INTERVIEW WITH GARY OMBLER
採訪蓋瑞·歐博爾


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.

ART.ZIP:你怎麼看待商業攝影和藝術攝影?

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。

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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.

ART.ZIP:他們現在還是會看你的個人作品嗎?

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。

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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.

ART.ZIP:目前你有沒有在做一些大的項目?

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。


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