拍“不完美”的照片｜有方中国建筑摄影师专访｜梅可嘉
April 28, 2024感谢有方——行走中的建筑学专访
Thank you to archiposition for the exclusive interview.
梅可嘉，职业建筑摄影师，现居杭州。
曾在原地建筑事务所工作6—7年的梅可嘉，在从建筑师变成摄影师的过程中，拍摄视角也从只专注于建筑本身，慢慢变成更关注建筑与人物、环境的共鸣。
目前梅可嘉认为，好的照片应是“立体”的。这个“立体”指的是照片的多维度，像一张带有声音的“live”图像。虽然干净简洁、几何感强的画面也是需要的，但更多时候他会希望将视角放大一些，看看建筑身边发生的故事。就好像Mir在The Mir Way里说的，“…try to say something about the side stories in life.”
一组有趣的照片，会包含很多小插曲。可能有人不喜欢，觉得这样不完美。如果说这是一种不完美的话，那么梅可嘉希望自己可以拍些不完美的照片。
Kejia Mei, a professional architectural photographer currently based in Hangzhou, spent 6-7 years working at the Origin-Architects. Throughout his transition from architect to photographer, Mei’s approach to capturing images has shifted from a singular focus on the architecture itself to a broader appreciation of the interplay between architecture, people, and the environment.
At present, Mei posits that a superior photograph should possess a sense of “three-dimensionality.” This term encapsulates the multifaceted nature of a photograph, akin to a “live” image that resonates with sound. While he acknowledges the necessity for clean, geometrically striking visuals, Mei often prefers to broaden his lens to encompass the narratives unfolding around the structures. Echoing sentiments from Mir’s “The Mir Way,” Mei aspires to capture the essence of life’s side stories.
A compelling collection of photographs will often include numerous small vignettes. Some may take issue with this, perceiving it as a form of imperfection. If such a thing is considered flawed, then Mei wishes to embrace this imperfection in his work.
行走中的建筑学： 从事建筑摄影工作多久了？现在是全职的状态吗？
archiposition：How long have you been working in architectural photography? Are you currently a full-time photographer?
梅可嘉：从对外宣称⾃⼰不做设计、改⾏摄影，已经差不多2年半。但正式开始⼯作⼤概是1年多之前。因为第⼀年疫情，几乎⽆法出⻔，基本处于⼀个封印状态。
现在是全职，也慢慢习惯这个状态了。说实话，⼀开始其实有点不太适应。因为我觉得拍摄是⼀件感性的事情，我喜欢以体验者的身份参与到故事中，这样会让我更放松。而摄影师的身份仿佛⼀个模糊的枷锁，感觉会让拍照这件事情变得有点“任务”化，我也因此而担心照片会变得“机械”。但这只是我的⼀些心理作⽤。现在已经完全习惯了。
Mei：It’s been ：almost two and a half years since I publicly announced my shift from architect to photographer. However, I officially started working professionally in photography about a year ago. The first year was largely a dormant period due to the pandemic, which made it nearly impossible to go out, effectively putting me in a state of ‘sealing’.
I am now a full-time photographer and have gradually become accustomed to this status. To be honest, I was initially a bit uncomfortable with the transition. I view photography as a deeply intuitive and sensory experience, and I prefer to immerse myself in the stories I’m capturing, which allows me to relax more into the process. The role of a photographer felt like an ambiguous shackle, as if it might turn the act of taking photos into a more ‘task-oriented’ activity, and I was concerned that my photos might become too ‘mechanical’. But these were just some psychological barriers I had to overcome. Now, I have fully adapted to it.
行走中的建筑学：可以分享一下，在从事建筑摄影之前的经历吗？
archiposition：Could you share your experiences before you started working in architectural photography?
