Tag Archives: black and white

Peaceable Kingdom 一个总是裸着上身的孩子和那些动物

February 15, 2019 2019年2月15日
Roar of Thunder

Elicia Edijanto’s drawings evoke a tranquil realm undisturbed by the din of the outside world. In her work, a half-naked child lives peacefully with wild animals, setting out together on an epic journey.

在印尼艺术家 Elicia Edijanto 的画里,存在着一个不受外在喧嚣干扰的宁静世界。一个总是裸着上身的孩子,和许多野生动物在这里和平共处,在彼此的陪伴下共同踏上一段跋涉万里的旅途。

October's Tale

She works in watercolor and pencil, using an ink in varying concentrations that go from dense black to faint gray. The horizon stretches between heaven and the earth, and here life flourishes. In the real world, has such harmony among people, animals, and the world already vanished?

A lifelong Jakartan, Edijanto laments that her densely populated hometown leaves so little space for nature. “There’s very little room for green areas, parks, or decent beaches,” she says. “The longing to reunite with nature, perhaps, has influenced the themes of my paintings.”


从小在雅加达生活,Elicia 感叹这是一座人口稠密的城市,很可惜地它并没有留给自然太多空间。“绿地、公园或是像样的海滩都很少见了。也许正是这股与大自然重聚的渴望,塑造了我画作的主题。”

“My subjects are often children and animals, because both in their feelings and in their gestures, they’re honest, sincere, unprejudiced, and unpretentious,” she says. “They’re the perfect messengers for what I want to share. I want my art to celebrate hope and innocence. Amid the depressing, tiresome news piling on top of us every day, I’d like to remind us of innate human goodness and help us find consolation in nature.”


Watermelon by the River
Stars and Voyagers

Edijanto’s style has been powerfully influenced by traditional Japanese ink wash painting (sumi-e). What makes this age-old art form difficult is that it stresses revealing precise but subtle emotions in bold brushstrokes. The forces of motion and rest, embrace and surrender form a balance in their contrast, and neither can be too evident.

“The essence of sumi-e is its minimalism, its ability to capture the essence rather than the form. It teaches us to know what’s necessary and what can be left out,” she explains. “I’ve always tried to find a better formula to intensify the emotional meaning without filling the canvas with too many objects.”


“水墨画的精髓在于极简主义,一种捕捉事物本质而非耽溺于形式的能力。它教会了我在一幅画面中什么是必要留下、什么是可以舍弃的东西。” Elicia 说,“所以我一直在尝试找到一个更好的方案,能在不用太多物体去填充画布的前提下,同时表达出强烈的情感意义。”

Old Friend
Dust and Wind



Contributor: Yang Yixuan
English Translation: Allen Young

网站: www.eliciaedijanto.com/
Instagram: @eliciaedijanto
Behance: ~/eliciaedijanto


供稿人: Yang Yixuan
中译英: Allen Young

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China in Black & White 删去色彩后,一片寂静的中国

November 14, 2018 2018年11月14日

Camera slung across her back, self-taught photographer Qiang Jing has criss-crossed Gansu, Chongqing, Beijing, and Sichuan, eventually ending up in Yunnan, a province of captivating beauty in southern China. In her photos, she drains the color from China’s street scenes, leaving only a desolate black and white. Even the country’s panoramic landscapes look less magnificent through her lens.


Qiang Jing was born in Gansu province and now lives in Kunming, a city she didn’t choose at random: “I like the dazzling sun here, it takes me back to my childhood. Kunming has a brilliant blue sky and soft, billowy clouds. The city moves at an unhurried pace, and locals are the salt of the earth—simple, honest people.”

But the year-round warmth hasn’t brightened her shots. Instead, she captures scenes of ruins and debris that seem caught amid the constant changes of the world, steeped in both life’s bitterness and its joy. Their immense silence draws you in, speaking more eloquently than any words.

强婧生于中国甘肃省,现定居于云南昆明,会选择留在这里并不是偶然, “我喜欢这里灿烂的阳光,让我有种恍然回到小时候的气息。这里有蔚蓝的天空,云卷云舒,还有城市里慵懒的步调和没什么心眼、老实憨厚的当地人。”


“I take my camera and wander aimlessly through the streets, snapping photos of things that resonate with my current mood.” Her specialty, street photography, relies on individual emotions, because she doesn’t just document outdoor scenes from an objective angle. It’s more personal.

“Photography, for me, is an expression of inner feelings, an emotional outlet, as well as a form of therapy. What I shoot is just my inner state, and that’s why I enjoy taking pictures. On streets full of uncertainty and conflict, I find a peace, a unity with myself.”

“我拿着相机在街上漫无目的地游荡,拍下那些和当下内在的我引起共振的事物。” 她擅长的街头摄影,是要带着浓郁的个人情感去拍的,因为她记录的不仅仅是从客观视角出发的外在景象,更多的,还有自己的内心。


Ever since she first began taking pictures, Qiang has made a habit of going out shooting on a semi-regular basis. She uses black and white so no colors will interfere with her vision—it’s the format that best expresses her feelings of solitude.

