项目介绍 | Introductions
Alec Soth
作为一名常使用大画幅的美国摄影师，我发现自己通常会在车外工作。通过这个项目，我能够使用更便携的相机工作，并且仍然保留华丽的细节。我的想法很简单：与其乘坐小型货车通勤八英里到我的工作室，我不如步行去上班。 这个项目是一个放慢脚步的机会，看看我因开车而错过的日常乐趣。
As an American photographer who often works in large format, I normally find myself working out of a car. With this project, I was able to work with a much more portable camera and still retain sumptuous detail My idea was simple: instead of commuting the eight miles to my studio in my minivan, I would walk to work. This project was a chance to slow down and look at the everyday delights that I normally drive right by.
Mark Power
9月，我们的女儿Chilli离家前往伦敦金史密斯大学攻读纯艺学位。于是，她和我们的生活开始了新的篇章。
任何经历过这种创伤事件的父母都一定会认识到此时情绪变得多么复杂，以及这种情绪会有有多强烈。 毕竟，Chilli和我们一起生活了宝贵的十九年。她的离开将对我们所有人产生影响，尤其是对她的弟弟Milligan。
老实说，这是我最不想触碰的一个项目，但这项工作的截止日期恰好与她要离开的日子吻合，这表明我别无选择。 但如果我要这样做，我的家人同意了，那么我们都必须坦诚相待，毫不尴尬的推进项目。
作为后记，布莱顿的生活已经恢复了相对正常，Chilli在大学里蓬勃发展。 她已经把伦敦称为家。
如果这条路
如果这条路没有惊喜
这么多年，决定不去
毕竟回家了； 如果它可以转动怎么办
左或右，没有更多的麻烦
比风筝尾巴？ 如果它的柏油皮怎么办
就像一根又长又柔软的布匹，
被摇晃并推出，并采取
从下面的轮廓中得到一个新的形状？
如果它选择放下自己
以一种新的方式； 在一个死角，
越过山丘，你必须在不知不觉中攀登
另一边是什么； 谁不渴望
去，不惜一切风险？ 谁想知道
一个故事的结束，还是一条路将走向何方？
希纳普，2003
In September, our daughter Chilli left home for Goldsmiths University in London to study for a degree in Fine Art. And so began a new chapter in her life, and ours.
Any parent who has been through this traumatie event will surely recognise how confused emotions become, and how deep they run. After all, Chilli had lived with us for 19 precious years. Her departure would have an impact on us all, and not least on her younger brother Milligan.
To be honest, it was the last subject I wanted to tackle, but the fact that the deadline for this work coincided exactly with the very day she was to leave suggested I had no alternative. But if I was going to do it, my family agreed, then it was essential we were all open and honest, and would proceed without embarrassment.
As a postscript, life here in Brighton has since returned to relative normality and Chilli is flourishing at university. She is already calling London home.
What If This Road
What if this road, that has held no surprises
these many years, decided not to go
home after all; what if it could turn
left or right with no more ado
than a kite-tail? What if its tarry skin
were like a long, supple bolt of cloth,
that is shaken and rolled out, and takes
a new shape from the contours beneath?
And if it chose to lay itself down
in a new way; around a blind corner,
across hills you must climb without knowing
what's on the other side; who would not hanker
to be going, at all risks? Who wants to know
a story's end, or where a road will go?
