Tag Archives: 摄影师

The Old

According to the most recent statistics, as of October 2017, 27.7% of Japan’s population, or around 35 million people, are 65 or older. While Japan’s rapidly aging population has long been an issue for the country, the numbers are still shocking.

Born in Manchester, England, photographer Lee Chapman has lived in Japan for over two decades. His photo series The Old turns his lens onto Japan’s aging society. They still stagger along on traffic-clogged thoroughfares and eke out a living in alleyway shops.

最新统计显示,截至 2017 年 10 月,日本 65 岁以上老年人口为 3515.2 万人,占总人口的 27.7%。虽说对日本老龄化社会所面临的诸般问题早有耳闻,但真正看到数据时,却依然显得触目惊心。

出生于英国曼彻斯特的摄影师 Lee Chapman,已经在日本生活了二十多个年头,他的这个摄影系列《The Old》,正把镜头聚焦于在日本生活的垂垂老者──车水马龙的大路上,他们依然蹒跚地走着;沿街的小店里,他们依然勉力维持着生计。

“I was initially fascinated by Tokyo’s older areas and districts,” Chapman says. “These neighborhoods often have large elderly populations, so a series of photos featuring them just gradually built up.”

Almost none of the individuals featured in this series were deliberately chosen – most were just chance encounters. “They are mostly all people I spotted on the street, in bars, or in restaurants,” he says. “People that to me at least are interesting, and people whose faces, or the situation I photographed them in, seemed to tell a story.”

“我是先为东京较古老的城区所吸引,而这些地方往往聚集着大量的老年人口,因此一系列以他们为特色的照片才逐渐建立起来。” Chapman 说。

所以镜头里的老人们绝大多数都是 Lee Chapman 在街上随机遇到的,而并非经过层层挑选的拍摄对象,“他们基本上都是我在街上、酒吧或餐厅看到的人。他们是对我而言至少有意思的人。他们的脸上,或者我拍下他们的那刻情景里,似乎都在讲述一个故事。”

One particular photograph that’s engraved in Chapman’s memory is his shot of a silver-haired woman rolling up metal shutters.

“I initially saw only her hands and feet, and then as her face appeared, I quickly got the shot,” he says with a grin. “But the main reason it’s one of my favorites is that when she saw me standing there, she immediately – and rather forcefully – commandeered me into helping her . . . After opening it, she invited me inside to chat with her.”

最让 Lee Chapman 感到动容的一张照片故事,是这个拉卷帘门的老婆婆。

“这是我很满意的一张照片。她站在卷帘门背后,起初我只看到她的手和脚,当卷帘门缓缓上升,她的脸最终出现的时候,我当即按下了快门。” Chapman 说,“但我最喜欢这张照片的主要原因之一,是她看到我站在那里,她立即,甚至是不容分说地,请我帮她拉开卷帘。然后老婆婆还邀请我进屋聊聊天。”

She ended up becoming just about the only person in the series Chapman would spend time with. Chatting with her, he learned that this was her former store, but as age began taking its toll, she closed down the shop and converted it into a living space.

“It was a very interesting half an hour or so that I wouldn’t have had without taking that photograph,” he says. “It’s also even more poignant now as I’ve never seen the shutters raised since, let alone seen the lady herself.”

这次经历几乎算是 Chapman 在拍摄这一系列中唯一与之“共度时光”的老人了。聊天里,Chapman 得知照片里拍的是老婆婆从前开的小店,但因为她年事已高,疲于经营,现在这里只算是她的住所,早已不作商铺。


With the sheer amount of elderly citizens in modern Japan, many have voiced concern for their well-being. Must they live the rest of their lives alone? What are the realities of their living situations?

“The lady who I talked with was living by herself and was clearly very lonely,” Chapman notes. “Her kids didn’t live nearby, and she couldn’t get out much, a situation that, given Japan’s aging population, is sadly only going to get more common.”


“就我之前提到的那位拉卷帘门的老太太来看,她一个人生活,显然很孤独。她的孩子不住在附近,她也无法独自出门。” Chapman 说,“鉴于日本人口老龄化的情况,很遗憾这样的事只会变得更加普遍。”

In the middle of the fast-paced city, the old get by at their own inevitably slower rhythm. Leading slow lifestyles, the aging population of Japan can struggle to find belonging in the rapidly developing metropolis. Chapman says that this series has helped him come to terms with the impermanent nature of the world around him.

He tells us, “These areas I often shoot in are changing at an alarming rate and fascinating old buildings are being demolished everywhere. Of course, it’s not just the buildings that are disappearing, but also the people who once inhabited them. This element also makes my work seem more pressing, and in some small way, more important,” he says.

在快速发展的城市夹缝中,老人们用自己缓慢而不得已的节奏生存着。因此拍摄这个系列,让 Chapman 更加意识到了周围世界的无常性。


Website: leechapman.photos
Instagram: @tokyotimes_lee


Contributor: Chen Yuan

网站: leechapman.photos
Instagram: @tokyotimes_lee


供稿人: Chen Yuan

Dear Sky

Arthur Mebius is a Dutch photographer and aviation enthusiast from Amsterdam. His photo series, Dear Sky, is a look inside Air Koryo, the state-owned national airline of North Korea. The airline boasts a fleet of 19 vintage aircraft, including Cold War models by Soviet manufacturers Antonov, Ilyushin, and Tupolev, many of which date back to the 1960s. Because of sanctions and environmental restrictions, Air Koryo’s only remaining international flights are its China and Vladivostok routes.