Set against the vastness of the world, people are insignificant specks, and her photos convey this sharp sense of loneliness and isolation. “I hold my breath and press the button to open the shutter: for me, photography is a sort of ritual. It’s like I’m mourning the passing of an instant, of everything that’s vanished around me, a reality that actually existed and will never exist again.”



“Behind my photos, there’s a story about the loneliness of growing up, about love and hate, and ultimately about letting go,” she says. She puts all her pent-up feelings into her photography and creates a series of images that brim with emotion.

The darkness in Qiang’s pictures coexists with the light: neither is possible without the other. “Kunming is gradually having an effect on me,” she says. “Just as plants grow toward the sun, maybe I can eventually break free from my former melancholy and give voice to a tougher, stronger version of myself.” Now that she’s mastered darkness and light, her journey as a photographer goes on.

最后,强婧向我们娓娓道来,“在我摄影的背后,是一个关于成长过程中所感受到的孤独,以及爱与恨,最后放手的故事。” 她将长久以来累积的情绪通通投注在摄影里,成就了这一张张承载饱满情感的影像。

但事实上,强婧照片里的黑暗,与光亮永远都是并存的,两者是缺少了彼此即不成立的存在。她说 “昆明这座城市,正慢慢影响着我。仿佛植物会向阳生长一样,渐渐地,也许我能从最初的忧郁中挣脱出来,表达一个更有韧性、更坚强的自己。” 掌握了光和暗,她的摄影之旅将继续下去。

WeChat: jingjingzai2010


Contributor: Yang Yixuan

WeChat: jingjingzai2010


供稿人: Yang Yixuan

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Losing Face

May 7, 2018 2018年5月7日

Korean-American photographer Argus Paul Estabrook believes that art should contribute to a greater understanding of our surrounding world, and he, as a photographer, has the responsibility to help present new perspectives and provoke critical thinking. While he’s best known for his street photography, Estabrook considers his work to be more a form of personal documentary rather than photojournalism. “Everyone who shoots on the street has a relationship with it,” he tells us. “They know what it means to be on a journey, searching for something yet not knowing what that might be.”

美籍韩裔摄影师 Argus Paul Estabrook 认为,艺术应该有助于我们去更加了解这个世界。而他作为一名摄影师,肩负着提出新观点和批判思维的责任。 虽然他以街头摄影闻名,但 Estabrook 认为自己的作品更像是个人观点的纪录,而非单纯纪录外在事件的新闻摄影。 “每个在街上拍照的人都与‘街头’有着特殊的连结关系。”他告诉我们, “他们知道当带着相机上街头,这段旅程代表的真正意义为何。是在路上寻找一些东西,即使还不知道那些东西是什么。”

His photo series, Losing Face, offers a candid look inside the Seoul protests that arose from the revelation of former South Korean President Park Geun-hye’s scandal. Processed entirely in black and white, the powerful series uses slow shutter speeds and a bright flash to dramatic effect. Last year, the powerful series went on to win the prestigious Magnum Photography Award as well as the LensCulture Street Photography Awards.

他的作品《Losing Face》(《丢脸》) ,纪录了发生在韩国首尔街上,因前总统朴槿惠的丑闻而起的抗议活动,他的摄影为此事件提供一个坦率的视角。照片完全采用黑白处理,使用低快门速度和明亮的闪光灯拍摄,以达成极具戏剧张力的视觉效果。 2017年,此系列作品为 Estabrook 赢得了著名的玛格南摄影奖和 LensCulture 街头摄影奖。

“When the street leads me to an experience like the Seoul protests, I feel like my job is to zero in on the energy and then conceptualize it in a way that enables it to be reintroduced back into the world,” Estabrook explains of his process. “It’s like a creative circuit. I just try to keep my mind open, so whenever a moment moves me, I’m able to ‘describe’ it with my photography.”

“当我被街头带着去体验像这次首尔的抗议活动时,我觉得我的工作是将注意力全部集中在当场释放出的能量上,然后捕捉并概念化这样的能量,再以一个能重新被导入世界的方式呈现出来。” Estabrook 这样解释他的创作过程。“这是一个创作循环的回圈。我尽量让自己的心思保持开放,所以每当有一个瞬间感动到我,我就能用我的照片去把那一瞬间 ‘描述’ 出来。”

Website: arguspaul.com
Instagram: @arguspaul


Contributor: Shanshan Chen

网站: arguspaul.com
Instagram: @arguspaul


供稿人: Shanshan Chen


April 20, 2018 2018年4月20日
Room 2 (2016) 66 x 110 cm

When your eyes have come to expect dazzlingly bright works of art, it’s a surprise when you find yourself staring so long at the color black.

These layers of black are not silent, but neither are they deafening.

Rather, it’s like a dialogue without words.




