Tag Archives: photographer

10 Inspiring Chinese Photographers

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

Bullying is an issue that affects schools and 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

On Femininity & Beauty

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: Yi Xuan



供稿人: Yi Xuan

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


Ever since China overcame its rampant opium problem of the 19th and early 20th century, the country has held an antagonistic stance towards mind-altering substances of all types. This aversion is even reflected in the language; In Chinese, “drug” translates to du ping, which literally means “poison,” a term that harbors a much more sinister connotation when compared to its linguistic counterpart in English. Anyone who grew up in a traditional Chinese household can likely attest to how they’re raised with the notion of all drugs being extremely addictive and inherently bad, with marijuana being no exception. Considering that such a negative outlook on drugs is rooted in the public consciousness, it’s no surprise that cannabis remains as stigmatized and illegal as ever in China and nearby regions. However, in the West, ganja has steadily been gaining social and legal acceptance in recent years.

Born in Korea, raised in the States, and now living in Hong Kong, photographer Alex Maeland has experienced first hand how divided Eastern and Western opinions can be when it comes to the subject of cannabis. His new photo series, “Flower”, which will be debuting at the McNamara Art Projects in Hong Kong this weekend, ultimately stems from a personal curiosity towards the cultural differences when it comes to the topic of ganja. By highlighting the beauty of cannabis plants through his photos, Maeland hopes to shed the stereotypes associated with the substance and invite people in the region to reexamine the taboo topic in a new light.

摄影师 Alex Maeland 在生于韩国、长于美国、现居香港,这样的生活经历让他亲身体会到了东西方国家的人们,对于大麻持有截然不同的看法。本周末,他将在香港的 McNamara Art Projects 展出其全新摄影系列《“Flower》(),而这个系列的创作动机正是出于他对世界各地大麻文化差异的好奇。Maeland 通过镜头,呈现出大麻植物的美感,希望借此改变人们对这种植物的一些偏见,并重新审视对这个禁忌话题的认识。

An image from the upcoming "Flower" exhibition. / “Flower”摄影展中的展出作品之一
An image from the upcoming "Flower" exhibition. / “Flower”摄影展中的展出作品之一
An image from the upcoming "Flower" exhibition. / “Flower”摄影展中的展出作品之一

“Spending enough time in places like Los Angeles, the stigma around weed has been dissolved by the micro interactions that normalize it into the everyday lifestyle of the average citizen,” Maeland shares. “Meaning, it is no longer relegated to the stereotypes that have plagued it in media and entertainment for a while. […] I thought it would be interesting to do a small photo show to re-position the dialogue around weed through still-life, botanical-photo-style art in a city like Hong Kong.”

Maeland 说:在洛杉矶这样的地方长时间生活后, 对于大麻的不好的印象也已经被冲淡,现在会觉得它只是普通人的一种生活方式。这意味着,在媒体和娱乐界的影响下,大麻一度被人们所误解,但现在人们对它的看法已经改变……所以,我想,在香港这样的城市里举办一个小型的摄影展,通过静物植物摄影艺术,让人们围绕大麻进行新的对话,应该会挺有趣的。

Harvested buds being hung out to dry. An unreleased image shot by Maeland at a Stateside grow-op / Maeland 未发布的摄影作品之一
Marijuana buds being air dried. An unreleased image shot by Maeland at a Stateside grow-op. / Maeland 未发布的摄影作品之一
A close-up image of trimmed marijuana buds shot by Maeland. / Maeland 大麻的特写摄影

Maeland views the opportunity to do a show on the topic of cannabis in Hong Kong to be much more impactful than doing something similar in the States, and rightfully so. In a region that still hasn’t accepted marijuana, in either a recreational or medical capacity, his aim is to encourage a candid discussion on the matter. “It is more relevant by doing it in a region that still doesn’t have any kind of relationship to weed in a legal sense,” he explains. “[…] The goal being to bring people together around a topic and push the conversation forward.”