Arthur Mebius 是来自荷兰阿姆斯特丹的摄影师和航空爱好者。他的摄影作品系列《Dear Sky》(《亲爱的天空》)用镜头记录了朝鲜国有航空公司高丽航空(Air Koryo)。这家航空公司拥有 19 架老式飞机,其中包括苏联制造商安东诺夫(Antonov)、伊留申(Ilyushin)和图波列夫(Tupolev)冷战时期的机型,还有许多 20 世纪 60 年代的飞机。由于航空制裁和环境限制,高丽航空现在唯一的国际航班是往返中国和符拉迪沃斯托克的航线。

After learning of Air Koryo in 2015, Mebius journeyed from Amsterdam to Beijing to board a flight to Pyongyang and experience the airline for himself. Since then he’s taken a total of 24 flights on different types of aircraft. With his Fuji X100T he documented the planes, passengers, and crew he encountered in his travels.

Below you can view more of Mebius’s images and read a short excerpt from his book.

在 2015 年知道高丽航空后,Mebius 特意从阿姆斯特丹飞到北京,坐上了一趟飞往平壤的航班,亲身体验了这家航空公司。从那以后,他一共乘坐过 24 架不同型号的飞机。透过他的富士 X100T 相机,他用镜头记录了在旅行中遇到的飞机、乘客和机组人员。

下面即是由 Mebius 所拍摄的照片及他书中的片段节选。

“Sunan Airport City, September 14, 2016 ––

In one of the apartment buildings in Sunan, next to Pyongyang airport, the haze of 7.27 cigarette smoke is lit by flashing colored lights pinned to the wall and a Moranbong Band CD pumps from a stereo in the corner. Two flight attendants sit demurely on a sofa, an animated card game is in progress at the table. The flight engineer from the Tu-154 is already asleep in a chair. Animated conversation forms a steady roar as tales of the week are cut with memories of a Belgrade nightstop and a zero-zero landing in the depth of a Moscow winter.

The team effort of these comrades, patriots all, is the visible peak of a mountain of institutional knowledge as big as Mount Paektu made of Juche-orientated aviating, and whatever the obstacle, decade or politics, the mission is accomplished.”

“平壤顺安国际机场,2016 年 9 月 14 日——

在位于平壤顺安国际机场旁边的一栋公寓大楼中, 7.27 牌香烟的烟雾中,透着墙上彩色灯的灯光,角落的音响播放着朝鲜女子乐队牡丹峰乐团(Moranbong Band)的CD。两位空姐端坐在沙发上,兴高采烈地玩着扑克牌。Tu-154 客机的飞行工程师已经在椅子上睡着了。他们热烈地谈论着本周的八卦,以及在贝尔格莱德停飞过夜,在莫斯科的寒冬能见度为零时,客机盲降的回忆。


Dear Sky is now available on the Neocha Shop in limited supply.

《Dear Sky》现已于 Neocha商店限量发售。

To pay via PayPal or international credit card, please check out through our Shopify. To pay with AliPay or WeChat, please visit our Weidian.

如需使用PayPal或国际信用卡支付,请转至我们的 Shopify 页面;如需使用支付宝或微信支付,请至我们的微店

《Dear Sky》The People and Planes of North Korea’s Airline



Product Details:

  • Year of Publication: 2017
  • Hardcover
  • Number of Pages: 128
  • Size: 20 cm x 27.5 cm
  • Price: 55 USD


  • 出版年份: 2017
  • 精装版
  • 页数: 128
  • 尺寸: 20 x 27.5 厘米
  • 价格: 350 RMB

Website: arthurmebius.com
Instagram: @arthurmebius.com_


Contributor: George Zhi Zhao

网站: arthurmebius.com
Instagram: @arthurmebius.com_


供稿人: George Zhi Zhao

Between Two Cultures

An Rong Xu, a New York-based photographer and filmmaker, explores the world from a unique perspective. Born in China and raised in New York City’s Chinatown, Xu has a wistful and cinematic aesthetic, as well as a deep appreciation for capturing the beauty of the ordinary.


Xu says he was raised between two cultures. “Growing up in Chinatown was like learning how to be Chinese through a translator and learning how to be American through my own experiences. I learned about my cultural heritage through my parents and their daily rituals, which was essentially hustle, hustle, hustle. I watched the Chinese New Years parade, with lion dancers going down Mott Street, but I didnt understand its significance. I learned about my culture, yet I was still unsure what any of it meant.” This uncertainty about culture and identity is a consistent theme across Xu’s art: “Often children of immigrants grow up feeling as if we belong neither to our inherited culture nor to our adoptive culture, so in my work, Im in search of what it means to be Chinese-American.”