梅可嘉：此前在北京原地建筑事务所⼯作了有差不多6、7年的样子。当时并没有把很多心思放在拍照上。对我来说，拍照就是记录项目的一种手段。而且当时拍照重点全在建筑身上，视野相对狭隘。倒是⼯作期间每年都会出去旅行1—2次，摄影经验积累⼤部分来自这些旅⾏。
要说建筑摄影这颗种子开始萌芽，⼤概是有⼀次公司有个⽐较偏远的项⽬，在广西弄岗⼀个原始森林里，李冀老师（编者注：原地建筑事务所主持建筑师）知道我对摄影有点兴趣，就想着让我租⼀套稍微专业些的设备，去现场做记录，顺便拍一下项目。
那时候，我甚至都搞不太清楚相机参数这些很基本的东西。然后我也不是很关注这些。当时就想着：这套设备没玩过，该怎么拍会比较好玩。后来拍回来的照片，公司同事觉得还不错。于是我想：我是不是也可以考虑做这个（摄影）。不过也只是考虑了⼀下。
但随着时间推移，这颗种⼦开始发芽了。可能是因为记录的照片越来越多了。2021年初，之前负责的⼀个项目入选了威尼斯建筑双年展，我⽤拍摄的⼀些影像资料做了参展视频。后面就想着，要不干脆赌⼀把，做建筑摄影吧！但那个时候我对建筑摄影的认知仍是很浅的，后⾯才开始慢慢建立自己的拍摄语言。
Mei：Before I embarked on the path of architectural photography, I worked at the Origin-Architect in Beijing for about six to seven years. At that time, I didn’t devote much attention to photography. For me, it was merely a means of documenting projects, and my focus was almost entirely on the buildings, which was a rather narrow perspective. However, during my tenure, I traveled once or twice a year, and most of my photography experience was accumulated through these trips.
The seed of architectural photography was sown when the company I worked for had a rather remote project located in a primeval forest in Nonggang, Guangxi. Li Ji (Editor’s note: the principal architect of the Origin- Architects), knowing of my interest in photography, suggested that I rent a more professional set of equipment to document the site and take some photos of the project.
Back then, I barely understood the basic camera settings. I wasn’t overly concerned with these details either. I was more preoccupied with the thought of how to make the most out of this new equipment and have some fun with it. The photos I brought back were well-received by my colleagues at the office, which led me to contemplate the possibility of pursuing photography. However, it was just a fleeting thought at that moment.
As time went on, that seed began to sprout, likely due to the growing number of photos I had documented. At the beginning of 2021, a project I had been responsible for was selected for the Venice Architecture Biennale, and I used some of the footage I had taken to create a video for the exhibition. It was then that I thought, why not take a gamble and dive into architectural photography? At that point, my understanding of architectural photography was still quite superficial, and I gradually started to develop my own photographic language.
行走中的建筑学： 最近在拍摄的项目主要是哪些？拍摄过程中有什么特别的故事？
archiposition：What projects have you been photographing recently? Were there any particularly special stories during the shooting process?
梅可嘉： 几乎每次拍摄都会遇到些不⼀样的事情，但都还挺有意思的。
⽐如之前受中国院委托去重庆大观镇拍⼀个酒店。印象中是春天接到的任务，但因为各种原因（主要是天⽓），⼀直拖到夏天才去。而那边的天⽓预报很不准，我和设计师心里都没底。结果运⽓不好，到了现场后每天早上起来要么是超级大雾，什么也看不见的那种；要么是下雨。虽然其他⼈觉得阴天也有阴天的效果，我个⼈还是不太满意，觉得与有阳光的情况相比，出片效果有差别。
回来后没多久，还是不甘心，我就和设计师申请再去⼀次现场。果然天气比上次好了不少。虽然光还是经常转瞬即逝，但已经比较满意了。在拍摄过程中，我希望可以结合⼀些当地原住民的生活来进行展示。有位奶奶看见我是摄影师，希望我帮他老伴拍⼀张，后来才知道她的老伴之前车祸瘫痪了，奶奶希望可以趁现在老伴还有精神，留下⼀张照⽚。我知道后给他们俩⼀起拍了合影。事后奶奶⼀直问我多少钱，我说“不用了，回头我打印出来后寄给您”。
Mei：Nearly every shoot brings something different, but it’s always quite interesting.
