ART.ZIP: No, don’t know what you’ve paid for.
ART.ZIP: What do you think is special about food photography?
SA: It demands an awful lot of patience and an awful lot of attention to detail.
ART.ZIP: How do you think it’s different from photography in other objects?
SA: It’s got a life of its own. It depends on what sort of object it is.
SA: 它有自己獨特的標準。不過還是要看具體拍攝什麼 物品。
ART.ZIP: Like a clock.
SA: I have a big problem with organic and inorganic things. I kind of really relate to organic things. I don’t know what it is about. Obviously there are some things I like and can photograph. Sometimes I do have to as well. I think there’s something about trying to capture again the natural qualities, things that change and things that have their own individual character. I think you have to be sympathetic to that. And you have to draw out that character rather than impose your feelings on it, which I think you probably have to with an inanimate object or manufactured object.
I think probably the way in which you light it varies enormously. There are two different ways that I tend to work. One of them is the very much the more natural way of working, using daylight. That is a very popular trend of my own work for daylight and that’s very sympathetic to certain sorts of things. But also sometimes you need to really concentrate on producing the lighting, which is very specific to given product. People want exactly a particular feeling and so that was working with very control lights. But it always has to be about the subject matter. Also because I feel it’s a natural thing, I do always try to involve a sort of element of the informal, the accidental and the sort of deliberate accident. There always has to be a sort of respect for the fact that nothing in nature is perfect. I was working with Christopher Lloyd who was a gardener. But he’s dead now. When walking around his garden, whenever we were choosing plant to photograph, he’d say ‘just always remember nothing in nature is perfect.’ I think that’s something very important to me in my work. It’s being sympathetic to the natural qualities. I think in terms of looking at the composition, I can’t help but always sort of fall back on the Golden Section and the Fibonacci sequence. I suppose that’s my natural enthusiasm for things, those natural forms and there are things that just have a resonance for me that I like to work with those things. And that’s what you have with food rather than manufactured things.
SA: 我總是偏向於拍攝有生命的物體,我也解釋不清楚 是 什 麼 原 因 。當 然 ,有 些 無 生 命 的 物 品 我 也 喜 歡 拍 ,有 時候別無選擇,但我還是更喜歡捕捉物體最自然的那 一 面 ,因 為 它 會 發 生 變 化 ,並 且 是 獨 一 無 二 的 。這 需 要 攝影師去感知這種特性,提煉其本質,而不像拍無生 命的物體那樣,要把自己的感受強加上去。
此外,佈光方法也是截然不同的。通常我會採取兩 種做法。一是利用日光,這一點在我的作品中可以體 現,但並不是拍攝任何物體都適合用日光,有時候也 需要製造各種光源,具體要根據拍攝的對象來判斷。要根據客戶的具體要求來控制光線,拍出他們想要的效果。我 總會有意識地去製造出一種不經意的感覺。因為畢竟沒有什 麼是天生完美的。我曾經跟克里斯托弗·洛伊德(Christopher Lloyd)共事過,他是位已過世的園藝家。每當我們在他的花 園裡挑選植物拍攝時,他總會說:“記住,大自然中的一切都是 不完美的。”這一點對我的工作來說至關重要,即感知生命體 自身的特質。另一方面,在構圖的時候我會參照黃金分割法和 斐波納契數列。或許是因為我對拍攝天然無修飾的物體比較 感興趣,感覺能夠找到一種共鳴,所以我選擇做美食攝影師, 而不是拍攝人造的物品。