许安荣跟我们分享了作为一名华裔美国人,在两种不同文化之间成长的经历:“在唐人街长大就像是通过翻译来学习如何成为中国人,同时通过自己的经历来学习如何成为美国人。我从父母和他们的日常礼仪中学习中国文化,这基本上可以用喧嚣这个词来总结。我看过中国的新年游行,看着舞狮沿着莫特街(Mott Street)表演,但却不明白舞狮的文化意义。我在学自己的文化,但是,我仍然不确定也不清楚它意味着什么。”这种关于文化和自我认同的不确定性已成为许安荣所有作品中的一致主题:“作为移民的孩子,长大后我们常常会觉得自己既不属于自己的原生文化,也不属于自己后天成长所在的文化,所以在我的作品中, 我也会去探讨华裔美国人的真正涵义。”



Xu’s work has appeared in Time, GQ Taiwan, Rolling Stone, and The New York Times, among other publications, and he’s shot for companies such as Instagram, Airbnb, Under Armour, and Google. He also directed a series of short films called New Romantics that depicts Asian-American love and relationships. About his creative process, Xu says: “As a photographer, I focus only on the image. As a director, I have to keep in mind image, story, and concept, all while things are moving.”

许安荣曾合作的出版物和公司包括《时代》杂志、《GQ》(台湾)、《纽约时报》、Instagram、Airbnb、Under Armour、Google和《滚石》杂志等。作为电影导演,他拍摄了月播短片剧《New Romantics》,讲述亚裔美国人的爱情和关系的故事。谈及自己的创作过程,许安荣说:“作为摄影师,画面永远是我最看重的方面。作为导演,在画面不断推进的同时,我还必须时刻关注画面、故事和概念。”

Xu tells the story behind an image he captured on a recent visit to Seoul. Not long before he had to return to the United States, he took a walk from Gangnam to his apartment in Haebangchon, on the other side of the river. “As I walked across the bridge, I saw this one couple hugging and looking out onto the river, just talking,” he recalls. I stood across from them, watching them enjoy their night, in love. And at that moment, all these feelings came over me. I wondered whether Id ever feel something like their love, whether I’d ever find someone to share life with. As I watched, they got on their motorcycle, and I waited for them to start pulling away. I caught that moment, just as those two young lovers were about to ride off into the night, so absorbed by each other that they didnt care about anything else.”

许安荣给我们讲述了他最近去韩国首尔时拍摄的一张照片背后的故事。在他即将离开韩国回美国的两天前,他从首尔的江南地区走路回去位于 Haebangchon 河边的公寓。他说:“那天晚上我穿过公园的时候, 看到许多年轻人在野餐,在享受夏日的夜晚。当我走在桥上时,我看到一对夫妇,他们相拥着,凝望着河边聊天。我站在他们对面,看着他们陶醉地享受着这个夜晚,沉浸在爱河中,在那一刻,我的内心涌起了各种的情绪和疑问,譬如,我以后有可能感受到像他们那样的爱情吗?我会找到一个可以一起生活的人吗?又或者,我以后会学会骑摩托车吗?他们开始骑上摩托车,然后我就等着他们骑车离开,我要捕捉住这一个时刻,捕捉住这两个年轻的恋人,两个相互吸引的年轻恋人,他们骑车没入这个黑夜,在他们眼中只有对方,别无他物。”



In all his work, Xu captures his subjects with an emotional complexity that’s both revealing and intimate. “I try to go in with as much research as possible, to see if I can connect with them, so there’s a sense of trust and intimacy,” he says. “My favorite thing is to go for a walk, or follow along with them to see them in their element.” The honesty behind Xu’s approach to photography and filmmaking may be what makes his work so compelling. He says simply, “For me, an image is beautiful when it makes me ask more questions than it has answers.”


Website: www.anrongxu.com
Instagram: @anrizzy


Contributor: George Zhi Zhao

网站: www.anrongxu.com
Instagram: @anrizzy


供稿人: George Zhi Zhao

Danchi Dreams

Toshima Gochome Danchi across Sumida River

DANCHI: Dreams of Modernity is a project by Tokyo-based photographer Cody Ellingham that captures the decline of Tokyo’s ultramodern dreams through its decaying apartment complexes. For the project, Ellingham explored over 40 Japanese public housing blocks, which are known as danchi.

DANCHI: Dreams of Modernity》(团地:现代化的梦想)是东京摄影师 Cody Ellingham 所创作的摄影项目,旨在通过东京市内荒废的公寓大楼,呈现这座城市超现代化梦想的衰落。Cody 探访了大约40个被日本人称为“danchi”(团地)的公共住房大楼。

Kawaramachi Danchi
Toshima Gochome Danchi across Sumida River
Kawaramachi Danchi

Danchi are often built in clusters of up to 70 buildings, with identical exteriors for individual apartments. They began being built in Japan in the 1950s to replace the wooden buildings that were destroyed during World War II. At the time, danchi represented the country’s post-war aspirations and its path towards a new modernity. The vast apartment blocks, often built on the suburban outskirts of the city, were meant to satisfy the booming housing demand of Japan’s rapidly urbanizing population. In 1960, the Hibarigaoka Danchi had even attracted a visit from the Japanese Crown Prince, but fast forward to today, the once-dignified housing complex is now being used as a car park.

“Danchi”通常是由多达70座公寓楼组成的密集建筑群,每一间的公寓楼都有着一模一样的外观。从20世纪50年代开始,日本开始建造 danchi,以取代二战期间被摧毁的木制建筑。当时,danchi 代表着日本的战后愿望及其走向新现代的道路。大片的 danchi 公寓楼群通常建在郊区,用来应对日本因为城市化迅速发展的人口膨胀带来的住房需求。1960年,曾经代表中产阶级地位的云雀丘团地(Hibarigaoka Danchi)甚至吸引了日本王储的访问,但这幢建筑如今已经被改造成停车场使用。

Hibarigaoka Danchi
Shibazono Danchi
Takashimadaira Danchi

As fewer and fewer Japanese choose to live in them, many danchi have fallen into decay. The ones that remain are now mostly inhabited by immigrants and the elderly. According to Ellingham, many of the surviving danchi are viewed by the public as being archaic and pointless – they are often not up to date with earthquake and fire safety standards, and many are not serviced by elevators.

