INTERVIEW WITH GARY OMBLER
採訪蓋瑞·歐博爾


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.

ART.ZIP:你怎麼看這個問題呢?

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。

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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.

ART.ZIP:你認為攝像師這份職業還會存在嗎?

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。

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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.

ART.ZIP:怎麼拍照並不重要。

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。


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