Tag Archives: photographer

There Is No God Here 这里没有神

April 15, 2019 2019年4月15日

In the sun-drenched south of Taiwan, Qianzhen District is home to the island’s largest deep-sea fishing port. Taiwan boasts the largest ocean-faring fishing fleet in the world, with nearly three thousand ships, most of which set out from Qianzhen, and voyages last six months, a year, even two.

On the lowest rung of this high-output, profit-driven industry is a group of workers who live off the seas. Most of them are young men from Southeast Asia: over half come from Indonesia, while others come from the Philippines or Vietnam. Aboard the dreary Taiwanese ships where they eke out a living, they give their bodies and youth over to work. They’re always looking ahead to the day they’ll pull into harbor, but even when they do, the harbor outside won’t be their home.



One photographer, Aming Lee, has set out to document the lives of these people on what he calls “a floating prison cut off from the rest of the world” in his book There Is No God Here.

The ocean is a place forsaken by god, but there’s a group of people who move across it freely. To see a world in a grain of sand, and heaven in a wildflower. Who would ply the seas, if they could stay on land?  —There Is No God Here

Lee first picked up a camera at 18, and he’s been a photojournalist for most of his life—he describes himself as a “photography handyman.” When he retired, he didn’t know what to do with all the extra time, so to keep himself occupied, he grabbed his camera and went out to the street to take pictures.

Camera slung over my shoulder, I began roaming the streets . . . until I found my way to the fishing port of Qianzhen, and there, under the influence of tobacco and alcohol, I launched my fantastic shutter voyage . . . At first I didn’t understand how a fishing port worked, and I went around with two cameras and two lenses taking photos everywhere. But even without professional gear, people got upset when I took their picture, and the port locals would give me dirty looks.

“Hey asshole! What are you doing taking pictures of my ship?”

“Get the hell out of here! I’ll hunt you down!”

It takes all kinds, and of course some people were pretty nice. My shots of the port began with them.








The media often report on how bad the conditions for fishing boat workers are, so the exposure is all negative.  That’s why fishing companies don’t let reporters, photographers, or outsiders near their ships. “When I decided to take pictures of fishing workers, my biggest problem was my identity. I had to pretend I was there to work. I could only use a pocket camera and take pictures on the sly. If someone from the fishing company found out, I’d just say I was teaching myself photography.”

To get the intimate shots he wanted aboard, he responded to an ad for a temporary position as a ship watchman, or custodian. “The job paid NTD $1000 per day (around US $33), with no insurance, no weekends, 24 hours a day on board, regardless of the weather. It was a little like being a doorman. Most ship watchmen are working-class Taiwanese men in their sixties or seventies, and their status is the same as the foreign workers. Because they also have to act as chaperones, many of whom don’t speak the language, they’re called ‘papa-san'”—a male equivalent to “mama-san,” a term used in Southeast Asia for a woman who oversees a bar or brothel.




Lee’s been a “papa-san” for over four years now. In September 2018, the photos and text he gathered over the years appeared in print in a collection titled There Is No God Here.

Aboard every ship, there are clear social hierarchies, and these migrant fishermen are often at the bottom. Lee has stood on the front lines and seen the oppressive life of the fishing boat workers, yet in his words and images, he touches only lightly on the violence and exploitation that the outside world hears about. Instead, he mostly depicts his subjects smiling, playing around, and goofing off. “I roamed the ship freely and took photos. We all trusted each other, and there was no pressure to be anything else,” Lee says. “When they’d ship out, I’d burn the photos onto a CD to give to them, and we’d add each other on Facebook and stay in touch. The crew members’ families would even join in on the online conversations.”



Like anyone else, they know what it means to be happy and have fun. They’re my models of happiness . . . These fishing boat workers are about the same age as my kids, and with their optimism, open-mindedness, and kindness, they’ve taught me an invaluable lesson about life. Anyone who works lives honestly and works hard can stand tall and proud.


Lee didn’t stop taking photos once he published his book. A few days after I sent him the interview questions, he sent a reply saying, “I’ve still been looking after ships; most of my time is spent aboard one.” He told me he’s moved from Qianzhen, which has become more restricted and “very difficult to openly photograph,” to Hsinta, a smaller fishing port where he continues his work as a watchman, waiting for the next ship to dock.

