Studio Brinth
Jacob Brinth和Alice Delsenne分别来自法国和丹麦，2015年相识于哥本哈根，之后共同组建了家庭并定居于法国。他们都有过产品设计方面的学习经历，如今试图通过摄影来表达他们对空间与产品的思考。
Jacob Brinth and Alice Delsenne, hailing from Denmark and France, respectively, crossed paths in Copenhagen in 2015, and are now married together and living in France. Both with educational backgrounds in product design, they now seek to articulate their reflections on space and products through photography.
2018年他们成立了NUE工作室，专门从事室内和家具设计。起初，他们以拍摄自己的设计项目为主，不久后拓展到与建筑师、设计师、设计品牌、画廊等合作。2021年，他们定居法国并在当地开设了工作室，客户遍布巴黎、米兰、布鲁塞尔、伦敦等欧洲各地。
In 2018, they established NUE Studio, specializing in furniture and interior design. Initially focusing on photographing their own design projects, they soon expanded to collaborate with architects, designers, design brands, galleries, and more. In 2021, they settled in France, opening a studio with clients spanning across European cities such as Paris, Milan, Brussels, London, and beyond.
凭借对极简主义的敏锐洞察，始终追求摄影所呈现的细节和构图的完美性。在丹麦工作期间，Jacob Brinth和Alice Delsenne探索出了如何在空间中塑造和组合物体的艺术方式。他们的作品犹如表现出明暗对比的经典绘画，有着神秘色彩，令观众着迷。
With a keen insight into minimalism, they consistently pursue the perfection of details and composition presented through photography. During their time in Denmark, Jacob Brinth and Alice Delsenne explored the art of shaping and combining objects in space. Their works resemble classic paintings with chiaroscuro effects, exuding a mysterious allure that captivates the audience.
- Art: Studio Brinth
摄影是静态的艺术，您是怎样通过镜头去捕捉到富有动态感的画面？
Photography is a static art, how do you capture a rich dynamic landscape through the lens?
空间摄影中的场景通常是静态的，在没有人物出现或动态变化的情况下想让画面具有生命力确实是件非常困难的事情。
In interior photography, it’s true, the setting is static and it can be tricky to add life to the images without any human presence or dynamic movement happening.
在我们的摄影中，试图建构一种充满情绪和戏剧性的风格，为静态的场景增添视觉上的动态感受。我们喜欢呈现有如油画般经典的明暗对比色调，也经常会加入些神秘感来引发观众的好奇心，吸引你驻足观看。
In our photography we have a very moody and dramatic style which adds to the visual dynamics of the setting. We like to create our images as if they were classical chiaroscuro paintings, and we often add a bit of mystery that intrigues the viewer and draws you in.
摄影通常从寻找最佳的切入点开始，比如某处有趣的建筑元素或有着戏剧效果的方向性光源。如同画家在他的画布上创作场景一样，我们也会在画面上进行布局和创作。单论构图，我们是极简主义者；每一个出现在画面上的元素都具有明确的指向，最终构成了整体的视觉叙事。
The process often starts by finding the best angles in the space, often with an interesting architectural element or a dramatic directional lighting. And then, much like a painter composes their scenes on canvas, we compose and style our images. We are minimalists when it comes to composition: Every element in the frame has a strong purpose, adding to the visual narrative.
作为设计师所受到的专业训练，逻辑思维或设计方法，这些经验对你成为一名空间/产品摄影师有帮助吗？
Does a designer’s background offer advantages in your work as a spatial or product photographer, such as a professional expertise, logical thinking, or approach?
作为前设计师，一开始我们只是为自己的设计工作室拍摄家具产品和室内设计项目。这激发了我们对于影像创作的热情，之后陆续开始与来自丹麦、巴黎以及欧洲的品牌方和设计师建立合作。
As former designers, our journey into photography began with taking pictures of our furniture and interior projects for our own design studio. This started a passion for creating images, leading us to collaborate with brands and designers in Denmark then in Paris, and now all over Europe.
设计从业的背景使我们能够与合作者或客户进行更高效地沟通，并有助于双方建立深层次的连接，帮助我们深入了解每个项目特定的艺术语境及工艺细节。
Our design background allows us to communicate effectively with our collaborators & clients, establishing a deeper connection and helping us to truly understand the artistic context as well as the technical aspects of each project.
我们热衷于和客户一起讨论他们的构思与设计方法，这样有利于从摄影角度对项目进行深度地诠释，同时为我们拍摄提供了美学导向。我们试图通过不同的媒介去捕捉空间本身，就好像它们是我们亲自设计的一样。
We love having passionate discussions with our clients about their philosophy and design approach, and this enriches our photographic interpretation and the aesthetic choices that we make for the images we create. We try to capture the designs as if they were our own.
