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| It was a cold day in December 2014, and I was waiting for the train at Shchukinskaya, a station on the Tagansko-Krasnopresnenskaya Line of the Moscow Metro. | 2014年12月一个寒冷的日子，我正在莫斯科地铁塔甘卡-红普列斯尼亚线上的休金诺车站等地铁。 |
| Though the subway trains in Moscow are celebrated for their punctuality, this particular train was running late, giving me longer than usual to gaze at the scenery around me. | 虽然莫斯科的地铁以准时而著称，但我等的这列却迟到了，这让我有了比平时更多的时间来凝视周围的风景。 |
| There, in a utilitarian station not typically celebrated for its beauty, I noticed the uniformly sculpted aluminum panels along the track. Their patterning was mesmerizing. I snapped a few quick photographs. | 在这个并不以美见长的实用主义车站里，我注意到沿着轨道的一排统一雕刻的铝板。上面的图案令人着迷。我快速拍了几张照片。 |
| A moment later, my train arrived. I boarded a car along with the rest of the crowd and departed the station. | 过了一会儿，车到了。大家一起上了车，离开了车站。 |
| My experience at Shchukinskaya was a fleeting and seemingly insignificant event, and yet it launched me on a project that I had been considering for years — one that would occupy more than half a decade of my professional life. | 我在休金诺车站的经历短暂且看似微不足道，但它让我开始了我多年来一直在考虑的一个项目——这个项目后来占据了我五年多的职业生涯。 |
| Between 2014 and 2020, I photographed all of the existing Soviet-era metros, ultimately visiting more than 770 stations in 19 cities. My goal was to create as close to a full archive of the metros as I possibly could. | 从2014年到2020年，我拍摄了所有现存的苏联时代地铁，最终访问了19个城市的770多个车站。我的目标是尽可能地为这些地铁创建一个完整的档案。 |
| It wasn’t just the individual stations that captured my imagination — though many are undeniably stunning in their own right. Rather, it was the entire underground system, both in Moscow and extending out to other former Soviet cities, that inspired me: the mystique, the immensity, the pervading sense of colossal authority. | 激发了我的想象力的不仅是某些地铁站——尽管不可否认，许多地铁站本身就令人惊叹。相反，是整个地下系统，无论是在莫斯科，还是延伸到其他前苏联城市，都启发了我的灵感：神秘、浩瀚、无处不在的庞大权威感。 |
| I was also drawn to record countless details: lamps, benches, tiles, ornaments, mosaics, staircases, elevators and other handmade artworks of marble or wood. | 无数的细节也吸引我将它们记录下来：灯、长凳、瓷砖、装饰品、马赛克、楼梯、电梯和其他手工制作的大理石或木材艺术品。 |
| For a long time the project seemed impossibly daunting. The number of stations felt endless, each full of transecting passengers and decorative features. | 在很长一段时间里，这似乎是个难以想象的艰难计划。车站的数量感觉无穷无尽，每个车站都充满了穿梭的乘客和装饰特色。 |
| The Moscow Metro alone, which opened in 1935 and serves as a propagandistic model of Soviet might, has more than 200 stations and spans hundreds of miles. | 仅莫斯科地铁就有200多个车站，跨越数百英里。这个于1935年开通的地铁，成了标榜苏联国力的典范。 |
| And yet the beauty and grandeur of the stations propelled me ever onward — to visit the next, and the next, and the next. | 然而，车站的美丽和壮观驱使我不断继续——一个又一个地参观。 |
| Capturing many of the stations devoid of passengers imbued the photographs with a sense of timelessness. But doing so wasn’t easy; it meant that most of these pictures had to be taken either before 6 a.m. or after 11 p.m. | 许多车站的照片里没有乘客，让这些照片充满了永恒的感觉。但拍这样的照片是很难的。这意味着大部分照片必须在早上6点之前或晚上11点之后拍摄。 |