For instance, I was previously commissioned by the CADG（China Architecture Design & Research Group） to photograph a service center in Daguan Town, Chongqing. I received the assignment in the spring, but due to various reasons, mainly the weather, it was postponed until summer. The weather forecast there was quite unreliable, leaving both the designer and me uncertain. Unfortunately, when we arrived, we encountered poor luck with either dense fog in the morning that obscured everything or rain. While some might say that overcast days have their own aesthetic, I personally wasn’t satisfied, feeling that the resulting images were not as good as those taken in sunlight.
Not long after returning, still feeling a bit discontent, I applied to revisit the site with the designer. This time, the weather was much better. Although the light was often fleeting, I was quite satisfied with the results. During the shoot, I wanted to integrate some aspects of the local residents’ lives into the presentation. An elderly lady, noticing me, asked me to take a picture of her partner. It turned out that her partner had been paralyzed in a car accident, and she wished to capture a photo while he was still in good spirits. After learning this, I took a portrait of the two of them together. The grandmother kept asking me how much it would cost, to which I replied, “No charge, I’ll print it out and mail it to you later.”
第二个项目是迹·建筑事务所（TAO）设计的同源馆展馆。项目地处建筑密度非常之大的深圳南头古城。展馆的外立面比较特殊，和周围的肌理有比较大的区别。所以我想通过周边的环境，以及附近活动的人的视⻆，以⼀种游走在城中村里的视角来展现这个项目。事后，设计师觉得有几张⻆度有表达出了他们想要的、项目在城中村里独美的感觉。
The second project was the Pavilion, designed by the TAO (Trace Architecture Office). The project is located in the densely built-up area of the ancient Nan Tou city in Shenzhen. The exterior facade of the exhibition hall is quite distinctive, standing out significantly from its surroundings. Therefore, I aimed to showcase the project by capturing the surrounding environment and the perspectives of people active nearby, adopting a viewpoint that meanders through the urban village. Afterward, the architect felt that several of the angles I chose effectively conveyed the unique beauty they wanted to express for the project within the urban village context.
第三个是⼀个景观类项目，这是我第⼀次拍摄公共景观。拍景观和拍建筑有着很⼤的区别。特别是这种大型公园，得在里面走⼀天。我以前很少或者基本没有怎么逛过公园，这次拍摄发现了挺多有趣的现象：好多⼈的精神状态确实是太超前了。他们会在晨曦时跑来划浆板，中午会在水草中嬉戏，下午躺在吊床上看书，傍晚会过来遛狗。我需要将⾃⼰融⼊到这欢愉且松弛的氛围里，抓住⼀些⾃然动人、又有生命力的画⾯。在拍摄期间，真的⾮常想上去问问，为什么他们不⽤上班。又怕知道答案后，自己会破防，想想还是算了。
The third project was a landscape project, marking my first time photographing a public landscape. Capturing landscapes is quite different from photographing architecture. Especially with large parks, you have to spend a whole day walking around inside. I rarely, if ever, had spent much time in parks before, and this shoot revealed many interesting phenomena to me: the mental state of many people is truly ahead of its time. They would come to paddleboard at dawn, frolic in the water plants at noon, lie on a hammock reading a book in the afternoon, and come to walk their dogs in the evening. I needed to blend into this joyful and relaxed atmosphere, capturing some naturally touching and vibrant scenes. During the shoot, I was really tempted to ask why these people didn’t need to work. However, I was also afraid that knowing the answer might give me so many feels, so I decided against it.
行走中的建筑学： 平时拍照的工作习惯是怎样的？
archiposition：”What are your typical work habits when it comes to photographing?”
梅可嘉： 拍摄前我会和设计师沟通想法，熟悉方案；然后提前到现场踩点，熟悉环境。这个还是比较重要的，至少别拍⼀半就迷路了对吧（笑）。
有时候到了现场的感觉和之前预想的会有⼀些出入，也会有⼀些惊喜。这些都很正常，就像做设计⼀样，灵感往往来自于实地考察。这时候我会跟着感觉走，随机应变。偶尔也会有⼀些以前留下的建筑师习惯，比如与当地人进⾏⼀些对话，这对我进行深入的拍摄会有⼀定帮助。
拍摄的过程并不轻松，尤其是在夏天。但我希望自己拍出来的照⽚是松弛的，令人放松、愉悦的。
Mei：Before I start shooting, I communicate with the architects to exchange ideas and become familiar with the plans; then I make a trip to the location beforehand to get a feel for the environment. This is quite important—I wouldn’t want to get lost halfway through the shoot, right? (laughs).