Maeland 认为,在香港举办有关大麻的摄影展览比在美国做类似的事情影响力更大。事实也确实如此。他的初衷是,在一个无论是娱乐还是医疗方面都尚未接受大麻的地区,鼓励人们对这个话题进行坦诚的讨论。在一个仍未在法律层面上对大麻进行讨论的地区,做这件事件会更有意义。他解释道,“……我的目标是让更多人参与进来,一起推动有关这个话题的对话。

An unreleased image of a Stateside grow-op by Maeland. / Maeland 未发布的摄影作品之一
An unreleased image of a Stateside grow-op from Maeland, shot through a ventilation fan. / Maeland 未发布的摄影作品之一
An unreleased image of cannabis plants inside a Stateside grow-up shot by Alex Maeland. / Maeland 未发布的摄影作品之一

Cannabis aside, Maeland has found an interest in photographing flora of all types in recent years. From creating diptychs that pair flower bouquets with portraits to capturing the life cycle of store-bought roses, Maeland uses flowers to invoke specific moods and feelings in his photography. However, beyond their superficial qualities and narrative uses, perhaps more significant is what flowers represent to him. For Maeland, flowers symbolize growth and change, qualities that not only mirror his own aspirations as a creative but also share parallels with his ambitious goals for the upcoming exhibition.

Alex Maeland’s “Flower” will be debuting at Hong Kong’s McNamara Art Projects on March 3rd, 2018 and run until March 16th, 2018.

除了大麻之外,近年来 Maeland 特别热衷于拍摄各种植物。虽然花卉的确让他的照片更具视觉吸引力,但 Maeland 对花卉的迷恋不仅来自于它们的外表。他以双联画的形式,将肖像摄影与花卉的照片并列在一起,以捕捉一束玫瑰的短暂生命周期,他的作品常常会通过花卉来唤起观众特定的情绪和感情。但是,对 Maeland 来说,花卉不仅是一种叙事手段,更是成长和变幻的象征,而这也是他渴望在即将到来的展览中所探讨的主题。

Alex Maeland 的“花”(”Flower”)摄影展将于 2018 年 3 月 3 日至 3 月 16 日期间在香港的 McNamara Art Projects 亮相。

Opening: Saturday, March 3, 2018, 6 ~ 9 pm
Exhibition Dates: March 3, 2018 ~ March 16, 2018


McNamara Art Projects
202, The Factory
1 Yip Fat Street
Wong Chuk Hang, Hong Kong


Website: www.alexmaeland.com
Instagram: @alexmaeland


Contributor: David Yen

活动名称: “Flower”
开幕时间: 星期六,2018年3月3日,下午6点至9点
展览日期: 2018年3月3日——2018年3月16日


McNamara Art Projects
业发街 1 号
The Factory, 202室


网站: www.alexmaeland.com
Instagram: @alexmaeland


供稿人: David Yen

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


In both graphic design and photography, attention to composition and color are crucial in creating a visually engaging image. With these overlaps, it was only naturally for Tokyo-based graphic designer Ka_nai to begin dabbling with photography. While he doesn’t consider himself a photographer, he’s created an ongoing photo series dedicated to the random walls and building facades that’s grabbed his attention over the years. His ever-growing image collection, uploaded on Instagram under the hashtag #ザ壁部 (meaning “The Wall Department” in English), is a fun showcase of how his two skill sets feed off one another. Since the idea’s inception in 2012, his photos have inspired many others to contribute to the hashtag, which now boasts over 75,000 posts from users all over the world.

无论是摄影还是平面设计, 构图和色彩都是决定视觉效果是否有吸引力的关键因素。而东京平面设计师 Ka_nai 正是出色运用这两种因素,以墙壁和建筑立面为素材,创作出一系列令人惊艳的摄影作品。这是他的一个长期项目,他将这一系列的摄影作品发表在Instagram 上,统一贴上了标签 #ザ壁部(意为“墙壁部门”)。多年来,许多人也受到了这个概念的灵感启发,一起来丰富这个标签。现在,Instagram 上一共有超过 7 万个标签为 #ザ壁部 的帖子,发帖用户遍布世界各地。

Ka_nai describes his foray into photography almost as if it were an accident. He tells us, “Soon after Instagram launched, I saw one of my friends using it and was inspired to try it out myself. At the time, it was just about following my close friends and them following me back. Many of them had beautifully curated feeds that focused on certain themes, such as landscape or pets, so I started thinking about if I could do something similar. I happened to have a photo of this interesting, but dilapidated, wall sitting on my camera roll so I decided to throw an Instagram filter on it and post it. When I saw that it started receiving positive feedback, I thought ‘This is it!'”