从20世纪60年代以来,danchi 逐渐老化,其中一些甚至沦为荒废之地。今天,越来越少日本人愿意住在 danchi,现在居住在里面的大多都是移民和老人。Cody 表示,在人们眼中,danchi大都是一些过时的建筑,它们通常都不能符合现代地震和消防安全标准,许多甚至都没有装电梯。

Shirahige Danchi
Nakanoshima Tamagawa Danchi
Hiro Gochome Apartment

Ellingham tells us his thoughts about the project and how it began: “The exhibition was inspired by places. It started as an interest in form, but it’s evolved into an interest in why. It’s to understand the way a place can influence lives. In a way it’s quite Kafka-esque – you have the same life as the person next door to you.”

Cody 跟我们分享了他对这个项目的想法以及创作的初衷:“整个展览是以地点为启发的。一开始,我只是出于对形式的兴趣,但慢慢演变成对‘为什么’感兴趣,即地点是如何影响生活的。在某种程度上,这是非常卡夫卡式的——你和你隔壁的人有着同样的生活。”

Toei Hongo Itchome Apartment
Suwa Danchi
Hirao Danchi

Ellingham’s project is an attempt to record a part of Japanese history that will slowly fade away in time, as the danchi are destined to be demolished for newer residential buildings. Despite the melancholic mood conveyed in his photographs, Ellingham sees hope and beauty in the danchi that remain: “There’s a certain kind of nostalgia in these places. The look of it is cold concrete, but inside, you find playgrounds, mural art, community facilities, glimmers of hope, and thei original dream: tomorrow will be better than yesterday.”

Cody 试图通过这个摄影项目,记录日本的一部分历史。随着 Danchi 被逐渐拆除,新的住宅建筑取而代之,这些历史将会随着时间的推移而逐渐消失。尽管他的照片中透露着忧郁的情绪,但 Cody 依然在 danchi 中找到了希望与美丽:“这些地方有着某种怀旧之情。它的外观是冰冷的混凝土,但在内心深处,你会发现一丝希望,运动场、壁画艺术、社区设施,以及最初的梦想——明天会更好。”

Takashima Daira Danchi
Kawaramachi Danchi
Takashimadaira Danchi

DANCHI: Dreams of Modernity will be exhibited on May 12th, 2018. The exhibition will be held in Tokyo’s Koto District. To find out more about the event, click here.

《DANCHI: Dreams of Modernity》摄影展览将于东京江东区 2018年5月12日开幕。了解更多,请点击此处

Shibazono Danchi
Kamakota Apartment
Aoyama Kitamachi Danchi
Shibazono Danchi
Aoyama Kitamachi Danchi
Takashimadaira Danchi
Hirao Danchi
Hiroo Apartment
Mori Danchi
Takashima Daira Danchi

Website: danchi-dreams.com
Instagram: @cbje_tokyo


Contributor: George Zhi Zhao

网站: danchi-dreams.com
Instagram: @cbje_tokyo


供稿人: George Zhi Zhao


Will Matsuda is a Japanese American photographer whose personal works are largely influenced by two seemingly unrelated topics: the beauty of nature and an eagerness to better understand his own mixed-racial identity. Following these thematics, his latest photo series, Kyoushuu, takes a look at Kyoto – the city where his parents met and lived – through atypical perspectives.

日裔美籍摄影师 Will Matsuda 的个人作品,灵感源于看似毫无关联的两方面:一个是来自于大自然的美景,另一个则来自于他对了解自身不同种族身份的渴望。他的最新摄影系列《Kyoushuu》也延续着同样的主题,并以独特的角度来定格京都——这也是他的父母相遇、生活的城市。

Sharing his experience of shooting the project, Matsuda tells us, “It rained nonstop for almost the entire week I was there. Almost all of these photos were taken in the last day and a half while I was in Kyoto, due to the fact that those were the hours where there wasn’t torrential rain. This definitely led to a kind of strange, dream-like quality to the photos I took while I was there.”


Matsuda cites the novels of Haruki Murakami as one of his influences: “There’s this sort of slow magical realism that creeps into some of these photos, and that’s definitely inspired by Murakami, or The Wind-Up Bird Chronicles in particular. There’s this great quote from the book that I think about a lot: ‘To know one’s own state is not a simple matter. One cannot look directly at one’s own face with one’s own eyes, for example. One has no choice but to look at one’s reflection in the mirror. Through experience, we come to believe that the image is correct, but that is all.'”

Matsuda 表示,村上春树的小说是他摄影创作的影响之一:“这其中有些照片,像是流露着一股缓慢的魔幻现实主义,这很显然是村上给我的启发,尤其是他的《奇鸟行状录》。这本书中有一句话经常让我思考:‘了解自身状况并非易事。比方说,人无法以自己的眼睛直接看自己的脸,只能借助镜子,看镜里的反映,而我们只是先验性地相信映在镜中的图像是正确的。’”

For Matsuda, photography has become a way for him to explore the notion of home, belonging, and heritage. He tells us, “I’m interested in the intersection of my Western gaze and my inherent Japanese-ness, which is familiar to anyone with a diasporic identity. I have an idea of Japan that is profoundly shaped by my socialization in the West through images and narratives about Japan in pop culture, from katakana text on seemingly every streetwear brand to the whitewashing of Hollywood. I hope to subvert the image of Japan that has been fed to me by tapping into something deeper, something within me. I find that photography is a really powerful tool to unveil my subconscious, and maybe even my own histories, to myself.”