Sheenagh Pugh, 2003
Thomas Dworzak
Heimat - 家
在某种程度上，我的整个生活都受到拒绝和寻找 Heimat（译者注：德语，家） 的影响。
在靠近铁幕的巴伐利亚小镇 Cham 长大，作为一个被捷克斯洛伐克驱逐出境的父亲的儿子，我想做的就是摆脱我认为充斥着令人难以忍受的天主教、地方主义和秩序与冷静的使人窒息的地方。带着内疚。离开。想体验完全不同的东西。例如战争。
我在第比利斯找到了一个新家。近30年来我不断的回去。我在它最黑暗的时刻爱上了它。回去，是为了它多少带着些问题的，2000年之后的成功故事。
还有德黑兰。我一直梦想着樱桃味的德黑兰。我后来在那里见到了我的妻子。她本人在 1979 年革命后逃离伊朗，悲惨地逃往西班牙，但在 1980 年代末返回德黑兰居住。
格鲁吉亚，第比利斯一直在我心中燃烧。我对那里的朋友、城市、气味、语言、声音和味道充满了渴望。我略带讽刺意味的“格鲁吉亚化”从我用俄语（高加索地区的通用语）口音难以抹去的格鲁吉亚口音开始，最后以穿着格鲁吉亚制服作为格鲁吉亚军队摄影师在阿富汗工作了几年结束。
我强迫自己离开更长的时间，但我肯定会回来的。尽管如此，我将永远是一个外国人。
在德黑兰，我找到了我生命中的挚爱。一个家庭。一种文化往往如此不同，却又如此熟悉。
尽管如此，所有其他情感较少的家——巴黎、纽约、莫斯科——我想我永远无法像理解那片与每次探望父亲回到的，30年前带着绝望离开的土地上的，语言、方言和幽默一样理解它们。
十多年来，我没有错过任何关于巴伐利亚的事情。然后突然间，我开始渴望童年时讨厌的古典音乐。模糊陈旧的传统喜剧，我从来没有特别喜欢过的传统食物。我逃离的那些绿色山坡和森林。
对于这个项目，我和我的朋友 Kakha 在第比利斯度过了一周。与我的妻子和她的家人在德黑兰度过了另一个星期。我回到巴伐利亚一个星期，和我爸爸一起去摩拉维亚的村庄旅行，他在那里出生并在 6 岁时被驱逐出境。
Heimat - Home
My whole life in a way has been conditioned by the rejaction and search for Heimat.
Growing up in a small Bavarian town near the Iron Curtain called Cham, as the son of a father who was deported from Czechoslovakia, all I wanted to do was get out of what I felt to be an unbearably stifling world of Catholicism, provincialism, order and calm. And guilt. Leave. Experience the absolute opposite. War.
I found a new home in Tbilisi. The place I keep going back to for almost 30 years. I fell in love with it at its darkest moment. Came back for the, always slightly troubled, success story of the 2000s.
And Tehran. I had always dreamt of the Tehran of the Taste of the Cherries. I ended up meeting my wife there. She herself had fled Iran after the 1979 revolution in a harrowing escape to Spain, but returned to live in Tehran at the end of the 1980s.
Georgia, Tbilisi was always burning in my heart. I bleedingly longed for my friends there, the city, the smell, the language, the sounds, the tastes. My slightly caricatural 'georgification' starts with an uneraseable Georgian accent I have in Russian, the lingua franca of the Caucasus - and ends with wearing a Georgian Uniform as the Georgian Army photographer in Afghanistan for a few years.
I force myself away for longer periods but am sure to always come back. And still, I will always remain a foreigner.
In Tehran I found the love of my life. A family. A culture often so different and then yet so familiar.
Despite all of this, all the other, less emotionally charged homes - Paris, New York, Moscow - I think I will never gain the same level of understanding, the language, the dialect, the humour, than whenever I return to visit my father in that place I left so desperately 30 years ago.
I didn't miss anything about Bavaria for more than a decade. Then suddenly I started craving for the hated classical musie of my childhood. The hazy cliché of the comic traditions, the traditional food I never particularly liked. The green hills and forests I ran away from.
For this project I spent a week with my friend Kakha in Tbilisi. Another week with my wife and her family in Tehran. And I returned for a week to Bavaria to go on a trip with my Dad to the village in Moravia where he was born and deported from as a 6-year-old.
