米高．肯纳(Michael Kenna): 我有幸见证神奇的事情简介 已有网友引介MK作品,不才附骥.我认为MK执风景摄影牛耳,当世並无抗手.小时玩相机拍云,很想拍出其气魄,但没有其才华.今见其作品,空馀「眼前有景道不得,崔颢题诗在上头」之叹. Michael Kenna: I am privileged to witness amazing things 米高．肯纳: 我有幸见证神奇的事情 How did you know photography? Tell us from the beginning. 你如何认识摄影?从开始告诉我们. I was born in 1953 in Widnes, Lancashire, England, The youngest of six children in a working class, Irish-Catholic family. There was certainly no tradition of art among my family at the time. Growing up I was highly impressed by the Catholic Church and just before I became 11 years old, I entered a seminary school to train to become a priest. I left the school when I was 17. Art had been one of my strongest subjects and I went on to study at the Banbury School of Art in Oxfordshire. Photography was one of many art mediums that I was exposed to as part of the course-work. I made images of my surroundings. It was very exciting. I thinkI took pictures in my mind from when I was a child, but my first serious efforts were made at this time. 1953年我生於英国,兰开夏郡(Lancashire),威德尼斯(Widnes),属工人阶级,爱尔兰裔天主教家庭,六个孩子中老么.当年我家绝对毫无艺术传统.长大後我深受天主教会影响,快11岁时进入神学院,学习成为神父.17岁时离开.继而就读於牛津郡(Oxfordshire)的班伯里艺术学校(Banbury School of Art),艺术成为我其中一强项.摄影作为众多艺术媒介之一,是我得接触的习作之一.我四处造像.非常好玩.我想我自小已经在脑海拍照,但头一回真正尝试始於其时. I later went onto the London College of Printing, where I studied photography for three years. Initially I studied more commercial aspects of the medium; fashion, advertising, sports, still lives, photojournalism, etc., and did notknow about the rich tradition of landscape photography. Later on, I saw theworks of such luminaries as Bill Brandt, Josef Sudek, Eugene Atget, and AlfredSteigliz. They were profoundly impressive and influential. I had studied the history of art in other courses and I was particularly entranced by the painters Casper David Friedrich, John Constable and Joseph Turner. But who knows where influences come from. I am sure that there have been thousands of painters, sculptors, photographers, writers, musicians, poets, etc., who have greatly influenced me. The list would be very long. 之後我再到伦敦印刷学院(London College of Printing),在那儿学习摄影3年.初时我学习的手法多属商业层面,时装,广告,体育,静物照,新闻照等等,尚未认识风景摄影的丰厚传统.後来我观摩诸如比尔．布兰特(Bill Brandt),约瑟夫．苏德克(Josef Sudek),尤金．阿杰(Eugene Atget)和艾弗．史蒂格兹(Alfred Steigliz)等名家作品.给我深刻印象和影响.我在其他课堂学习艺术史,尤其着迷画家卡斯帕．大卫．弗里德里希(Casper David Friedrich),约翰．康斯塔伯(John Constable),约瑟．特纳(Joseph Turner).然而谁清楚众多影响从何而来.我肯定有上千位画家,雕刻家,摄影师,作家,音乐家,诗人等等对我有重大影响.名单看来很长. After graduating, I did some assisting and printing for an advertising photographer, Anthony Blake. Landscape photography became my hobby and passion which I did in the mornings, evenings and on the weekend when I wasn’t “working”. It was really only when I went to the USA in the mid seventies that I considered the possibility of making a living in the fine arts. There were photography galleries in New York and there seemed to be a higher acceptance of photography as an artform. I decided to base myself in San Francisco, and subsequently lived therefor many years, before moving North to Portland, Oregon in 2004, and then Seattle, Washington in 2007, where I currently live. 毕业後,我为广告摄影师安东尼．布莱克(Anthony Blake)构图并提供一点协助.在白天,夜晚和不用「工作」的周末,拍摄风景成为我的嗜好和挚爱.当我在70年代中去到美国,我才真的认为自己有可能靠艺术为生.纽约有摄影展馆,看来更加认同摄影是一门艺术.我决定奠基於旧金山,此後长居多年,直到之前在2004年北上俄勒冈州波特兰,2007年赴华盛顿州西雅图,现在我住在那儿. 译者编入MK作品: 中国
What interest you on photography? 