Matsuda 认为,摄影是他了解家庭、归属感和文化传承概念的一种方式。他说:“其实我对自己身上的西方视角与日本文化内在的交融很感兴趣,这种交融对于任何在异国生活的人来说都并不陌生。我对日本的看法,很大程度上是受我在西方生活时那些流行文化中日本影像和描述的影响,从街头品牌上的片假名文字到好莱坞的电影等等。我希望能通过挖掘更深层次的东西,颠覆一直以来人们被灌输的对日本的印象。我觉得摄影是揭开自我潜意识、甚至了解自己过往很有用的工具。”

Website: willmatsuda.com
Instagram: @willfujiomatsuda


Contributor: George Zhi Zhao

网站: willmatsuda.com
Instagram: @willfujiomatsuda


供稿人: George Zhi Zhao

Capturing Intimacy with No. 223

Beijing-based photographer No. 223 documents the people and relationships in the world around him through a lens of intimacy. His work, self-described as “free, spontaneous, unconventional, and unreasonable,” offers viewers a deeply personal look into his views on sexuality, the human body, and life in general.

While best known for his photography, No. 223 is also an avid author and independent publisher. Despite his versatility in mediums, his overall creative aspirations are one in the same. He tells us, “Sex is an essential part of life, so I try to depict as such in my works. It’s just like eating, sleeping, going out, and socializing. I just choose to record it objectively, not for the purpose of voyeurism or exposing secrets. I like the human body, so naturally, that means a lot of my works will be related to the human form.”



For personal projects, No. 223 often enlists friends as models. He’s found this approach to produce a much more organic and collaborative dynamic that allows everyone to be themselves. “The subjects in my photographs are often chosen subconsciously,” he shares of his intuitive approach. “For example, the first time that I meet somebody, I might have a strong desire to take their photo. On the other hand, when it comes to friends who I’ve known for a long time, I may not want to just casually take their photo. The action of photography comes instinctively. Some of my subjects will think that I’ve captured a sexier or more carefree version of their normal selves, while others will think that I made them look like a mess without proper styling, but to me, I feel like I’m just showing them in a natural state.”


Being that No. 223’s photography is so closely interlinked with his own life and interpersonal relationships, there are certain topics that he’s continuously inspired by and hopes to further explore in his work going forward. “What moves me the most is observing people as they slowly change over time,” No. 223 tells us. “Their skin, their gaze, their hair, the wrinkles around their eyes, their body, and so on. I wish I had the chance to capture these changes that I notice every time I see them.”


For No. 223, his creative objectives aren’t just about the superficial documentation of personal moments. The intimate nature of his work reflects his ambitions of understanding the notion of self. His photography is both passive observation and a form of self-expression. “Many of my works are about my personal journey and the things I’ve encountered in my daily life. My works that concern sexuality and the human form fall into the latter category, but it’s not that I’m focusing on sex or the human body, but rather, I see my work as being related to life and growth. Sex just happens to be a part of that.”

Ultimately, No. 223’s creativity is driven by a personal desire to better understand his own role in this world as well as the ever-changing relationship between humans and society.


Website:  linzhipeng223.com

Contributor: Chen Yuan

Image Courtesy of No.223


供稿人: Chen Yuan


School Bullying

Bullying is an issue that affects individuals all over the world, whether it be physical, verbal, or emotional. It’s an imbalance of power where the strong leverages their physical strength or popularity to inflict harm on their peers. In recent times, school bullying has been a topic that’s attracted much discussion worldwide. However, despite media scrutiny and growing awareness on the full extent of the issue, bullying culture is something that remains tolerated in today’s society – bystanders are often apathetic and victims commonly choose to stay quiet.

Lean Lui, a 19-year-old photographer from Hong Kong, aims to cast a spotlight on the severity of the issue via her School Bullying photo series. “Being bullied in school is something that can happen to anyone,” she shares. “The subjects in my photos are meant to simply be symbolic. The bullies and victims could be you, maybe me, or anyone else.”


19 岁的女摄影师 Lean Lui 来自香港,她的摄影系列《校园霸凌》(School Bullying),正是想通过镜头展露这个尖锐的问题。“校园欺凌会发生在任何人身上。无论是霸凌者或者是被害者。照片中的女生可能是你、可能是我、也可以是任何人。她们只是一个喻体。”Lean 说。

The Blindfolded


Depicting empty classrooms and drab campus hallways, Lui’s photo series carries a sense of melancholy that’s amplified through her use of dark, subdued colors. Amidst the somber scenes, girls in school uniforms and eyes covered by white blindfolds populate the frames. Lui categorizes these blindfolded characters into two categories: passive bystanders and accomplices to the bullying.



这个系列的相片色调非常阴沉晦涩,空无一人的教室、破旧的学校楼道,而照片里这些穿着制服的女学生,无一例外都用白布蒙上了眼睛。Lean 把她们的角色设定为两种帮凶,第一种是旁观者;第二种是同流合污者。

As such, the blindfolds are symbolic of two different concepts.