Alessandra Sanguinetti
我有两个家。 一个是我位于布宜诺斯艾利斯的童年的家，另一个是我现在居住的加利福尼亚。 在这个项目中，我决定在童年的家徘徊。走廊、房间和其他物品的位置在四十年间都没有变过，好像什么都没有改变。
这部作品不是我童年的写照，我有一个快乐的童年，更多的是童年的告别，并开始接受多年之后的今天，父母已变得弱不禁风。观察我的父母以及我长大的公寓现在的样子——除了皮肤和表面上蚀刻的时间痕迹外，所有过去的遗迹都完好无损。
I have two homes. One is my childhood home in Buenos Aires, and the other is in California where I live now. Forthis project I decided to linger behind in the former. The hallways, rooms and objects are in the same exact place They've been in for forty years, as if nothing had changed.
The work isn't a reflection of my childhood, which was a happy one, but more of a goodbye to it and a beginning to come to terms with so many years already gone by and my parents being vulnerable. Looking at them and the apartment I grew up in as it is now - with all its remnants of the past intact, except for the traces of time etched on skin and surfaces.
Antoine D‘agata
我必须回家。我于2017年8月4日住进了康复中心。在接下来的两个月里，这个过程需要与心理学家和护士进行严格的每日会议，管控不断增加的美沙酮剂量，以及定期提供和使用抗精神病药和抗抑郁药。 通过现代懦弱的扁平和偏执的建筑，我跟随忏悔的妓女玛丽的古老脚步，从 圣玛丽到马赛，在那里我作为一个虔诚的孩子长大。 对物质的渴望问题和康复过程影响了我身体的机能、以及我去体验和记录进入黑暗中心的旅程的方式。在Huveaune 河岸边，我回到了玛丽的家，几年前，我意识到宗教是肮脏的谎言。 河道把我带到了圣波美的洞穴，玛丽在二十年的寂寞寂寞后死了。 我离开家的那天又成瘾了。
I had to go home. I was admitted, on 4th August 2017 to a rehab clinic. Over the next two months, the process required strict daily meetings with psychologists and nurses, the administration of growing doses of methadone and the regular delivery and use of neuroleptics and antidepressant drugs. Through the flat and paranoid architectures of modern cowardice, I followed the ancient steps of Mary the penitent whore, from Les-Saintes-Maries to Marseilles, where I grew up as a devout child. The substance-craving issues and the rehabilitation process affected the way I could function, experience and document that journey into the heart of darkness. On the shores of the Huveaune river, I went back to the house of Mary where, years earlier, I had acquired consciousness that religions are dirty lies. The course of the river brought me to the cave of La Sainte-Baume where Mary died after twenty years of silent loneliness. I went back to addiction the day I left home.
Jonas Bendiksen
这些是我拍摄过的最重要的照片中的一部分——但并不是因为它们会对别人来说很有趣。今年夏天，当 Bille 来到这个世界，Boe从我们的小宝贝变成大姐姐时，这段时光我永远不会忘记的。
我想知道二十年后看着他们会是什么样子。这个时间胶囊来自安娜和我年轻的时候，孩子们只是两束无限的潜力。
These are some of the most important pictures I'll ever take - but not because they are necessarily very interesting for others to see. But this summer, when Bille arrived and Boe went from being our little baby to being a big sister, is one that I will never forget.
I wonder what it will be like looking at them in twenty years. This time capsule from when Anna and I were young, and the kids were just two bundles of limitless potential.
