Working photographer specializing in commercial and publication industry, published subjects including armory at the Tower of London, original vehicles of James Bond, and wild animals etc.
ART.ZIP: How did you become interested in photography in the first place?
GO: It started as a hobby really. I bought an Olympus OM-4. It was just a typical manual camera, and just started taking snaps and really enjoyed it. So I thought ‘oh, part time I’ll do GCE, which in those days called O Level and took that. And from then on I took an A Level.
GO: 剛開始只是愛好而已。我買了部奧林巴斯OM-4相機,一部很普通的手動相機,然後 就開始喜歡上了拍照,決定去上普通教育文憑的課程(GCE O-Level),之後又讀了普通教 育文憑高級程度證書(A-Level).
ART.ZIP: So that was from school?
GO: Beyond school. I was in my middle twenties when I started. So it became an interest so I did an A Level and thought I may go further with this. I got myself a degree course in London and started from there really.
GO: 在那之後。我是20多歲的時候開始接觸攝影,由於很感興趣,又去讀了高等程度證書 的課程(A-Level)覺得會有利於以後的發展。我在倫敦讀了一個攝影學位課程,從此就開 始從事攝影工作。
ART.ZIP: So have you had any influences from artists?
GO: I was really interested, especially in the earlier days, I used to avidly read and buy books about certain photographers. You know the typical were Ansel Adams, I loved these. He had a series of books called The Negatives, The Camera and then there was all about dark room, these peaceful black and white pictures and how you create the Zone System etc. I became a little bit inspired by that. And then of course people like Edward Weston and then kind of stylized nude photos, images and fruit and stuff. And then of course, I got more interested in still life stuff and I love Irving Penn. Till this day I still think he is the greatest photographer. He did many things. He did fashion. He did all sorts of genres. But he always seems so cutting-edge, especially he kind of really just started after the war. He was developing still life stuff before anybody really got into that genre in the way that he did.
GO: 早期的時候我很熱衷於買一些攝影家的著作來讀,例 如安塞爾·亞當斯(Ansel Adams)的作品,包括他的技術 革 新 三 部 曲 《 照 相 機 》 、《 底 片 》 和 《 沖 印 》 。 我 也 讀 了 關 於他的區域曝光理論,以及有關暗房和黑白照片的內容, 都給了我一些啟發。當然還有愛德華·韋斯頓(Edward Weston),那些裸體肖像、水果之類的作品。之後我開始 對靜物拍攝產生了興趣。我喜歡歐文·佩恩(Irving Penn) ,直到今天我依然認為他是最偉大的攝影師。他涉足的領 域很廣,包括時尚攝影以及其他攝影流派等等。佩恩是在 二戰後才開始從事攝影工作的,但他的作品風格新銳,其 獨特的靜物拍攝風格是前所未有的。
ART.ZIP: Did you try out any of these methods like darkroom editing?
GO: Yes I was really into the darkroom. I even have a little printer at home, an enlarger which I used to convert a little toilet and put it on little toilet seat, do printing. So we’re talking about pre-digital day, so it was no other option. You know black and white has always been an enjoyable thing. And of course when I went to university, again we had large darkroom so we always were working in there, and do black and white. Of course we do color negative, and we do transparency but black and white was always such an exciting thing, especially when you just put in the chemicals and suddenly an image appears then it’s a quite exciting moment. It’s something I suppose, in some ways I miss it but we do the same thing in the digital way now. It’s a cleaner way now. We still got control, creative control.
GO: 有的,我曾一度對暗房很著迷。我在家裡也有打印機 和擴大器那些設備,還把衛生間進行了改裝。因為當時 還沒有數碼相機,也只能這麼做。我一直都很喜歡黑白照 片。大學的時候,學校有比較大的暗房,我們都會去那裡 製 作 黑 白 照 片 ,當 然 也 有 彩 色 負 片 、透 明 片 等 等 ,不 過 我 從 來都對黑白照片很感興趣,尤其是把化學製劑加進去,片 刻後一張圖像忽然顯現出來,還一刻總是讓人興奮。我很懷念過去這種製作方式,不過現在有了數碼技術,原理沒 有變,只不過現在處理的方式更乾淨並可以發揮創造力。
ART.ZIP: Photoshop is just like darkroom.
GO: Absolutely. I see it as a tool. Everything is a tool. The end results are what counts, how you get there. There’s different ways to get there. The point is, the end result is what counts. So that’s my view.