Sometimes, the atmosphere on-site differs from what I had imagined, and there can be surprises. This is all quite normal, as with design, where inspiration often comes from on-site inspections. At such times, I go with my instincts and adapt to the situation. Occasionally, I still engage in conversations with the locals, a habit from my previous career as an architect, which aids me in capturing more profound shots.
The process of shooting is not easy, especially in the summer.
However, I aim to produce photographs that are relaxed, inviting a sense of ease and pleasure in the viewer.
行走中的建筑学: 平时常用的器材有哪些？
archiposition：What kind of equipment do you typically use?
梅可嘉：和别的摄影师差不多：全画幅相机，无人机。我会在保证完成拍摄任务的前提下尽量精简一些装备，这样可以更好地投入到拍摄中。对于镜头的选择，我个人是不太喜欢用超广角的，除非是万不得已。
然后我也不太喜欢用三脚架，尤其是涉及到大范围外景的拍摄，或者景观类的项目拍摄，手持相机会让我感觉更加灵活一些。
生活中我用的最多的就是手机，以及35mm焦段的卡片机。
Mei：Like many other photographers, my go-to equipment includes a full-frame camera and a drone. I aim to streamline my gear as much as possible without compromising the quality of the shots, which allows me to be more immersed in the process of shooting. When it comes to lens selection, I personally prefer to avoid ultra-wide lenses unless it’s absolutely necessary.
Additionally, I’m not particularly fond of using a tripod, especially for extensive outdoor shoots or landscape projects. I find that holding the camera provides me with more flexibility and freedom.
In my day-to-day life, I mostly rely on my smartphone for photography, as well as a compact camera with a 35mm focal length.
行走中的建筑学: 认为自己擅长拍摄哪一类作品？
archiposition：What type of work do you consider yourself particularly skilled at capturing?
梅可嘉：建筑之外，我还比较喜欢拍一些公共属性比较强的项目，比如景观或者公共空间。这也和我工作之余的兴趣爱好有一定关系。我喜欢街头摄影，如果能抓拍到一些比较有意思的场景会很兴奋，可以开心一整天。外出旅行时，我喜欢观察当地人的日常生活方式，然后拍下一些不经意的瞬间，还原当时的场景氛围。我不希望因举起相机这个举动而破坏画面原有的和谐，我希望画面里的人是自然、放松而不做作的。虽然是照片，但会有动态的美。
Mei：Beyond architecture, I also have a strong affinity for photographing projects with a pronounced public aspect, such as landscapes or public spaces. This preference is somewhat related to my hobbies and interests outside of work. I have a passion for street photography and derive great excitement from capturing intriguing scenes, which can bring me joy for the entire day. When traveling, I enjoy observing the daily lives of local people and capturing candid moments that reflect the atmosphere of the place. I strive not to disrupt the inherent harmony of the scene with the act of photographing. I want the people in my images to appear natural, relaxed, and unposed. Even though they are part of a still photograph, they embody a dynamic beauty.
行走中的建筑学: 如何处理画面里建筑与人的关系？
archiposition：How do you handle the relationship between architecture and people within the frame?
