非常感谢Christian Åslund将项目介绍和项目图片授权gooood发行。更多请至：Christian Åslund on gooood
Appreciation towards Christian Åslund providing the following description:

这组有趣的照片来自瑞典斯德哥尔摩的Christian Åslund 。

Christian Åslund 在香港逛的时候，他被香港的高楼大厦所震撼，他出身的欧洲城市斯德哥尔摩没有中国或者美国拥挤城市中这样的摩天楼群。后来他在一个住在摩天楼顶层的朋友家中从高处俯瞰低处的景象时，灵感涌现上来。接着Christian Åslund 接到了一个瑞典运动鞋的广告，他将这个想法运用在了广告之中。

Christian Åslund 将香港立体的街景通过摄影的角度转变为2D游戏般的画面。有着新闻摄影背景的他希望将广告视频拍摄的成本降到最低，在现实中取景而非是有着蓝绿或者白色背景的摄影演播室。于是他带领一个小规模团队约3人，到达香港，带着学生翻译，出现在各种屋顶之上进行取景测试，模特则在高流量的街道或低矮的构筑物上进行表演。两天拍摄了10张图片。运用长焦镜头让图像更加扁平化，人物的性格跃然而出，一切都以观众的角度来审视画面。这个和普通视点不同的系列让人印象深刻。

“ I got the idea to the Honkey Kong project when I was in Hong Kong visiting a friend, who had access to a skyscraper rooftop. I’m based in Stockholm, Sweden, which is a fairly small city for being a capital without any major tall rising buildings, like they have in the States, China and other crowded cities. Being amazed of the view from up there and seeing the daily life from a bird perspective I got the idea of the project. A while later I was commissioned by the shoe brand Jim Rickey to shoot an advertise campaign and managed to sell the idea to them.

The mission of the campaign was to do a tribute to classic 2d platform video games, old-school side-scrolling games like Donkey Kong, and let a person navigate the streets. I have my background in photojournalism and even if this was an advertise shoot, I wanted to keep the retouch to a minimum, instead of shooting towards a greenscreen or white backdrop in the studio and using a composition in post production, we wanted to shoot it live on location in Hong Kong. They feeling of the images being shot in the field is more authentic and very difficult to resample in the studio.

A couple of weeks later we went back to Hong Kong with a very small production team of three people, me as photographer and creative director, a production manager and an assistant. Instead of bringing professional models with us, we knew it was more about the feeling of the images and that a too big of a crew would slow us down. Therefor we decided to shot it within the team, using ourselves as models, and also found some additional people on the ground that we could use. The most difficult was to get access to the different rooftops and to be able to scout as many locations as possible. The language was also an issue so we needed local fixers who spoke Cantonese. We contacted a local film school and got hold of two students that we hired as fixers. The production schedule was very tight so we only had two days of scouting and doing test shots, then two days of shooting the series of 10 images.

By shooting from as high above as possible, using a tele lens to make the images more flat, it was possible to create the feeling of the model being the players alter ego, the character, and the actual image would be the players perspective. We then used walkie-talkies to communicate with the persons on the ground, fine-tuning them in the right perspective and also having a overview of incoming traffic since we were actually in the middle of highly traffic streets, and did not have time, or budget, to close them of. I believe the Honkey Kong campaign series worked since it’s a bit weird and twisted perspective of an ordinary view. We have all been up on a higher point looking down, but perhaps not though of it in that way.”

—-Christian Åslund

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