GO: 沒錯,這跟其他設備一樣,都是工具。關鍵是最終製作 出怎樣的照片,至於採取什麼樣的方法,我覺得併不重要。
ART.ZIP: What are your views on commercial photography and fine arts or artistic?
GO: I’m a commercial photographer but I think you’ve got a basis for both. And in actual fact, I think quite often as personal work, that doesn’t come to the realms of fine art photography. I think there’s an overlap. I think, the thing about fine art photography often is that gives you a more creative thought process. And I think the thing (is) with commercial photography most of the time you are quite restrained by the clients, by the cost or whatever. If you have time to do things yourself, you’ll do things you really want to try out to experiment with it. Ironically when I used to do advertising photography, quite often clients would be more interested in looking at personal work than they would at commercial work. So it was a way of them looking at what they think are the potentials of you as a photographer because quite often commercially, you don’t always push yourself to the limit in some ways otherwise you do. But the creative process is always restrained by the brief.
GO: 我自己就是商業攝影師,但我覺得有必要對兩個領域 都有所了解。事實上,我在個人創作上投入的精力更多, 那不屬於藝術攝影的範疇。商業攝影和藝術攝影是有交 集的。相比較而言,藝術攝影留給攝影師發揮創造力的空 間更大。商業攝影則具有較大的約束性,因為需要考慮到 客戶要求、投入成本等因素。如果單純是個人創作,就可 以去大膽嘗試。然而我做廣告攝影時發現,客戶在選擇攝 影師時,反而更想看個人作品,因為這些作品才是真正個 人能力和潛力的體現。廣告攝影通常制約了攝影師的發 揮,創造力往往被特定需求限制住了。
ART.ZIP: Do you think that’s still the case now, like they look at your personal work?
GO: I haven’t done advertising for quite a while now because I’ve established that I do stuff in publishing. It’s not often the case anymore. Often people just look at the website. They got a link they heard about me and they go on to the website. They have a quick look at the work. So I’ve never really had face-to- face contacts with clients until I actually got a job. I still think it is important to try and bring new things into your work and also to try out new ideas. It’s very important as a photographer. I don’t think you should stand still. I don’t think any photographer will ever say that they are completely happy at what they do. They are always aspiring to do something better and to find out new processes, whatever that means.
GO: 我很久沒有做廣告攝影了,因為我已經表示過只想從 事出版業攝影。現在客戶更傾向於通過網絡鏈接直接去 瀏覽攝影師的網站,對其作品有個大致了解。我通常都是 接到工作之後才第一次見到客戶。我認為,作為一名攝影 師,非常關鍵的一點是要不斷去創新、去嘗試,不能停滯 不前。沒有攝影師會覺得自己已經做得完美了,他們總希 望能不斷提升能力,尋找新的突破。
ART.ZIP: Do you have any big projects coming up now?
GO: I’ve got a fairly big project I started to work on at the moment. I’m going to the USA next week and I’ll be there for a month, a combination of different projects but primarily I’m doing a transport book, which involves photographing trains which is a kind of update from something from ten years ago. In those days it was done on 5×4 film, now of course it’s all digital. So I’m going to be photographing various trains in the States. And we are writing on some other projects at the same time just to save cost. We are also photographing for a history book. I’m also photographing a gun book. So it’s going to be a lot of work, a lot of traveling. But this is the climate now. People are trying to save money so we’ve combined three books at the same time to cut the cost down. But at the same time, it’s going to be a very interesting thing to do. For example, on Friday I’m photographing the Javelin, which is the high-speed train runs from Ashford to London. So we would be allowed to have complete access to the train including photographing inside it, even underneath it. It’s going to be a very interesting project. Commercially, again we are constrained by time and cost. We have a day to do this train, what we call a virtual tour which is photographing as much as possible inside and out. We’ve got one day only on that. And then, you know, you have to draw the line. So you always have to prepare another plan, bad weather, at the moment ironically the light being very strong. The sun could be very harsh. You always could have problems with shadows. You have the lights to try cut back the shadow and stuff inside. So you always have to think about secondary lighting and stuff as well. It will be a challenge but I’m prepared for that now.