Gueorgui Pinkhassov
Gueorgui Pinkhassov 接受 富士《家》项目采访的片段
这是我的家。我在这里度过了我的童年。上了大学。我的父母住在这里。我们的亲戚来探望。还有我们的邻居。这是我童年和青春的地方。我父亲的家，可以这么说。
回家后会想到什么？
说实话，包括我在内的所有玛格南摄影师都很少在家里度过。我们喜欢旅行。我们的眼睛一直在寻找新的事物。我们监控世界上正在发生的事情。我们每个人都对新事物、新知识充满热情。
在这里，我拍摄了受塔可夫斯基启发的第一张照片。他对我的风格产生了巨大的影响。他的一部电影《索拉里斯》给我留下了深刻的印象。这是一个回家的故事。我现在正在做的事情。回家。就像英雄一样，带着他的希望和梦想。只有他无法挽回。他留下。在这个海洋给他的房子里，一个虚拟的家。我的家也是虚拟的——它在我的脑海中。我记得我的父母，朋友，亲戚。所有来到这里的人。它存在。这就是为什么我让这件公寓保持原状的原因。它讲述了一个时代的故事。我把它当作博物馆，小心翼翼，不要改变任何东西，即使我是它的主人。
这是我的家。我的公寓。我记忆的十字路口。
摄影对你来说是什么？
形象地说，它是一种防腐剂。它停止了时间。你停止它的方式，你选择的那一刻，你投入其中的想法...摄影文献。我不想用陈词滥调，但对我来说，这首先是一时的见证。我想冻结时间，保存它。我觉得下一代会有不同的看法。
我对真实的摄影很感兴趣。我属于现实主义派，尽管我的照片有时非常流畅和隐喻。 Cartier-Bresson 过去常常把他的照片颠倒过来，看看它们是否有几何形状。这是一个有趣的方面，在我的照片中，几何学通常占主导地位。这也很有趣。但是见证这一角度很重要。
Fragment from Gueorgui Pinkhassov's interview for the Fujifilm HOME project
This is my home. I spent my childhood here. Went to university. My parents lived here. Our relatives came to visit. And our neighbours. This is a place of my childhood and my youth. My paternal home, so to speak.
What comes to mind when you return home?
Truth be told, all Magnum photographers, me included, spend very little time at home. We love travelling. Our eyes are constantly searching for updates. We monitor what is happening in the world. Each of us has a passion for new things, new knowledge.
Here I took my first photos inspired by Tarkovsky. He was a huge influence on my style. One of his movies, Solaris, made a strong impression on me. It's a story of homecoming. Something I'm doing right now. Coming home. Just like the hero, with his hopes and dreams. Only he could not make it back. He stayed. In this house given to him by the Ocean, a virtual home. My home is virtual as well - it's in my head. I remember my parents, friends, relatives. All who came here. And it exists. That's why I've left this apartment untouched. It tells the story of an era. I treat it as a museum, with care, do not change anything, even though I'm its owner.
This is my home. My apartment. The crossroads of my memory.
What is photography to you?
Figuratively speaking, it is a preservative. It stops the time. The way you stop it, the moment you choose, the idea you put into it... Photography documents. I don't Want to use platitudes, but to me it's first of all the testimony of a moment. I want to freeze the time, to preserve it. I feel that the next generation will see it differently.
I'm interested in real photography. I belong to the school of realism, despite the fact that my pictures are sometimes very fluid and metaphorical. Cartier-Bresson used to turn his photos upside down to see if there was a geometry to them. This is an interesting aspect, and seometry is often predominant in my photos. This is also interesting. But the aspect of testimony is very important
Hiroji Kubota
众所周知，日本是一个岛国。从北海道的稚内到冲绳的波照岛，我猜这个国家绵延3500多公里。 我不知道我们到底有多少个岛屿。 信不信由你，Iohjima 岛是东京的一部分，尽管只有军人住在那里。 要描绘日本这个岛国，没有其他地方能像濑户或濑户内海一样。 从本州本岛尾道市到四国岛今治市的岛波海道或岛海路是最具象征意义的。 当然，直升机上的景色是如此美丽。
As many people know, Japan is an island country. From Wakkanai of Hokkaido to Haterujima Island of Okinawa, I guess the country stretches well over 3,500km. I don't know exactly how many islands we have. Believe it or not, the island of Iohjima is a part of Tokyo, though only military personnel live there. To portray the island country of Japan, there is no other place like Seto-naikai, or the Seto Inland Sea. Shimanami-Kaido or the island sea road from Onomich-City of the main island of Honshu to Imabari-City of Shikoku Island are the most symbolic. Of course, the view from a helicopter is so beautiful.