Wood Block 10.1 (2017) 90 x 120 cm
Wood Block 10.3 (2017) 90 x 120 cm

Born in Russia, raised in Ukraine, and currently based in Beijing, Alëna Olasyuk is the artist behind these achromatic works, all of which were created using traditional Chinese ink.

Using carved wood in lieu of standard canvases, Olasyuk’s Wood Blocks series is a work of patience and diligence. Anyone can touch the works, anyone can feel their imprint on their own body. Bodily impressions and visual perception overlap: the painting is no longer a painting, the wood is no longer wood. They encourage the viewer to interact with the work. It’s a dialogue between humans and art.

Alëna Olasyuk 在俄罗斯出生,在乌克兰长大,如今长居北京。我们所看到的黑,正是她用所钟情的中国墨水一笔笔画的。

这个系列叫做《Wood Blocks》(《木格》),Alëna 在已镂刻的木雕上耐心地描绘和涂色,最终形成了我们现在所见到的作品。每个人都可以触摸它,每个人也都能在自己身体上留下作品的印记。身体的感知和视觉的观感交叠,画不再是画,木也不再是木。它鼓励着观者与作品进行交互,这是人与作品的对话。

Wood Block 10.2 (2017) 90 x 120 cm

In traditional Chinese art, black and white symbolize the relationship between all things. They’re two extremes that achieve harmony in contrast and movement.

A closer look shows that Olasyuk’s works are more than simply blanketed in pure black ink. Viewed from the front, the entire frame appears to be engulfed in a murky obsidian, with only faint lines visible, but when the same work is observed from a different angle, threads of silver, glimmering colors, and a new world of texture emerge. Darkness reveals itself as light. These perspectives open up an entirely new reality, and as viewers contemplate them, the meaning of dualism becomes clear.

It’s a dialogue between the self and its inner essence. 


但其实细看,Alëna 作品中的黑也并不是全黑。直面画布的时候,你会看到条条延展开去的黑色细线;然而,换个角度,你会将看到一个充满着银丝、明亮的颜色和纹理的新世界。玄黑,转而显现为光明。这样的视角开启了全新的现实,使人们在理解这些作品的同时,体悟到了“二元论”。


Duality 1 (2016) 56 x 76 cm
Duality 2 (2016) 56 x 76 cm

But how to achieve balance in this dualistic world?

Olasyuk’s series Duality presents the idea of a natural balance. In fact, duality itself is part of balance. It’s part of the purpose and very notion of life. But if one doesn’t accept this dual nature, the natural balance can’t exist. Complexity and concision, chaos and balance, movement and stasis, transience and infinity – these are the subjects Olasyuk is eternally exploring in her works.

It’s the perpetual dialogue between humanity and the universe.


Alëna Olasyuk 的作品系列二元性代表了自然平衡的思想。其实,二元性本身就是平衡的一部分,是生活的目标和理念的一部分。但是如果不接受事物的两重性,这种平衡就不可能存在。复杂与简约、混沌与平衡、运动与静止、短暂与无限——这些是 Alëna 在她的作品中永恒探索的主题。


Duality 4 (2017) 75 x 105 cm
A painting from the Fear series (2016) 56 x 76 cm
A painting from the Fear series (2016) 56 x 76 cm
A painting from the Fear series (2016) 56 x 76 cm
A painting from the Fear series (2016) 56 x 76 cm
A painting from the Fear series (2016) 56 x 76 cm
A painting from the Fear series (2016) 56 x 76 cm
A painting from the Fear series (2016) 56 x 76 cm
A painting from the Fear series (2016) 56 x 76 cm

Instagram: @olasyuk_a


Contributor: Chen Yuan

Instagram: @olasyuk_a


供稿人: Chen Yuan

When the Sun Goes Down in the East

September 26, 2016 2016年9月26日

When Dutch photographer and filmmaker Marc Ressang first arrived in Shanghai five years ago, he was fresh out of university and nearly broke all of the time. To make ends meet during those first few years in Shanghai, he did a lot of nightlife photography. Ressang originally came to Shanghai from the Netherlands for an internship in marketing, but later decided to turn his hobby into a full-time gig.

五年前,荷兰摄影师兼电影人Marc Ressang初到上海,那时的他刚刚走出校园,经济拮据。为了生计,在上海的最初几年里,他接了很多拍摄夜生活的摄影工作。最初从荷兰来到上海的时候,Ressang的身份还是市场营销实习生,但之后,他决定将自己的爱好转变成正职。

“In Shanghai, I still like shooting late at night,” he says, “There is always something unexpected. I bring a small camera with me every time I step out of the house, just in case I run into something weird.” There is always “plenty of weird stuff going on late at night”, according to Marc, especially in a city like Shanghai. One of the most extravagant things he ever witnessed while he was out shooting was “when one of China’s richest men walked into a nightclub, ordered 140 bottles of Dom Perignon, sprayed 10 of them, had a few sips and then walked out again.”