梅可嘉： 人很重要，虽然有时候不是必须的。早期自己作拍摄记录的时候，会比较排斥这些，因为当时关注点仅在于建筑或场地本身，会觉得杂乱的元素影响了我的画面。
开始建筑摄影后，想法也发生了变化。觉得照片中有人，不光可以作为一个空间尺度上的参考，更重要的是人盘活了故事，也激活了空间，能够让照片提升一个维度。我们拍摄的照片是以二维形式展现出来的，在空间的展示上多少会有些局限性。这里的空间不光指建筑的空间，主要还是整个环境的空间。但是有人在就不一样了。通过人，我们可以知道这里的空间（路径等）是可以到达的，是有设计巧思的，是有在被使用的。这样画面的层次一下子就丰富了起来。另外，画面中的人是带有社会属性的，也是带有情绪的。无论是严肃、悲伤、开心、冷漠等等，这些都可以结合他们所在的环境背景，一起渲染出来。
Mei：People are very important, although they are not always essential to the shot. In the early days when I was taking photographs for documentation purposes, I tended to exclude them, as my focus was solely on the architecture or the site itself, and I felt that the presence of people introduced a chaotic element that detracted from the image. However, since I began architectural photography, my perspective has shifted. I’ve come to realize that having people in the frame serves not only as a reference for spatial scale but also, more importantly, brings the story to life and activates the space, adding an extra dimension to the photograph. The photos we take are presented in two dimensions, which can be somewhat limiting in terms of representing space. This space is not just about the architecture but also the entire environment. But the presence of people changes everything. Through people, we can understand that the space (including paths and other elements) is accessible, thoughtfully designed, and in use. This instantly enriches the layers of the image. Moreover, people in the frame carry social attributes and emotions. Whether it’s seriousness, sadness, happiness, indifference, or any other emotion, these can be portrayed in conjunction with the environmental backdrop, adding depth to the scene. This translation aims to convey the nuanced relationship between architecture and people in photography, emphasizing the evolving role of human elements in enhancing the storytelling and spatial perception within architectural images.
行走中的建筑学： 如何处理气象和建筑的关系？
archiposition：How do you handle the relationship between weather and architecture in your photography?
梅可嘉： 不同建筑有着不同的调性，有的建筑在一些极端天气，比如大雪、大雾或者大雨中，会产生不一样的感觉。但也需要视具体环境而定。这类的照片，可能更多强调的是建筑的一种场所感。
比如迹·建筑事务所（TAO）在鸡鸣岛的项目：拍摄的时候，台风马上就要过来了，天色也比较暗。我希望可以抓住这种“险峻”的气息——海鸟在低空盘旋，海浪拍打着悬崖。一个巨大的人造物在悬崖边充满着张力。
除非有特殊需要，正常来说，我还是喜欢在有良好光线的情况下拍摄。无论是建筑的光影，环境的氛围，还是其他材质的表达，都会比较舒适，会有更多层次感的体现。
Mei：Different architectures possess distinct tonalities, and some can evoke a unique sensation in extreme weather conditions, such as heavy snow, dense fog, or torrential rain. However, the approach must be tailored to the specific environment. Photos taken in such conditions often emphasize a sense of place.
For instance, with the project by TAO (Trace Architecture Office) on Jiming Island: during the shoot, a typhoon was imminent, and the sky was quite dark. I wanted to capture the “perilous” atmosphere—the seabirds circling low, the waves crashing against the cliffs. A massive man-made structure teetering on the edge of the cliff, filled with tension.
Unless there’s a special requirement, I generally prefer to photograph under good lighting conditions. The interplay of light and shadow on the architecture, the ambiance of the environment, and the expression of various materials are more comfortable and can exhibit greater depth and texture.
行走中的建筑学: 如何看待客观表达建筑师的作品与摄影师的再创作？
archiposition：How do you view the objective expression of an architect’s work versus the photographer’s reinterpretation through their lens?
梅可嘉: 拍摄的时候，我希望自己是客观的。我认为这是摄影师的基本素养。
一旦有了想法，就进入摄影师的主观的个人理解了。有时候我会在进入状态时或者收工后，突然冒出一些灵感，想要进行一些个人的小创作，或者去进行一些比较随意的纪实拍摄，但都是基于客观事实的基础上进行的。
Mei: When I’m shooting, I strive to be objective. I believe that’s a fundamental quality of a photographer.
Once I have an idea, it enters the realm of the photographer’s subjective personal interpretation. Sometimes, when I’m in the zone or after wrapping up, I might suddenly get inspired to engage in some personal creative work or to do some more casual documentary photography, but it’s all based on the foundation of objective reality.
