的创作和思考都有着特别重要的影响。在那之后,我去了日本,在那里工作了4年,同时在一个专业的工作室DOI Tech学习后期处理、彩色和黑白印刷,也是在这段时间,我开始使用大画幅相机拍摄。回到英国之后,我开始攻读商业摄影学位,但后来放弃了,因为我觉得摄影实践比研究理论更有用。之后我来到中国,在这里继续摄影,从而酝酿出《上海荒原Shanghai Hinterland》这个摄影项目,在上海不断扩张的城市版图边缘探寻百态的郊区景观。最终,在2011年,我辞了其他的工作,与我的妻子一同创立了洛唐建筑摄影工作室。

From age 14 I studied black and white photography in evening classes leaing basic developing and printing. I then studied Philosophy (Bristol) which was hugely influential on my work and thought. I then lived in Japan for 4 years, where,while working, I studied processing and printing in colour and black & white at a professional lab (DOI Tech). It was also at this time that I started to work with a large format view camera. Retuing to the UK I started a degree in Commercial Photography, however I left the course feeling that practical photography would be more valuable than academic study. I moved to China to work on my photography leading to the project Shanghai Hinterland exploring landscapes on the periphery of Shanghai’s expanding Metro network.Finally in 2011 I left all other work and founded LOTAN Architectural Photography with my wife.

行走:您最近半年在拍摄的项目主要是哪些?拍摄过程中有什么特别的故事吗?

What projects have you been working onin the past 6 months?Are there any special stories during the shooting?

Peter Dixie:我们有一些长期合作的客户,我大部分的工作就是为这些客户的项目拍摄,目前比较受到关注的项目包括直向建筑(Vector Architects)设计的海边教堂,芝作室设计的“家.村落”——安德厨电展厅和丹麦SHL建筑事务所在上海西岸设计的“云”展馆。

大部分的拍摄都比较顺利,就是有时候会遇到各种蚊虫叮咬,也会遇到一些危险和无法接近的地方。天热的时候爬到楼顶拍摄,常常连鞋底都会被烫坏。

We have several clients that give us regular work and these projects make up the bulk of our activity. Some outstanding recent projects include Vector Architects'' Seashore Chapel, the Arda kitchen showroom which we shot for Lukstudio and Schmidt Hammer Lassen''s Cloud Pavilion on the West Bund in Shanghai.

Most of the time everything runs smoothly and easily, but in the course of shoots I have been stung by ants, bitten by countless mosquitoes, hung off all sorts of precarious and inaccessible points on buildings and walked on rooftops so hot they melted the soles of my shoes.

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The Arda kitchen showroom by Lukstudio

Vector Church web 01

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Seashore Chapel design by Vector

行走:您拍摄一个项目的周期一般需要多长?可以和大家分享一下您的拍摄习惯吗?

How long it usually takes you to shoot a project? Could you please share with us your personal ways of shooting?

Peter Dixie:一般来说,拍一个项目需要一到三天的时间,但拍摄本身其实只是整个工作的一小部分。拍摄之前,我要尽可能全面地和设计师沟通,了解项目的设计概念和逻辑,确定拍摄的重点,同时,还需要研究基地平面、建筑平面和地图等资料来确立拍摄计划,根据项目内部情况和光线的变化来安排拍摄的位置和时间。拍摄之后,我需要对照片进行一次非常细致的后期处理,然后与客户一起筛选、讨论,对图片进行最终一轮的调整。

Actually shooting a project will normally take between one and three days, however this is a very small part of the process. Before shooting I try to consult with the designers as much as possible to understand the logic and concept of the project, as well as which aspects are most important to communicate through the photographs. I work with site plans, floor plans, maps etc. to develop a plan of where and when I want to be shooting according to activity in the project and the movement of the sun throughout the day. After shooting I go through avery thorough process of post-production, once again working closely with the client to produce the final series of images.

行走:您认为自己擅长拍摄哪一类作品?

What kind of projects are you good at shooting?

Peter Dixie:从单个卫生间到奥林匹克运动场,几乎所有规模的项目我都拍过了,我觉得自己更喜欢拍尺度比较宜人的中小型建筑,比如之前拍过的上海世博会英国馆、“云”展厅和海边教堂,但是因为市场需要,现在拍的更多的是商业和住宅项目,这方面不知不觉变得擅长了。

I have shot projects at all scales from a single toilet cubicle to an Olympic stadium, but I think small to medium sized projects on a very human scale, like the British Pavilion, Cloud Pavilion or Seashore Chapel are what I do best, however given the inevitable constraints of business economics I have also become very good at shooting commercial residential projects...

SHL Cloud web 006

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Cloud Pavilion design by Schmidt Hammer Lassen''s

行走:您如何处理画面里建筑与人的关系?

How do you deal with the relations between architecture and people in the image?