“现在在上海,我仍然是喜欢深夜出去拍照,”他说,“这里总有意想不到的事发生。每次出门,我都会随身带个小相机,有备无患。”据Marc表示,“深夜里总会发生大把奇怪的事”,尤其是在上海这样的城市。外拍时,他目睹过最奢靡的一个场景就是:一个中国顶级富豪走进一家夜店,点了140瓶名贵香槟Dom Perignon,打开,喷洒了其中10瓶,嘬了几口,随后就走了。”

“Fast forward three years, and I just couldn’t keep up physically with going out five nights a week until the early morning,” Marc admits. Needless to say, staying up every night also prevented him from being productive and having a life during the day. “Having so many interesting nightlife shots that never got published – the promoters usually weren’t very interested in photos of their patrons making fools out of themselves,” he explains, “I decided to put together a one-night-only photo exhibition at Basement 6 to show the 100+ pics that never made the cut.” And so, his photo series When the Sun Goes Down in the East was born.

Marc承认: “三年之后,一周通宵达旦个五次,我的身体就实在吃不消了。自不必说,这样的方式让他在日间无法拥有好的工作效率和正常的生活。我有太多有意思的夜生活摄影作品没有发布出来——推广人员通常都不愿意在照片里看到他们顾客出丑的样子。”他解释道,“我决定把这些照片放到Basement 6,做一个只展一个晚上的图片展览,展出上百张没有被采用的摄影作品。于是,他的《When the Sun Goes Down in the East》图片系列就此诞生。

Ressang describes his photographic style as being “observational, real, and (even) cynical at times”. He tries not to fall into clichés or repeat himself, admitting that he can get bored pretty quickly. Regardless, he always tries to have a camera on hand when he is out and about. His main goal is to document culture in its every form, which could be anything from quirky dog outfits that he sees on the streets of China, to ancient religious rituals on a tropical island in Southeast Asia. He makes an effort not to romanticize other cultures, and tries to show that a lot of elements are actually universal or similar to our own culture.


As a filmmaker, Marc Ressang has also adopted a more documentary approach with his subjects. His sense of composition and timing from his photographic work has had a huge influence on his approach to filmmaking. As a result, he says that he tends to work quite fast and doesn’t usually worry about details, for better or for worse.


For Marc, filmmaking is now his main bread and butter – but he enjoys taking photos more than anything. As a result, he has decided to keep photography as his passion project instead of forcing himself to make a living out of it. Currently Marc is trying to get a foothold in documentary projects for both photo and video. At the moment, he is chasing a number of cultural stories in the far corners of China and around Southeast Asia, but they are all self-funded and unsponsored trips.



Instagram: @unioz


Contributor: Leon Yan


Instagram: @unioz


供稿人: Leon Yan

Moonassi, a Man with No Identity

May 12, 2016 2016年5月12日

Moonassi is the pseudonym of award-winning graphic artist Daehyun Kim, and is also the name of an ongoing illustration series that he first conceptualized in 2008. In Korean, moonaa is phonetically similar to a phrase that means “there is no such thing as me” or “emptiness”, while “-ssi” is a common suffix used when people address one another in Korea. He explains, “When people call me Moonassi, it’s like they are calling out to someone who has no identity.”

Moonassi 는 수상 경력의 그래픽 아티스트 김대현의 필명이며, 대학 졸업 후 처음으로 개념화했으며 현재 계속 진행하고 있는 일러스트레이션 시리즈의 제목이기도 합니다. 한국에서 무나는 “나 같은 건 없다” 혹은 “비어 있음”을 의미하는 단어와 비슷한 발음이며, “씨”는 한국에서 다른 사람을 칭할 때 일반적으로 사용하는 접미사입니다. “사람들이 나를 Moonassi 라고 부르면 아이덴티티가 없는 누군가를 큰 소리로 부르는 것과 같아요.”

Daehyun studied oriental painting and graduated from Hongik University in Seoul. It was there where he first learned about Eastern philosophies. The development of Eastern aesthetics and philosophies have close ties to Buddhism and one of the most well-known Buddhist teachings is kong or “emptiness,” which has become the core of Moonassi’s entire body of work.

김대현은 동양화를 전공하였으며 서울에 있는 홍익대학교를 졸업하였습니다. 그는 이곳에서 처음으로 동양 철학에 대해 배웠습니다. 동양 미술과 동양 철학의 발달은 불교와 밀접한 관련이 있습니다. 가장 잘 알려진 불교의 가르침 중에는 공 혹은 “비움”이라는 것이 있는데 Moonassi 의 모든 작품 세계는 이 개념을 중심으로 삼고 있는 것 같습니다.

Fitting to his name, the characters that populate Moonassi’s work are all without identity. These characters are all drawn with similarly curved outlines, the same expressionless faces, and the same nondescript clothing. The inexpressive facial features of his characters are influenced by his fascination with ancient Buddhist art where the divine entity is often shown in a state of deep meditation with an impassive mask-like face. Moonassi believes hiding the emotions of his characters makes it impossible for viewers to ascertain whether the depicted scene in his surreal illustration is “good or bad,” and by dressing these figures in minimalistic black clothing, he shifts the viewer’s attention towards the movements and actions of each character. Time, location, and gender are also amongst the information that Moonassi purposefully omits from his work.

