Michael Kenna: I am privileged to witness amazing things

米高．肯納: 我有幸見證神奇的事情

How did you know photography? Tell us from the beginning.

你如何認(rèn)識攝影?從開始告訴我們.

I was born in 1953 in Widnes, Lancashire, England, The youngest of six children in a working class, Irish-Catholic family. There was certainly no tradition of art among my family at the time. Growing up I was highly impressed by the Catholic Church and just before I became 11 years old, I entered a seminary school to train to become a priest. I left the school when I was 17. Art had been one of my strongest subjects and I went on to study at the Banbury School of Art in Oxfordshire. Photography was one of many art mediums that I was exposed to as part of the course-work. I made images of my surroundings. It was very exciting. I thinkI took pictures in my mind from when I was a child, but my first serious efforts were made at this time.

1953年我生於英國,蘭開夏郡(Lancashire),威德尼斯(Widnes),屬工人階級,愛爾蘭裔天主教家庭,六個孩子中老么.當(dāng)年我家絕對毫無藝術(shù)傳統(tǒng).長大後我深受天主教會影響,快11歲時進(jìn)入神學(xué)院,學(xué)習(xí)成為神父.17歲時離開.繼而就讀於牛津郡(Oxfordshire)的班伯里藝術(shù)學(xué)校(Banbury School of Art),藝術(shù)成為我其中一強(qiáng)項.攝影作為眾多藝術(shù)媒介之一,是我得接觸的習(xí)作之一.我四處造像.非常好玩.我想我自小已經(jīng)在腦海拍照,但頭一回真正嘗試始於其時.

I later went onto the London College of Printing, where I studied photography for three years. Initially I studied more commercial aspects of the medium; fashion, advertising, sports, still lives, photojournalism, etc., and did notknow about the rich tradition of landscape photography. Later on, I saw theworks of such luminaries as Bill Brandt, Josef Sudek, Eugene Atget, and AlfredSteigliz. They were profoundly impressive and influential. I had studied the history of art in other courses and I was particularly entranced by the painters Casper David Friedrich, John Constable and Joseph Turner. But who knows where influences come from. I am sure that there have been thousands of painters, sculptors, photographers, writers, musicians, poets, etc., who have greatly influenced me. The list would be very long.

之後我再到倫敦印刷學(xué)院(London College of Printing),在那兒學(xué)習(xí)攝影3年.初時我學(xué)習(xí)的手法多屬商業(yè)層面,時裝,廣告,體育,靜物照,新聞?wù)盏鹊?尚未認(rèn)識風(fēng)景攝影的豐厚傳統(tǒng).後來我觀摩諸如比爾．布蘭特(Bill Brandt),約瑟夫．蘇德克(Josef Sudek),尤金．阿杰(Eugene Atget)和艾弗．史蒂格茲(Alfred Steigliz)等名家作品.給我深刻印象和影響.我在其他課堂學(xué)習(xí)藝術(shù)史,尤其著迷畫家卡斯帕．大衛(wèi)．弗里德里希(Casper David Friedrich),約翰．康斯塔伯(John Constable),約瑟．特納(Joseph Turner).然而誰清楚眾多影響從何而來.我肯定有上千位畫家,雕刻家,攝影師,作家,音樂家,詩人等等對我有重大影響.名單看來很長.

After graduating, I did some assisting and printing for an advertising photographer, Anthony Blake. Landscape photography became my hobby and passion which I did in the mornings, evenings and on the weekend when I wasn’t “working”. It was really only when I went to the USA in the mid seventies that I considered the possibility of making a living in the fine arts. There were photography galleries in New York and there seemed to be a higher acceptance of photography as an artform. I decided to base myself in San Francisco, and subsequently lived therefor many years, before moving North to Portland, Oregon in 2004, and then Seattle, Washington in 2007, where I currently live.