Peter Dixie:建筑摄影是为了将项目从视觉上解释清楚,让观者不在现场也能够理解它的体量和空间关系,从这个需求上来说,只有在必要时,我才会把人放到画面里,作为交代空间的一个参照,这些都是经过缜密考量的。作为拍摄的元素,人的出现应该是自然的、点到为止,只在必要的场景出现,比如在拍摄扶手、座椅、汽车的时候,经常让人作为参照物,从而体现出拍摄对象的尺度。在描述尺度比较特别的项目时、在表现空间层次和深度的时候,还有在指示出入点的时候,就更需要人物在画面中作为参照。

The job of photography is to clarify the project and make it understandable to the viewer. To that end I will try to only include people where it adds to the overall clarity of the series. It is not always possible (or desirable) to shoot with no people in shot, but I would certainly not automatically include a figure. I try to use people naturally, sparingly andonly where it is necessary to do so - handrails, seating, cars etc. give human scale in most cases. Where scale is unusual a figure may be needed to disambiguate. A person may also necessary to define layersor depth in space or to indicate entrance/exit points. If flow of people is important to the function of the space, then certainly that ought to be shown.I would avoid use of people for people''s sake.

行走:您如何处理气象和建筑的关系?

How do you balance between the weather and architecture?

Peter Dixie:我没有办法控制天气,只能在充分了解天气状况后随机应变。一座建筑所处的气候是建筑本身的一部分,因而我会选择当地典型气候中的一天来拍摄,但一般情况下,我会尽量避免在雨天拍摄,除非这座建筑只有在雨天拍才好看。建筑摄影不可避免地会拍到外景,但气候和季节的变化又会让项目看上去更加动人。

The weather is going to do what it is going to do so I have no choice but to work around it – given that it is important to have the best weather information that I can get. The climate that a building exists in is as much a part of the architecture as any other aspect of its context and for that reason I would prefer to shoot on a typical day. I will avoid rain however, unless it is absolutely essential to the architecture to show that. Photographing architecture it is unavoidable to be out in the weather – but contact with the climate and the seasons is part of what makes this type of photography appealing.

Taiyang NewWeb 01

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猪圈 design by 陈浩如

行走:您怎么看待客观表达建筑师的作品与摄影师的再创作?

How do you think of the objective presentation of the architect’s work and the recreation of the photographer?

Peter Dixie:摄影和建筑有相似之处,都是通过客观的材料和工具来表达强大的概念,都是非常具体的艺术。如果能将这两种概念关联起来,让两种不同的实物产出(照片和建筑)表达同一个抽象的客体,那么就算是一种成功了。

Photography and architecture are both essentially concrete with strong conceptual structures attached to the physical material end product. If we can find a way to correlate those conceptual aspects so that the two physical outputs manifest the same abstract body, then perhaps we can succeed.

行走:您认为好的建筑摄影作品应该具备什么样的特质?

What kind of qualities do you think are crucial for architecture photography? What are your favourite works of your own by now? Why?

Peter Dixie:好的建筑摄影应该能够表达出一座好的建筑所具有的全部特质。它不会仅仅是记录一座建筑的图像,而是创造帮助人们理解一座建筑的工具。除此之外,诚实地反映一座建筑是至关重要的。

Architectural photography should express all the qualities of good architecture that it can.It must go far beyond simply being pictures of buildings – it is the creation of tools or guides to understanding a project. Beyond that I think an honest response to a project is vital.

行走:到目前您最满意的自己的作品是哪些?为什么?

What projects are you most satisfied with, why?

Peter Dixie:我觉得上海多利农庄的拍摄最接近我作为一个建筑摄影师的目标。客户给予了我极大的自由,我能够去拍我认为最好的照片。这个项目的每一张照片都很扎实,组合在一起也能够有逻辑地将空间交代清楚。但我希望新的作品能让我更满意,在每一个项目的拍摄中,无论从概念上还是技巧上,我仍然在不断地学习,不断地挖掘摄影和建筑未知的奥秘。

Tony''s farm I think is the best expression of my aims as an architectural photographer. I was given a lot of freedom to produce a set of images as I thought best. In this case I think the individual images are solid, but also mesh well as a series to describe the space. This is not the same thing as the best set of images, which I hope is always the latest project. I still lea about photography and architecture, both conceptually and practically/technically from almost every project.

Playze TonysFarm NewWebsite 14

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Tony''s farm design by playze

行走:您最喜欢的建筑摄影师是谁?您从他(她)的作品中学到了什么?

Who is your favorite architecture photographer? What have you leaed from his/her works?

Peter Dixie:对我影响最深的建筑师有Julius Shulman、Balthazar Korab、Helene Binet和Ezra Stoller。很多非建筑摄影的摄影师也对我产生过很大的启发,比如土门拳(Domon Ken)对细节的注重、Larry Clark对顺序和层次的拿捏、Diane Arbus的诚实和强烈的目的性、Bas Princen对图像处理过程的敏感度、Marten Lange独特的表现语言,还有Lee Friedlander的构图。

Looking at architectural photography I have very practical conces. Some of the most important to me are Julius Shulman, Balthazar Korab, Helene Binet, Ezra Stoller. The photographers I have leat most from are not architectural photographers and I have had a lot of influences... Domon Ken for the importance of detail, Larry Clark for sequencing and juxtaposition, Diane Arbus for honesty and intensity of purpose. Bas Princen for sensitivity to the history of image making, Marten Lange for articulating a unique new language, Lee Friedlander for composition.

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Ezra Stoller

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Helene Binet

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Balthazar Korab


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