中秋假期虽短，仍可体会都市漫游的乐趣。数字时代，我们不妨在“线上”跨越时间与地域，逛一逛艺术家相机中的街头。本期《芳草说》便邀请专注街头摄影的艺术家马蒂亚·戈比，与您分享他的创作与感悟。

Although the Mid-Autumn holiday is short, it is still ample for a pleasant city tour. In the digital age, why not take a stroll of the streets across time and place online, through the artist's camera? In this issue of The View, we have invited the street photographer Mattia Gobbi to share his creations and insights with you.

威尼斯 Venice 2021

“流连街头巷尾，直观百态人生”是我的摄影观。我自幼接触摄影，当时我们在家用的比较多的是模拟相机。每逢节假日，我就用它来拍摄全家福。尽管孩提时代拍照是一件神秘而极具吸引力的事，但让我着迷的不是拍摄的成果，而是相机本身。

“A direct insight into the streets of daily life”. This is how I would define my way of conceiving photography. I started getting involved with photography when I was very young: we used to have analogic cameras at home through which I could capture mainly family portraits during holiday times. I was fascinated by the medium itself rather than by the result, even though photography represented something mysterious and fascinating from the point of view of a young child.

马拉喀什 Marrakech 2018

在很长一段时间里，我并未发现摄影的艺术特质，而是一度将自己始终如一的喜爱归为个人记录需要。后来，我游历亚洲并旅居中国，开始对照片和拍摄产生一种发自内心的痴迷与热爱。

For many years, I haven’t explored the artistic side of photography; however, I used to keep alive the passion for photography as personal documentation. I started developing a real obsession and passion for photographic images and for their production since I started to travel to Asia, and I moved to China.

从世界的一头迁居到另外一头，生活环境的突然改变对我的视觉启蒙产生了至关重要的影响，让我有机会迷上多元文化，去探索人们日常生活复杂却又自然的演变过程，有动力去捕捉此类连贯的慢节奏镜头，并用相机将其定格下来。

The experience of suddenly finding myself on the other side of the world played a pivotal role in my personal and visual education process: I had the opportunity to discover a deep interest for cultural diversity and to delve into the complex and, at the same time natural, unfolding process of human daily life. I had the drive to capture this slow and continuous existential flow and to transfer it on the photographic surface.

东京 Tokyo 2016

我很快意识到，街头抓拍的摄影技巧非常适合用来采集周围可能出现的新闻，以及预知自己可能在大街小巷遇到的人和事。在深入研究摄影历史及其演进的过程中，我发现许多艺术家和摄影师颠覆了传统摄影技巧，设法通过自己的实践和语言传达一种新的摄影理念。我心中对摄影的期许与这种做法不谋而合，通过摄影，可以捕捉自己感兴趣的一切。

In a short time, I realized that the photographic techniques underpinning street photography and candid photography were extremely suitable to capture what would happen in the surrounding space and what I would bump into walking down the streets. Delving more into the history of photography and of its movements, I realized that many artists and photographers, while breaking away from the traditional photographic techniques, managed to conceptualize through their practice and language a new photographic genre that could perfectly suit my expectations and that could capture what I was interested it.

卡斯特拉马雷 Castallammare 2018 

国际知名街头摄影师乔尔·迈耶罗维茨（Joel Meyerowitz）、阿历克斯·韦伯（Alex Webb）、罗伯特·弗兰克（Robert Frank）、加里·温诺格兰德（Garry Winogrand）、森山大道（Daido Moriyama）、马丁·帕尔（Martin Paar）、威廉·埃格尔斯顿（William Eggleston）等人以独具个性的创作风格为多元、多维摄影的出现奠定了基础。原来，摄影既可用于记录，也可以用来研究人类学和解读旅游文化和因果美学。

Internationally established street photographers include Joel Meyerovitz, Alex Webb, Robert Frank, Garry Winogrand, Daido Moriyama, Martin Paar, William Eggleston to name of a few. These photographers elaborated a personal and distinctive style which laid the ground for the emergence of a versatile and multifaceted photographic movement encompassing notions of documentary and anthropology as well as elements from travel culture and causal aesthetic.

威尼斯 Venice 2020

街道几乎见证了我所有作品的诞生，这里的人们在日常生活中的一言一行和社交互动是我拍摄的主要内容。我之所以从事摄影，其动力源自我愿意深入人类历史，去了解漫长的人类进化过程。通过摄影，可以捕捉新的社会习俗、古老的文化传说、生活中不易被察觉的“小动作”以及人们与环境互动的方式，这种互动无关乎地理环境和文化背景差异，是人性共通之处的展现。

The street is the place where I take almost all my photos and daily life, conceived as a set of gestures and interaction among people, is the main subject matter. The pivotal force behind my photographic activity is the willingness to be part of and to capture the slow process of anthropological evolution underpinning the history of humanity until now. Photography represents a means to capture new social conventions, old cultural myths, small daily gestures, and forms of interactions between people and the surrounding environment: these interactions take place within different environments and cultural backgrounds that share the same human quality, regardless of the specific characteristics.

