High Life

22 品 直 到现在， 人们还是习惯称呼夏永康为王家卫的“御用摄影师”，尽管他 已经没为王家卫拍摄剧照很多年了 。 也许是因为他之前的那些剧照带有明显的王氏风格和审美——高饱和度的色 彩，精心讲究的构图，暧昧模糊的线条和背景，画面背后暗涌的强烈情感……也 许是因为他的拍摄对象亦多是王家卫电影中几乎囊括整整一代香港电影黄金时期 的伟大演员和巨星：张国荣、梁朝伟、张曼玉、巩俐、章子怡、张震、舒淇…… 然而，又有别于普通剧照，所有明星在他的镜头下又会呈现一种常人难以见 到的情绪与面孔。夏永康精准地捕捉到了演员们在入戏与出戏的刹那、在角色与 自我之间徘徊之时，所呈现出来的某种毫无防备的孤独、柔弱和敏感，令整个画 面陷入一种欲言又止、欲语还休的情愫，比普通的剧照多一分叙事感，却又比电 影画面添一层耐人寻味的私密。 这种剧照式拍照法曾在相当长的一段时间内深刻地影响着夏永康的拍摄方式 和风格的形成，直至《Sweet Sorrow》系列的出现。夏永康甚至曾公开表示， 直至完成了这个系列，他才终于觉得自己可以称得上是优秀摄影师了。 怀揣着好奇之心，我们按照约定准时来到夏永康位于香港的工作室。 T o this day, people still refer to Wing Shya as “Wong Kar-wai’s exclusive set photographer”, even though it is now many years since he last took a still photo for the famous Chinese film director. Perhaps it is because those stills so clearly reflect Wong’s style and aesthetics – highly saturated colors, intense compositions, blurred lines and ambiguity all while capturing the strong emotions behind the picture. Through his lens, Shya conveyed a sense of Hong Kong cinema’s golden age and captured some of its biggest stars including Leslie Cheung, Tony Leung, Maggie Cheung, Gong Li and Zhang Ziyi. His raw, moody aesthetic is instantly recognizable – strikingly intimate and synonymous with Hong Kong. However, all the stars in his lens present a face and emotion people normally don’t see. Shya possesses a unique ability to accurately capture the moments immediately before and after the actors delve into their acting process – a time when they are somewhere between the characters they play and themselves, displaying a sense of unguarded loneliness or sensitivity. As a result, the images provide a lingering mood, making them more of a narrative than other stills. Nevertheless, it wasn’t until eight years ago when he decided to do the “Sweet Sorrow” series that Shya claims he finally started to feel like a good photographer. It was with curiosity in mind that we therefore visited Shya in his Hong Kong studio.