Ka_nai 从不以摄影师自称,他说自己开始接触摄影也是纯属意外。“Instagram 出现后不久,我看到一位朋友在玩,就想着也去玩玩。那时候,我的关注者都是一些好朋友。但是我的很多朋友都会精心按照特定主题来管理自己的账号,所以我开始考虑自己是不是也可以做类似的事情。我在自己拍的照片堆里偶然看到了一张照片,上面是一幢残旧的墙壁,我用 Instagram 滤镜处理了一下,就发上面去了。结果发现大家都挺喜欢这张照片的,我当时就想,‘这正是我要找的主题’!然后从那时候起,我就开始专注拍摄墙壁和建筑立面了。”

While many of Ka_nai’s images are simple snapshots of mundane settings, his keen sense of observation offers a refreshing perspective on the ordinary. Similar to his own work flow, he urges creatives to think outside of the box and explore concepts from different angles, no matter what medium or discipline they might be working in. “For me, I find that when looking for good shots, I might have to walk around and examine a building from different sides,” he says. “Usually, the most interesting ideas aren’t immediately obvious.”

虽然 Ka_nai 作品大多都是平凡日常的场景,但他以敏锐的观察,呈现出令人耳目一新的视角。他鼓励创意人跳出思维定式,无论是以什么媒介或在哪个领域创作,都应该从不同的角度去探索各种概念。“我发现,在拍摄的时候,最有趣的墙壁往往不是一眼就能看到的。有时候,在一幢建筑的背面,你会找到更有趣的画面。”

Instagram: @ka_nai


Contributor: David Yen

Instagram: @ka_nai


供稿人: David Yen

The Comforter

For Korean photographer Wonjun Jeong, a blanket is essentially a barrier that can shield you from the chaos of life; it offers a moment of respite that allows for introspective clarity and recognition of one’s humble existence in the greater context of the world. At the same time, it forces a personal confrontation with feelings of futility, fear, relief, boredom, anxiety, and the suffocating nature of reality. His new photo series, The Comforter, depicting an unidentifiable subject wrapped up in a white duvet, captures all of these feelings in a quirky, unusual way.

《The Comforter》是来自韩国摄影师 Wonjun Jeong 的系列摄影作品,照片的主体是包裹在一条被子里部分裸露的人体。而正是通过这种遮挡自己视线的方式,Wonjun 试图以向内的审视来认清自己卑微的存在,并从日常生活中,甚至可说是从令人窒息的现实中,向人们传达出徒劳、恐惧、解脱和焦虑之感。

Jeong has often been haunted by a sense of apprehension, dread, and boredom. When overwhelmed by these feelings, he would retreat to his bed. The bed and duvet essentially became a sanctuary for him. Festering within, these negative emotions ultimately became the catalyst for The Comforter. “During that period in my life, I’d often just lie in bed and pull up the blanket over my head. At first, these emotions I felt would then spread internally, tormenting and confining me. But I began to wonder whether the feelings truly originated due to my own internal problem or due to my external influences. But within my blanket, I would begin to feel relief. Nobody can see me and nothing can influence me. I think the boredom and negative feelings I experienced was because I felt trapped by society. When I’m alone, I felt much more relaxed.”

最初想到以“被子”作为给人以安慰的物品,是因为 Wonjun 在想到未来的时候,有种无法排遣的焦虑和恐惧,日常生活又使他感到毫无生气。“在那些时候,我躺在床上,把毯子拉在头上,万千思绪蔓延开来,折磨着我自己,也禁锢着我自己。可我开始怀疑,这种感觉到底是我的内在问题,还是由于外在的影响呢?”

而在床上用被子蒙住头创造出的小空间,却让 Wonjun 感到很放松,“没有人能看得到我,也没有事可以影响我。”Wonjun 说那是他最后的一小块“私密场所”。“我觉得,我之所以感到空虚和沮丧,是因为我被社会所禁锢了吧。所以在我一个人的时候,我会觉得舒坦多了。”

In an effort to understand how Seoul – his city of residence and a place he’s become so familiar with – could have contributed to these negative thoughts, Jeong shot the entire project in various places he often visited around the city. “I wanted to shoot along my normal routes and in locations that I normally go to because I wanted to review the feelings I’d feel when I walked around these places,” he explains. “I also only chose spots where I could get my subjects alone because I want the audience to focus on the isolated figure and reflect on their experiences.”