GO: 有的,我下週要去美國工作一個月,有幾個不同的項目 需要做。最主要的一個項目是為一本關於交通工具的書拍 攝各種火車,對十年前的內容進行更新。那時拍攝用的還 是5×4膠片,現在全部是數碼技術了。我會在美國拍攝不同 的 火 車 。為 了 節 省 開 支 ,我 們 同 時 也 在 做 其 他 的 幾 個 項 目 , 包 括 為 一 本 歷 史 書 拍 攝 ,我 自 己 還 接 手 了 另 一 個 項 目 ,一 本 關於槍支的書。所以接下來任務比較重,要跑很多地方。 這也已經成為當前的趨勢,大家都在盡量縮減成本,我們 也 是 為 減 少 開 支 ,才 決 定 三 個 項 目 同 做 。不 過 ,這 樣 的 工 作 還是很有趣的。比如,週五我會去拍攝往返於倫敦和肯特 郡阿什福德名為標槍(Javelin)的高速火車。我們可以去 這列火車車廂內任何地方拍攝,甚至可以在火車下面拍, 我覺得會很有意思。同樣,由於時間和資金有限,我們只有 一天的拍攝時間。我們打算製作關於這列火車的“視覺之 旅”,所以需要盡可能拍到火車內外的每個細節,並且要在 一天內完成。因此要做好兩手準備,考慮到天氣等因素的 影 響 。最 近 天 氣 很 好 ,但 也 意 味 日 光 很 強 ,陰 影 就 會 成 為 問 題 ,這 就 需 要 補 光 來 消 除 陰 影 ,這 一 點 不 可 忽 略 。總 之 ,這 次會很有挑戰性,但我已經做好了準備。
ART.ZIP: You’ve photographed guns before.
GO: Yes, lots of times.
ART.ZIP: And armors, wild animals…interesting story.
GO: Yeah. The armors were quite incredible. We photographed Henry VIII armors for an exhibition at the Tower of London. And that’s the first time they photographed for 20 years. So to photograph in the towers is a massive job. It may take over half of the white tower and basically turn it into a studio. That was quite extraordinary. The tourists were walking past, peering and looking over to see what was going on. That was challenging. There’s no lift. There’s nothing to take stuff up there. We spent two weeks there. The other end of the spectrum is when you are photographing wild animals, but in a controlled environment. It was quite a challenging thing. There are people who have the collections of trained animals, which are used be photographed. Of course they are still very dangerous animals. So you basically work inside a big round cage. You set all the lighting, and when the animal comes in, you go outside the cage and you shoot through a hole or a hatch. So the lighting has to be right, everything has to be set up. When you start working with the animal, that’s it. The cost is quite high for using the animal so you can’t go back and do a second take. So everything has to be really sorted out beforehand. Mostly, as many things, photography is about preparation. You always have to plan ahead.
GO: 是的,當時是為倫敦塔的一個照片展拍攝的。那些亨 利八世的盔甲太不可思議了,這也是它們20年來第一次被 拍攝。在倫敦塔拍照是一項巨大的工程,需要把大部分的 白塔圍起來改成攝影工作室,確實是不同凡響。路過的遊 客都會好奇地觀望,這也給我們的工作帶來難度。另外, 倫敦塔內沒有電梯,所有設備都要搬上去。我們當時在那 里工作了兩個星期。拍攝野生動物則是截然不同的經歷, 雖然在安全的環境下工作,也還是有挑戰性的。野生動物 十分危險,我需要在一個巨大的圓籠里佈光,然後當那隻 動物走進籠子的時候,就到外面透過一個小孔或者窗口來 拍照。所以一定要提前做好佈光等準備工作,一旦開始給動物拍照,就不可以改動了,因為拍攝野生動物的花費是 非 常 高 的 ,不 可 能 重 來 ,只 能 提 前 做 好 準 備 。跟 許 多 工 作 一 樣,攝影也是要做大量的準備工作,必須提前計劃好。
ART.ZIP: What are your views on the current climate of photography?
GO: It’s obviously a difficult climate. I’ve been lucky the last couple of years, very fortunate to be working regularly but I know a lot of photographers think it’s going to get tougher. I think in the future, photographers are going to have to be a bit more adaptable, and perhaps if they haven’t already. Not just being a still photographer, running into video, perhaps CGI. So you become a multimedia expert rather just a photographer. I think for some, I don’t say that for all. Because there are some really specialist photographer out there who will still be the top of their game in a particular field, which they don’t have to go and expand their horizons. But I think for general photographers, I think you will have to be more of a multimedia expert I suppose, rather than just sticking with still photography. Because for obvious reasons, it’s really accessible now and it seems to me that clients are now not willing to pay the money. But photographers need to sustain a living. Obviously it’s a big investment for a photographer, equipment-wise and stuff. But you know, especially with all those web stuff now, for clients it seems that they want to have it done very cheaply.