“First, it represents self-deception. Some bystanders act like just because they don’t see it, they’re unaware of what’s happening. They might even see themselves as being kindhearted since they’re not directly participating in the bullying. But in reality, their cowardice and selfishness equally perpetuate the bullying culture.”

“Secondly, many bullying accomplices simply want to conform and fit in with peers. They’re not interested in seeing the bigger picture, so they act with a mob mentality and target the outnumbered few. They often realize that they’re an accessory to the bullying, but are equally blinded by their weakness and cowardice, and will side with those in power. Being that eyes are windows to the soul, depicting them with blindfolds is meant to represent that these accomplices are nothing more than soulless creatures who are following the herd.”

所以 Lean 在作品中用纱布蒙上她们的眼睛,也代表着两重含义。



“Your Past & Memories Are the Bedrocks of Life”


Currently a college sophomore, Lui admits to having been a victim herself in the past. The young photographer has experienced feelings of humiliation from emotional abuse first hand.

Lean shares, “Many people say my work carries a feeling of hopelessness and loneliness. I recognize that a lot of the themes I explore are more emotional in nature, and the way I express these emotions tend to be more abstract or reliant on symbolism. I suppose my preferred approach is in itself shaped by my past. Even though many of my past memories aren’t exactly happy ones, they’ve ultimately been beneficial to me. One phrase that a past teacher said to me especially resonates with me now. ‘Your past and memories are the bedrocks of life.’”



很难想象,镜头背后的 Lean 才是刚刚读大二的女生,她也曾是个“受害者”,也经历过这样晦涩而羞辱的时期。

“很多人说我的作品总是有些苍凉、敏感跟孤独的感觉,我也留意到自己多数的题材都是比较情绪化的;而表达手法方面也会比较抽象,较多暗喻,这些都应该就是我的过去的那段经历塑造出来的吧。” Lean 说。“那段回忆虽然不快,但最后对我的影响暂时看起来也挺好。我很喜欢老师对我说过的一句话:‘过去跟回忆都是养分。’

One thing is clear, the issue of bullying isn’t as cut and dry as it might appear on the surface. It’s not only important for Lui to raise further attention to the issue of bullying, she seeks to understand the motivations behind it. She questions, “Is it just human nature?”

“People want to feel superior; this is probably the primary motivation of bullies. They feel accomplished and superior when they’re exerting control on their victims. Those who are accomplices to the bullying is an example of people being herd animals. Whether consciously or subconsciously, they’re aware that if they’re not participating in the bullying, then it could be them next. So there’s no reason to not join in.”

但显然,这一切暴力霸凌的现象,都并非表面上看到的这么简单。深思校园霸凌的诱因,Lean 有些不安地讲出她的答案:“可以说是‘人性’吗?”


Those who are unfortunate enough to fall prey to bullies are generally individuals who are less conforming. Reasons for bullying could be something as simple as that the victim is less outspoken, more introverted, or even because they’re performing better academically.

Lui hypothesizes, “People like to push away the things they don’t understand, no matter what kind of cultural backgrounds they come from. When they don’t accept something, they’ll find ways to exclude them or hurt them. Bullying seems to occur more often in middle school or high school when the kids are still immature and don’t quite understand the full consequences of their actions.”


Lean 认为,“人本质上喜欢排挤跟自己不一样的东西,无论在什么文化背景下,都会有‘主流’与‘少数’的存在。在包容度不足时,看到跟自己不一样的人就会选择去作出排挤或是伤害的行动。而校园欺凌较常发生在小、中学,那时候孩子们的思想通常较为不成熟,也不懂如何去控制自己的行为。”



As she grew older, Lui began to see both sides of the story, gaining a better understanding of both the bullies and the bullied. Her past experiences made her want to understand the psychology of humans. This is the ‘bedrock’ that she spoke of, learning from her experiences and wielding that knowledge in her creative works as a testament to her own personal growth. This series is a way for Lui to share her outlook and experiences with the issue, and in doing so, Lui hopes to invoke a sense of empathy in the viewers, and in turn, help them shed their own blindfolds.

“If people even feel the least bit uncomfortable when looking at the series, then I hope they can see how these similar feelings are amplified a thousandfold for the bullied. But bullies are human too – they have feelings and experience sadness. So I hope that the next time they’re about to bully someone, they can pause, consider the motivations behind their actions, and imagine how they themselves would feel if they were the victim.”



在漫长的成长过程中,Lean 渐渐学会了同那个曾被欺凌的自己和解,然后又一步步走向对社会、对人性更深层的理解。这是她所说的“养分”,亦是她成长和蜕变的见证。Lean 试图通过自己的摄影作品,以期在某种程度上唤起施暴者的同理心,剥下“蒙在他们眼前的纱布”。


Another goal of the series is for it to act as a voice for bullied individuals. “You’re not wrong. They’re just uninformed. You’re not alone. This is something that happens to many others all over the world. It is what it is. Even if you’re rejected by your peers because you’re different, you still don’t need to feel like you need to conform. That would be a shame. I think that being different is a good thing. You shouldn’t forgive them, but you also don’t need to harbor hatred, because when you feel angry, then they’ve won. It would be foolish to let them win. You can reexamine the situation from a different perspective and understand there’s value in learning from the experience.

