ART.ZIP: What are your views in currently climate in the industry?
SA: I think I’ve probably touched on that to some extent. I do think that digital has been good in terms of the way of working. But I think it’s been very detrimental to photography in terms of the fact that it is so quick and accessible. I think it can lead to very sloppy, lazy ways of working, which means they actually take a lot away from the integrity of photograph image. To me a photograph should be about understanding light, it should involve an element of time and space. It’s just so easy to just take a picture, which is just a representation of something. And to somebody else who knows nothing, they just see it. It’s just that. They can’t see anything further beyond that. They don’t see any depth. But I think it’s up to us all, the photographers, to really concentrate on they can show we understand and the tools we have available and actually keep on working to produce good image. One of the things that worries me is, the more people become involved in the process, the less control we have. As I was saying, with retouching, I think it’s difficult to actually know what’s happening to an image once it leaves the studio. So I think we’ve all got to try working towards having control over that and assuming control and making sure what people do with our pictures afterwards. So we can look at it and see before it’s published, see if that actually makes sense.
SA: 這個問題我剛才也談到了一點。對於工作方式來說,數 碼技術的確實起到了積極的推動,使得攝影得到了普及, 同時也變得更方便快捷。但這也助長了懶惰、散漫的工作 態度,拍攝出來的相片也就失去了完整性。我認為,一張相 片要能夠反映出攝像師對光線、時間和空間的理解。僅僅 拍一張相片很容易,就是對實物的呈現,別人在相片中也 無法看出更深刻的內容。這就需要攝像師通過圖片傳達自 己的理解,利用我們掌握的技術和工具,繼續拍出好的照 片。我擔心的一點是,由於越來越多的人參與到圖片製作 過程中,攝影師能掌控的就越來越少,比如後期修圖。所以 說一旦相片離開了攝影工作室,就很難知道會有怎樣的變 動了。我認為攝影師要保證對照片的掌控,對後期製作要 知根知底,在發表前確認變動是否合情合理。
ART.ZIP: What do you think of the new techniques like 3D photography? Do you think that changes the definition of photography?
SA: I don’t know much about 3D photography but I think it could be a very interesting field and there are quite a lot of new technologies which I’m not involved with which I think could be very exciting. It’s a matter of making sure that the people with the understanding of imagery actually work with the technology, and the people with the technological know- how don’t take over from the visual people. That’s probably the most important thing.
SA:我對3D技術不太了解,但我認為這是個很有趣的領域。 我對很多新技術都沒有涉及。在我看來,關鍵是確保懂得拍 攝的人要學習掌握新技術,同時又不會被技術人員代替。
ART.ZIP: What do you see photography in the future?
SA: It’s a very difficult one. I’m really hoping to see it. I’m hoping people will be able to be more personally and individually creative. In my own field, which is comparatively narrow, I think it has become more important for us to have individual identity. When I first started, there always have been trends and styles in food photography when I first began it was nouvelle cuisine. We had to photograph everything very sharp, short depth of field, it was very demanding with large format cameras and small apertures working with Polaroid. It was as much about technical side as it could be really. You know how later more trends came along but daylight has sort of become another big trend which I think again has been something which has meant photographers have a lot to learn about lighting. I think we all need to define our own identities so when people want somebody to do a brief, there are a lot of different photographers with different styles available. I always used to worry about trying to find a particular style but actually, what’s interesting, I actually stood right next to Mike, my business partner literally next to him in the landscape, both pointing our cameras in the same direction. And we came up with completely different images. So you realized that you just have to stick with what’s inside and just try and make most of that. And then hopefully, those of us who got a creative way of seeing things and who got something to say about the subject matter will actually be able to have the freedom to move forward and then use the technology that’s available to our disposal really. I think it’s just important not to be led too much by technology.
SA: 這個問題很難回答。我希望能看到未來,希望人們會更 積極創新。我自己的領域相對較窄,我認為有自己獨特的個 性很重要。最初接觸攝影的時候,我是拍攝新派料理的。那 時,美食攝影行業總是會有各種趨勢和風格,在清晰度、淺 景深等方面要求很高,用大片幅相機和小光圈的寶麗來相 機拍攝更是難上加難,對技術的要求非常高。此後又出現 了更多趨勢,比如日光的採用,這意味著攝像師要對採光要 不斷學習。攝像師需要有自己的特色,所以當人們有不同的 需求時,會有風格各異的攝像師供他們選擇。我總擔心找 不 到 獨 特 的 拍 攝 風 格 ,但 記 得 有 一 次 我 和 邁 克( M i k e )站 在 同一個位置,從同一個角度拍攝出來的兩張照片卻截然不 同。所以,不用刻意,只要相信自己的直覺,盡量把它發揮 出來就夠了。但願我們中間那些有創造力和獨特見解的攝 影 師 ,能 夠 有 足 夠 的 自 由 繼 續 創 作 ,並 對 新 技 術 加 以 利 用 , 但不要對技術過度依賴。