GO: 顯然目前整個行業陷入困境。過去幾年,我很幸運一 直都能找到項目做。但我認為以後會越來越難。攝影師需 要有更強的適應能力,不能滿足現狀,要不斷學習例如電 腦合成圖像等新的技術,努力成為一個多媒體專家,而不 僅僅是一名攝影師。不過我的這個建議並不是針對所有人 的,因為的確有些專業攝影師在自己特定的領域成績斐 然,不需要另闢他徑。但對其他攝影師來說,成為多媒體 專家就很有必要了,只拍攝靜物是不夠的。原因很簡單, 由於普及程度高,現在客戶已經不願花錢請攝影師了,但 攝影師還是要維持生計的,而且各種攝影器材也是一筆 不小的投入。然而互聯網的出現也使客戶想要盡量壓縮 成本。
ART.ZIP: Do you think that’s a good thing or bad thing?
GO: Personally I don’t think it’s a good thing. I think the problem is, you can dumb down the standards. I think that is the problem because I think you’ve got to maintain the standard. If you believe in what you are doing, you are fairly good at what you do, I think you don’t want to dumb down your standards. You have to stick it out. Otherwise, you know, you just want to survive. It’s a big investment involved. It won’t work just one particular small camera. You’ve got the light, you’ve got so many things that are part of it. You won’t survive on 5 or 10 pounds per photograph. So it’s a tough environment.
GO:我個人覺得這是好事。但問題是這樣一來攝影的門檻 就降低了,我認為還是有必要保持高門檻的。對於自己堅 信的事情,在做出一定成績之後,誰都不想降低標準,而 是要堅持到底。否則,做這份工作就只是為了維持生計而 已。從事攝影意味著很大的資金投入,並不是一部小相機 就夠了,還需要照明等其他設備,如果每張圖片只賣5英鎊 或10英鎊,那肯定是不夠的。所以說,行業現狀還是不容 樂觀。
ART.ZIP: Do you think this profession will still exist?
GO: I think it will. Sometimes things come back. For example, I have noticed that CGI, although it’s been prevalent for the last couple of years, there are reactions against it. Now seen some of the kind of the major players place in photography, commercial photography in the UK for example, are starting experiment with black-and- white fog plate cameras — cameras with black-and-white film. Tif Hunter for example, who used to be very well known, he still is, doing big campaigns, going around various markets photographing fruits using an old turn of the century plate camera, producing beautiful black-and-white images. So maybe there’s a reaction. But at the same time, I think there are areas which will definitely never go back to being photographic. For example, these packshot still with labels on brands, car photography, now CGI probably will forever stay like that. So it’s a tough environment. But as I said before, I think photographers just have to kind of develop in a slightly different direction, be it CGI or be it video. As we are now see photography not just on printed form, we see it on iPad, we see it on various devices, it does enable you to have a look at the other things like moving images etc. There will be some fads. But I think obviously photographers will be here to stay in some form without a doubt because people want to see that. People do still get excited by images.
GO: 存在是肯定的,有時被取代的東西是可以再度時興的。 舉例來說,最近幾年一度盛行的電腦合成圖像技術,如今 也有了反對聲音。目前,一些業界知名機構開始重新嘗試使 用黑白膠卷的幹板相機,比如英國的廣告攝影業就已經在 這麼做了。著名的攝像師提夫·亨特(Tif Hunter)經常會帶 著一部老式乾板相機,去不同的集市,拍攝出非常精美的黑 白 水 果 照 片 。所 以 說 ,市 場 或 許 會 作 出 反 應 。儘 管 如 此 ,我 覺得像產品特寫、汽車攝影、電腦合成圖像等等這樣的領 域還是會保持現狀,不會再回到傳統攝影的階段。總的來 說 ,整 個 行 業 還 是 困 難 重 重 。就 像 我 剛 才 提 到 的 ,攝 影 師 的 個人發展方向要稍微做一些調整,可以選擇電腦合成圖像 領域,也可以選擇視頻方面的工作。畢竟攝影已不再局限於 平面媒體,包括iPad在內的各種移動終端設備的出現,使相 片可以以動態的形式呈現。未來還會有各種流行一時的趨 勢 ,但 不 管 怎 樣 ,我 深 信 攝 影 師 這 份 職 業 會 繼 續 存 在 的 ,人 們還是會希望看到好的圖片。
ART.ZIP: It doesn’t matter how you capture the images.