“I never thought of myself as making art. I just followed my instincts from decades of working as a photojournalist. I’d blend into the environment and just use my camera to ‘observe.'” Lee once said that life on the boat made him feel truly at home, and that when he’s with fishing boat workers he feels they’re all a family. “This sense of home comes from not having any other aims. Everyone’s different, with different interests,  so you can simply hang out, spend time with people without ulterior motives.”

“Photography,” he says, “is just an extension of that.”


Click here to purchase a copy of There Is No God Here.






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Contributor: Yang Yixuan
English translation: Allen Young

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网站: aminglee.com


供稿人: Yang Yixuan
英译中: Allen Young

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In the Streets of Saigon 在西贡,一个人的好天气

February 18, 2019 2019年2月18日

A woman walks past a smoky food cart, turning to hear a vendor a few yards away who appears to be calling out to her. It’s an ordinary scene on an unremarkable street corner in Saigon, but the composition has an accidental perfection: a triangle formed by the lamppost and the rays of sun frame the central figures, whose two faces are separated only by a narrow strip of color. Above them, billows of smoke from the grill suffuse the scene with an otherworldly light. The snapshot seems to conjure a whole social world and elevate to some higher, more ethereal realm. This is street photography at its most eloquent.

一个女人正走过一台热气蒸腾的食物摊车,她转过头去,似乎在回应站在几米外的小贩的呼喊——这是发生在越南西贡 (胡志明市)街边一个极为平常的日常场景,但画面的构图却意外的完美:由灯柱和光束所构成的三角形舞台,正中央是面孔被光线照射的明暗区分开来的主角人物。在他们之上,烤架升起的烟雾弥漫四方,化为一片超凡脱俗的光芒。这张照片抓取到了凡世的一瞬,并将其升华至更空灵的境界。这就是街头摄影叙事张力的极致展现。

Phuong Tran, the Saigon-based photographer who took this photo, is largely self-taught. A copywriter by day, he started taking pictures simply because he had a smartphone and decided to play around with it. “Back in the day, I’d go around Saigon and take pictures of whatever I liked,” he recalls. “I just captured things, and it brought me a lot of fun.”

拍摄这张照片的是自学成才的摄影师 Phuong Tran。他生活在西贡,全职工作是一名文案,会开始拍照仅仅是因为他买了一支智能手机,想要摸索一下而已。“白天的时候,我会在西贡四处乱逛,拍下我喜欢的照片。我只是想捕捉住一些时刻,这个过程很有趣。”他回忆道。

Like many other amateurs, he discovered he had a knack for photography, and that talent quickly turned into an obsession. “It was like another world I could escape to. I thought about it all the time, I began to read materials, and I got praise from friends,” he says. Eventually he decided to upgrade to a mirrorless camera, which allowed him more control over the shots he took. He now shoots with a Sony Alpha 6000, and easy-to-use model that suits his needs.

像许多业余的摄影爱好者一样,他发现了自己在摄影方面的天赋。很快这种天赋演变成为他的热爱。“摄影是我可以躲进的另一个世界。我无时无刻都想拍照,于是我开始阅读相关的资料,朋友也对我的作品给予很多肯定。”最终,他决定从手机升级到微单相机,这让他在拍摄时能有更多掌控。现在,他用的是一台索尼 Alpha 6000 相机。这是一台操作简单的相机,正符合他的需求。

Tran’s work has earned him a devoted following on Instagram. “The most important thing I want to capture in a photograph is the connection between myself and the subject,” he explains. “If that event brings me excitement, or a thrill, or gives me pause—well, that’s something worth capturing. Then comes the question of light, colors, composition, etc., to tell the story in a beautiful way.” Many of his images show light refracted or reflected—piercing smoke, streaming through windows, or blurring background and foreground in a shop window.

Phuong Tran 的作品为他赢得了 Instagram 上一批忠实的粉丝。“一张照片最重要的是要捕捉到我和被摄者之间的连结。”他解释说,“如果某件事物让我感到兴奋、激动,或让我为此停留,那就值得拍下来。再来就是光线、色彩、构图的问题,如何通过好看的画面来讲述故事。”他的许多照片都利用烟雾、窗户等物体来表现光线的折射或反射,或是透过玻璃橱窗模糊背景和前景。

While he’s also taken photos in Burma and Taiwan—where the above image is from—his favorite subject is still Vietnam, and especially his hometown Saigon. Its “messy streets, strange people, and changing appearance” have inspired him since he first started pointing and clicking. His Saigon is a city of bicycles, scooters, overhead wires, its buildings comfortably weathered and daubed in a ubiquitous turquoise.