照片是未完待续的故事。雷蒙德·卡佛（Raymond Carver）曾在书中写道，看照片就像读日记，人仿佛置身于照片主体的生活中。照片主体应与周围环境融为一体。在我的摄影作品中，被拍摄者往往不知道我将镜头对准他们，拍摄前后没有任何提示，这才有了构成元素和特定时空的彼此融合。我特意将自由想象和解读的空间留给观众，这股力量以及观众的好奇心激发着我去探索特殊画面。

Photos become suspended stories, evoking Raymond Carver’s books: viewers are brought into the life of the subjects, as if they were reading a randomly selected page from a diary. The subjects of the photos are perfectly integrated within the surrounding environment: in my photos, I capture images of individuals who are unaware of me taking photos of them. The final visual result is characterized by the presence of elements and connotations which highlight temporal and spatial connotations of the unique captured moment, without unveiling any hints regarding the moments before and after the photo is taken. The space for free imagination and interpretation that I deliberately leave to the viewers is the same pivotal force and curiosity that pushed me to capture a specific moment when I take a shot.

马拉喀什 Marrakech 2018

我喜欢融入摄影，尽可能将自己置身于所要拍摄的场景中。我相信观众总能以某种方式洞悉场景内在的发展动态。这种动态是摄影师眼中对象动态的重现，反映的是摄影师对现实世界的看法。尽管拍摄只是转瞬之事，但我总会与眼前的拍摄主体建立一种联结，并以此为媒介赋予作品与众不同的鲜明个性。

I like the idea of engaging with photography and of getting involved as much as I can into the situation that I am capturing. I believe that the intrinsic dynamic movement of the scene is somehow conveyed to the viewers: this very dynamism reflects the movement of the photographer towards the object, and therefore it represents an insight into reality. Even for the very short time of the shot, I establish a contact with the subject in front of me and this intimacy bestows the photos with a unique and distinctive character.

亚兹德 Yazd 2017

拍摄之前对色调以及周围的社会经济条件、文化背景和当地传统进行初步调研也是必不可少的。结合初步调研，乍看之下，环境蕴含的特殊文化跃然“照片”之上，当然，摄影师希望他的观众更加仔细地品味作品，关注拍摄主体以及场景中似曾相识的元素，体会先祖包容而民主的精神指引。正是这种精神指引着人类进化，引导人们弥合差异，实践平等。

A preliminary analysis and research about chromatic shades as well as socio- economic conditions, cultural background and local traditions of the context before taking a photo, plays also a pivotal role. In the light of this preliminary research, at a first glance, the specificity and the uniqueness of the context’s cultural connotations emerge from the photos; however, at a closer look, viewers are naturally encouraged to focus on the subject and on those familiar elements in the scene, as if they were guided by an ancestral spirit, inclusive and somehow democratic, underpinning human evolution, bringing human life on the same level and transcending the specific differences.

对于我拍摄的构图复杂、含义深刻的照片，每当站在拍摄主体面前，我往往会自然而然地联想到以前拍摄的照片。在回忆过程中，脑海里的画面愈清晰，我就愈想要定格眼前那一瞬。我拍摄了大量照片，也捕捉了不断“变化”的常态，这些照片就像我在世界各地的大街小巷记录的视觉日记。

In the complex and multifaceted images in my photographic archive, very often, when I am in front of a subject that I am about to photograph, I naturally establish a mental association with an image taken in the past: in this recalling process, memories are strengthened, and I feel even more encouraged to take the shot. I create a flow of images, a visual diary taking places on the streets of many different places in the world, while capturing and registering the normality in its state of constant “becoming”.

河内 Hanoi 2016

人类的进化是一个循序渐进的过程，摄影旨在本着一种艺术精神反映人类的生存现状。摄影是摄影师定格那些独具特色却又不矫揉造作的时空同时在求真务实过程中实现自我升华的唯一艺术方式。纵观艺术史，在解读雷诺阿、马奈和其他印象派代表人的创作之后，不难发现他们的作品都源于平凡的日常生活。

Mankind’s evolution is a slow process: the aim of photography is to crystalize and to reflect the current state of art of human existential condition through an artistic spirit. Photography is the only artistic medium to capture and register a moment in its unique and non- artificial character, achieving its own sublimation within the pursuit of truth. Throughout art history, every movement registered a certain tendency to represent mundane scenes from daily life, including artists like Renoir, Manet, and exponents of impressionism.