拍摄日出景象时，发现建筑内的隔断“消失”了，前后通透，可以拍出太阳从远方秦岭升起的效果。而建筑的形体也像一座山，山里的人在追逐着太阳。于是临时想到可以编辑一段视频。
When photographing a sunrise scene, I noticed that the partitions inside the building seemed to “disappear,” creating an unobstructed view from front to back, allowing for the depiction of the sun rising from the distant Qinling Mountains. The form of the architecture itself resembled a mountain, with people within it chasing after the sun. On the spur of the moment, I thought it would be a good idea to edit a short video to capture this.
又比如，在重庆规划展览馆原定拍摄任务完成之后，自己又随手记录了一段生活化视角的影像，没想到设计师们还挺喜欢这种“接地气”的视频。
For example, after completing the scheduled photography tasks at the Chongqing Planning Exhibition Hall, I casually captured a segment of video from a more everyday, life-oriented perspective. Unexpectedly, the designers quite appreciated this “down-to-earth” footage.
行走中的建筑学: 你认为好的建筑摄影作品应该具备什么样的特质？目前满意的自己的作品是哪些？
archiposition：What qualities do you believe a good architectural photograph should possess? And which of your works are you currently satisfied with?
梅可嘉: 这个问题的答案，可能会随着时间的推移而发生变化。
目前我觉得，好的照片应是“立体”的。这个“立体”指的是照片的多维度，就像一张带有声音的“live”图像。虽然它是静帧的，依然可以感受到画面里的涓涓流水、天上的鸟叫、树上的虫鸣、远处的犬吠，枝叶在风中摇曳，人们慵懒地躺在草地上低声交谈。好似这些场景就在眼前，令人投入，使人愉悦。它包含了很多元素，而我所做的就是通过某种视角，将这些元素和谐地表达出来。
可能也有人会喜欢干净简洁、几何感强的画面。当然，那种画面也是需要的。只是有时候我会希望将视角放大一些，与环境共鸣，与城市对话。
无论是人、动物、植被或是泥土，许许多多的细节构成了一幅有生命力的画面。而不是一个建筑，清冷地立在那里，给人一种疏离感。毕竟这些设计，大部分都是为人服务的。前段时间在看Mir的书The Mir Way，里面有一句话我很赞同：“The mir way is to try to say something about the side stories in life.”我觉得就是这个意思。一组有趣的照片，会包含很多小插曲。可能有人不喜欢，觉得这样不完美。但如果说这是一种不完美的话，那么我希望自己可以拍一些不完美的照片。
Mei:The answer to this question may evolve over time.
Currently, I believe that a good photograph should be “three-dimensional.” By “three-dimensional,” I refer to the multi-dimensionality of the photograph, akin to a “live” image with sound. Although it’s a still frame, one can still sense the gentle flow of water, the chirping of birds in the sky, the rustling of insects in the trees, the distant barking of dogs, the swaying of branches in the wind, and people lazily lying on the grass in soft conversation. It’s as if these scenes are right in front of us, immersive and delightful. The photograph contains many elements, and what I do is express these elements harmoniously through a certain perspective.
Some may prefer images that are clean, simple, and have a strong geometric sense. Of course, such images are also necessary. It’s just that sometimes I prefer to broaden my perspective to resonate with the environment and engage in dialogue with the city.
Whether it’s people, animals, vegetation, or soil, numerous details come together to form a vibrant image, rather than a building standing cold and aloof, giving a sense of detachment. After all, most of these designs are meant to serve people. Recently, I was reading Mir’s book ”The Mir Way,” and there’s a phrase I strongly agree with: “The mir way is to try to say something about the side stories in life.” I believe that’s the essence. An interesting set of photos will contain many small anecdotes. Some may not like this, perceiving it as imperfect. But if this is considered a form of imperfection, then I hope to take more ‘imperfect’ photos.
这是我第一次用“专业”设备拍摄的其中一张照片。背后是我们的项目，用桉树枝搭建出来的巨型“鸟巢”，前面是场地上原本就有的两块大石头。想要从这个角度完整地拍摄建筑，前景的石块免不了会入镜。但这两块石头，恰好把现场原始的气息及环境的层次给凸显了出来。
This is one of the first photos I took with “professional” equipment. Behind is our project, a giant “bird’s nest” constructed from eucalyptus branches, and in the foreground are two large boulders that were already present on the site. To capture the building fully from this angle, it was inevitable that the stones in the foreground would be included in the frame. However, these two boulders perfectly highlighted the raw atmosphere of the site and added a layer of depth to the environment.
