INTERVIEW WITH GARY OMBLER
採訪蓋瑞·歐博爾


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ART.ZIP: You’ve photographed guns before.

GO: Yes, lots of times.

ART.ZIP:你之前拍過槍支是嗎?

GO: 是的,不止一次。

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.

ART.ZIP:還有拍攝過盔甲、野生動物是吧?我想那應該 是很有趣的經歷。

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。

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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.

ART.ZIP:你對目前行業現狀有怎樣的看法?

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。


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