그 이름에 아주 걸맞게도 Moonassi 의 모든 작품에서 표현되는 캐릭터에는 아이덴티티가 없습니다. 이 캐릭터들은 모두 유사하게 윤곽은 곡선으로, 표정 없는 얼굴, 특징 없는 의상으로 그려져 있습니다. 곡선 윤곽으로 그려져 있습니다. 캐릭터의 표정 없는 얼굴의 이목구비는 고대 불교 미술의 매력으로부터 영향을 받았는데, 신성한 존재는 감정 없는 가면 같은 얼굴을 하고 명상에 깊이 빠져 있는 상태로 불교 미술에 나타나곤 합니다. 캐릭터의 감정을 숨기면 그림을 보는 사람들이 비현실적인 일러스트레이션에서 묘사한 장면이 “좋은지 혹은 나쁜지” 알아낼 수 없을 것이라고 Moonassi 는 믿고 있으며, 단순한 검은색 의상을 입혀서 각 캐릭터의 움직임과 동작에 초점을 맞춥니다. 시간, 위치, 성별 같은 정보도 Moonassi 가 자신의 작품에서 의도적으로 배제하였습니다.

Moonassi’s black-and-white images are simple yet powerful, created as an homage of sorts to the negative space commonly seen in oriental art. At the same time, his images also channel the Buddhist philosophy of “emptiness”. Unlike Western culture, the Buddhist idea of “emptiness” doesn’t hold any negative connotations, but instead represents infinite possibilities and an “awakened mind.” Moonassi’s minimal style allows his art to be easily accessible to a wide audience. Yet, the alluring sense of mystery that his surreal world gives off beckons them to look beyond the surface of his art.

Moonassi 의 흑백 이미지는 심플하지만 강력하며, 동양화에서 흔히 볼 수 있는 여백에 대한 일종의 경의를 표시한 것입니다. 동시에 그의 이미지는 “비움”이라는 불교 철학을 전파하고 있습니다. 서양 문화와는 달리 “비움”이라는 불교적 개념에는 어떤 부정적인 의미도 담고 있지 않으며 대신에 무한한 가능성과 “깨어있는 마음”을 나타냅니다. Moonassi 가 작품에서 사용하는 미니멀한 스타일 덕분에 문화 장벽을 깨고 더욱 다양한 사람들에게 어필할 수 있었습니다. 신비롭고 매혹적인 감각을 통해 창조적으로 동양 철학의 이미지를 변화시켜서 Moonassi 는 사람들을 비현실적인 단색의 세계로 끌어들입니다.

“The worm, the deer eye, Tao, Emmanuel Levinas, Eric Rohmer, and Hong Sang-soo. You and me, the stones and the wind, the earth and the moon,” Moonassi cites a wide spectrum of influences, ranging from the tangible to the abstract. “I collect ideas and feelings, day after day” Only after piecing together these cluttered concepts and carefully deliberating how best to present the idea will Moonassi finally begin working. At times, his artwork is intended to be a visual representation of a message he wants to get across, but other times, his creations are much more spontaneously, simply based on fleeting images and scenes in his mind.

“벌레, 사슴의 눈, 도(道), 에마뉘엘 레비나스, 에릭 로메르, 홍상수. 당신과 나, 돌과 바람, 지구와 달”. Moonassi 는 실제로 있는 것부터 추상적인 것까지 자신에게 영향을 미친 것들을 광범위하게 제시합니다. “저는 날마다 아이디어와 감정들을 수집해요”라고 Moonassi 가 말합니다. 이런 복잡한 개념들을 짜 맞추고, 아이디어를 어떻게 가장 잘 나타낼지 신중히 생각한 이후에만 Moonassi 는 작업을 시작합니다. 가끔씩은 자신이 전달하고자 하는 이미지를 시각적으로 나타내도록 의도적으로 작품을 만들기도 하지만 그 외에는 더 단순하게 순식간에 머릿속에 떠오른 이미지와 장면에 따라 작품을 만들어냅니다.

In the beginning, Moonassi didn’t think his drawings were anything special or unique. He humbly says that all he had accomplished was stay persistent and maintained a clear vision on the type of work he wanted to create. Much like his curious fans, he himself also wonders when the Moonassi series will be fully completed. “I’d also like to know how the Moonassi series ends. It will only end when I stop having new ideas and stories. I’d like to try something else for sure, but let see where this brings us.”

처음에 Moonassi 는 자신의 그림이 특별하거나 독특한 작품이 될 거라고 생각하지 않았습니다. 자신이 해낸 것이라고는 끊임없이 작업하는 집요함과 그리는 방식 및 만들어내고자 하는 그림에 대한 분명한 비전을 갖게 되었다는 것이라고 Moonassi 는 솔직하고 겸손하게 말했습니다. 궁금증이 많은 팬들처럼 Moonassi 자신도 Moonassi 시리즈가 언제 완결될지 궁금해했습니다. “Moonassi 시리즈가 어떻게 끝날지 저도 알고 싶어요. 새로운 아이디어와 이야기가 떠오르지 않게 되면 그때 끝나게 될 거예요. 분명 다른 것도 해보고 싶지만 이것이 우리를 어디로 데려다줄지 한 번 기다려보죠.”