It’s also a city that’s changing quickly. “Just like other Asian cities, Saigon has its own conflict between preservation and development,” Tran says. “Every day I witness the replacement of old by the new, and I think I need to capture these images before they’re gone, to give them a second life.”


Instagram: @deewonderer


Contributor: Allen Young
Chinese Translation: Olivia Li

Instagram: @deewonderer


供稿人: Allen Young
英译中: 李秋群

Jimei x Arles 2018 第四届集美·阿尔勒国际摄影季

November 22, 2018 2018年11月22日

On November 23, the fourth annual Jimei x Arles International Photo Festival will open its doors in Xiamen, on China’s southeastern coast. Those lucky enough to nab tickets to the event, which closes on January 2nd, will catch sight of work by some of the most innovative artists working in photography today.

A spin-off of the Rencontres d’Arles, the prestigious photo festival held every summer in southern France, Jimei x Arles will bring together work by established international figures and up-and-coming artists in China. Inspiration for the event came from Chinese photographer RongRong, one of the founders of the Three Shadows Photography Art Centre—the first museum of its kind in China—and Sam Stourdzé, director of the Arles festival.

Each year the festival gives a Discovery Award to an emerging Chinese photographer. This year’s ten finalists—Shen Wei, Shao Ruilu, Su Jiehao, Pixy Liao, Coca Dai, Yang Wenbin, Lau Wai, Hu Wei, Lei Lei, and Wong Wingsang—show intensely personal work that spans the breadth of the medium. Neocha is proud to showcase the work of these photographers.

Click on the arrows to see more of each artist’s work.

11月23日,第四届集美·阿尔勒国际摄影季将在厦门开幕。有幸前往参观的观众,在展览 1月2日闭幕之前,将能欣赏到当下最具创新精神的摄影艺术家的作品。

集美·阿尔勒摄影季是世界著名、每年夏天在南法举行的阿尔勒国际摄影节(Rencontres d’Arles)所衍生出来的展览。由阿尔勒摄影节的总监萨姆·斯道兹(Sam Stourdzé)和中国当代摄影艺术家荣荣(中国第一家专业摄影艺术中心—三影堂摄影艺术中心创始人)联合发起,致力于展示来自中国的国际摄影大师及新晋摄影师的作品。

每年摄影季都会为杰出的新晋中国摄影师颁发 “集美·阿尔勒发现奖”。今年的十位入围者分别为沈玮、邵睿璐、苏杰浩、廖逸君、杨文彬、刘卫、戴建勇、雷磊、黄永生和胡伟。他们带有强烈个人色彩的作品,拓展了摄影媒介的广度。Neocha 这次很荣幸能展示这些摄影师的作品。



沈玮 Shen Wei

Shen Wei‘s photos have a deceptive stillness, like a muscle at rest. An image of the artist pausing as he descends into a pool is permeated with an eerie tension, while a photo of newly opened cherry buds seem to leap out of the frame. Two close-up self-portraits—one with eyes open, one with eyes closed—cloak his features in darkness, hiding as much as they reveal. Shen’s careful manipulation of light and color imbue static images with dynamic strength.




邵睿璐 Shao Ruilu

Shao Ruilu’s photos are visual riddles whose answers lie just beyond our reach. Perhaps the coins in various currencies suspended in mid-air offer a commentary on international finance or economic uncertainty. Perhaps the two still lifes, composed like paintings by Zurbarán, are a gloomy meditation on mortality: between one frame and the next, the peaches have rotted, the ash pile has grown, the newspaper’s been replaced. With her unusual subject matter, Shao raises questions that linger long in your mind.



苏杰浩 Su Jiehao

At first glance, Su Jiehao‘s photographs look like pure compositions of color and form—you could be forgiven for mistaking them for abstract paintings. Only upon closer examination do they come into focus as ordinary scenes: a ruler, a rainbow, a rooftop covered in snow. The final three images—stills from his video The Storm in the Morning—are less abstract but no less enigmatic. With his stunning sense of composition, Su creates images with an arresting beauty.



廖逸君 Pixy Liao

For the past eleven years, Pixy Liao has been documenting her life with her boyfriend Moro in the photo series Experimental Relationship. Often she places him in submissive positions, upending the traditional gender roles in which she was brought up. In these images, Liao, previously the subject of a Neocha profile, examines intimacy with a playful eroticism.