GO: It doesn’t matter. Again, it’s about what people feel about the image. If it’s done through film, if it’s done digitally, whatever, if it inspires or captivates an audience then obviously it worked.
GO: 是的。關鍵是圖片帶給人怎樣的感覺,只要能吸引人 就可以,至於是膠卷還是數碼相機都無關緊要。
ART.ZIP: You studied photography at university, what do you think you’ve gained from the course?
GO: I might be a little bit cynical here. My course was not what I expected. I expected a lot technical kind of support, technical know how. It was more about understanding how images are constructed. I think for that side, I was a little bit disappointed. I suppose, overall I met people, I’ve made friends with people who worked in various parts of the industry. Maybe that enabled me to have a career of photography. I don’t say it’s the right path for everybody, because I think quite often people will be better off sometimes assisting a very good photographer, learning the ropes that way. For some people, they want that kind of background, you know, to look into images, to look into art and to read it. We did things, which for a lot of people, might not need to be commercial photographer we went into the realms of semiotics, into psychoanalysis. It was things you could not necessary relate to mainstream photography. The theory. But it wasn’t so much of a practical course. I have to do that myself and then I left university. I did assisting which for me was the real kind way of learning the process. Sometimes it’s difficult to say what is it or how has it influenced me. Obviously some of the obvious side being part of it, but you just can’t take that part away and say that is how effective it was. It’s very difficult to analyse.
GO: 在這個問題是我的態度可能比較負面。大學的課程讓 我有些失望,我原本期待可以學到很多實際操作技巧,但課 程更側重理論,對於圖像構成的理解,所以覺得沒有達到 我的期望值。不過我在大學結識了很多業界各個領域的朋 友,這也促使了我選擇攝影這份職業。在學校的學習並不 一定適合每個人,有些人也許通過做攝影師助理,能學到 更多的業務知識。當然也有人願意了解相關背景知識以及 如何去欣賞藝術和攝影作品等等。我們當時課程的設置還 涉及到符號學、精神分析學等理論,這些或許與主流攝影 學沒有聯繫。由於課程的實用性不是很強,我當時只能靠自 學。畢業之後我去做了攝影助理,那時才真正開始學習拍 攝。很難解釋究竟是什麼對我產生了影響。不可否認的是, 我或多或少都從這些經歷中受益,但很難具體分析。
ART.ZIP: So how did you start your first photography job?
GO: I got a job with someone I knew. I worked in the studio, doing the usual stuff, making cups of tea, being nice to people, buying the lunch, bringing and getting lunch in, arranging and all that, loading film bags, cleaning and stuff, set up lighting, and then I free-lanced as well in assisting for various photographers. So you start to watch and learn the process over time. And also through that, you actually make contacts. Because what’s very good about when you assist, you actually start to get in touch with younger designers and who one day will become art directors so it’s a very very good way of creating contacts. And also have access to equipment. Because not being an assistant, it would be very difficult to buy a lot of stuff. When you work for someone, you will let you use the equipment at weekends. You would have access and free film processing from the film lapse because that was part of the deal with assistant as well. So it really helps. So it’s a good way. I’m al ways positive about assisting.
GO: 一個我認識的人給了我第一份工作。我在攝影工作室做些普通的活,端茶倒水、買午餐、做清潔、佈 光等等。之後做過自由攝影師,也為其他的攝影 師做過助理,慢慢學會了通過觀察來學習攝影技 巧。這些工作也幫助我積累了一定的人脈,因為 做攝影助理可以有機會認識些年輕的設計師,他 們未來會成為藝術總監,所以這是很好的建立 人際網絡的機會。另外,做助理還可以使用攝影 器材,否則是很難買到大量的設備的。而作為助 理,週末就可以藉用這些器材,或者可以自己在 工作室處理膠卷,這些都是助理應有的待遇。所 以我一向很支持做攝影助理的工作,會從中受益 很多。
ART.ZIP: You’ve traveled a lot. How do you think traveling has benefited you?
GO: I think, the main thing about traveling, when you do it as a job rather as tourist, you actually get the inside of the country. For example, I was in Miami in May. We were working with the fire brigade, the fire division. And it kind of made me realize how incredibly hard that job really is and how difficult it is. What they do not only they going out for fires, they are actually on call all the time for the ambulance service so they always do medical stuff all the time. I met one of the guys, he’s from Little Havana, which is like the Cuban area of Miami where nobody speaks English, it’s all Spanish. And he just said, “Come on let’s go I’ll take you around because I’m from here.” We had little Cuban coffee. You really feel you got the inside of a place. I think that’s the big difference. Because as you do it when you walk around with your cameras as tourists you don’t really know much about that country. As soon as you do it as a job, you are actually working with everybody on a somewhat equal basis. You just get to see and do things you’ve never thought about. For that, I got to say, that’s the most wonderful thing about traveling.