Aside from his personal illustrations, Moonassi has created commissioned work for the New York Times and even album art for various musicians. He has a devoted fanbase intrigued and inspired by his work – there has even an entire dance routine choreographed around his art. Moonassi’s work has been exhibited in Seoul, New York, London, amongst other international cities.

Moonassi 는 개인적인 일러스트레이션 외에도 뉴욕타임스의 의뢰를 받은 작업과 여러 뮤지션들의 커버 아트 작업도 하고 있습니다. 그에게는 아주 관심이 많고 그의 작품에서 영감을 받는 헌신적인 팬들이 있습니다. 그의 작품에 맞춰 연출된 안무도 있을 정도입니다. Moonassi 의 작품은 서울, 뉴욕, 런던, 기타 다른 도시에서 전시되었습니다.

Website: moonassi.com


Contributor: Banny Wang
Images Courtesy of Daehyun Kim

웹사이트: moonassi.com


기부자: Banny Wang
이미지 제공 Daehyun Kim

Jonathan Van Smit

January 28, 2016 2016年1月28日

Jonathan Van Smit moved from New Zealand to Hong Kong in 2008, drawn to wandering the back alleys and side streets of the city when he’s not at his day job in the financial industry. Entirely self-taught, all of his photographs are raw, dark and gritty compositions focused on the underbelly of life in Hong Kong, Southeast Asia and China. Despite being a 65 year-old self-proclaimed Gweilo (or foreigner), Jonathan possesses a remarkable ability to slip seamlessly into the underworld with his photography. Wandering the streets with his Leica rangefinder and wide angle lens, he prefers to shoot as close as possible to get a sense of intimacy. We spoke to him recently about his work and his approach to street photography.

2008年Jonathan Van Smit從新西蘭移居香港,在其供職於金融行業之餘,他常遊走於當地錯綜複雜的街頭巷尾。對於攝影,他完全是無師自通, 並以 風格粗獷、黑暗且冷峻不羈 的風格展示著香港、東南亞及中國大陸地區地下階層的墮落生活。儘管65歲的他對外自稱鬼佬(外國人),但他潛入地下群體進行拍攝的能力還是超凡的。帶著自己的徠卡旁軸相機和廣角鏡頭遊走於各種小巷街道的他,喜歡盡可能靠近被攝物以達到一種親近感。我們最近與他談論了其作品及其街頭攝影的方式。

Neocha: Coming from a different background, how did you get into photography, and specifically street photography?

Jonathan: Photography for me is primarily a way to explore this world that we live in. I don’t like to think of myself as a street photographer. I am just an amateur photographer who likes traveling, walking around, exploring other people’s lives, and trying to see what’s around the corner or behind closed doors. I’m also quite interested in economic marginalization and how people react to adversity. I also like bridges, big cities, seedy bars, intersections, alleyways, dark places, and the night time.

Neocha: 毫無相關背景的你是如何走上攝影之路並且專注於街頭攝影的?

Jonathan: 對我來說,攝影是探索世界的首選方式。我並不認為自己是街頭攝影師,我只是一個愛好旅行、愛閒逛、愛探索他人生活以及犄角旮旯正在發生著什麼的一個業餘攝影師。我同樣對經濟邊緣化以及人們如何應對逆境十分感興趣。我也喜歡橋、大城市、衰敗的酒吧、十字路口、小巷、黑暗地帶以及夜晚。

Neocha: Why do you choose to use mostly black and white? Why do you use your current camera setup? Have you explored other cameras and techniques before in the past?

Jonathan: I find colour really distracting in photographs. Using black & white tends to emphasis the content more, at least for me it does, and it also connects us with photography tradition.

I mostly use Leica rangefinders because I’m so used to the manual controls, which allows me to take photos faster than, say, a Sony or Fuji. Sometimes I need to be quick and change focus or shutter speed or aperture without looking down at the camera which I can easily do with Leicas. I’ve tried other brands but generally end up being frustrated as they seem to be designed by technicians rather than photographers.

Neocha: 為何你的大部分攝影作品都是黑白的?你為什麼用現在這台相機?在此之前你是否嘗試過使用其它相機或技巧?

Jonathan: 我發覺色彩很容易分散人對攝影作品的注意力,使用黑白攝影可以更強調出拍攝內容,至少我是這樣覺得的,而且這也能讓我們更接近攝影傳統。大部分時候我用萊卡旁軸是因為 我習慣手動調控,這能讓我比使用像索尼或富士這類相機更順手且快捷。有時我需要特別快速地完成拍攝,包括變換焦點、調整快門速度或不看取景器直接調整光圈,這些我都可以用徠卡辦到。我曾試圖用其它品牌的相機但都以失敗告終,它們似乎是為技術而生而非攝影師。

Neocha: What fascinates you about Hong Kong? Cambodia? What are some stories you return to over and over again?