Wonjun 说,之所以选择在自己生活的城市首尔拍摄这个系列,是因为“我想要选择我居住的地方、我行走的路线,然后回顾我每次行走其中的感受。并且,我只会选择没有人只有物的场景。我想让观众把注意的焦点放在被拍摄的主体之上,并且能映射出他们自己的经历。”

This photo series ultimately serves as an outlet for Jeong’s pent-up frustrations; it’s a reflection of similar feelings that many young Koreans experience today due to the imbalance of wealth within Korea’s social hierarchy. With no attempt to hide his disappointment, Jeong tells us, “There are countless troubles, tensions, and conflicts in our fast-growing country. The country’s rapid progress in such a short period has caused many societal values to be lost. In Korea, the conflict now is between the generation that experienced growth and opportunity and those who did not. It’s often said that Korean society is where young people must make many compromises and I agree. I share the same worries towards the future as many of my peers, and I’m deeply affected by them. I believe that a lot of changes need to happen in the future.”

相片中呈现的挫败感,亦是一部分韩国青年的写照。“大多数人觉得,当他们有什么问题的时候,原因常常都在于他们自己。其实却未必。我觉得问题之源可能在于人们所处的社会体系。”Wonjun 说,“在韩国,短时间内取得的快速发展,已经导致很多社会价值观缺失。经历过发展与机遇的一代人和没有经历过的一代人之间,存在着激烈的矛盾……无尽的忧虑、紧张和矛盾充斥在这个高速发展的社会。我也有这些忧虑,也深受它们的影响。但我相信今后一定会迎来改变。”

Click here to check out Conversation, a photo series co-created by Jeong that we previously featured.

点击此处,可继续浏览我们先前对 Wonjun 另一个系列《对话》(Conversation)的报道。

Website: www.hello-sailors.com
Behance: ~/WonjunJeong
Instagram: @zza_sam

Contributor: Chen Yuan

Image Courtesy of  Wonjun Jeong & Sailors Studio

网站: www.hello-sailors.com
Behance: ~/WonjunJeong
Instagram: @zza_sam

供稿人: Chen Yuan

图片由 Wonjun Jeong 和 Sailors Studio 提供

Ignorant Bond

“There are no flowers that always bloom and there are no flowers that die without blooming.”

Ignorant Bond is a photo series that reimagines the expected functions of everyday objects. Created by Thai artist Naraphat Sakarthornsap, the project uses floral arrangements to re-envision the gentle breeze of an electric fan, the flames of a gas stove, the intangible wait of an expected phone call, and more. By using colorful flowers as a narration device, the series paints these inanimate objects in a new light, revealing how there’s beauty to be found even in the mundanities of life. “Arranging various species of flowers with these objects and places allows me to fully immerse myself in these surroundings that are often neglected,” Sakarthornsap comments.


这个系列是Naraphat Sakarthornsap创作的摄影项目《Ignorant Bond》,不同颜色的鲜花连接起了日常物件:电扇与微风、燃气灶和烈火、电话与漫长的等待,花朵成为了图像叙事的主角,创造出某种诗意的对话,来表达物与物之间语焉不详的浪漫。“我把各种各样的鲜花放置到这些物体和场景中去,这让我再次沉浸到那些已被忽略的环境中去了。”Naraphat说。

Ignorant Bond was conceived during a stressful period in Sakarthornsap’s life, and this playful photo series helped him gain a newfound appreciation for the ordinary objects and places of his everyday life. “I just wanted to give myself a break from artwork creation that is full of stress and go back in time to when I created art for art’s sake without any social interferences.”


But one might wonder, why flowers? Is there a deeper meaning to it? The answers to these questions can be traced back to Sakarthornsap’s childhood when his passion for flowers began. Having long been infatuated with their beauty, the flowers in his photos have become much more than props for achieving his artistic vision – he describes his relationship with flowers as a familial bond, adding, “Flowers are just a different version of me. They allow me to learn more about myself.”

“If you ask me which type of flower best represents me, I’d say gardenias,” he tells us. “For each species of gardenia, they have their own different, beautiful shapes. They’re typically white in color, yet not completely so. Their fragrance is also hard to forget. And although the petals wither easily, the leaves last surprisingly long. It’s just like me. I might experience moments of weakness in my life, but I always have a solid root.”