这张照片看着构图有点随意，应该是当时因为快天黑了，去对面又不方便，就远远对着随便拍了一张。后来觉得这张照片氛围感还不错：轻柔摇曳的树丛间，有人在交谈，有人在散步。远方的建筑躺在海平面上吐着烟。
This photograph has a somewhat casual composition, likely due to the fact that it was getting dark and it was inconvenient to go to the opposite side, so I just took a quick shot from a distance. Upon later reflection, I found the atmosphere of this photo to be quite appealing: the gentle sway of the trees, people conversing, others strolling. In the distance, the building rests on the horizon, with smoke billowing from it as if it were part of the sea.
那几天天气不太好，我正准备回去，看到一个小孩突然从礼堂的坡道上冲了下来。赶紧拿起相机抓拍了一张。从建筑角度看，这张照片构图一般，不过近处穿着蓝色衣服的小孩，看着远处蓝色的车，以及坡道上的蓝色衣服小孩，三个蓝色元素的叠加，让影像的内容变得有趣了起来。
The weather wasn’t very good for those few days, and I was just about to leave when I saw a child suddenly running down the ramp of the auditorium. I quickly grabbed my camera and snapped a shot. From an architectural perspective, the composition of the photo is quite ordinary, but the image became interesting with the overlay of three blue elements: a child in a blue outfit in the foreground, a blue car in the distance, and the blue-clad child on the ramp.
这两张红墙外的照片，分别是在北京和杭州拍摄的。
第一张是在长安街上，我拍了几组，然后想着用平面的墙来搭建成一个“院儿”的形式。这也正好对应了当时我手头的一个工作。
第二张是在德寿宫门口拍的，我看很多人都在这里对着墙面合影，同时车来人往的场景挺有意思，长长的一段红墙有点像胶卷，于是我就想着是否能用照片的形式来记录一段时间内发生的事。这里我截出了一小部分。
These two photos outside the red walls were taken in Beijing and Hangzhou, respectively.
The first one was taken on Chang’an Avenue. I took several sets of photos and then thought of using the flat wall to create a “courtyard” formation. This also corresponded with a project I was working on at the time.
The second photo was taken at the entrance of Deshou Palace. I observed many people taking pictures against the wall, and the comings and goings of vehicles and pedestrians created an interesting scene. The long stretch of red wall resembled a film strip, prompting me to consider if I could document a period of events through the medium of photography. Here, I have extracted a small segment of that scene.
行走中的建筑学： 聊聊你最喜欢的摄影师吧，你从他（她）的作品中学到了什么？
archiposition：Let’s talk about your favorite photographer. What have you learned from their work?
梅可嘉： 马丁·帕尔（Martin Parr）和艾略特·厄威特（Elliott Erwitt）。
我觉得街头摄影师都是天才。真的。在混乱的元素中找到某种秩序，捕捉到一些巧合；在反映想要表达的内容的同时，又抓住了有意思的瞬间。他们一定都是非常热爱生活的人，才能对生活观察得如此仔细。我有时候也会想，要是能在拍到想要的画面的同时，又有一些有趣的点，那就真的太好玩了。但是目前为止，几乎没有。可能我的观察还不够多，不够深入，反应也不够快吧。另外对着人近距离拍摄，还是会有些紧张。
Mei：Martin Parr and Elliott Erwitt.
I believe that street photographers are all geniuses. Truly. They find a certain order amidst chaotic elements, capture coincidences, and while reflecting the content they wish to express, they also seize interesting moments. They must be people who deeply love life to observe it so meticulously. Sometimes I also think, it would be really fun if I could capture the desired image while also including some interesting points. But so far, it’s rarely happened. Perhaps my observations are not numerous or deep enough, and my reactions are not quick enough. Additionally, I still feel a bit nervous when photographing people up close.