在过去的 11 年里,廖逸君点此阅读过去Neocha对她的报导)一直在《实验性关系》系列中记录她和男友 Moro 的生活。她经常把男友置于顺从角色的位置,颠覆传统的性别角色。在这些照片里,廖逸君以轻松、大胆的情欲表达,来审视两人的亲密关系。


戴建勇 Coca Dai

Shot over a period of seven years, Coca Dai‘s series Judy Zhu 2008-2015 chronicles the life of his girlfriend (now wife) Judy through pregnancy and motherhood. His images have an unrehearsed quality that only film can provide, and taken together, they offer a candid, multi-faceted portrait of one woman in contemporary China.

戴建勇用 7 年的时间拍摄了《朱凤娟(2008-2015)》系列,记录了他的女朋友(现在的妻子)朱凤娟从怀孕到成为母亲的过程。他的作品有一种不假修饰的自然特质,只有胶卷才能呈现出来。两者相结合,全方位地呈现出一名当代中国女性的真实写照。


杨文彬 Yang Wenbin

While other artists here explore love and relationships, Yang Wenbin shows the technology involved in solitary expressions of desire. The photos in his series Euphoric Mirror are utterly without eroticism: in one, vibrators are presented as simple industrial products, assembled on production lines in factories; in another, a computer mouse in a crotch hints at the dissatisfactions of internet stimulation. Yang’s offers an unsentimental view of sexuality in the digital age.

当其他艺术家在探讨爱情与关系时,杨文彬展示了科技如何介入人们的欲望表达。在一点也不色情的《欢愉之境》系列中:自慰振动器被呈现为简单的工业产品,正在工厂的生产线上被组装;鼠标落在裆部,暗示了互联网刺激带来的不满足。杨文彬对数字时代的 “性”,提出了一种不带情感的冷静观点。


刘卫 Lau Wai

In her series Memories of the Future, Hong Kong artist Lau Wai takes old photos and film stills of her hometown and adds her own cyberpunk touches. The effect is playful but hints at a more serious purpose: is she suggesting that the city’s history, as documented in photos from the last century, is as fake and retouched as her own images? Or is she hinting that Hong Kong’s future won’t be so different from its past? Lau’s work offers an ambiguous meditation on fantasy and time.



胡伟 Hu Wei

Hu Wei explores the commemoration of the past in his unconventional series Proposal for Public Assembly / Encounter. A native of Dalian, he presents photos and souvenirs of the monument built in 1995 to mark the fiftieth anniversary of the city’s liberation from Japanese occupiers. By using found images nearly as old as he is, Hu challenges the very notion of what constitutes photography. And when the past can’t be openly discussed, he perhaps offers an oblique commentary on which histories are remembered and which are passed over in silence.


胡伟在这个特别的作品《为公共集会(邂逅)的提案》中,探讨了对过去的纪念。这位大连艺术家的作品展示了1995 年为纪念大连从日本占领者手中解放五十周年而建造的纪念碑和相关的纪念品。通过这些几乎和他年龄一样大的旧有现成图像,胡伟挑战了摄影的定义。他的作品或许能对那些被铭记、以及被沉默传承到下一代的历史,提供一点注释。


雷磊 Lei Lei

Like many of the other Discovery Award finalists, Lei Lei uses digitally altered images to test the boundaries of photography. His 1700 Poses of Human Gesture shows the same girl sitting in countless different positions, while other images of his shown here present small variations in a violinist’s pose. Carefully manipulated to look old, Lei’s photos explore the ability of photography to capture the reality and the past from more than one perspective.

和许多其他 “发现奖” 入围者一样,雷磊也采用了数码处理图像来探索摄影的界限。在他的《人体动势1700例》中,同一个女孩以无数个不同的姿势坐着。在另一作品中,一名小提琴手在不同画面中细微地变换姿势。雷磊精心地 “做旧” 图像,以此探索摄影从不同角度捕捉现实和过去的能力。


黄永生 Wong Wingsang

Reflection and repetition underpin the work of Wong Wingsang. Polaroid head shots, samples of leaves, a sunset framed through reflections in a window: in each case, Wong draws our attention to tiny differences in nearly identical images. Conversely, his final photo included here—a triptych consisting of a house cat, cruise ships, and a solid black square—seems to dare us to find a common thread among seemingly unrelated images.