GO: 在我看來,旅遊和出差最大的區別在於,如 果是去工作,你能夠深入了解這個國家。記得今 年5月,我在邁阿密與當地的消防隊一起工作, 讓我意識了到這份工作的辛苦。消防隊員要隨 時待命,不但要去火災現場,還經常負責醫療急 救車的各種服務。我認識了其中一個消防隊員, 他來自邁阿密小哈瓦那地區,也就是古巴移民 聚集地。那裡的居民講西班牙語,沒有人懂英文。這個消防隊員對我說:“我帶你去逛逛吧,我對 那一帶比較熟。”我們一起喝了古巴咖啡,我有種真 正走進當地居民生活的感覺。這與觀光旅遊有很 大區別。只是拿著相機到處逛街、拍照,是無法真 正了解一個國家的。如果是去工作,就有機會與當 地人共事,去陌生的地方,做你從沒想過的事。我 認為這是出差最吸引我的地方。
ART.ZIP: I think if you didn’t do photography, you don’t get to go into the Tower of London etc.
GO: Exactly. You just see and do things extraordinary at the same time. I’ve been very lucky. I’ve been taken to see incredible things as a photographer I still feel privileged about. It just enables you to see that side of the country from a really different point of view. It could be somewhere you’ve been on holiday to before. But when you see it from a person’s working point of view, it’s a very different place.
GO: 沒錯。有幸的是攝影工作讓我開闊了視野,豐 富了閱歷。這份工作讓我大開眼界,我認為自己是 很幸運的,能夠從不同的角度去了解一個國家。 如果曾去過那裡旅遊,作為攝影師故地重遊,就 會有它截然不同的一面。
ART.ZIP: Do you think that influenced your work?
GO: That’s difficult to say. For me, because the kind of work I do, I can’t say it has. But in saying that, when you go to a place like the States, I’m always among the American photographers. When I am out and about in the States, I’m always trying to take photographs of things I think are very iconic about America. When I got a little bit of time to take some snaps or whatever. Perhaps yes, but on a day-to-day basis, no.
We did a big James Bond poster board, which is a photograph collection of all James Bond posters. There’s a big warehouse in North London, they’ve got the biggest collection of James Bond posters in the world. And from then on we are planning to do another book, which is all the kind of original props from James Bond movies. So we went down over to Watford where they store the James Bond cars. And they opened up the garage and behold was the original Rolls- Royce Phantom from Goldfinger. And they took it out, we were like, “wow, this is all so exciting to see this” and asked is there any chance to take it out. They said, “oh yes.” So we all got into the Rolls-Royce and drove it around. And that was just amazing and after that there was the DBS in Casino Royale, “would you take for a spin in that?” “ok, we’ll go for a spin in that one.” It was just absolutely fantastic for somebody likes James Bond. It was a great experience. I loved it. I suppose, one of the many experiences in a lifetime. Really enjoyed it.
GO: 這很難講。由於我工作性質的原因,我不確定 這些經歷是否影響了我的工作。每次去類似美國 這樣的國家,我都要與當地攝影師合作。但一有空暇時間,我會拍幾張最有代表性的照片。也許你 說的對,但這不會影響到我日常工作安排。
我們曾做過一個007電影海報的圖片展,在倫敦 北部的一個倉庫裡,那裡有全世界最大最全的 007電影海報收藏。從那之後,我們開始計劃為 一本關於007電影道具的書進行拍攝。我們去了 007電影邦德座駕的儲藏地點沃爾福德。車庫門 一開,展現在我們眼前的就是那部出自007《金 手指》的原版勞斯萊斯幻影。工作人員把車開出 來,我們當時很興奮,就問能不能試駕,他們同意 了。於是我們開著那部勞斯萊斯兜了一圈,實在太 不可思議了。看到《皇家賭場》中那部阿斯頓馬 丁DBS時,他們問:“要不要也試試這部?”我們當 然願意,然後又試駕了那部DBS。對於007影迷來 說,真的是難忘的經歷,我很開心,應該說那是 我人生中最難忘的經歷之一吧。