Jonathan: Hong Kong interests me because it is currently my home and I have a permanent resident visa here. It also has a strong and unique culture, sadly that seems to be diluting as more and more old buildings are being demolished. I am always struck by the huge gap between rich and poor in what is one of the world’s wealthiest cities. I like the more traditional, grass roots parts of Hong Kong rather than the glitzy shopping malls with their aimless materialism.

Cambodia is very different, of course – the less developed law and order there makes it a refreshing change from living in Hong Kong, which is much more regulated. Compared to Hong Kong, Phnom Penh is chaotic, edgy and relatively lawless, which perversely enough, I find relaxing. I also have friends over there, people smile more, and I enjoy the food and music so it is a holiday break for me. In terms of photography there, I’m interested in the way women are treated, which is often shocking, and drug use seems to be common too.

For example, a common theme I have come across is that a girl gets pregnant, her boyfriend can’t or simply doesn’t want to support the child, so she needs to earn an income while her family looks after the child. A young woman can earn $128 a month in a Phnom Penh garment factory but double that working in a bar. The loss of self-esteem from bar sex work can lead to drug use, especially ice, which in turn can lead to unsafe sex and HIV.

Neocha: 香港或柬埔寨有哪些吸引你的地方? 有哪些主題是你一再反覆拍攝的?

Jonathan: 我對香港感興趣是因它現在是我的家 並且我也有這裏的永久居住签证 ,並且它有強大而獨特的文化,然而很遺憾的是它正在被稀釋,許多舊樓也在不斷被拆除。作為世界上最富有的城市之一,香港一直以來 讓我很震驚的是其貧富差距的巨大鴻溝。比起那些耀眼且物欲橫飛的百貨商場, 我喜歡香港更傳統、低層的部分。



Neocha: What’s your routine, if you have one, during a day – do you go out to take photos during certain times of day? Are there favourite neighborhoods or parts of a city you go to first for inspiration?

Jonathan: To be honest, I don’t really have a routine… I am fairly random most of the time. Assuming I am not working, meeting friends, or have something planned, I’ll start walking in the morning and keep on going all day – sometimes until late at night with a couple of stops for coffee or food. I like the Kowloon part of Hong Kong, and go there a lot as it’s easy to get to. Sometimes, I’ll get on a bus or train, and then get off somewhere at random. I like the freedom of not having a plan.

Neocha: 你是否有一套例行程序? 如果有,你通常在一天中的什麼時候出去拍照?你是否有在自己所著街區特別喜歡的會在第一時間去那裡找尋靈感的地方或城中其他某個地方?

Jonathan: 我並沒有什麼例行程序……大部分時候我都十分隨意。假如我沒在工作、見朋友或計劃做某事的話,我會從早上開始散步散一天,有時候會到很晚,中途會有幾次停下來喝咖啡或吃點東西。我喜歡香港的九龍地區,也會常去那邊,因為過去很方便。我可以坐上巴士或地鐵,然後隨機挑一站下車,我很享受這種隨心所欲的自由。

Neocha: Language – how do you find access to your subjects especially in such unguarded, intimate moments, and without a common language? How many times do you revisit subjects before you feel the connection? When you’re walking around on the streets of Hong Kong or elsewhere, how do people react to you?

Jonathan: It is not really a big issue for me, and language isn’t the only form of communication. For example, there’s mime, smiling, signing and body language too, and I use all these when gaining access to what I want to photograph. I guess I’ve found a way to cope with my very limited language skills, and also I usually prefer to be a passer-by than a participant when taking photographs. I generally don’t want my subjects to be engaged in the taking of a photo. I am just another Westerner with a camera, I guess.


Neocha: 關於語言 —— 你是如何在沒有共同語言為基礎的前提下與被攝者接觸並抓到那些自然、親近時刻?在你感受到彼此感覺對應之前,你會反覆拜訪幾次被攝者?當你在香港或別處的街道上散步時,人們的態度是怎樣的?

Jonathan: 對我來說這不是什麼大問題,而且語言並非是溝通的唯一方式。 譬如,模仿、微笑、手勢以及肢體語言,在我嘗試接觸想要拍攝的任何人物時我都會用上。我可能是找到了一種方式來應對自己十分有限的語言技巧,在拍攝當中 ,比起作為參與者, 我更願意 作為一個旁觀者的身份。基本上我不想讓被攝者有感覺像是在擺拍。我只是另一個拿著相機的鬼佬,我想。

Neocha: How often does fear cross your path? How often do you have to diffuse or leave situations?

Jonathan: There’s a fine line between exhilaration and fear, and I get a bit nervous sometimes when drugs are involved. It is not a big deal. Most people I meet are charming and friendly.