Alex Webb
1950 年代，我的父母开始带全家去科德角度暑假。 1959 年，他们在 Wellfleet 购买了一所房子，我在那里度过了大部分童年和青少年的暑假。 2012 年，在我母亲去世后不久，我和我的妻子兼创意伙伴摄影师 Rebecca Norris Webb 和我在 Wellfleet 呆了两周。在那段时间里，我们推出了两本合作摄影书，《记忆之城》和《街头摄影》和《诗意的影像》。我们慢慢意识到，这个曾经是捕鲸村的小镇——一个长期以来一直与我父母的文学和艺术世界联系在一起的小镇——是我们作为时不时四处走动的摄影师生活的完美补充。
对我来说，不知何故，宁静的 Wellfleet 世界——有着柔和的灰色和棕色以及瞬息万变的天气，已经成为我休息和反思作品的理想场所，其中大部分都集中在充满活力的热带世界，这些世界主导了我的摄影生活多年。对 Rebecca 来说，Wellfleet 是她最能完全创造性地沉浸在自己创作中的地方，潜入她的写作和对照片的诗意编辑，不时出现在空中，去观鸟或和我一起在大岛或鸭子上散步港口。对我们俩来说，Wellfleet 已经成为我们构建我个人和协作项目的最喜欢的地方，包括我们最近的联名书籍 Slant Rhymes。这些天，只要有可能，我们就会前往 Wellfleet 进行剪辑、排序、打印和写作，以及在海滩上漫步，拥抱令人耳目一新的宁静，激发我们的创造力。
我希望这些照片开始暗示我们现在称之为家的科德角，一个几乎形而上学平静的地方。
In the 1950s, my parents started taking the family to Cape Cod for summer vacations. In 1959, they purchased a house in Wellfleet, where I spent most of my childhood and teenage summers. In 2012, shortly after my mother died, my wife and creative partner, the photographer Rebecca Norris Webb, and I spent two weeks in Wellfleet. During that time, we laid out two collaborative photographic books, Memory City and On Street Photography and the Poetic Image. We slowly realised that this former whaling village - a small town that Id long associated with the literary and artistic world of my parents - was the perfect complement to our lives as somewhat peripatetic photographers.
For me, somehow the serene world of Wellfleet - with its muted greys and browns and ever-changing weather has become the ideal place to retreat to and reflect on my work, much of which has focused on vibrant tropical worlds, which have dominated my photographic life for years. For Rebecca, Wellfleet is where she can immerse herself most completely creatively, diving deeply into her writing and poetic editing of her photographs, coming up for air, from time to time, to go birding or to walk with me on Great Island or at Duck Harbor. For both of us, Wellfleet has become our favourite place to build our individual and collaborative projects, including our recent joint book Slant Rhymes. These days, whenever We can, we head to Wellfleet to edit, to sequence, to print and to write, as well as to walk the beaches and to embrace the astonishing tranquility that refreshes and inspires us creatively.
I hope that these photographs begin to suggest the Cape Cod we now call home, a place of almost metaphysical calm.
David Alan Harvey
作为一个带着相机的小男孩，我只需要拍摄我的家。我的家人和我们家几个街区距离以内的地方，就像我是我这个怀揣梦想的摄影师可以触及的地方。后来确实梦想成真，我现在得意在世界各地旅行并认识这个世界。
然而，即使我可能正坐在巴黎的路边咖啡馆，我的脑海里，却在想着我在北卡罗来纳州外滩的前廊。 我的前廊离我的童年的前廊只有几英里远，在我14岁的时候，在那里爱上了摄影。 所以对于这个名为家的 项目，我确实是真的呆在家里。永远不会离我的前廊很远，也不会离家人很远。 所以这是一个循环。
我变得像孩子般的多愁善感。丝毫不矫柔造作，我仍然会好奇这座岛上桥的对面是什么，当然也缺少不了平静。
As a young boy with a camera all I had to photograph was my home. My family and a few blocks from our house was as far as I got as an aspiring photographer with a dream. Later indeed, dreams in fact came true and I travel and absorb the world now.
