Tobias Fäldth 1978年出生于瑞典,现居住于斯德哥尔摩。2006年从Gamleby School摄影专业毕业,并获得了Scanpix Big Photoaward奖。

他习惯于用闪光灯叫醒照片的中心,以挨过瑞典的黑暗而漫长的冬天;他希望自己的照片是没有地理信息,没有答案的,单纯的图像;他坚持每次只拍一张照片,因为他不知道如何选择,等拍摄那一瞬间的冲撞过去后,他才能平静的去面对它们;这些看似凌乱无序、毫无关联的照片之间隐藏着细微的线索,Tobias Fäldth用暗示的方式,构建了整个故事。

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Voicer interview with Tobias Fäldth:

你似乎特别偏爱夜间拍摄,有什么特别的原因或考虑吗?
这事关控制和设置场景,在制造影像的过程中,我们都在不断做出选择,你可以选择在白天或者晚上拍,是否运用闪光灯,哪段时间你是醒着的⋯⋯前两年,我在夜间更加活跃一些。

为什么你特别偏爱强烈的闪光灯,不论白天还是晚上?
我钟爱运用闪光灯的原因在于它可以帮助我“点”出我试图表现的东西。尤其是晚上,一切都沉淀为一块深色的背景布。而且这么做也很公平,每一样东西都可以接收到光亮,即使是在白天。

什么样的瞬间会促使你按下相机?
我试图去制造影像,那可能是任何一样东西。但一般来说,我拍摄的都是我身边的人和东西。

能说说你的“第一年”(Year One)系列吗?这是你一年中的生活纪录?就像日记一样?
没错。最初,这个项目是关于我新生活开始的头一年,不过这个项目我一直做了三年,所以这个题目更加接近于一种比喻。

还记得你拍下的第一张照片是什么样吗?你的拍摄风格是什么时候形成的?
恩,老实说我记得不是那么清楚了,不过我想它一定是一张很闷的照片。我给我的作品制定的原则是,我的照片必须如原子弹爆炸时产生蘑菇云一样有冲击力,只不过爆炸发生的地点是我的公寓。

很多照片很有趣甚至有些荒诞,生活中你是个幽默的人吗?
是的,幽默是我生活中最重要的部分之一。

照片中的场景大多远离都市尘嚣,这是你生活的环境吗?你在什么样的环境中长大?
我出生在瑞典的一个小镇Forsbacka,2000人口,永远安静,美丽。你知道谁是你的朋友,却不了解外面的世界。我将它看作是一个快乐而幸运的地方,那里对我的影响很大。

这些照片都是抓拍吗?你会去摆拍吗?
所有照片都是抓拍,我从不摆拍。

在摄影界,120画幅更多被用于拍摄构图缜密的严肃题材,一般来说,135画幅相机更为灵活,也适合抓拍,对于你来说120画幅是否会限制抓拍的可能性?你是如何做到的?
我做不到,所以我错过了太多的好照片!但是我依然在尝试着不去拍那些我根本不相信的东西。

你曾经说过,你需要等待,要在忘记拍摄的那个时刻以后才能去看这些照片,照片也只有在那样的情况下才能成为一张照片, 为什么?
“等待”会产生怎样的化学反应?我要试图去忘记我身处其中的感受,只有这样,他们才可能成为一张“照片”。

对于很多摄影师或是拍照的人来说, 当下的那种感受是促使照片形成的原因,对于你来说,那些照片意味着什么?
我以工作(艺术家)的身份去拍摄的照片和那些为了将来回忆而拍摄的照片是截然不同的,作为一个艺术家,我并不希望让照片来承载记忆。

你用什么相机?平时都会随身带着吗?
我从前都随身带着Mamiya,每天至少拍一张照片。但是现在,我没有时间整天带着它,所以现在每当我看见一个绝佳的拍摄时机出现时,都会感到很紧张。

Tobias Fäldth was born in 1978 in Sweden. He graduated from the Gamleby School of Photography in 2006 and following a highly productive year was awarded the Scanpix Big Photoaward 2006.

Interview with Tobias Fäldth:

Most of your works were taken at night, are you a night stalker? About night shooting, are there any special reasons or considerations?
It’s a matter of control and “setting the scene” in the photograph. With image making there are always choices to make, you can choose to take a picture night time or daytime with flash or not. And what hours you choose to be awake. During the last two years I have been more active night time than daytime.So YES, Today I’m definitely a night stalker.

Do you like using strong flash especially for the insufficient light most situations?
The thing that I like with the flash is that you can “point” with the flash what you want to show, especially in the night when everything else turns into backdrops. I also like that it is so democratic, that everything gets the same lighting. Even in the daytime.

What kind of moment can make you press the camera button?
I trying to make a picture and that could be anything but often it turns out to be things that is next to me.

Take year one series for example, like the name of this project, can we understand as a kind of record of one year life? Like the dairy?
Yes, In the beginning of the project it was photos from my first year of a new life and a 1 year diary but I worked with the project for 3 years so Year One turned out to work more as a metaphoric title.

When you began to form this kind of style? What your first picture looked like?
Hm, I don’t remember exactly but I think it was a really boring one. I made a rule for my photography that I had to make a picture strong as the mushroom cloud from an atomic bomb in my own apartment. Probably it was a picture of my stove or something.

Many pictures are funny and even absurd, are you a humor person in daily life?
Yes, humor is one of the most important ingredients of my life.

Most environments of the pictures are far away from the noisy city , this is your life environment? What kind of environment did you grow up?
I grew up in a small mill town in the middle of Sweden called Forsbacka, with only 2000 citizens. It was really calm and beautiful in all ways. You know who your friends were and you didn’t know anything about the world. I saw it as a happy and lucky place and today I’m very influenced by that environment.

Did you snap all these photos? Will you pose your subjects?
Everything is snaps, never posing.

In the world of photography, the 120 size(films) is used into the deliberate composition and serious subjects, and usually, the 135 size is quicker, so it is more appropriate for snapping, does the 120 size limit your possibility of snapping? How can you do that?
I can’t. I miss so many pictures! but I also try to choose to not take a photograph of something I don’t believe in.

You said you need to “wait”, after shoot, and the photo is a photo under the circumstance when you forget taking them, why? What kind of the chemistry reaction the “waitting” will give?
I’m trying to forget the feelings that I have from the moment I took the photography so they just can be “pictures”.

To many photographers and people taking photos, the feeling of now is the reason to click the shutter, taking pictures is the carrier of memory, and can remember well. But I guess, that’s not the case for you. What those pictures meaning to you?
The photographs I use for my work as an artist is something totally different as the photographs I take for memories. As an artist I’m not interesting in a picture as a carrier of memory.

What kind of camera do you use? Do you take it with you anytime?
I use to carry my Mamiya all the time and to take at least one photograph a day. But nowadays I don’t have time to carry my camera all the time. So now when I see a perfect photo moment I get so stressed about it.