Neocha: 你多久會出現一次憂慮感? 多久你需要驅散一次這種糟糕的狀態或者完全任其發展?


Neocha: What are your influences and inspirations? From photography, literature, or experiences?

Jonathan: I haven’t had a TV for many years so I read a lot, and I manage to get through two to three books every month. Plenty of non-fiction books like River of Time by Jon Swain which I’ve just read for the second time but also fiction authors like Jim Harrison, Annie Proulx and Raymond Carver. I also keep myself up-to-date with current affairs.

I sometimes look at other people’s photos but I’m more interested in getting out and taking my own. I think the most important thing to me is moving outside my own day-to-day existence and comfort zone, and gaining a wider set of personal experiences through exploration and travel.


Neocha: 你所受到的影響以及你的靈感來源從哪裡來?是攝影作品、文學作品還是人生經驗?

Jonathan: 由於不用電視機多年所以我讀了很多書,基本維持在一個月2-3本的量。許多並非小說類讀物,譬如我剛剛重讀了來自Jon Swain的作品《River of Time》,當然我也喜歡一些小說家,譬如Jim Harrison, Annie Proulx以及Raymond Carver,此外,我也會關注時事以便讓自己跟上時代。 

有時我也會看些別人的攝影作品 ,但我更喜歡出去走走並拍攝自己的。對我來說最重要的是讓我的日常所在置於外部空間,這讓我感覺舒服,並且通過這樣的探索和旅行可以讓自己的閱歷更為寬泛。

Neocha: What are you working on currently and are there any projects you’re looking forward to in the future?

Jonathan: I’d like to spend more time traveling in Asia especially the area from the Bay of Bengal over to Vietnam and West China. I’m also trying to move away from darker subject matter but maybe that’s just a temporary phase. I don’t think of a specific theme when I’m taking photos. That comes afterwards when I’m editing.


Jonathan: 我想要花更多的時間在亞洲旅行,特別是孟加拉灣到越南和中國西部這一條線。我也在試圖從暗黑題材中轉型,可能這只是臨時階段而已。我在拍照時並沒有什麼具體的拍攝主題,那都是在我處理它們的時候才會有的。

Flickr: ~/K_iwi



Contributor: Jia Li

Flickr: ~/K_iwi



供稿人: Jia Li

Through Tatsuo Suzuki’s Lens

October 26, 2015 2015年10月26日

Tatsuo Suzuki takes black and white photographs that document the fast pace of urban life in Shibuya, Tokyo. Tatsuo first started shooting in 2008, after getting a Nikon D70. After initially finding the art of photography to be very interesting, he soon became increasingly addicted to the medium. At the beginning he shot mainly in color, but over the years he shot more and more in black and white, as he felt that it captured the passion and emotions of his subjects more effectively.

鈴木達朗氏は白黒写真を撮影し、東京渋谷の都会の生活を記録しています。鈴木氏はNikon D70を手に入れた後、2008年に撮影を始めました。写真撮影に初めて強い関心を持った後、写真という媒体にますます夢中になってゆきました。最初の頃は、カラー写真を主に撮影していましたが、数年後、被写体の情熱と感情をより効果的に捉えると感じた白黒写真を撮影することが多くなってゆきました。

When asked about his background, he says that it is actually in music – and that punk rock, in particular, has left a very deep impression on him. Previously in high school and up until college, Tatsuo was in a punk band. Those days are now over, but one can still get a sense of his punk music past in his gritty black and white street photography.


Tatsuo admits the underlying impulse of punk has probably always existed in his photography. The uplifting energy, the irritability of punk, and frenetic rhythm are all in a way visually represented in his work. In his long exposure photography, for example, there is an expressiveness that seems almost musical.


He shoots primarily on weekends when he is not working. Typically he would walk around the city and ask subjects if he can take their photo. Sometimes he doesn’t ask at all and just takes a spontaneous shot of a passerby. His interest is mostly in capturing people in their regular daily lives, and not so much about cool and perfect compositions.


Tatsuo describes his photographic style as being emotional, impulsive and more documentary in nature. His favorite photographers include Robert Frank, William Klein, and Daido Moriyama. With Moriyama in particular, he shares a lot of stylistic similarities. Often described as being dark, gritty, rough, provocative and blurry, the same could be said of Suzuki’s work.


His inspiration, he says, comes mainly from within. He believes photographs can be a reflection of what goes on in a photographer’s mind, so if there is a perceived dark side in his work, he admits it probably also represents his inner state. He is not so interested in capturing humorous or comical street scenes, but is drawn more towards scenarios that have a high degree of tension and complexity.


Like many other street photographers, Tatsuo is inspired by his chance encounters when out shooting, that sudden flash of a moment when first meeting someone. But at the same time, he admits that over the years there haven’t been that many especially memorable or monumental moments that he can recall while shooting. For Tatsuo, every day is a new day and one must always look to the future. He doesn’t typically like to look at past work, except mainly to learn from it and to try to improve on it. In his words, the photo he takes today he hopes will be better than the one that he took yesterday.