Yet even while I might be sitting at a sidewalk café in Paris, in the back of my mind I am thinking of my front porch in the Outer Banks of North Carolina. My front porch now is only a few miles from my front porch where as a 14-year-old I fell in love with photography. So for this HOME project, I literally stayed at home. Never drifting very far from my front porch nor far from family. So it's a circle of sorts.
I slid back into child-like sentimentality. No artifice. I will remain curious about what lies across the bridge from this island. Yet peace is hard to leave behind.
Elliott Erwitt
这些照片拍摄于是在我位于纽约市的公寓和工作室，以及我在东汉普顿的家中。 我生活在过去拍摄照片中的相当奇怪的收藏品中。
我还和我的狗Canelo住在一起，它是我从最近的古巴任务中带回来的。他偶尔会有犬类访客。
These pictures were taken at my apartment and my studio in New York City, and my house in East Hampton. I live with my rather bizarre memorabilia from past photo shoots.
I also live with my dog Canelo that I brought back from my recent Cuba assignment. He has occasional canine visitors.
张乾崎
移民是由苦难推动的。见证人口模式的变化，就是看到世界的所有亟待解决的问题：战争、自然灾害、压迫、饥荒和贫困。但在那个潘多拉魔盒的底部有一道彩虹。希望，同时也让移民在陌生的土地上定居。我应该知道：我是我自己。
也许世界上最有抱负的人是中国人。对他们来说，纽约的唐人街是充满希望的首都，是您为家人创造新生活的地方——一笔巨大的财富。
这个项目的引人注目的质量是它的普遍性。它关乎人类的基本需求，将希望握在手中，愿意牺牲自己眼前的幸福来实现让孩子过上更美好生活的梦想。但经济繁荣值得付出社会代价吗？或许我们都在思考的这些问题的答案，可以从在美国长大的第二代和第三代移民的生活中找到。看看他们，听听他们的声音。你可能听不懂他们的语言，但你能感受到他们的渴望。
Chien-Chi Chang
Immigration is propelled by suffering. To witness the shifting patterns of populations is to see the world in all its exigencies: war, natural disasters, repression, famine and poverty. But there is a rainbow at the bottom of that Pandora's box of troubles. Hope, too, propels immigrants to settle in strange lands. I should know: I am one myself.
Perhaps the most aspirational of the world's people are the Chinese. For them, New York's Chinatown is the capital city of promise, the place you go to make a new life for your family - a fortune.
The compelling quality of this project is its universality. It is about the essential human need to hold hope in your hands and about having the willingness to sacrifice one's own immediate happiness to realise the dream of giving children a better life. But is economic prosperity worth the social cost? Perhaps the answers to such questions we all ponder can be found in the lives of the second and third generation immigrants growing up in the USA. Look at them, and listen to their voices. You may not understand their language, but you can feel their longing.
