旅行，一種向更大的未知敞開心扉的方式

The lobby of a five-star hotel in the middle of a heaving metropolis like Hong Kong is not one of the first places you'd expect to meet Morgan Maassen.

香港這樣一個(gè)繁華大都市最中心的五星級(jí)酒店大堂，你并不會(huì)期待在這里第一次見到Morgan Maassen。

You might not immediately recognize his name.

你可能沒有馬上認(rèn)出他的名字。

But chances are you've stumbled upon the Californian's work, whether it's an enormous Corona campaign image plastered across the double-decker bus on your morning commute or one of those gorgeous desktop background images that brighten up your MacBook.

但你很有可能無(wú)意中看到過這位來(lái)自加州的攝影師的作品，無(wú)論是你早晨乘車上下班時(shí)在雙層巴士上看到的巨大的科羅娜廣告圖，還是讓你的MacBook更賞心悅目的那些絢麗的壁紙。

The 27-year-old photographer/filmmaker gained acclaim through his passion for capturing the ocean and the enthusiasts who use it as their playground.

這位27歲的攝影師兼電影制作人，憑借他對(duì)捕捉海洋以及那些把海洋當(dāng)成游樂場(chǎng)的狂熱愛好者的工作熱情贏得了贊譽(yù)。

His breathtaking style and genre soon caught the eye of top corporate clients, including Nike, Corona, Apple, Mercedes-Benz and Samsung, not to mention every major surf brand.

他出色的風(fēng)格和流派很快吸引了頂級(jí)企業(yè)的關(guān)注，包括耐克、科羅娜、蘋果、奔馳和三星，更不用說每個(gè)主要的沖浪品牌。

As we depart the hotel and head towards one of Hong Kong's busiest neighborhoods, we discuss travel, style and inspiration -- and why he's one of the most sought-after names in the industry.

當(dāng)我們離開酒店，前往香港最繁華的街區(qū)之一時(shí)，我們討論了旅行、風(fēng)格和靈感，以及為什么他是業(yè)內(nèi)競(jìng)相爭(zhēng)搶的“香餑餑”之一。

"Everything I make is like a postcard of somewhere I have gone or something I have really enjoyed," says Maassen.

“我所做的一切就像一張明信片，記錄了我去過的某個(gè)地方或我真正喜歡的東西。” Maassen說。

Maassen is a self-professed traveler at heart and little appears to intimidate him. He continually puts his life in danger capturing some of the most recognizable names in the surfing industry, such as Kelly Slater, Stephanie Gilmore and John John Florence, while avoiding sharks, riptides and massive crashing walls of water.

Maasen從內(nèi)心深處自稱是一個(gè)旅行者，似乎沒有什么能嚇倒他。他不斷冒著生命危險(xiǎn)，抓拍一些沖浪界最知名的人物，如凱利·斯雷特、斯蒂芬妮·吉爾莫和約翰·約翰·弗洛倫斯，同時(shí)避開鯊魚、激流和巨大的水墻。

It's these extreme conditions that help streamline his creative process.

正是這些極端的條件幫助他簡(jiǎn)化了創(chuàng)作過程。

Negotiating traffic through central Kowloon, a far cry from the crystal-clear waters of the South Pacific, Maassen explains the origins of his deep lust for capturing the seas.

在通過與南太平洋清澈的海水相去甚遠(yuǎn)的九龍中部時(shí)，Maassen解釋了他對(duì)拍攝海洋的強(qiáng)烈欲望的緣起。

We exit the taxi and are thrown into Hong Kong's controlled chaos. Immediately Morgan takes out his Red Weapon camera and begins to roll.

我們下了出租車，就被香港受控制的混亂所包圍。Morgan立即拿出他的“紅色武器”——相機(jī)，開始抓拍。

There is a calmness and subtlety about him as he captures the overwhelming scenes that engulf him and it's apparent he's as at home in this environment as any other.

他有一種冷靜和敏銳，因?yàn)樗蹲搅税鼑暮甏髨?chǎng)景。顯然，他在這個(gè)環(huán)境中就像在家一樣。

"I find a lot of inspiration in cities, whether it is appreciating the art and culture and people or having some time alone to just walk around and appreciate technology and infrastructure."

“我在城市里找到了很多靈感，無(wú)論是欣賞藝術(shù)、文化和人，還是閑暇時(shí)間獨(dú)自四處走走，欣賞科技成果和基礎(chǔ)設(shè)施。”

"Or just to be somewhere new. I have always enjoyed that equally as much as being on a random beach or being on top of a mountain by myself."

“或者只是去一個(gè)新的地方。我一直都很享受這種感覺，就像一個(gè)人走在任何一片沙灘或任何一處山頂上一樣。”

Traveling is the foundation of Maassen's work, with the photographer and filmmaker spending most of his time on the road. He says that it's a way of opening his mind to the greater unknown.

旅行是Maassen作品的基礎(chǔ)，他的大部分時(shí)間都在旅途中度過。他說這是一種向更大的未知敞開心扉的方式。