Aside from considering flowers as a powerful tool for coping with stress, Sakarthornsap goes as far as to say they’ve been a beacon of light in dark times in his life. “Most of my artworks are created as therapy for negative feelings that have been rooted in my mind for a while and are hard to get rid of,” he explains. “I was born in a Thai culture which has social diversity, and I’ve learned about different cultural values through family and school. But still, people do not respect each other’s identity and always discriminate, generalizing others into groups, which causes pain and negative feelings. People who do that might think it is fun, but it might cause an inferiority complex to those who have suffered through it.”


Sakarthornsap considers himself lucky as he’s not only discovered an emotional outlet through art but has also been able to integrate his love of flower into his artworks. “What I want to tell everybody through my art is that we cannot be happy with everything in life, as everything that happens in our lives is based on social interference or culture that’s been well established and can’t be easily changed,” he says. “The only thing we can do is to learn how to understand it and find a way to live with it peacefully with the least impact on yourself and everyone else. Even though art cannot completely save me, it has effectively healed me.”


Instagram: @naraphat_s

Contributor:  Chen Yuan

Image Courtesy of 

Instagram: @naraphat_s

供稿人: Chen Yuan

图片由  提供

Under Great Northern Skies

Quinn Ryan Mattingly is an American freelance photographer and photojournalist who has been based in Vietnam for over a decade. His photojournalism career began in 2009 when he first undertook a photographer position at a magazine in Saigon. Since then, he has taken on assignments for notable clients such as The New York Times, The Washington Post, World Health Organization, and The Global Fund, among many others. In addition to editorial and commercial assignments, Mattingly dedicates himself to a series of personal projects, including his ongoing series, Under Great Northern Skies. Inspired by his first trip to the rural regions of Northern Vietnam in 2007, the project would not officially begin until 2011 when Mattingly became reacquainted with the region on a work assignment. Since then, he has visited the region at least once per year to explore new areas and to create new images. Mattingly tells us more about the series below in his own words.

美国自由摄影师和摄影记者Quinn Ryan Mattingly已经在越南生活了10多年。他的新闻摄影生涯开始于2009年,当时他在西贡一间杂志担任摄影师的工作。从那时起,他开始为许多著名的客户工作,包括《纽约时报》(The New York Times)、华盛顿邮报(The Washington Post)、世界卫生组织和全球基金(The Global Fund)。除了杂志和商业作品,Mattingly还一直致力打造一系列的个人项目,包括他目前正在进行的《Under Great Northern Skies》系列。这个摄影项目的灵感源于他在2007年第一次探访越南北部农村地区的旅程,但项目正式开始是在2011年,当时Mattingly因为工作原因,再次踏足这个地区。从那时起,他每年至少都会到这里一次,去探索新的领域,创作新的影像。以下是有关这个系列Mattingly自己更详细的介绍。

“In my travels, I don’t think I’ve ever found a nation that differs so vastly from north to south as Vietnam. According to my own, admittedly fabricated, lore, I imagine the great hills and sharp peaks of the north as the scaly, rugged head of the dragon. The body winds its way down the majestic panoramas of coastline, ending in a collection of tails in the Mekong Delta.”


“These images, captured on several excursions in the region over the years, are a look at the lives and land of Vietnam’s great North. Busy city streets are nowhere to be found. Instead, bikes barely more durable than scooters ply their way up and down the pastoral slopes on imperfect trails, and trucks wind their way through endless curvature as the roads ascend and fall, all at a snail’s pace compared to the clip of city life. The work that sustains life comes in a much more manual flavor than it does in the cities as well, where even most earn a living only by long days and sweat of the brow. Here, a living can only be borrowed from the soil. Nothing valuable is given without effort.”


“And of course the faces are measurably different too. The Kinh language and features so familiar to us who’ve spent time in Vietnam are traded for ethnic features, dress, and cultures in numerous varieties – 54 if I’m not mistaken.”


“These hills hold great intrigue for me, offering sights and scenes not found anywhere else in the country, and I will surely make my way back again soon, when I hear the dragon calling myself and my lens away from the city and toward the great northern skies.”




Contributor: George Zhi Zhao



供稿人: George Zhi Zhao