▲观看者是图片的主人 专访荷兰摄影师Erwin Olaf
2014-10-23
 荷兰摄影师Erwin Olaf,1959年出生,22岁时开始摄影创作。他的作品涉及你所能想到的一切领域:平面广告、电视广告、电影、MTV、报章杂志……都有他极富个性又很另类的创作。他既能将广告拍摄得极端商业化,又能让个人作品充满疯狂血腥暴力。其作品里总是烙印着强烈的个人风格,他用具有独特气质的黑色镜头,惯于从反向思维解释某种东西或行为,用狰狞而华丽的色彩,叙述令人无法遗忘的喜剧化情节
 
 
E:   您好,我是中国四川网络广播电视台的一名记者,对于您亲自抽出时间接受我台采访,我们表示非常荣幸和感谢。首先,作为一名知名摄影师,您是从什么时候开始摄影生涯的? 
O:  以前在学习新闻的时候,摄影是我完成作业必须要做的事儿,我慢慢的喜欢上摄影而且觉得自己可以做的更好。最终,就慢慢走上轨道。
 


E:  您近期的摄影作品Berlin这个系列很有意思,能否简单的向大家介绍一下这组作品的创作过程和您的初衷? 
O:  我一直很喜欢柏林,它是一个特别的城市,它充满了自由的创造力,以及深厚的历史文化,在那里有雄伟的建筑,也有一些粗暴的痕迹。那段日子我对孩子在社会当中的力量很感兴趣。而且这种力量似乎越来越壮大,孩子也越来越成熟的像是成人。这两种元素的结合,让我想起了柏林。对我而言,很多作品都是自己完成,但是以前大多数是工作是完成的。
 


E:  肖像作品中,人物的面部可谓画面的中心,您的很多作品也体现了任务丰富的面部表情。但是(keyhole)这个系列的作品中人物都是没有露脸的,这部作品命名为keyhole的原因是什么? 
O:  人们有时候对于看不见的东西会更感兴趣,这个作品也是关于羞耻,关于接触的意义。通过制造秘密,家庭内部的秘密,来展现社会的黑暗面。
 


E:  拍摄过程中,对于模特或者演员有什么特别的要求吗? 您是如何与模特进行交流沟通?
O: 通常我会根据拍摄内容选择模特,一般情况下是专业的模特或者演员,有时候也会随机选择。
 


E:  您认为摄影的后期处理最重要的目的是什么?在选择不同的处理方法时,您的依据是什么?
O:  我没有运用普通的技巧,而是对特殊的技巧很感兴趣。和我合作的从事后期制作的工作者,他们都具有非凡的创造力和审美观。具有自己的风格是很重要的,并且,我很喜欢魔幻的题材,我们一起合作时的气氛,对作品的风格有很大的影响。 后期制作也是相当的重要。
 


E:  你的摄影风格具有强烈的个人风格,这种特殊摄影特点是怎么形成的?还是受其他  因素影响?
O:  我的作品充满了强烈的个人风格,我倾向于制造很好的背景,看起来很舒服分画面,还有很重要的一个方面就是,画面表达的不仅仅是你所看到的东西,我想激发读者的想象,就是说,观看者是图片的主人,你花越长时间观看我的作品,你所思考的东西会越多。


 
E:   在从事商业摄影过程中,是如何选择作品的表现形式的,是客户要求,还是您本人设计采用视频,或者图片等?
O:   这个选择也是根据客户的需要进行调整的。他们需要视频或者图片,或者说他们会和我商量哪种形式最好。
 


E:   近期有什么新的创作活动吗?
O:   最近我在完成一个新的作品,名叫:等待。它结合了视频以及图片,主题是关于,人们的焦虑,以及对当前时间的未知。另外一个工作重点,我会重新制作出我的作品,我想回过头去研究下复古的工艺品。
 


E:  I am a reporter from Sichuan Radio and Television, China. Our local TV feels very grateful to you about this interview. First, as a famous photographer, when did you become interested in photography?
O: When I was studying at the School for Journalism, photography was one of my assignments. I really liked it, and felt I was good at it. Also there was a teacher that motivated me to persue this career. All in all it worked out well I think.
 


E:  Your recent work ‘Berlin’ is very profound; could you tell us the creation process?
O: I have always felt really good about the city Berlin, it is a special place, with creative freedom, and a heavy history. It has beautiful architecture, and a certain roughness.
Around that time I was interested in the power that the child holds in our society. It seems that the power is growing, and that children are being treated more and more like adults.The combination of these two elements gave me the idea for Berlin. 
For me it was also special to work on location for my personal work. Before this most of it was created in a studio. 



E: Generally, The facial expressions of people plays a vital role in shaping image, while the characters’ faces in this series of works (the photo ‘keyhole’) are not appeared. Would you tell us the intention of these works?
O: Sometimes you are more curious about what you not see. The series Keyhole deals also with guilt, and the suggestion of the touch, and what a touch means. By showing the backs the world a suggestion is made of secrecy, and family secrets. 
After a while an idea takes hold of me and leads me, instead of the other way around.
 


E: Is there any special request for choosing a model, you intend to select professional models or art lover?
O: It usually depends on the assignment, or photo shoot what kind of model is needed, usually they are professionals or actors, sometimes accidentally scouted. 
E: What is the most common technique or skill in doing the post-production for the photos? Would you like to illustrate the skills with examples?
O: I am not looking for common skills, but for exceptional skills. The people I work with for postproduction are highly skilled creative’s with an excellent eye. It really works well when they have their own style. For instance, I work a lot with Magic, and they bring to the table an atmosphere that works really well with my personal work series like Rain, Grief, or Hope. The art is already in the photography, but the post production adds an extra layer to the work. 
 


E: Your photography has strong personal style; How to form the special characteristics of photography?  Is your shooting style affected by other factors?
O:  My work is staged photography, and highly stylized. I choose to create a fine scenery, something that is soothing for the eye. On second glance it hits you that there is more to the image that you see. I hope to open the road to the viewer with the images, so that they get drawn into it, and think about the idea that it provokes if you look at it longer.
 


E: During your commercial shootings, how to choose the forms of the works, I mean whether you intend to make a video or create an image, these are based on the choices of the customer or yourself?
O: The choice is based on the preference of the client. They have an idea for a format/medium, and then together we work on the idea that they or I propose.
 

E: Are there any new photographic activities recently?
O: Currently I just finished a new installation, called ‘Waiting’. It consists of still and moving images, and deals with the current state of anxiety and what we do with time that is spent unclearly.
One of my other focus points for the coming time is to go back into the darkroom and print my own prints again. (silver gelatin) I want to back to old fashioned craftsmanship, and also the durability is more consistent and appealing to me.


文:罗然
图:Erwin Olaf
责任编辑:刘庆