| Restrictions on photography, once commonplace in Russia and throughout the former Soviet Union, have changed dramatically, even in the last decade. (Authorities in Tashkent, the capital of Uzbekistan, finally lifted the ban on photography in its metro stations in 2018, for example.) | 对摄影的限制曾经在俄罗斯和整个前苏联司空见惯，而现在发生了巨大的变化，即使是过去的10年中。（例如，乌兹别克斯坦首都塔什干当局终于在2018年取消了禁止在地铁站拍照的限令。） |
| Still, metro authorities weren’t always pleased with my presence. More than 50 times, inside various stations, I was told that photography was not permitted. Once, in Tashkent, I was forced to hand over my camera’s memory card. | 然而地铁当局仍然有可能不欢迎我。在许多车站内，我被告知不允许拍照，这种情况发生了50次以上。有一次在塔什干，我被迫交出了相机的存储卡。 |
| Often the project felt like a game of cat and mouse. At certain moments I felt like a criminal, despite the fact that my only intentions were to capture the stations’ beauty. | 通常，这个项目感觉就像一场猫捉老鼠的游戏。有时我觉得自己像个罪犯，尽管我的唯一目的是捕捉车站的美丽。 |
| Sometimes I came back to a single station again and again, having studied when its attendants or police officers had lunch breaks or shift changes. | 有时我一次又一次地回到同一个车站，研究它的乘务员或警察午休或换班的时间。 |
| There were, however, welcome exceptions. At Elektrozavodskaya, a stop in Moscow, a policeman offered tips on how to capture the station’s most stunning facets. He also gave me the contact information for metro staff who could help adjust the lighting. | 然而也有例外，我有时也会受到欢迎。在莫斯科的发电厂站，一名警察在如何拍摄车站最令人震撼的角度方面给了我一些建议。他还给了我一些地铁工作人员的联系方式，说他们可以帮我调整照明。 |
| After photographing Moscow’s stations, I moved on to St. Petersburg, whose metro — its construction long delayed by the brutal siege of Leningrad — opened in 1955. | 拍摄完莫斯科的车站后，我前往圣彼得堡，那里的地铁建设因列宁格勒遭受的残酷围攻而长期推迟，于1955年开通。 |
| From there I began venturing farther afield — to Ukraine, Belarus, Azerbaijan, Georgia, Armenia, Uzbekistan. Eventually I also visited a handful of cities whose metro systems, while not formally attributed to the Soviet Union, were either built or substantially altered during the Soviet era, or even partially built by Soviet architects and engineers. These included the metro stations in Bucharest, Budapest and Prague. | 从那里我开始去往更远的地方——乌克兰、白俄罗斯、阿塞拜疆、格鲁吉亚、亚美尼亚、乌兹别克斯坦。最后，我还参观了一些城市，它们的地铁系统虽然没有正式归属于苏联，但建造于苏联时代或在那个时期做出重大修改，甚至部分由苏联建筑师和工程师建造。其中包括布加勒斯特、布达佩斯和布拉格的地铁站。 |
| I faced the same question in almost every city I visited: “Why are you photographing here?” people would ask. | 在我访问过的几乎每个城市，人们都会问我同样的问题：“你为什么在这里拍照？” |
| Many couldn’t understand why a seemingly tedious project centered on such common spaces would be interesting for me. These stations, after all, were places that most commuters passed through every day — by necessity more than choice. | 许多人不明白，一个以这种公共空间为中心的看似乏味的项目，居然会有人感兴趣。毕竟，这些车站是大多数通勤者每天经过的地方——他们必须坐地铁，没别的选择。 |
| But sometimes a passer-by, seeing me see a station they’ve seen a thousand times, would notice something anew, something I’d aimed my camera at: a beautiful ceiling, a carved handrail, an ornately decorative lamp. And then, I knew, they understood. | 但有时，路人看到我在观察他们已经看过一千次的车站，会重新注意到一些东西——我用相机对准的东西：美丽的天花板、带有雕刻的扶手、装饰华丽的灯。然后我就知道，他们明白了。 |
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