畢業(yè)後,我為廣告攝影師安東尼．布萊克(Anthony Blake)構(gòu)圖并提供一點協(xié)助.在白天,夜晚和不用「工作」的周末,拍攝風(fēng)景成為我的嗜好和摯愛.當(dāng)我在70年代中去到美國,我才真的認(rèn)為自己有可能靠藝術(shù)為生.紐約有攝影展館,看來更加認(rèn)同攝影是一門藝術(shù).我決定奠基於舊金山,此後長居多年,直到之前在2004年北上俄勒岡州波特蘭,2007年赴華盛頓州西雅圖,現(xiàn)在我住在那兒.

譯者編入MK作品: 中國

What interest you on photography?

你為何對攝影產(chǎn)生興趣?

Imagine being out at night, alone, under starry skies, listening to silence, watching the world slowly move, all senses alive, thinking, imagining, and dreaming. The camera is recording, creating, documenting, seeing what the eye cannot see - cumulative time. Or imagine the sensation of being in a field as the snow falls on a single, exquisite tree. White all around. Just the sound of snow falling. Or again, the crashing of angry waves, pre dawn,against white sand, clouds in the sky, a glow on the horizon from the slowly wakening sun. Then call that “work”. There are moments when the elementsof life come together magically; conditions, places, subject matter, inner connections; moments that are singular and very special. It is a privilege to bepresent at such times and to have the possibility to integrate into the scene and subjectively interpret. It is an experience that defies description, at least from me. These experiences drive my photography. I think it is a wonderful way to go through life. I love almost all aspects of the photographic process; planning, traveling, searching, image making, seeing the first contact sheets, printing, exhibiting, making books, everything. I am a very lucky person to have found this path and am extremely content.

想像在夜晚,獨自在星空下,聆聽寂靜,觀察世界慢慢移動,所有景象栩栩如生,思考,想像和做夢.相機(jī)保存,創(chuàng)作,記錄,觀察眼睛所未見--累積的時光.或想像置身野外感覺,雪落在單獨一棵優(yōu)美的大樹上.周遭一片雪白.唯有落雪之聲.或再想像黎明前怒濤訇訇,拍打白沙,云在天上,地平線因太陽慢慢蘇醒而出現(xiàn)光暈.且形容為「工作」.有時候生命各種元素神奇地匯聚,條件;地點;題材;內(nèi)在聯(lián)系,這些時刻獨一無異,非常特別.其時能夠在場是榮幸,還有機(jī)會發(fā)掘現(xiàn)場并由主觀發(fā)揮.至少對我而言,這是有違平鋪直敘的經(jīng)驗.以上經(jīng)驗推動我的攝影.我想攝影是度過此生美好方式.我熱愛攝影幾乎每一面過程,計劃;旅行;搜索;構(gòu)圖;視察底片目錄;沖印;展覽;出書;莫不如是.我是非常幸運的人,找到自己的路,與無與倫比的滿足.

It seems that you love doing black & white photography, Please explain why.

看來你鍾情於從事黑白攝影,請交代何解.

I believe black and white is immediately more mysterious because wesee in color all the time. It is also more subjective. I think it is quieter and more calm than color. I like to print all my own work and I can interpret black andwhite very subjectively in the darkroom. It is a personal preference.

我相信黑白立時顯得更加神秘,因為我們平時所見無一不是彩色.這也許更加主觀.我覺得黑白比起彩色更加寧靜,平和.我喜歡自行沖印我所有作品,容我在黑房相當(dāng)主觀地以黑白詮釋.這是個人偏好.

譯者編入MK作品: 日本

Everybody shoot landscape. But only selected create some good ones. What did they missed to make it good?

任誰都拍過風(fēng)景照,但只有不同凡響少數(shù)創(chuàng)出一些佳作.他們忽略什麼以致無法造就佳作?

Art, in all forms, is immensely subjective. I don’t know if anybody can give universal reasons why something should be categorized as “good” or “bad”. I certainly do not have that understanding. Some photographs touch us emotionally, more deeply than others. There are many reasons why this could be, including; choice of subject matter, technical excellence, aesthetic pleasure, personal resonance, intellectual curiosity, etc.