Website: jimeiarles.com
Facebook: ~/jimeiarlesphoto
Instagram: @jimei_arles


Contributor: Allen Young

网站: jimeiarles.com
脸书: ~/jimeiarlesphoto
Instagram: @jimei_arles


供稿人: Allen Young

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Dear Sky

May 11, 2018 2018年5月11日

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

April 9, 2018 2018年4月9日

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

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Accentuating Mongolian Beauty

March 29, 2018 2018年3月29日

Shagdarsuren Bayarsaikhan, or better known to her fans as Shmio, is a Mongolian fashion photographer residing in Japan. Although she’s currently studying architecture at university, she’s been using photography to challenge the conventions of how the world sees her native country ever since she took up the medium in 2014. Mongolia has long been seen through elements of its traditional culture that the outside world finds exotic, such as yurts, lush grasslands, and fur-clad nomads herding livestock. Shmio’s photographs are a striking departure from this stereotype: Mongolians grace her images in all their unabashed beauty, but without the tropes of Western exoticism.

Shagdarsuren Bayarsaikhan 是一位居住在日本的蒙古时尚摄影师,她更为粉丝所熟悉的名字是 Shmio。尽管她目前正在大学修读建筑学,但自从2014年拿起相机起,她就一直在通过摄影这一媒介来改变人们对她的祖国的一些偏见。一直以来,其它国家人们对蒙古的了解,大都局限于其传统文化的元素,一些充满异国情调的画面,譬如蒙古包、茂盛的草原,或是身穿皮草大衣的牧民在放牧牲畜。而 Shmio 的摄影作品却和这些刻板印象大相径庭:蒙古人独特的面貌让她的照片别具魅力,但却避免了西方世界所理解的那种异国情调。

Shmio’s soft tones and striking subjects have earned her high praise. In her series, Beautiful Mongolian Woman, she shot her subjects in her apartment, in Ulaanbaatar, in front of a plain blue backdrop. The color is a subtle homage to Munkh Khukh Tengri, a Mongolian tradition of worshipping the vast blue sky. Shmio juxtaposes the blue background with the red circles painted on her model’s cheeks. These elements of tradition enhance rather than distract from her subject’s beauty. “I saw her at a party, and saw how she had a very unique Mongolian look,” she recalls, “and I just wanted to capture that look. So we planned a photo session at my home.”

Shmio 作品中的柔和色调和醒目的主题让她倍受赞赏。在创作她的摄影系列《Beautiful Mongolian Woman》(《美丽的蒙古女人》)时,她邀请摄影对象来到自己位于乌兰巴托的公寓里,在简单的蓝色背景前面进行拍摄。这种颜色是蒙古人对“Munkh Khukh Tengri”(指无垠且永恒的蓝天)的一种微妙致敬。Shmio 将蓝色背景与模特脸颊上描画的红色圆圈并列在一起。这些传统元素的添加,意外地突显了模特的美感。“我是在一次聚会上遇到她的,当时就觉得她的脸属于非常典型的蒙古面孔。”她回忆说,“我只是想用镜头记录这样面孔。所以,我们就商量好在我家拍一组照片。”

Shmio also departs from the casual excess of typical Mongolian fashion photography. A meticulously planned minimalism punctuates her work. “I typically imagine what kind of photo I want to take. I feel when I do that I get better photos than when I just show up and see what happens. I have trouble getting good shots if I don’t plan,” she says. She also believes that the background shouldn’t overwhelm an image. “If you have too much going on in the background,” she explains, “you have to make the subject stand out more, and that just makes the image too busy.” Her work stands in stark contrast with the luxury-laden imagery often found in her country’s commercial shoots.

Still, she believes Mongolian fashion photography is starting to move in the right direction.  “Photographers are finally capturing the style and imagery of Mongolian youth,” she says. “Yes, on some occasions even major brands have blatantly plagiarized foreign photographers. Overall, though, it’s getting better.”



Though she doesn’t see herself as breaking with the status quo, she’s considered a bold artist by her peers. “I’m not planning to become a professional photographer anytime soon. I want to pursue a career in architecture. Photography is something I love, something that makes me happy.” The honesty Shmio brings to her photography is also evident in her definition of beauty: “Beauty for me is not something fake. It’s original. It makes you feel calm. As soon as you see it, you can’t help but gasp and say, ‘That’s beautiful.’”


Facebook: ~/Sh_Mio
Instagram: @Sh_Mio
Behance: ~/Sh_Mio


Contributor: Anand Tumurtogoo

脸书: ~/Sh_Mio
Instagram: @Sh_Mio
Behance: ~/Sh_Mio


供稿人: Anand Tumurtogoo

10 Inspiring Chinese Photographers

March 9, 2018 2018年3月9日

Information overload in today’s media landscape is a real problem. The signal-to-noise ratio on all our social media feeds could be optimized. To help combat your “following” fatigue and filter through the noise, we’re releasing Neocha Roundups, a series of short-form articles with recommendations of Asia-based creatives whom we follow closely and think you should be keeping an eye on.