Lui continues, “One of my teachers also told me something that really resonated with me: ‘I’m scared of you being different from others, but I’m even more terrified of you wanting to conform.’ This is the same message that I want to share with everyone.”

另外一个作用,Lean 想给予被害者一个出口跟勇气。“‘你’没有错,只是‘他们’还没长大;‘你’也不孤独,这件事情在世界各地都很常见,不用把这件事看得太重。因为与众不同而被孤立的话,不要想着将自己同化,那样太可惜了。而且,我觉得‘特别’是一件好事情呢。‘你’应该不会原谅他们,但是你也不要去憎恨他们了,因为生气就等于自己服毒却等别人死亡一样,很傻;可以尝试换个思维方式,从经验中获取或者学习一些东西,那样才有价值。”

Lean 传递出来的态度温柔而坚定:“老师曾对我说:‘我害怕你跟别人不同,但我更加害怕你跟别人太相同’。我也想将这句话转送给大家。”

Website: ~/leanlui


Contributor: Chen Yuan

网站: ~/LeanLui


供稿人: Chen Yuan

Passing Time

Metropolitan Singapore

Fong Qi Wei is a Singaporean photographer whose images intersect concepts of science, art, and technology. Through his unique approach to digital photography, Fong creates multilayered landscapes, seascapes, and cityscapes that convey the passage of time. His images from the Time is a Dimension and Temporal Chiaroscuro series are each a single composite of a sequence of images shot across varying times of day when changes in light and color are the most pronounced. During post-processing, Fong digitally slices the image into layers to present multiple “zones” of different times within a single frame.

新加坡摄影师 Fong Qi Wei 的作品是科学、艺术和技术不同概念的结合。通过独特的数码摄影方式,他创造出层次丰富的景观、海景和城市风景影像,以传达时光流逝的概念。他所创作的《时间是一个维度》(Time is a Dimension)和《时光的光影对比》(Temporal Chiaroscuro)系列中,每一张作品都是由一连串在不同时间点上拍摄的图片组合而成的,而这些时间点,往往是一天中光线和颜色变化最明显的时候。在后期处理过程中,Fong 会先在电脑上将照片剪裁成不同的图层,这样,同一张图片中就能同时显示出不同时间的影像。

Building Blocks Sunset
Look Ahead
Sunset at Marina Bay Sands

Fong draws inspiration from the chiaroscuro technique used in painting, which creates contrast through the interplay of light and shadow on a surface. He muses, “Is there something I can learn from artists using an age-old medium that I can also apply to photography? It occurred to me that, just as painters and illustrators express themselves with brushstrokes and graphite, I can also use the innate characteristics of photography to express myself.”

Fong 的创作灵感来自绘画中所使用的明暗对比法,通过光与影的相互作用形成对比。这种做法来自于他自己的一个思考:“我是不是可以借鉴一下那些用传统媒介创作的艺术家,将他们的创作方式运用到摄影中?我突然想到,就像画家和插画家用画笔和石墨来表达自己一样,我也可以利用摄影的特质来表达。”

Singapore Sunset
Evanescent Clouds (Labrador Park)

Fong’s work is a way for him to combine the best characteristics of different artistic mediums: painting is a medium that allows an artist to express their thoughts and emotions just as they envisioned them; photography is a medium that’s able to observe and convey an objective visual reality; and video has the ability to capture the passage of time. Like all photographers, Fong pays detailed attention to lighting, color, and composition. But what is unique to his work is his relationship to and manipulation of the fourth dimension of reality – time.

Explaining his artistic goals, Fong shares, “Our experience of a scene is more than a snapshot. We often remember a sequence of events rather than a still frame full of details. I strive to capture both details and also a sequence of time in a single two-dimensional canvas. I hope it gives you pause to reconsider what you experience versus what you shoot with the camera on your phone.”

Fong 的作品让他得以将不同艺术媒介的最优特征相结合:绘画能够表达艺术家的想法和情感;摄影可以观察和呈现客观的视觉现实;视频能够捕捉时间的流逝。与所有摄影师一样,Fong 的作品是在三维空间内创作的,着眼于照明、色彩和构图。但其作品的独到之处在于他与现实的第四维度——时间的关系和操控。

Fong 解释道:“我们对某个场景的经验不是一张快照就能诠释的。我们的记忆往往是一连串的事件,而不是单一的、充满细节的静止画面。我努力在二维的画布上既捕捉细节又表现出时间的转移。我希望这能让人们停下来,与手机拍摄的照片对比,重新审视自己的经历。”

Rochor Centre Sunset
Sunset in the Garden City
Air-Con Nation
Sunset at Old Hill Street Police Station
Salzburg Winter
Shafts of Sunset in the Modern City
Glassy Sunset

Website: fqwimages.com


Contributor: George Zhi Zhao

网站: fqwimages.com


供稿人: George Zhi Zhao


Born in 1993, Taiwanese photographer Chih Hsien Chen‘s foray into photography began during university when he enrolled in a course on film photography, but his interest in the medium didn’t truly take off until he began documenting the peculiar people and strange encounters in his daily life. Released last year, his photo series INTERNET CAFE! PANDA offers a jarring and candid look at life inside a Taichung internet café.

