张乐陆和赵铭都爱在街头拍照。每次和他们见面，他们俩一人一个小相机，常常在我还木然不知的时候，就突然从哪个口袋或者随身小包里摸了出来，对着身边的某个场景按下快门。有时候他们甚至会不约而同地快步走向某一个对象，一阵沉默的拍摄，然后翻着显示屏对比，赞叹、争辩、互相调侃。我们相聚的时光总是在断断续续的聊天，拍照，和时时刻刻的张望中流逝。
ZLL-004, 2024
尺寸可变，印数：30
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如果把他俩的照片放在一起，我们一眼就能分辨是谁的作品。张乐陆总是惜光如金，轻轻一点或淡淡一层，整体暗色调的画面里有微小的局部被照亮，总是藏着一份意外。一只皮球悬停在无人的工厂门口；猫咪在阴影里冷冰冰地注视着镜头；深夜车厢里低头看手机的人，不知将驶往何方；女孩纤细的双臂背在身后，手中还没熄灭的手机屏幕里隐藏着故事。看他的照片就像读侦探小说的片段，一幕幕没有前因后果的悬疑或惊悚的剧情。主人公正在迷惑或无助的时刻，有一场危机将发未发，引人猜想他的身份和命运。这些画面也常带着霍帕绘画的气氛，城市是一片荒凉之地，人物是迷失在都市丛林里的一个个孤独的灵魂。
ZM-008, 2024
尺寸可变，印数：30
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而在赵铭的照片里，画面元素总在相互冲撞，主体常常被光影斩断或撕裂，明暗交错，像森山大道的新宿，难掩其中的欲望和冲动。他的画面总是停留在剧情高潮的瞬间，像某次冲突或事故的现场。夜色中，鸽子突然在街边飞起，即将穿过川流不息的刺目的车灯。阳光下水柱喷涌而出，好像背景中的树干已经爆裂。落寞的妇人还带着cosplay的夸张装扮，昏睡的老头面前摆着残留的蛋糕。他似乎从不吝惜表现自己的情绪，不管是惊讶激动，还是落寞惆怅，都快要溢出画面。他的画面里总是积蓄着一种力量，这个力量也在城市街头横冲直撞，但在碰撞的那一刻又透露出无力的感受。
ZLL-003, 2024
尺寸可变，印数：30
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当然，尽管画面风格截然不同，他们却也有着很多共同的拍摄对象。他们都喜欢拍猫咪，拍街边的人，车窗内外人们出神或纵情的一刻，还有扭曲缠绕的枝干，或者细微抖动的水纹。这些对象都是易逝的，脆弱的，在我们身边却不为人注意。他们都来自于摄影家的日常生活之中，又像是沉浸在现实之外，一个旁人无可捉摸的世界之中。这些照片就好像是从城市某个角落发送出来的神秘信号，透露着这个城市的秘密，而他们，或者说街头摄影师，则是接收它们的信使。他们将这些信号记录下来，却并不告诉我们含义。古代的通灵者描画只有他们才能看到的异象或神迹，今天的街头摄影家则是吴亮所说的都市内面的揭示者；或者套用本雅明的说法，他们是游荡者、拾荒者，或者醉汉，是现代都市生活的抒情诗人。他们唱诵日常中的微妙一瞬，显影着城市中隐秘的一幕。
ZM-035, 2024
尺寸可变，印数：30
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昏暗或刺目，幽静或嘈杂，伤感或热烈，他们的照片各具风格，但每一张照片中也蕴含着不同的意味。就像城市总是展现着相互矛盾的双面特质，摄影家也有着各自复杂的情绪和性格。一个城市有着无数的可能，不同的摄影家看到不同的城市。顾铮曾说起，在街头摄影中，摄影家把自己放下，融入到对象中，拍照片其实是通过发现城市来寻找自己。也许是受到当代艺术的影响，越来越多的摄影家放弃了“拍”照片，而开始“做”摄影，而我觉得张乐陆和赵铭依然是真正的拍照片的人。“做”摄影是主动的，理性的，精心构建的，还借助于艺术史和各种理论的加持。而拍照片是被对象吸引的，受感觉驱使的，因此首先是被动的；但根本上它又是一种“被动的”积极——一种以退为进，在认识对象的同时，去寻找摄影家主体性的尝试。
ZLL-023, 2024
尺寸可变，印数：30
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就像大多数人看到的上海是一样的，很多关于这个城市的作品也大同小异。但总有一些奇妙尤其是包容的内心，它们是有着魔力的镜子，通过它们，会反射出城市更为特别而本质一面。在张乐陆和赵铭的照片中，那个显得神秘和诡异，又带着伤感和温馨气息的上海，正是他们在街头游荡时自我的真实流露。他们在用照片讲述城市故事的时候，也透露着他们对于生活和生命的真诚感悟。
ZM-019, 2024
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Zhang Lelu and Zhao Ming both love to take photos on the street. Whenever I meet them, they both have a small camera, and often when I am still unaware of it, they suddenly take it out of their pockets or small bags, and press the shutter on a certain scene around them. Sometimes they would even walk quickly to a certain object in unison, shoot in silence for a while, and then flip through the display to compare, marvel, argue, and tease each other. Our time together always passes in intermittent chats, photo shoots, and momentary glances.