In the first installment of Neocha Roundups, we’ll be taking a look at the Instagram photography scene in our home turf of China. Instagram-savvy users might already be aware of several big-name Chinese photographers, such as Jennifer Bin, 5.12, hx1125, amongst others, who have all played a part in popularizing the app in the Middle Kingdom and amassed sizable followings in the process, but many more talented photographers still remain very much off the radar. To help introduce some of these hidden gems into your Instagram feeds, we’ve compiled a list of accounts that have inspired us lately.

“信息超载”是现代人在频繁接触媒体的生活中,常会面临到的困扰问题。社交媒体每天传递给我们大量信息,其中很多是不被需要的“噪音”。而这些“噪音”其实是可以被过滤、及优化的。为了帮助减少你成天接收这些“噪音”随之而来的疲劳,我们开启了新的企划单元――“Neocha 精选集”。这是一系列的短篇文章,向你推荐几位值得关注的亚洲创意人士 。

在 “Neocha 精选集”的第一篇,我们将目光放在 Instagram 上来自中国艺术家的摄影作品。常用 Instagram 的用户,可能已经注意到了好几位知名的中国摄影师,比如 Jennifer Bin5.12hx1125 等等。他们让 Instagram 普及到了更多中国用户,并在这个过程中获得了大量的粉丝关注。但还有更多有才华的摄影师,远在人们的视线之外。为了让你在 Instagram 上搜索到一些隐匿又有才的中国摄影师,我们列出了一批最近给我们以无数灵感启发 Instagram 摄影师账号。



Capturing moments of hilarity and the subtle interplays between environment and people, photographer Liu Tao‘s (@grinch0748) account offers a unique and whimsical look at life in Hefei. While his humor-filled work has garnered him a devoted fanbase on Chinese social media, his Instagram is an underappreciated treasure trove of street photography.

摄影师刘涛@grinch0748)的镜头往往会捕捉到欢闹的时刻,以及环境与人之间微妙的互动感,为观看合肥的日常生活提供了一个独特而又异想天开的角度。虽然他充满幽默的摄影作品,已经为他赢得了许多中国社交平台的忠实粉丝,但他的 Instagram 却是街头摄影的一个未被开发的宝库。



Already a well-established name in the Chinese photography scene, Luo Yang‘s (@luoyangphoto) Instagram account offers a refreshing perspective of femininity in an evolving China.

摄影师罗洋@luoyangphoto)的 Instagram 账号已经在中国摄影界名声显赫,它为发展中的中国提供了一个全新的女性视角。



Using a subdued palette of colors, Shanghai-based photographer @harry.lil channels a sense of calm and tranquility throughout his work. Primarily focused on portrait photography, his Instagram portrays young Chinese females with equal parts attitude and equal parts grace.

上海摄影师 @harry.lil  的摄影作品色调柔和,呈现出平静和安宁的感觉。他的摄影以肖像作品为主,在他镜头下的中国年轻女性,兼备个性态度与优雅魅力。



Often blurring the line between conceptual photography and fashion photography, Leslie Zhang‘s (@lesliezhang1992) Instagram is home to a quirky collection of colorful images that, at times, feel like scenes straight out of a Wes Anderson film.

摄影师张家诚@lesliezhang1992)的作品模糊了概念摄影和时尚摄影之间的界线,他的 Instagram 上展示了一系列独特的影像作品,色彩丰富又充满趣味。



While his account has accumulated an impressive following, @youknowcyc_ only skyrocketed in popularity over the past year. Comprised of neon-lit cityscapes and vertigo-inducing vantages, the Shanghai-based photographer’s account shows off various Asian metropolises in their full grandeur.

@youknowcyc_ 是这几位摄影师中粉丝数量最多的其中一位,但其中有一大批粉丝都是在过去一年间暴涨的。他的作品多为亚洲大都市中霓虹灯闪烁或是令人眩晕的城市景象。如果你喜欢这样的摄影风格,这位来自上海的摄影师绝对不容错过。



Cathy Liu’s (@lvlvlcy) Instagram account is a visual travel diary that takes viewers from the forests of Hokkaido to the alleyways of Morroco. Her account is a delightful recap of the beautiful architecture and stunning sights she’s stumbled across in her adventures across the world.