对您而言，通过镜头和眼睛“观察”同一物体，有何不同之处？
Both the lens and the human eye “observe” the same object; do they hold any differences for you?
通过眼睛观察和通过镜头捕捉到的图像是有着明显的不同，其难度在于如何将我们于真实生活中所看到的或感受到的东西“转化”为最终想要表达的图像语言。
There's a big difference between what we experience through the human eye and what we experience through the camera lens, the challenge is to “translate” what we see and feel in real life, into what the final images express.
在室内拍摄过程中，我们通过相机里实时视图的方式获取信息，当移动和组合画面中的物体时，我们依靠直觉与沟通来确定最终的构图。它就像一个大型拼图，所有的碎片都有特定的目的和位置。
During an interior shooting we compose everything through the live view of the camera, and when moving and composing the objects in frame, we rely on our intuition and our communication to get the composition to feel right. It is like a big puzzle, where all the pieces have a specific purpose and place.
我们夫妻双方作为长期合作的职业伙伴，完全地理解和信任对方，很多时候甚至不需要明说就能知道在构图中移动哪些物体的感觉才是对的。只有当所有的拼图碎片摆放得当时，才会得到满意的作品。
As a long-time professional duo, and married couple, we understand and trust each other completely, and oftentimes we don’t even have to speak together to know which objects need to be moved in the composition to make it feel right. It’s the best feeling when all the pieces of the puzzle fall into place, total satisfaction.
您如何理解“摄影是灵光乍现的美学”这句话？
What do you think of the phrase: “photography as a sudden burst of aesthetic revelation”?
我很喜欢这句话，它充分体现了摄影艺术有着捕捉瞬间之美的能力。但是在实际的摄影过程中需要大量的前期准备和后期的制作，所以它并不是自然发生的，或单纯地定义为“灵光乍现”。
We appreciate how the phrase highlights photography as revealing the aesthetic of a certain moment. However, the way we approach photography is with a lot of preparation and also post-production, so it is less of a spontaneous or “sudden burst” of revelation.
举个例子，在2023年布鲁塞尔收藏品博览会期间，我们为画廊拍摄“物体叙事”展览中展示的“晚餐吃什么”系列图片，这组图像的拍摄想法是为了构建一个带有神秘性的超现实主义的“餐后”场景。
Take for example an image from the series “What’s for Dinner" for the gallery Objects With Narratives’ exhibition in Brussels during Collectible Fair 2023. The concept of this shooting was to illustrate a surreal “after-dinner” scene with traces of mystery.
为了这次特殊地拍摄，我们提前数周便与他们的设计团队接触，就艺术表达形式进行沟通。之后又经历了漫长的后期制作过程，因为我们在拍摄中运用了多重曝光的方式，试图创作出以漂浮的物体为特征的超现实主义图像。
We spent weeks preparing the artistic direction in collaboration with their design team to make unique images. This particular shooting had a long post-production process, as we took multiple-exposures that allowed us to create surrealist images featuring floating objects.
当你看到它时，会觉得这个被镜头捕捉的瞬间具有超现实性但又似乎是自然发生的现象，尽管这一切都是为了唤起这种感觉而故意设计的。
When you look at the image, we want you to feel like it's a surreal and spontaneous moment captured in time, even though it's all intentionally designed to evoke that feeling.
在“DESACRALISED”这幅作品中，通过光线照亮了产品的轮廓并赋予了其生命力，您的创作灵感由何而来？
In “DESACRALISED”, the light gives the product a silhouette and life, how did you get this dramatic inspiration?
当时是由Galerie Philia在米兰一座古老而阴郁的教堂内举办的一场设计展，机缘巧合下，拍摄了这幅作品。
The location was in an old desacralised church in Milano with a particular moody atmosphere, and there was a design exhibition held by Galerie Philia at the time.
白天的教堂，一天之中的光线会有很大的变化，下午3点左右，一束光穿过中央窗户，照射在阿诺·德克勒克（Arno Declercq）用白蜡橡木设计制作的经典作品上，这与我们构思的场景不谋而合。
During the day the lighting changed a lot, and It was just around 3:00pm in the afternoon that the sunlight came through the central window aligning perfectly with what we wanted to highlight: The monumental designs by Arno Declercq, crafted in white oiled oak.
随后在布景过程中，我们又特地强调了这一中心光束的存在，以获得更加戏剧性的效果，使其具有神圣的氛围。
We accentuated this particular central beam of light in our editing process to add an even more dramatic effect, giving the scene a sacred atmosphere.
我们试图唤起人们对于文艺复兴时期绘画作品中的明暗对比关系，仿佛这些当代设计作品已经在教堂中存在了几个世纪之久，通过图像的定格创造出一种永恒感。
The intent was to evoke the feeling of an old chiaroscuro painting from the Renaissance era. We wanted to give the impression that these contemporary design pieces have existed in this church for centuries, creating a sense of timelessness.