你为何对摄影产生兴趣? Imagine being out at night, alone, under starry skies, listening to silence, watching the world slowly move, all senses alive, thinking, imagining, and dreaming. The camera is recording, creating, documenting, seeing what the eye cannot see - cumulative time. Or imagine the sensation of being in a field as the snow falls on a single, exquisite tree. White all around. Just the sound of snow falling. Or again, the crashing of angry waves, pre dawn,against white sand, clouds in the sky, a glow on the horizon from the slowly wakening sun. Then call that “work”. There are moments when the elementsof life come together magically; conditions, places, subject matter, inner connections; moments that are singular and very special. It is a privilege to bepresent at such times and to have the possibility to integrate into the scene and subjectively interpret. It is an experience that defies description, at least from me. These experiences drive my photography. I think it is a wonderful way to go through life. I love almost all aspects of the photographic process; planning, traveling, searching, image making, seeing the first contact sheets, printing, exhibiting, making books, everything. I am a very lucky person to have found this path and am extremely content. 想像在夜晚,独自在星空下,聆听寂静,观察世界慢慢移动,所有景象栩栩如生,思考,想像和做梦.相机保存,创作,记录,观察眼睛所未见--累积的时光.或想像置身野外感觉,雪落在单独一棵优美的大树上.周遭一片雪白.唯有落雪之声.或再想像黎明前怒涛訇訇,拍打白沙,云在天上,地平线因太阳慢慢苏醒而出现光晕.且形容为「工作」.有时候生命各种元素神奇地汇聚,条件;地点;题材;内在联系,这些时刻独一无异,非常特别.其时能够在场是荣幸,还有机会发掘现场并由主观发挥.至少对我而言,这是有违平铺直叙的经验.以上经验推动我的摄影.我想摄影是度过此生美好方式.我热爱摄影几乎每一面过程,计划;旅行;搜索;构图;视察底片目录;冲印;展览;出书;莫不如是.我是非常幸运的人,找到自己的路,与无与伦比的满足. It seems that you love doing black & white photography, Please explain why. 看来你锺情於从事黑白摄影,请交代何解. I believe black and white is immediately more mysterious because wesee in color all the time. It is also more subjective. I think it is quieter and more calm than color. I like to print all my own work and I can interpret black andwhite very subjectively in the darkroom. It is a personal preference. 我相信黑白立时显得更加神秘,因为我们平时所见无一不是彩色.这也许更加主观.我觉得黑白比起彩色更加宁静,平和.我喜欢自行冲印我所有作品,容我在黑房相当主观地以黑白诠释.这是个人偏好. 译者编入MK作品: 日本
Everybody shoot landscape. But only selected create some good ones. What did they missed to make it good? 任谁都拍过风景照,但只有不同凡响少数创出一些佳作.他们忽略什麽以致无法造就佳作? Art, in all forms, is immensely subjective. I don’t know if anybody can give universal reasons why something should be categorized as “good” or “bad”. I certainly do not have that understanding. Some photographs touch us emotionally, more deeply than others. There are many reasons why this could be, including; choice of subject matter, technical excellence, aesthetic pleasure, personal resonance, intellectual curiosity, etc. 任何形式的艺术皆非常主观,我不懂为何有人可以提出普遍的理由,分类何者为「好」或「坏」.我肯定自己无此理解能力.一些照片比起其他更深刻动人.为何能够有很多理由.包括主题取舍;技术优势;艺术志趣;个人理由;求知欲等等. You do very intense personal project and also commercial project. What interesting for us is both project output have the same style and thesame character. While some photographer do a very different style & character of output when shooting for personal & commercial project.What do you think about this? Why can’t they do the same? 你既从事相当个人计划,也有商业上制作.我们好奇两者有着相同风格和特色.有些摄影师拍摄个人与商业项目,作品风格和特色有很大分别.为何你一以贯之? I am very fortunate and due to the success of my landscape work, I have been able to accept commercial work which allows me to use my personal style of photographing. There would really be no reason for anybody to commission me if they didn’t want the resulting images to be in my style. I am also not sure I could photograph very well in any other way. Practically speaking, most photographers are not in a position to turn down work and it is necessary for them to adapt their style and technique to the client’s needs and wishes. I would certainly do the same if my fine art work did not give me any income! 我很幸运,当我的风景作取得成绩,我可以接受商业工作,容许我以个人风格拍照.难道有人委托我,却不想得出有我风格的照片,真是毫无道理.我也不确定自己能用其他手法拍出同样好的照片.老实说,摄影师大多没资格拒绝工作,他们必须让其风格和技巧,迁就客户的需要和意愿.如果我的艺术工作不能给我任何收入,肯定我也得这样! 译者编入MK作品: 美国
Mention one word that describe your photos 说一个字来形容你的作品 Sorry, I cant : ) I will leave that answer for somebody else. 抱歉,我不能.我会留给别人来答. What kind of picture deserve labeled as “the great one”? 怎样的照片才称得上是「一张伟大照片」? I think a book could be written on this subject! In fact, many have been. I believe a “great” photograph is in the mind, heart, soul and spirit of the beholder. Some photographs may be considered “great” by consensus, others by single individuals. There are “great” photographs by ordinary photographers, and ordinary photographs by “great” photographers. Ultimately, “great” is a label, subjectively applied. 我想这题目可以写成一本书!事实上很多都说得上.我相信一张「伟大」照片在乎观者的感怀,心意,灵魂与精神.一些照片因带来共鸣,另一些则因个人特色而视之为「伟大」.有「伟大」照片出自普通摄影师,有普通照片出自「伟大」摄影师.总而言之,「伟大」就是标签,因人主观而施. 译者编入MK作品: 其他之一