任何形式的藝術(shù)皆非常主觀,我不懂為何有人可以提出普遍的理由,分類何者為「好」或「壞」.我肯定自己無此理解能力.一些照片比起其他更深刻動人.為何能夠有很多理由.包括主題取舍;技術(shù)優(yōu)勢;藝術(shù)志趣;個人理由;求知欲等等.

You do very intense personal project and also commercial project. What interesting for us is both project output have the same style and thesame character. While some photographer do a very different style & character of output when shooting for personal & commercial project.What do you think about this? Why can’t they do the same?

你既從事相當(dāng)個人計劃,也有商業(yè)上制作.我們好奇兩者有著相同風(fēng)格和特色.有些攝影師拍攝個人與商業(yè)項目,作品風(fēng)格和特色有很大分別.為何你一以貫之?

I am very fortunate and due to the success of my landscape work, I have been able to accept commercial work which allows me to use my personal style of photographing. There would really be no reason for anybody to commission me if they didn’t want the resulting images to be in my style. I am also not sure I could photograph very well in any other way. Practically speaking, most photographers are not in a position to turn down work and it is necessary for them to adapt their style and technique to the client’s needs and wishes. I would certainly do the same if my fine art work did not give me any income!

我很幸運,當(dāng)我的風(fēng)景作取得成績,我可以接受商業(yè)工作,容許我以個人風(fēng)格拍照.難道有人委托我,卻不想得出有我風(fēng)格的照片,真是毫無道理.我也不確定自己能用其他手法拍出同樣好的照片.老實說,攝影師大多沒資格拒絕工作,他們必須讓其風(fēng)格和技巧,遷就客戶的需要和意愿.如果我的藝術(shù)工作不能給我任何收入,肯定我也得這樣!

譯者編入MK作品: 美國

Mention one word that describe your photos

說一個字來形容你的作品

Sorry, I cant : ) I will leave that answer for somebody else.

抱歉,我不能.我會留給別人來答.

What kind of picture deserve labeled as “the great one”?

怎樣的照片才稱得上是「一張偉大照片」?

I think a book could be written on this subject! In fact, many have been. I believe a “great” photograph is in the mind, heart, soul and spirit of the beholder. Some photographs may be considered “great” by consensus, others by single individuals. There are “great” photographs by ordinary photographers, and ordinary photographs by “great” photographers. Ultimately, “great” is a label, subjectively applied.

我想這題目可以寫成一本書!事實上很多都說得上.我相信一張「偉大」照片在乎觀者的感懷,心意,靈魂與精神.一些照片因帶來共鳴,另一些則因個人特色而視之為「偉大」.有「偉大」照片出自普通攝影師,有普通照片出自「偉大」攝影師.總而言之,「偉大」就是標(biāo)簽,因人主觀而施.

譯者編入MK作品: 其他之一

You regularly do exhibition. Do you think all photographers should do exhibitions regularly? How often? And please explain the reasons.

你定期舉辦展覽,你是否認(rèn)為所有攝影師應(yīng)該定期展覽?每隔多久?且請你解釋原因.

I cannot speak for other photographers. For myself, I think it is important to share images, whether it is through exhibitions, web sites, books, calendars, posters, notecards, etc. I think one of the prime reasons to be a photographer is the willingness and even necessity to exhibit what is created. Being a photographer means that I hunt for experiences. I am privileged to witness amazing things. I try to record and interpret them. I don’t believe I should hoard the results. I like to think that I am a medium for others to see things they might not otherwise have the opportunity to see. I think that I am really a guide.

