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扮演拍摄皮尔勒

(2006-07-23 10:43:38)
分类: 林泉自多兴
扮演拍摄皮尔勒HailS   r I 6 I B r   was born in 1951 in Bielefeld, Germany. After graduating from high school, he worked as an assistant to several photographers in Munich and Berlin. He also studied communications and sociology at the Free University in Berlin.
汉斯·皮尔勒1951年出生于德国的比勒费尔德。中学毕业后,他在慕尼黑和柏林做过几位摄影家的助手。他同时还在柏林的一所大学进修传媒和社会学。
1979年以后,皮尔勒成为一位自由职业摄影师,主要在德国拍摄广告和新闻,同时也开始发展自己的拍摄计划。在1980年和1983年之间,风光摄影成为他的主要主题,拍摄了三本和水相关的挂历,其中一本获得柯达挂历奖。他同时还将自己的风光摄影合成为一部多媒体的作品“土地”。在1983年到1984年间,他完成了两部黑白摄影系列作品:“穿越”,“洛杉矶之行”,都是通过汽车车窗看到的世界。
Since 1979 Hans Pieler has worked as a freelance photographer in advertising and journalism in Berlin, at the same time pursuing his independent projects. Between 1980 and 1983, landscape photography became his main theme, and he put together three calendars on the subject 'Water', one of which earned him the Kodak Calendar Award. He also assembled his landscape images in a multimedia presentation called 'Land'. In 1983—84 he created two black and white photo series entitled ' Transit' and 'Riding to L.A.'. travel images photographed through the window of a car.
1988年,皮尔勒说:“放弃短途旅行。”于是开始了一年之久的世界各地的长途旅行,完全是自己的拍摄。他的这些街头摄影带有很大的随意性,色彩鲜艳。作品在德国和纽约多次展出,同时也出现在杂志和画册中。
"No more short journeys", said Pieler in 1988, and set off on a year-long world trip — without a commission. Street photography, often as accidental as it was vivid, was the result. His work was exhibited several times in Germany and in New York, and also published in photographic magazines and books.
1990年,皮尔勒开始继续他的街头景观拍摄,开始于开放的东德。1991年接着拍摄日本和香港,1992年到了印度尼西亚。《中途停留》中的作品,选自于他在1988年和1992年之间的拍摄。
In 1990 Hans Pieler began to track down his street scenes in newly-opened Eastern Germany. In 1991 he photographed in Japan and Hong Kong, and in 1992 he traveled to Indonesia.
' Stopover' is a selection of his observations on the streets of the world between 1988 and 1992.
皮尔勒发现了他不想寻找的东西。尽管在现实的现代世界中,许多人都相信他们所拥有的是世界极其偶然的一部分,皮尔勒也是无意中在旅途中使用了闪光灯,拍摄了纽约、东京、和悉尼。不管是他的观察力量,对瞬间的把握,还是千分之一秒的奖励,不管是否是他真正拥有的瞬间,一切只有在回到家里通过接触印相冲出照片后才能得知。
HanS  Pieler  finds things he isn't looking for. Although in the materialistic modern world many people believe that they own whatever part of the world they happen to occupy, he is happy to possess only the instant that is captured by the flash of his camera, be it in New York Tokyo. Sydney - or in a chance place in between. Whether his powers of observation, the chance of the moment, and the thousandth of a second have been rewarded, whether he is really the owner of that moment - these things will only be seen later at home on the contact sheets.
他是通过数以千计的旅途的瞬间,找出位置与时间、闪光与机遇、色彩与组合之间的最佳构成,再决定是否值得放大和印制。他的每一张照片都充满惊人的活力,同时又和他们毫不相关的气氛,从而既有一种艺术的印象但是却又呈现出慵懒的气息。他将自己的大画幅相机带入街头,混迹于人群之间,并不想证明什么。因为他正是希望以平凡的景观替代不朽的东西,反而创造了这样一种令人惊奇的视觉范本。
He has to sort through a thousand such travel moments to find out if the place and time, flash and chance, color and movement have united in a picture that is worth enlarging and printing. Each of his photographs have an astonishing freshness and unconcerned air about them, both of which originate in the art of effective waiting and productive idleness. With his camera in tow, he goes onto the streets, mingles with the people, and doesn't try to prove anything. Because this photographer looks for the commonplace instead of perpetuating that which is reputed to be one-of-a-kind or famous, he is successful in finding visual surprises.
皮尔勒静止的景观是一类非常特殊的“绝技”。在他们中间什么也没有发生。或者换一种方式说,这样的世界是被一种古怪的姿势和形态所控制了,又被一种自发的力量和鲜艳的色彩所推动。在他的大底片中,构成了“无动力”和“大色彩”的莫测高深的语汇。日常的瞬间变成了浓缩祭典的故事,来来往往于大街上的人物都成了舞台上的过客。后现代城市的玻璃幕墙和水泥建筑,变成了现代剧场理想的背景。甚至风景也会凝固成纯净的虚构,旅游者的世界成为了人工的艺术。
Hans Pieler's still photos are ' stunt' scenes of a very special sort. Nothing is happening in them. Or so little, that the world seems dominated by curious gestures and poses, and accelerated by spontaneous excerpts and vivid colors. In Pieler's poster-film, the enigmatic language of the 'no-motions' and 'big-colors' seems limitless; everyday movements turn into cult-centered stories, and people passing each other on the street become figures in a staged ritual. The glass facades and cement architecture of the postmodern cities are the ideal backdrop for this kind of modern theater. Even the landscape is solidified into pure fiction; art in the artificial world of the traveler.
画面中的花园成为深奥的地图,金鱼似乎找到了新的色彩,柔和的冰淇淋锥体成为办公室的徽章。这些街头的照片构成了谜一般的结局,游客们似乎都不会注意照相机,只有摄影家在期待着什么。
The collective view into a Zen garden becomes an abstruse plot, goldfish seem to have found new colors, and a soft ice cream cone is a vigorous badge of office. These street photos pose a riddle — they see something that the passer-by doesn't notice, and that only the photographer anticipates.
这一切综合起来,其实正是构成了我们时代极具象征意义的符号。甚至我们会有这样的预感,快门声响过之后,这些画面中的模特儿又会开始扮演下一个角色。
When Hans Pieler photographs gestures that convey the essence of people, they are also a sign of the perplexity that is an especially typical feature of our times. Even when the shutter's click lets us linger, the nameless models in these photographs seem to be always underway to the next play.
其实他们并不知道他们是在扮演什么样的角色。皮尔勒为这些人物和场景找到了最合适的空间:他们的特征并非来自他们的脸,而是来自鲜艳的色彩。色彩是没有国别的,它们说着同一种语言,它们将所有的图像捆绑在一起,不管这些对象分别来自千万里之外。也许看完这些照片,不会有什么性格鲜明的形象留在脑海中,但是谁也不会忘记性格各异的衬衫所留下的色彩。
They have their rolls without knowing what these rolls are. Hans Pieler has found a representation, for people and things: their identification isn't from their faces, but in their vibrant colors. Colors have no nationality, they speak all languages, and they bind all the images together, even when their subjects’ origins and development are thousands of miles apart. Perhaps at the end of the book no one character will remain in the spectator's memory. But the observer will never forget the colors of the characters' shirts.
 

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