You regularly do exhibition. Do you think all photographers should do exhibitions regularly? How often? And please explain the reasons. 你定期举办展览,你是否认为所有摄影师应该定期展览?每隔多久?且请你解释原因. I cannot speak for other photographers. For myself, I think it is important to share images, whether it is through exhibitions, web sites, books, calendars, posters, notecards, etc. I think one of the prime reasons to be a photographer is the willingness and even necessity to exhibit what is created. Being a photographer means that I hunt for experiences. I am privileged to witness amazing things. I try to record and interpret them. I don’t believe I should hoard the results. I like to think that I am a medium for others to see things they might not otherwise have the opportunity to see. I think that I am really a guide. 我不能代其他摄影师说话.对我而言,我认为分享照片是重要的,通过展览,网站,书籍,挂历,海报,卡片等等.我想我当上摄影师一个主要原因,就是渴望甚至必须展示我所创作.当上摄影师意味我在寻觅经验.我有幸见证神奇的事情.我尝试纪录并诠释它们,我不以为我该私藏结果.我喜欢自视为他人看事物的媒介,不然他们未必有机会得见.我想我其实是一名向导. Practically, exhibitions give me deadlines to finish prints. They help me to survey a body of work objectively, and I am always interested in the viewers reactions and responses. Exhibitions also enable to me to survive because my livelihood is very much based in print sales. 老实说,展览给我死线好完成作品.它客观地助我调查工作进度,我也对参观者的反应和回响很有兴趣,同时展览得以维持我的生计,因为我相当赖以销售作品营生. 译者编入MK作品: 其他之二
If there is some kind of checklist to achieved before you press the shutter release, what aspect/point should be on the list? 如有一张备忘录,在你按下快门前先要做到,须要记住什麽方面/重点? I would suggest that there is some sort of resonance, connection or personal response with the subject matter. But it is different for everybody. Sometimes, it is a form of therapy just to wander and photograph. The results may not even matter. Sometimes it helps to see, understand and connect us the world. Sometimes, it does precisely the opposite and rather than experience the world itself we hide behind the camera. I like to think that I am having a conversation with whatever I photograph. I try not to steal an image, but rather acknowledge that a photograph is being made. 对此话题,我的建议有着某些共鸣,联想或个人回应.然而这因人而异.有时漫游与摄影不过是治疗方式,结果如何未至於是问题.有时它助我们观察,认识,连接世界.有时正好相反,比起世界的经验,更在乎的是隐藏在相机背後的自己.我喜欢想我在与摄影对象对话.我力求不窃取影像,但我倾向承认照片是这样得来. I look for an interesting composition, an arrangement of shapes and tonalities. I am drawn to certain lighting conditions and atmospheres. But it isall so personal. For example I’ve always liked to photograph in “conditions”;mist, rain, snow, etc., where distracting backgrounds are eliminated or subdued.Sunshine and blue sky has never appealed to me. Too much light tends to reveal all the details of a scene and I am not interested in a perfect photocopy. I prefer suggestion over description. I like to use the analogy of haiku poetry where just a few elements act as catalysts for one’s imagination. Often I make long time exposures so that detailed water becomes floating mist, clouds in the sky become blurred masses of tonality and a populated scene becomes empty. The world is prettychaotic, seemingly always speeding up and getting louder and more visually dense. I am interested in finding and/or creating calm shelters from the storm, places where quiet solitude is encouraged and inner contemplation is possible. I think we could all use a break from time to time... 我探求有趣的作品.布置形态与色调.我着迷於种种光照条件与气氛.但这是相当个人的.举例我总是喜欢在雾,雨,雪等「条件」下拍摄,当弥漫的背景退弱或消散,阳光与蓝天从来不吸引我.太多光照趋於显露现场一切细节,我对完美的影印没有兴趣.我倾向建议超越平铺直叙.我喜欢以俳句为喻,些微元素足可为其想像的催化剂.我经常运用长时间爆光,细致的水变成飘浮的雾,天上的云变得模糊而调和地聚集,人烟簇拥的现场变为寂寥.世界很混沌,看似不断加速,愈趋喧嚣,可见益发紧密.我乐於在风暴中,寻找和/或创造平静的避难所,那里支持宁静地独处,容许内在的沉思.我愿我们随时都可在此休息... 更多图片请往MK官网: http://www./ |
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自知近來幾篇譯文比較生硬,但除Kitty眉批,沒有高手肯浪費時間批鬥我.為免審核懶得修訂,再三致歉.