25868456.jpgDasha Pears,一位俄罗斯女性摄影师,她的作品风格就像她来自的北欧一样,安静、浪漫、童话一般。

精致可爱的道具,毫不含糊的后期技术,Dasha 在超现实的世界里,编织着她梦境般的摄影作品。

我们采访了她,问了一些你们也想知道的问题。

采写 / 咸鱼茄子煲

受访 / DashaPears

编辑 / 陈升

摄 影 让 我 比 芬 兰 人 更 懂 芬 兰

请给图虫的大家介绍一下你自己吧!

大家好,我叫 Dasha Pears,我是一个来自俄罗斯圣彼得堡的摄影师,最近在芬兰的赫尔辛基工作与生活。我从事摄影已经 6 年了。关于摄影的一切都是我通过一次次摸索、试错、观察别人自学学会的。

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你是怎么选择拍摄地的?你平时会为了勘景,特地去探索这个城市吗?

有时候我跟家人散步就能发现很好的拍摄地点,尤其是那些城市以外的地方,都是在我和家人外出旅行时偶然发现的。有的时候别人跟我说了一个好地方,我也会专门过去考察。

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我从小就喜欢去探索有趣的、没人知道的地方,所以我也很喜欢自己出去走走,当我发现一个特别喜欢的地儿,我之后就会来这里创作。

我在赫尔辛基住了3年了,但是我感觉我对这个城市的了解比在这里土生土长的人还要多!

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创 作 的 灵 感

你的作品有一种童话和超现实的感觉。这些创意是来自于你对浪漫的想象吗?它们具体是从哪里来?

我从很多地方获取灵感:大自然,艺术作品,电影摄影,音乐。我读过的所有书(我超超超超超喜欢看书!),看过的所有图片(我从小就对艺术很感兴趣,也在艺术学校念过书),认识过的所有人,经历过的所有事情和希望经历的事情,去过的所有地方,最终它们的所有糅合在一起,孕育了我的创作灵感。

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图虫上大家对你那幅《Fiction》非常感兴趣。你能跟我们说说它的诞生过程吗?

创作这张照片,最开始是因为我在斯德哥尔摩的跳蚤市场买了一台古董打字机。它看起来是一件在今天很没用的东西,但是我对它真的非常着迷:每一件古董背后都有很多故事,这台打字机也给了我很多的遐想。

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当我把它带回家,我立刻想要通过我的摄影,用视觉创造一个它的故事。我思考了很久,也纠结过很久,最终我还是决定,先干再说!我有两个助手帮我扔这些纸,试了很多很多次,最终我在 Photoshop 里把它们结合起来,得到了这张照片。

模 特 很 紧 张,我 就 让 她 闭 上 眼

为什么你的模特大多数都闭着眼睛?

我拍摄的模特中有专业的,也有非专业的。不是所有女孩在镜头面前都能做到不拘束,就算有的时候她们自己觉得自己挺放松的……对我来说,一个人在闭上眼睛时候感觉会更自然,所以每当我觉得我的模特很紧张,我就让她闭上眼睛。这也确实给我的作品带来宁静的感觉。对,平静、内省。

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你从哪搞来这么多可爱的道具?

有一些简单的道具是我自己做的,比如说折纸。那些复杂的道具是我向其他手工达人求助的,我经常跟他们合作,大鱼,天鹅的帽子,头上的城堡之类的。我也很喜欢去跳蚤市场淘货,那里真的有很多有趣的东西!

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你的作品为什么都是正方形的构图?

也不全是正方形的。我一般用竖幅拍,然后我会把它们裁成正方形。感觉会更加和谐。

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你怎么看待在观念摄影中,前期拍摄和后期处理之间的关系?

它们互相彼此支撑。你如果想要你的画面有超现实的感觉,你得知道具前期体如何拍摄,并且如何在后期处理它们。我承认 Photoshop 非常强大,但我还是更喜欢在拍摄的时候就把所有元素,在同一地点、同一时间、同一光线条件下拍摄下来,这让它们会更自然和真实。这能使我的作品里正在发生的故事有一种“真的在现实里发生过”的感觉。

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我喜欢这种把现实元素(通过拍摄真实的东西)和超现实元素(后期合成)结合起来的风格。我从来不会在我的画面里随意添加一些不是在同一个地方拍摄的背景、人物、物体。

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你有在拍摄前画手稿的习惯吗?