ZLL-011, 2024
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If we put their photos together, we could tell whose work it was at a glance. Zhang Lelu is always as careful with the light as gold, a little bit or a light layer, a tiny part of the overall dark tone of the picture is illuminated, always hiding an accident. A ball is hovering in front of an unoccupied factory; a cat gazes coldly at the camera in the shadows; a person looking down at his cell phone in a bus late at night, not knowing where he is going; a girl's slender arms are behind her back, and the screen of the cell phone in her hand, which hasn't yet been extinguished, hides a story. Looking at his picture is like reading a snippet of a detective novel, a scene of suspense or thriller with no antecedents or consequences. The protagonist is in a moment of confusion or helplessness, when a crisis is about to unfold, leading to speculation about his identity and fate. These images also often carry the atmosphere of Hopper's paintings, where the city is a desolate place and the characters are lonely souls lost in the urban jungle.
ZM-024, 2024
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In Zhao Ming's photographs, however, the elements of the picture always collide with each other, the subjects are often chopped or torn by light and shadow, and the light and darkness are intertwined, like the Shinjuku of Daido Moriyama, where it is hard to hide the desire and impulse in them. His images always stay at the moment of the climax of the drama, like the scene of a certain conflict or accident. In the night, pigeons suddenly take flight in the street, about to cross the stream of blinding headlights. Columns of water gush out in the sunlight, as if the tree trunks in the background have burst. The forlorn woman still wears her cosplay exaggerated costume, and the lethargic old man has the remnants of a cake in front of him. He never seems to skimp on showing his emotions, whether it's surprise and excitement or despondency and melancholy, it's about to overflow the frame. There is always a kind of power in his images, a power that also runs through the streets of the city, but at the moment of collision reveals a feeling of powerlessness.
ZLL-028, 2024
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Of course, despite their different styles, they share many common subjects. They both like to take pictures of cats, of people on the street, of people in and out of train or bus windows in a moment of trance or indulgence, of twisted and entangled branches, or of water rippling in a subtle shiver. These objects are all perishable, fragile, around us but unnoticed. They come from the daily life of the photographer, and seem to be immersed in a world beyond reality, a world that is elusive to the next person. These photographs are like mysterious signals sent from a corner of the city, revealing its secrets, and they, or the street photographers, are the messengers who receive them. They record these signals without telling us what they mean. While ancient channelers depicted anomalies or miracles that only they could see, today's street photographers are what Wu Liang calls revealers of the inner side of the city; or, to paraphrase Benjamin, they are wanderers, scavengers, or drunks, lyricists of modern urban life. They sing of the subtle moments of the everyday, revealing a hidden scene in the city.
ZM-028, 2024
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Dim or blinding, quiet or noisy, sentimental or passionate, their photos have different styles, but each photo also contains different atmospheres. Just as cities always display contradictory qualities, photographers also have their own complex emotions and personalities. A city has countless possibilities, and different photographers see different cities. Gu Zheng once said that in street photography, the photographer puts himself down and integrates himself into the subject, and that taking photographs is actually a way of finding oneself through discovering the city. Perhaps due to the influence of contemporary art, more and more photographers have given up “taking” photographs and started to “do” photography, but I think Zhang Lelu and Zhao Ming are still true photographers. “Doing” photography is active, rational, and carefully constructed, with the help of art history and various theories. Taking photos is attracted by the object, driven by feelings, and therefore passive in the first place; however, it is fundamentally a “passive aggressive”- a kind of retreat to advance, in recognizing the object, and at the same time, trying to find the photographer's subjectivity.
ZLL-029, 2024
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Just as most people see Shanghai in the same way, many works about the city are similar. But there are always some marvelous and especially tolerant hearts, which are magical mirrors through which the more special and essential side of the city is reflected. In Zhang Lelu and Zhao Ming's photos, the Shanghai that looks mysterious and weird, but also has a sad or warm atmosphere, is exactly what they are looking for in their works. As they tell the story of the city through their photos, they also reveal their sincere feelings about life and living.
ZM-021, 2024
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