我不能代其他攝影師說話.對我而言,我認(rèn)為分享照片是重要的,通過展覽,網(wǎng)站,書籍,掛歷,海報,卡片等等.我想我當(dāng)上攝影師一個主要原因,就是渴望甚至必須展示我所創(chuàng)作.當(dāng)上攝影師意味我在尋覓經(jīng)驗.我有幸見證神奇的事情.我嘗試紀(jì)錄并詮釋它們,我不以為我該私藏結(jié)果.我喜歡自視為他人看事物的媒介,不然他們未必有機(jī)會得見.我想我其實是一名向?qū)?

Practically, exhibitions give me deadlines to finish prints. They help me to survey a body of work objectively, and I am always interested in the viewers reactions and responses. Exhibitions also enable to me to survive because my livelihood is very much based in print sales.

老實說,展覽給我死線好完成作品.它客觀地助我調(diào)查工作進(jìn)度,我也對參觀者的反應(yīng)和回響很有興趣,同時展覽得以維持我的生計,因為我相當(dāng)賴以銷售作品營生.

譯者編入MK作品: 其他之二

If there is some kind of checklist to achieved before you press the shutter release, what aspect/point should be on the list?

如有一張備忘錄,在你按下快門前先要做到,須要記住什麼方面/重點?

I would suggest that there is some sort of resonance, connection or personal response with the subject matter. But it is different for everybody. Sometimes, it is a form of therapy just to wander and photograph. The results may not even matter. Sometimes it helps to see, understand and connect us the world. Sometimes, it does precisely the opposite and rather than experience the world itself we hide behind the camera. I like to think that I am having a conversation with whatever I photograph. I try not to steal an image, but rather acknowledge that a photograph is being made.

對此話題,我的建議有著某些共鳴,聯(lián)想或個人回應(yīng).然而這因人而異.有時漫游與攝影不過是治療方式,結(jié)果如何未至於是問題.有時它助我們觀察,認(rèn)識,連接世界.有時正好相反,比起世界的經(jīng)驗,更在乎的是隱藏在相機(jī)背後的自己.我喜歡想我在與攝影對象對話.我力求不竊取影像,但我傾向承認(rèn)照片是這樣得來.

I look for an interesting composition, an arrangement of shapes and tonalities. I am drawn to certain lighting conditions and atmospheres. But it isall so personal. For example I’ve always liked to photograph in “conditions”;mist, rain, snow, etc., where distracting backgrounds are eliminated or subdued.Sunshine and blue sky has never appealed to me. Too much light tends to reveal all the details of a scene and I am not interested in a perfect photocopy. I prefer suggestion over description. I like to use the analogy of haiku poetry where just a few elements act as catalysts for one’s imagination. Often I make long time exposures so that detailed water becomes floating mist, clouds in the sky become blurred masses of tonality and a populated scene becomes empty. The world is prettychaotic, seemingly always speeding up and getting louder and more visually dense. I am interested in finding and/or creating calm shelters from the storm, places where quiet solitude is encouraged and inner contemplation is possible. I think we could all use a break from time to time...

我探求有趣的作品.布置形態(tài)與色調(diào).我著迷於種種光照條件與氣氛.但這是相當(dāng)個人的.舉例我總是喜歡在霧,雨,雪等「條件」下拍攝,當(dāng)彌漫的背景退弱或消散,陽光與藍(lán)天從來不吸引我.太多光照趨於顯露現(xiàn)場一切細(xì)節(jié),我對完美的影印沒有興趣.我傾向建議超越平鋪直敘.我喜歡以俳句為喻,些微元素足可為其想像的催化劑.我經(jīng)常運用長時間爆光,細(xì)致的水變成飄浮的霧,天上的云變得模糊而調(diào)和地聚集,人煙簇?fù)淼默F(xiàn)場變?yōu)榧帕?世界很混沌,看似不斷加速,愈趨喧囂,可見益發(fā)緊密.我樂於在風(fēng)暴中,尋找和/或創(chuàng)造平靜的避難所,那里支持寧靜地獨處,容許內(nèi)在的沉思.我愿我們隨時都可在此休息...

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