Moises Saman
家和身份对我来说一直是难以捉摸的概念。我出生在利马，来自一个秘鲁和加泰罗尼亚混血家庭，我出生后不久就定居在西班牙。回想我在巴塞罗那郊区度过的童年和青少年时期。记得努力适应家庭和学校，对我的秘鲁血统完全不感兴趣。家被父母的婚姻障碍染上了颜色，就像墙上的一道裂缝，年复一年地慢慢扩大，直到不可避免的终结——彻底断裂。
我 17 岁离开西班牙，很长一段时间都没有再回望那里，最终在美国找到了一个具有相似性的新家。在接下来的几年里，我在许多不同的家中搬来搬去，并接受了远离家乡而产生的隐匿性。正是在这段时间里，我找到了摄影，我的生活和家的感觉。被摄影改变了。
摄影让我大开眼界，教会了我一种接触更广阔世界的方式，但它也成为逃避现实的终极形式。我周围有一群类似的朋友——一个部落——和他们一起周游世界，大部分时间都在路上，几乎摆脱了家庭生活的束缚。家是我最近的目的地，我的部落就是我的家人。然而，这段时期的激情似火掩盖了我所作出决定的自私性，这不可避免地留下了由此产生的附加损害的痕迹。
几年前，在遇到我现在的妻子后，我们开始渴望共同拥有一个家，从那时起我们在巴塞罗那、东京和纽约安家。但在秘鲁，我出生但我完全不熟悉的国家，我们渴望找到一个未来的家。因此，我们现在开始了新的探索，从我的秘鲁家族的发源地，卡亚俄的后巷，到亚马逊的超凡脱俗之美。这里是我感到最像家的地方。
Home and identity have always been elusive concepts for me. I was born in Lima, and I come from a mixed Peruvian and Catalan family that settled in Spain soon after my birth. Thinking back to my childhood and early teenage years, which I spent in suburban Barcelona. T remember struggling to fit in at home and in school, and being wholly uninterested in my Peruvian roots. Home was colored by my parents' marital dysfunction, which resembled a crack on the wall, slowly expanding year after year until its inevitable end - a complete fracture.
I left Spain at 17, and did not look back for a very long time, eventually finding the likeness of a new home in the USA. For the next several years, I moved around many different homes, and embraced the anonymity of being far away from where I came from. It was during this time that I found photography, and with it, my life, and my sense of home. was transformed.
Photography opened my eyes and taugh t me a way to engage with the wider world, but it also became the ultimate form of escapism. I surrounded myself with a similar cast of friends - a tribe of sorts - and with them travelled the world, living mostly on the road, and all but withdrawing from the trappings of a domesticated life. Home was my latest destination, and my tribe was my family. However, the intensity of this period hid the selfishness of my decisions, which inevitably left behind a trail of collateral damage.
A few years ago, after meeting my now wife, we began to long for a home together, and since then we have made homes in Barcelona, Tokyo and New York. But it is Peru, the country where I was born but that I hardly know, where we long to find a future home. So we embark now on a new search, from the back alleyways of Callao, where my Peruvian family comes from, to the otherworldly beauty of the Amazon. This is where I feel most at home.
Trent Parke
阿德莱德市非常平坦。
街道宽阔，还有海边的日落。
最后一道光锐利而独特。
很安静。
阴与阳。
我不平静。
伟大的澳大利亚画家杰弗里斯马特于 1921 年出生于阿德莱德。
这些照片是在他以前步履沉重之地拍摄的，碰巧的是，我现在称之为家。 很难在每一个灯柱和斯托比杆的倒影中看到斯马特先生，顺便说一句，这是在阿德莱德发明的一种特殊的电源线，当然是以斯托比先生的名字命名的。
和斯马特先生一样，我最感兴趣的是最后半小时的阳光。
在这三十分钟里，沙子似乎加速滑过沙漏。
不可避免地，我发现自己在奔跑…… 目的地未知，那是我永远无法到达的地方。
日复一日。 一年又一年。 我发现自己又被诱回了那里。
不断地在光与时间的街道上奔跑。这些图像中没有任何平静。
The city of Adelaide is very flat.
The streets are wide and the sun sets over the ocean.
The last light is sharp and unique.
It's quiet.
The yin and the yang.
Because quiet I am not.
The great Australian painter Jeffrey Smart was born in Adelaide in 1921.
These photographs were taken in his old stomping ground, which as a matter of chance, I now call home. It's hard not to see Mr. Smart in the reflection of every lamp post and Stobie pole, which by the way, is an idiosyncratic power line invented in Adelaide, and named of course, after Mr. Stobie.
Like Mr. Smart, it's the last half hour of sunlight that interests me most.
For those thirty minutes, sand seems to slip through the hour glass with increasing speed.
Inevitably, I find myself running.…. destination unknown, a place I can never ever reach.