马拉喀什 Marrakech 2018

作为一名摄影师，我其实可以提前做好拍摄规划和主体安排，再进行摆拍。然而，追求本真于我而言是个毫无回旋余地的原则。我的作品之所以充满表达张力，原因在于我坚持出其不意的抓拍，以锁定特殊时空一闪而过的精粹，尊重它，并最终与观众产生共鸣。透过我的视角和相机，观众可以在解读拍摄主体过程中展开更深层次的思考、寻找灵感、在想象的海洋里自由徜徉。

As a photographer, I could plan all my shots in advance and prepare the subjects, thus creating artificial images. However, the pursuit of truth is for me a non- negotiable principle. The expressive strength of my photographs lies in the willingness to shot subjects who are unaware that they are being photographed, therefore capturing the essence of a unique moment, bestowing this very moment with dignity and ultimately establishing an empathy with the viewer. My eye and the camera become a channel to enable the viewers to develop thoughts, ideas, and fantasies through the contemplation of the subject captured by the camera.

东京 Tokyo 2016

空间和街道是构成街头摄影的重要元素。一个穿梭于大街小巷的街头摄影师不应该将目光局限于一处，而应当去探寻周围存在的所有微小细节，防止它们从自己的眼皮底下溜过。多年以前，我就开始使用极其开放的四角镜头进行广角拍摄，以尽可能多的细节去充实照片中的空白，同时也拉近我与拍摄主体之间的距离，让自己能够进一步观察它们。

The space and the street play a pivotal role in street photography. A street photographer, walking down the street, should have no limitations: he should activate his concentration to capture all the small details of the surrounding environment which could otherwise be easily ignored. Since many years, I started photographing with very open quadrangular lenses which enable me to take wide shots, while providing me with a space to be filled with as many details as possible and enabling me to get closer to the subject.

伦敦 London 2016

街头摄影的另一个要素是胶片的使用，这种实体材质让摄影显得更加真实可感。拍摄得到的照片与被拍摄的画面一样，都存在于被定格的那一刻。当代摄影之所以沿用胶片进行拍摄，目的就是为了凸显拍摄当时独特且真实的存在。

Another important element street photography is the usage of film: the very material character of the film makes the photographic documentation more real, tangible and perceptible. The image taken by the photographic shot is as real as the moment captured with it. It exists as it did happen for real, and it has been documented. The usage of the film in contemporary photography is aimed at highlighting the uniqueness of the moment and its physical reality.

喀山 Kashan 2017

本文的插图选自我过去15年里拍摄的个人作品。不论取景出处，我希望自己在拍摄主体的选择上予人一种连续感，连续呈现一种生存状态和人性。无论参展还是出版，我在筛选作品过程中一般围绕同一主题选取不同时空和环境下拍摄的照片。记得有一次参加国际妇女节主题展，当时我所选的参展作品就是在10余个国家不同时间段拍摄的。这样做能够让观众跨越文化背景隔阂，走近世界各地女性，深入解读她们的现状，包括她们的勇气、力量、疲惫、幸福、快乐、安全感以及私底下流露的所有情感。希望这些作品能够让观众感受到妇女的生存百态，并与她们产生共情。

The works presented alongside the text in this publication have been taken in the past 15 years. Regardless of the different places in the world, I would like to convey a sense of continuity in the subjects selected: existence, humanity, and its continuous flow. To select photos that belong to different spaces and contexts while addressing the same essential issues is the conceptual framework within the selection process of the photos whenever I take part to an exhibition or a publications. For an exhibition aimed at celebrating the international women day, I remember to have selected shots taken at least from 10 different countries and in different times. The result was an interesting insight into the female condition around the world that could unveil, regardless of the different cultural background, the courage, the strength, the tiredness, the happiness the cheerfulness, the sense of safety and all those emotions and feelings that emerge from these private moments stolen from the life of stranger women around the world. I hope that these images generated a sense of empathy in the viewers for their universal character.

在不同文化背景下旅居的人们对待差异的态度往往分化为包容接受或拒之千里。于我而言，接纳多元文化有助于我融入他乡文化，将其与本土文化一视同仁，并最终发现两者的共性。追求“和而不同”的理念，为我摄影风格的日趋成熟化奠定了基础。接纳不同的文化使得我可以不戴任何有色眼镜去看待一切事物，珍视身边的它们，赋予街头摄影深刻的、与文化异同无关的人道主义。

To experience travelling and living in different cultural backgrounds might generate a sense of acceptance or refusal for the differences. In my case, the willingness to embrace diversity turned out to be a pivotal force to delve into another culture, to establish a parallelism with my own and ultimately to pursue similarities. The pursuit of universal characteristics paved the path for the evolution of my photographic style. An inclusive approach aimed at cherishing everything around us, with no judgments or prejudiced ideas, regardless of cultural archetypes, bestows street photography with a deep sense of humanity.

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