Cathy Liu (@lvlvlcy)的 Instagram 可说是一个视觉旅行日记,可以让关注者从北海道的森林一路“旅行”到摩洛哥的街头小巷。她的照片常常纪录下偶然发现的美丽建筑和绝妙景色,活泼轻巧地勾勒出她在环游世界的冒险之旅。



Photographer and co-founder of independent publishing studio Same Paper Xiaopeng Yuan (@xiaopeng_yuan) uses his Instagram to inject a healthy dose of surrealism into the mundanities of life in China.

摄影师兼独立出版工作室 Same Paper 的共同创办人袁小鹏(@xiaopeng_yuan),将他的 Instagram 作为中介,在中国平凡的世俗风景中注入了一剂超现实主义的新能量。



Coming from a videography background, He Xilin (@aero.h) offers his perspective of China via atmospheric, cinematic snaps that transports viewers into scenes reminiscent of director Wong Kar-wai’s work.

来自拍摄动态影像的背景,何西林 (@aero.h) 透过他独具氛围感、像电影一般的影像作品,透露了他对中国的看法。将观者直接带入画面中,让人联想到王家卫导演的作品。


Radiating a sense of tenderness and delicacy, Hangzhou-based photographer Li Hui’s (@huiuh_) Instagram features a collection of beautiful analog snapshots that explore intimacy, relationships, and vulnerability.

来自杭州的摄影师李晖@huiuh_)在 Instagram 收录了一系列作品,探索人与人之间亲密关系和脆弱性,展现了毫不掩饰的温柔美感 。



Based in Chongqing, photographer @by.harper takes to the skies to capture jaw-dropping aerial perspectives of the city. From crisscrossing highways to geometric building formations, his account shows off the many shapes and forms of China’s “mountain city.”

重庆摄影师 @by.harper 喜欢从高处捕捉城市中令人瞠目结舌的上空视角。从纵横交错的高速公路,到几何建筑形态,他的作品展示了中国“山城”的多种样貌。

School Bullying

March 6, 2018 2018年3月6日

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

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On Femininity & Beauty

March 5, 2018 2018年3月5日
From Tseng Yen Lan's NO FACE series. / 来自《NO FACE》系列

The true beauty of a woman can only be fully appreciated through the eyes of another woman; this is the notion that forms the basis of photographer Tseng Yen Lan‘s work. Tseng is a Taiwanese photographer whose journey with photography began at the young age of 16 when she received a camera from her mother as a birthday gift. Since then, she’s devoted herself to the medium, upholding an earnest mission to capture the beauty of the female form in its truest state. By photographing her subjects without makeup and focusing on their natural qualities, Tseng manages to immortalize the ephemeral beauty of feminine youth.

某种女性的美,是只能用另一双女性的眼睛才发现得了。就像台湾摄影师 Tseng Yen Lan(曾筵岚) 16 岁生日时,从母亲那里得来第一台相机那一刻起,一直以来致力于捕捉的,不过是某个女子生命中的一个瞬间,不用特地补妆,她拍的就是那样一个平凡、却耀眼的女子。

From Tseng Yen Lan's LADY OF LAKE series. / 来自《LADY OF LAKE》系列
From Tseng Yen Lan's LADY OF LAKE series. / 来自《LADY OF LAKE》系列
From Tseng Yen Lan's LADY OF LAKE series. / 来自《LADY OF LAKE》系列

Tseng sees her female-focused works as a reflection of her own femininity. It’s a projection of her own ideals of beauty and what it means to be a woman. It’s an examination of what it truly means to be “beautiful” in a society that’s been historically patriarchal driven, with female beauty often gauged through a male gaze. Tseng’s photography aims to answer questions of “What is beauty?” “Whose sets the standards for beauty?” and “Is there a unique sense beauty that can be inherently found in everyone?”