生于 1993 年的台湾摄影家陈志贤,在大学期间就已经在学习摄影,但要说对摄影产生浓厚的兴趣,则要到他真正用镜头记录下了日常生活中的“奇人佚事”的那一刻起。去年他的摄影系列《网吧!熊猫》(INTERNET CAFE! PANDA)发布,也给我们提供了一窥某家台中网吧里真实生活的机会。

The series began shortly after Chen graduated college and moved to the city of Taichung in search of employment, but after going through a series of failed interviews, he was left feeling hopeless towards the future. One day, he stumbled across a job posting for a position at an internet café. It seemed like a good fit for him – the location was convenient to his apartment, the hours were ideal, and it gave him the freedom to take on side projects in his spare time.


After he started working, Chen began to take an interest in the customers who frequented the café. His experience working there was quite different from his memories of visiting internet cafés during his youth – most of the customers were middle-aged or older, and a large number of them were vagrants. Students and younger customers would only visit during weekends or holidays when they weren’t in school.


Chen observed a shocking amount of questionable behavior during his time working at the café. Some customers would openly watch porn and leave it running on their screens even after they fell asleep. One customer would cover the café’s dirty headphones with toilet paper as a way to avoid direct skin contact with their ears. Others would even relieve themselves on the seats of the café, refusing to leave their computers to use the restroom. Chen’s photo series is a whimsical glimpse into Taiwanese internet café culture where adhering to social and moral norms seems to be optional.


Flickr: ~/chihsienchen


Contributor: George Zhi Zhao

Flickr: ~/chihsienchen


供稿人: George Zhi Zhao

Poetics of Light & Shadow

Jusung Hyung is a freelance director and photographer based in Seoul, South Korea. He first became introduced to film and photography as a young boy when his father brought home a DSLR and a film camera. Awestruck by these devices, the ability to manipulate time by recording and playing back images would become a lifelong subject of fascination for Hyung.

Jusung Hyung 是来自韩国首尔的一位独立导演兼摄影师。小时候,他的父亲带了一台数码单反相机和电影摄影机回家,从那时起,他就开始接触到电影制作和摄影。Hyung 为这些器材的魅力震慑不已,通过录制和回放图像来操作时间的能力也成为了他一生的热情所在。大学的时候,他就修读了电影和广告专业。

While interested in both, Hyung clearly defines his personal relationships to the parallel mediums of film and photography – filmmaking is his profession, while photography is his hobby. His approach and philosophy towards these two mediums are interconnected, but also fundamentally distinct from one another. Hyung tells us, “When speaking of the difference in method of approach between filmmaking and photography, it’s first important to understand that because film is photographs in motion, the camera’s movements, the storytelling, and the chemistry with the actor are important. Photography is about trying to deliver the message shown in the photograph. If I was to use literature or the act of writing as an example, filmmaking would be like writing a novel or an essay, while photography could be viewed or expressed as a poem.”


Deeply reflective on the philosophical implications of capturing images, Hyung muses on the differences between English and Korean when it comes to how language shapes our everyday perceptions of photography: “It’s something I think about everyday. When I think of the origin of the word photography, in English, the word ‘photography’ can be broken down into two parts to mean light and illustration. However, in Korean calligraphy, the word means to express and show a real scene in its original form. I find the difference in interpretation and understanding of the word very interesting. Personally, the Korean interpretation of expressing and showing an image in its original form is a little bit closer to what I believe.”

Hyung 深刻反思着摄影背后的哲学含义,同时也试图探讨英语和韩语之间的差异,了解语言是如何影响我们平时对摄影的感知:“这是我每天都会思考的事情。譬如摄影的英文 ‘photography’,这个词可以分解成两个部分,分别表示光线和图像的意思。然而,在韩文中,摄影的字面意思是指以其本来的形式展现一个真实的场景。我觉得不同语言对摄影这个词的解释和理解上的差异很有意思。就我个人而言,韩语的字面解释更接近我对摄影的理解。”

Instead of being limited by preconceived notions of personal style, Hyung views his photography as a developing process: “Rather than seeking my own person style or aesthetic, I would say that I wait and observe to see the results of the capture. I would say that until now, I’ve still been in the process of discovering my own photographic philosophy and themes while taking pictures. For me, the important thing is mostly in becoming a photographer with a deep and nuanced eye for pictures.”

Hyung 没有受限于个人风格这种先入为主的观念,在他看来,自己的摄影本来就是一个不断发展的过程:“与其说是追求自己的个人风格或美学,我觉得我更像是在等待和观察,看自己作品会呈现怎样的结果。直到现在,我仍然在探索自己的摄影哲学和主题。对我而言,重要的是成为一名对影像有深入细致的眼光的摄影师。”

Despite the positive exposure that he has recently received for his photography via social media, Hyung remains humble and stays devoted to refining his craft. He says, “Many people call me an artist of photography. However, I don’t feel I’m good enough to deserve that title just yet. When I establish my personal photographic philosophy in detail, I’ll be happy to be called and to call myself an artist.”

尽管他的作品最近在社交媒体上大受欢迎,但 Hyung 仍然保持着谦虚的心态,努力提高自己的摄影技术。他说:“许多人称我为摄影艺术家。不过,我觉得我的能力还不配得上这个头衔。当我能够真正地建立属于自己的摄影哲学时,我很乐意被称为或自称为一名艺术家。”

Instagram: @jusunghyung


Contributor: George Zhi Zhao

Instagram: @jusunghyung


供稿人: George Zhi Zhao