我不会,我感觉它们在我身上总是不起效。不过我非常推荐大家这么做!这能帮助你更好地构图,并且也能充分考虑到细节的地方。

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如果你跟别人一起合作,能把你的想法画出来也会对沟通非常有帮助。当你接单时,给客户描绘一个大致的画面也是你的义务。不论是团队合作还是接单,一个包含着你的创意,色彩,模特动作,地点,道具的 mood board 会非常有用。

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我是图虫摄影师,@DashaPears

我在图虫等你


附采访原文:

1. Would you please to introduce yourself to us?

My name is Dasha Pears. I’m a photographer from St.Petersburg, Russia, currently based in Helsinki, Finland. I’ve been doing photography for over 6 years now. Everything I know about photography I leaned myself, by my personal trial and error and by watching other photographers work.

My main directions in photography are fine art and conceptual. My works are telling stories that combine real life and surrealism, making the viewer stop and think.

2. How do you choose the shooting location? Do you usually explore the city on purpose?

Sometimes I find my locations by chance, when taking walks with my family. This is especially true for locations which are out of the city. Sometimes I hear about interesting places from other people and then go and explore them on purpose. I also like taking walks on my own just for location scouting. This is how I’ve been since childhood, I liked finding interesting new places that not many people know about. Now I find them and shoot there afterwards.) I’ve been living in Helsinki for 3 years now and it often feels like I know more about the city and its surroundings than people who were born here and lived in the city their whole lives!

3. You pictures are fairy-tale-like and surrealism. Are those ideas from your imagination about romance? Where do they exactly come from? Any literature, or movie?

I take inspiration and ideas from many places: nature, fine art, cinematography, music. Most of them are just my imagination fuelled by all the stories I’ve read in my life (and I looove reading), all the pictures I’ve seen (I’ve been very close to fine art since childhood and attended an arts school), all the people I’ve met, all the things I’ve experienced and wish to experience in the future, and all the places I’ve been to.

4. Many people on Tuchong are so interested in your work ’fiction’. Someone asks:”How many times did you throw these paper?” Would you like to tell us about how it’s born?

Sure. It all started with me buying a vintage typewriter on flea market in Stockholm. It might seem a very useless thing to have, but I was just really fascinated by it. All antiques have lots of stories behind them and this typewrite was no exception. When I brought it back home, I immediately wanted to create a visual story of my own around it. I did think for a long time and came up with something, which seemed very obvious to me and not so original, but I decided to try it anyway. I had two assistants to help me through the paper into the air. They did it many times, while I was shooting, then I combined all the images in photoshop and got the final work.

5. Most girls in your works close their eyes. Do you do this because it makes people more focused on the whole visual itself, instead of the features of the models?

 I work with both professional and not professional models. Not all the girls are comfortable being in front of a camera, even if they think that they are. To me a person looks more natural with eyes closed. So, whenever I feel that my model is tence, I ask her to close her eyes. It also helps me to bring a very peaceful feeling into my image. Peaceful and self-focused.

 6. Where do you get those adorable props?

Some things I make myself. The things that are easy. Like origamies. Things that are more complex are made by people, who like to work with hands and know how to do it better than me. I often collaborate with decorators and they created the big fish, the swan hat, the castle on the head and so on. I also love flea markets. You can often get so many interesting things there!

7. Why are your works all square-format?

It wasn’t always like this. My first works were vertical usually. Then I somehow transitional to a square. Seems more harmonious to me.

8. How do you see the relation between the scene-setting (shooting) and the retouching (photoshopping) in conceptual art photography?

They go hand in hand with each other. When you want to have a surreal scene in your image, you have to know exactly how to shoot it and what you are going to do with those shots in processing software. I admit that Photoshop is powerful, but I still prefer to shoot everything naturally on the same spot and at the same time, under same lighting conditions. It helps my photos look real. Like all the things I create that can actually happen in real life or have already happened. I like this combination of documentary component (brought by photography) and surreal feel (added by processing). I never use random images for backgrounds in my photos, neither I add people or objects shot elsewhere but my primary location.

9. Do you have the habit of sketching the images you want before shooting?

I don’t. For some reason it never worked for me. But I strongly recommend others to do it. It can help a great deal with thinking through the composition of your shot and seeing the details as well. It’s also helpful, when you work with a team and you have to explain them what you want to get as a final result. Often such sketches are obligatory, if you’re doing client work, cause the client has to image the final result beforehand. For team and client work mood boards with images that reflect the basic ideas, colors, poses of models, places of the props and objects can also be very handy.


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