“我记得我在网路上第一个发佈的作品是我表姐的裸体。” Tseng Yen Lan 说。她镜头下的主角几乎都是女性,这样的选题出自她同样身为女性的切身感受,即无论外表上还是思想上,从小到大女性生活在世界和社会所架设的男权价值观之下。究竟什麽才是美丽,是需要符合多数人的美感,还是每一个人身上都有难以取代的独特的美?她用摄影来回答这个问题。

From Tseng Yen Lan's You Don't Know How Beautiful You Are series. / 来自《You Don't Know How Beautiful You Are》系列
From Tseng Yen Lan's You Don't Know How Beautiful You Are series. / 来自《You Don't Know How Beautiful You Are》系列
From Tseng Yen Lan's You Don't Know How Beautiful You Are series. / 来自《You Don't Know How Beautiful You Are》系列

You Don’t Know How Beautiful You Are is a photo series by Tseng that takes a critical look at these concepts. Unlike many of her other personal projects, she shot this series with a professional model. “Before I got to know her, I knew that most of the commercial work she was engaged for was for menswear. This made me wonder: Was she packaged up and defined as a particular character because of her appearance? I wanted to use my photos to shatter these preconceptions associated with her looks.”

《You Don’t Know How Beautiful You Are》(你不知道你有多美)这组在海边拍摄的作品是 Tseng Yen Lan 依照模特儿去创作的。“在还没认识这个模特儿之前,她接到的拍摄工作大多数是男性造型,这让我不禁怀疑,她是否因为外表而被包装和定义成一个特定的角色。我想用拍照来打破这个莫名的框架。”

From Tseng Yen Lan's You Don't Know How Beautiful You Are series. / 来自《You Don't Know How Beautiful You Are》系列
From Tseng Yen Lan's You Don't Know How Beautiful You Are series. / 来自《You Don't Know How Beautiful You Are》系列
From Tseng Yen Lan's You Don't Know How Beautiful You Are series. / 来自《You Don't Know How Beautiful You Are》系列
From Tseng Yen Lan's You Don't Know How Beautiful You Are series. / 来自《You Don't Know How Beautiful You Are》系列

In other projects, Tseng will often use nudity to discuss femininity. To her, nudity represents empowerment; it signifies confidence and a validation of self. These thematics are linked to her own experiences as a child. At a young age, Tseng was often bullied by her male peers, which resulted in a period where she struggled with body image issues and a lack of confidence.

Tseng Yen Lan 在其他摄影项目中,还常拍裸体的女性。原因是裸体在她眼中一直都是女性突破自我的象征,小时候曾经因为外表及个性强悍被男同学欺负,她对于自己和身体感到厌恶和不信任。

From Tseng Yen Lan's POLAROID IN THE ROOM series. / 来自《POLAROID IN THE ROOM》系列
From Tseng Yen Lan's POLAROID IN THE ROOM series. / 来自《POLAROID IN THE ROOM》系列
From Tseng Yen Lan's POLAROID IN THE ROOM series. / 来自《POLAROID IN THE ROOM》系列

“When I met these girls who were confident and brave enough to bare themselves in full in front of the camera, I was inspired and encouraged,” Tseng shares. “I continue to shoot women because I want to celebrate their confidence.”


From Tseng Yen Lan's POLAROID IN THE ROOM series. / 来自《POLAROID IN THE ROOM》系列
From Tseng Yen Lan's POLAROID IN THE ROOM series. / 来自《POLAROID IN THE ROOM》系列

Aside from her regular photos, Tseng is also an avid Polaroid shooter. The appeal lies in the medium’s instantaneous nature and the necessity for precision, seeing as how postproduction isn’t an option when it comes to Polaroids. It’s a medium that she feels to be in tune with her approach of capturing subjects just as they are. “In the past, I used Polaroids just to practice my photography. When I’m on a real shoot, Id play around with a Polaroid to build rapport with the models. But after time, I felt more comfortable with it than any other cameras. This was a creative breakthrough for me. A good way to describe it might be to compare it with taking snaps on a cell phone camera – the resulting shots are much more organic and personal.”

Tseng Yen Lan 的作品中经常看到拍立得。拍立得是即刻的一次性创作,不能修图,也不能事先设定光影效果,但这样的媒材却可以更仔细、细腻的捕捉到女性当下的样子,这种特性与她的创作理念十分契合。“过去拍立得只是我练习拍照的工具,工作时我喜欢先用拍立得来建立跟模特儿的默契,但后来渐渐比任何相机都还习惯它,这让我在创作上有很大的转变。要形容的话,拍立得就像我的手机,拥有更多个人和私密的情感。”

From Tseng Yen Lan's POLAROID IN THE ROOM series. / 来自《POLAROID IN THE ROOM》系列

Website: www.tsengyenlan.com
Instagram: @_tsengyenlan


Contributor: Yang Yixuan



供稿人: Yang Yixuan

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Passing Time

March 2, 2018 2018年3月2日
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

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