“The normal response to Peter Sutherland’s photographs of deer would probably be a feeling of sadness, or possibly regret. How is it, one might ask, that nature has become so utterly banal? How depressing that wild animals drink out of storm drains and die beside freeways. Yet deer haven’t exemplified wildness and wonder since the days of Robert Burns: one step above squirrels and raccoons, deer have long been a suburban commonplace. I think there are plenty of natural calamities worth getting riled up about and that photographs might even assist us in doing so; but a deer strapped to the top of a mini-van is not one of them, and to picture this is simply to witness another image from the human comedy.
“Indeed, I find Peter Sutherland’s photographs to be quite funny. His deer exude an infectious self-serious absurdity, going about their deer-like business regardless of obstacle or inconvenience. Their incongruity is exaggerated to the point where these ordinary animals seem to be nothing less than visitors from another world, transfixed and radiating a cosmic light, with bright, sci-fi eyes that seem about to blaze right out of their heads. With an almost total absence of humans, in Sutherland’s images the deer have inherited the earth.” —Lawrence R. Rinder
Having escaped domestication, deer are on their own, rolling with what comes. They can travel in small packs or they can be alone. They grow long coats when it’s cold; they shed and sit in the shade when it’s hot. They can survive on available food in the woods while the more tame ones will eat Doritos out of your had on the side of the road.
Peter Sutherland doesn't hunt but he understands the thrill of the chase. The deer tend to come out at dusk when the light is just right. They sneak around and crossover into suburban lands. The boundaries between man and deer have blurred. They watch us while we watch them.
The photographs in Buck Shots, Sutherland’s third powerHouse Book, were taken in Colorado, California, Utah, New York, Pennsylvania, Washington, Vermont and New Zealand between 2002 and 2007.
發表於2024-12-25
Buck Shots 2024 pdf epub mobi 電子書 下載
二零零二年﹐Peter Sutherland正在下廚之際﹐看見窗外站著一頭鹿。他不顧一切立即拿著相機跑齣去瞭。到瞭二零零六年﹐他拍攝的鹿照已足夠成書。 這些於美加等不同地方拍攝的係列照﹐以紀實為本﹐氣氛卻靈異﹐質感沙啞而原始﹐相片像浸過瞭迷幻藥。由鹿兒眼睛放光的紅眼照始﹐...
評分二零零二年﹐Peter Sutherland正在下廚之際﹐看見窗外站著一頭鹿。他不顧一切立即拿著相機跑齣去瞭。到瞭二零零六年﹐他拍攝的鹿照已足夠成書。 這些於美加等不同地方拍攝的係列照﹐以紀實為本﹐氣氛卻靈異﹐質感沙啞而原始﹐相片像浸過瞭迷幻藥。由鹿兒眼睛放光的紅眼照始﹐...
評分二零零二年﹐Peter Sutherland正在下廚之際﹐看見窗外站著一頭鹿。他不顧一切立即拿著相機跑齣去瞭。到瞭二零零六年﹐他拍攝的鹿照已足夠成書。 這些於美加等不同地方拍攝的係列照﹐以紀實為本﹐氣氛卻靈異﹐質感沙啞而原始﹐相片像浸過瞭迷幻藥。由鹿兒眼睛放光的紅眼照始﹐...
評分二零零二年﹐Peter Sutherland正在下廚之際﹐看見窗外站著一頭鹿。他不顧一切立即拿著相機跑齣去瞭。到瞭二零零六年﹐他拍攝的鹿照已足夠成書。 這些於美加等不同地方拍攝的係列照﹐以紀實為本﹐氣氛卻靈異﹐質感沙啞而原始﹐相片像浸過瞭迷幻藥。由鹿兒眼睛放光的紅眼照始﹐...
評分二零零二年﹐Peter Sutherland正在下廚之際﹐看見窗外站著一頭鹿。他不顧一切立即拿著相機跑齣去瞭。到瞭二零零六年﹐他拍攝的鹿照已足夠成書。 這些於美加等不同地方拍攝的係列照﹐以紀實為本﹐氣氛卻靈異﹐質感沙啞而原始﹐相片像浸過瞭迷幻藥。由鹿兒眼睛放光的紅眼照始﹐...
圖書標籤: 按下快門 美國 攝影 Photography
《Buck Shots》來自年輕的紐約攝影師Peter Sutherland,他在2002~2007年期間在美國各個州拍攝那些擅自闖入城市郊區的鹿,森林被大麵積的破壞,鹿和人之間的生活界綫也越來越模糊,鹿也常被人們射殺,但Peter Sutherland從不打獵,他喜歡在公路和院落裏追逐鹿,遠遠的看著它們,鹿也呆呆的望著他。
評分《Buck Shots》來自年輕的紐約攝影師Peter Sutherland,他在2002~2007年期間在美國各個州拍攝那些擅自闖入城市郊區的鹿,森林被大麵積的破壞,鹿和人之間的生活界綫也越來越模糊,鹿也常被人們射殺,但Peter Sutherland從不打獵,他喜歡在公路和院落裏追逐鹿,遠遠的看著它們,鹿也呆呆的望著他。
評分《Buck Shots》來自年輕的紐約攝影師Peter Sutherland,他在2002~2007年期間在美國各個州拍攝那些擅自闖入城市郊區的鹿,森林被大麵積的破壞,鹿和人之間的生活界綫也越來越模糊,鹿也常被人們射殺,但Peter Sutherland從不打獵,他喜歡在公路和院落裏追逐鹿,遠遠的看著它們,鹿也呆呆的望著他。
評分《Buck Shots》來自年輕的紐約攝影師Peter Sutherland,他在2002~2007年期間在美國各個州拍攝那些擅自闖入城市郊區的鹿,森林被大麵積的破壞,鹿和人之間的生活界綫也越來越模糊,鹿也常被人們射殺,但Peter Sutherland從不打獵,他喜歡在公路和院落裏追逐鹿,遠遠的看著它們,鹿也呆呆的望著他。
評分《Buck Shots》來自年輕的紐約攝影師Peter Sutherland,他在2002~2007年期間在美國各個州拍攝那些擅自闖入城市郊區的鹿,森林被大麵積的破壞,鹿和人之間的生活界綫也越來越模糊,鹿也常被人們射殺,但Peter Sutherland從不打獵,他喜歡在公路和院落裏追逐鹿,遠遠的看著它們,鹿也呆呆的望著他。
Buck Shots 2024 pdf epub mobi 電子書 下載