Day after day. Year after year. I find myself lured back there again.
Continually running through the streets of light and time. There is nothing quiet about any of these images.
Olivia Arthur
等待Lorelei
对我来说，家一直都是关于家庭的。从小到大，我们每隔几年就搬一次家。没有一个特别的地方可以将我所有的童年记忆聚集在一起。但是有家人，重要的是我的兄弟姐妹，其中我有三个。我们曾经并将继续非常接近。现在我有了自己的家庭，还有我的丈夫、女儿 Thea 和我们的第二个孩子，当我拍摄这些照片时，她正在路上。当我们都期待她的到来时，也有悬念不知道这将如何改变我们家的事情。
我通常不会在家里拍摄太激烈的照片。作为一名摄影师，我总是外出工作，所以回家是我摘下摄影师的帽子，专为我们拍照的时候。但是，期待的感觉，以及这将是我最后一次怀孕的信念，改变了我的想法。突然间，这段等待变成了我能记录下来的最重要的事情。
当我发现我的第二个孩子将是一个女孩的那一刻，我立即感到与她有一种特殊的联系。我自己就是二姐，这对我是谁产生了影响。我希望西娅会是一个好姐姐。在情感上，我们在急于见到并了解这个新人，同对她的到来不可避免地带来的混乱感到紧张之间摇摆不定。随着日子越来越近，第一次分娩的艰难记忆和西娅遭受的伤害也笼罩着我，拍摄这段期待的时光变得有些宣泄。当我匆忙完成各种其他工作以腾出未来几个月的时间时，我很高兴也花时间记录和反思我们将成为三口之家的最后一段时期。
Waiting for Lorelei
Home for me has always been about family. Growing up we moved house every few years. There was no particular place that held all my childhood memories together. But there was family, and importantly my siblings, of which I have three. We were, and continue to be, extremely close. Now I have a family of my own, with my husband, our daughter Thea and our second child, who was on her way when I was making these pictures. As we all looked forward to her arrival, there was also suspense in not knowing how it would change things in our family.
I don't normally photograph too intensely at home. As a photographer I am always going away for work and so coming home is the time when I take my photographer hat off and take pictures just for us. But a combination of the feeling of anticipation, and the belief that this would be the last time I would be pregnant, changed that for me. Suddenly, this period of waiting became the most important thing I could record.
The moment I found out my second child would be a girl I immediately felt a special connection to her. I am a second sister myself and that has had an influence on who I am. I hoped that Thea would be a good older sister. Emotionally we swung between an impatience to meet and get to know this new person and a nervousness for the chaos that would inevitably come with her arrival. The memory of a difficult first birth and the injury that Thea had sustained also hung over me as the days grew nearer and photographing this period of anticipation became somewhat cathartic. As I rushed to finish various other work to clear my time for the months to come, I was happy to also spend time recording and reflecting on this last period that we would be a family of three.
Alex Majoli
“行动就是对即将到来的未来定下锚点”
Emil M. Cioran
我的书，我的音乐在哪里？、
我应该把钢琴搬到哪里？
其实我应该在房子拆除之前之前解除供电合同。
阁楼的另一个驱逐通知。
有一块美丽的土地，岩石和橄榄树，我看到自己在那里，会是那个吗？
我应该在哪里存储我的档案？
没有时间弄清楚所有这些事情，它也是现在很热，我会等待太阳让我休息一下。
真是个混蛋，砍了我们的樱桃树。
家家家…… 真是一团糟。
'To act is to anchor in the imminent future'
Emil M. Cioran
Where are my books, my music?
Where should I relocate the piano?
Actually I should really close the electric contract in that house before it falls apart.
Another eviction notice for the loft.
There is a beautiful land shaped with rocks and olive trees, I see myself there, could that be the one?
Where should I store my archive?
There's no time to figure all these things out and it's too hot now, I'll wait for the sun to give me a break.
What a bastard who cut down our cherry tree.
Home home home…. what a mess.