賽德克·小寶

Amber梁馨心·LoFoTo:

Benidorm, Spain

Martin Parr

1997

Get Close.

And then get Closer  靠近，然后再近一点

Risking thumps, shouts and dirty looks, Martin Parr is a photographer who often gets uncomfortably close to his subjects. By doing so, Parr draws out attention to small but telling details, which would be lost in a wider composition.

冒着被揍、被怒吼和被臭脸的风险，马丁.帕尔是一个经常离他的拍摄主题人物太近以至于令人不适的摄影师。通过这样的做法，帕尔成功的以小事物的细节感赢得了关注，而如果你将这些以广阔的构图方式来表现，则一文不值。

Here, by getting in close and filling the frame with the subject, the photographer forces us to notice the subtleties that make this image so peculiar: the scarlet lipstick on those slightly pursed, dissatisfied lips; the gold jewelry; those oval goggled with the lizard-like eyeholes. All these details mean you can’t help but form an opinion of this woman — welcome to Benidorm!

在此，以靠近及将主题填满整个框架的形式，摄影师强迫我们去发现那些令照片别具一格的微妙之处：猩红色口红涂抹在薄翘而不悦的嘴唇上；黄金的首饰珠宝；还有那副椭圆形有着蜥蜴般眼孔的护目镜。所有这些细节令你忍不住对这位女士形成了一种观点——欢迎来到贝尼多姆！

Very often, nothing kills an image more than keeping your distance.

非常经常发生的悲剧之一就是，没有什么比保持距离更能对你的作品造成杀伤力了。

By getting in close — really close — and filling the frame with your subject, you’ll communicate that single, all-important observation that captured your interest in the first place.

通过靠近 — 真正的靠近 — 并且用你的主题填满整个框架，你将能表达出那个单一的，却是最重要的，在第一时间吸引了你全部兴趣的观察物。

So why not just stand further back and give the image a cheeky crop afterwards? Think of cropping as a fine tuner rather than a way of fundamentally altering your image. It’s important that Parr puts himself in the line of fire to get the shot. If he didn’t, his pictures would lose their humor and start to feel too underhand.

所以，为什么不试着仅退后一小步，然后厚颜无耻的给照片一份满意答卷呢？比起认为这是一种从根本上改变自己作品的拍摄方式，不如设想自己只是一部裁切的调谐器（意思就是说，只是做了裁剪，而不是完全不同的拍摄。）帕尔有胆量将自己推上火线前去拍摄，这一点是非常重要的。因为如果他没有这样做，那些照片也将失去它们本身固有的幽默感，而开始令人觉得：这也太tm糊弄人了。