Tag Archives: photography

Intimate Strangers

Andie

In the lens of Chinese American photographer Jesuuna, the air is always suffused with a heavy grief. She captures wounded people who are only a camera’s distance away and gently lays their wounds bare before our eyes.


在美籍华裔摄影师 Jesuuna 的镜头下,空气中总是弥漫一股挥之不去的忧伤。她捕捉到那些受伤的人,与我们隔着一台相机的距离,把伤口轻轻揭开在我们面前。

Doi Kim
Doi Kim
Doi and Head

Of all photography’s charms, the most enigmatic is how it binds together subject and the spectator—utter strangers in real life—in an intimate relationship through the photographer’s gaze.

In the series Ache,  we see that the model is not smiling and has dropped all masks and defenses. Her expression is by turns vacant and estranged. We’ve never met the grief-stricken girl in the photographs, but we can almost touch her pain; when the pictures were taken, she must have felt a deep mental anguish. Jesuuna says the model is a good friend of hers from college, someone who always encouraged her to take the leap and pursue her dreams. When she first moved to Seoul, she stayed with her friend, who was then in a state of deep malaise. “One morning I woke up, saw her curled up on a yoga mat, and was immediately struck by her beauty,” Jesuuna recalls. “I then asked if I could take photos of her, and she obliged. We shot them a few days later on a humid afternoon with no plan in mind.”


摄影最神奇的魅力在于,拍摄对象与作为观者的我们在现实中之于对方原本陌生的存在,通过摄影师的凝视,都能化作一种只因摄影而联系起来的亲密关系。

在《Ache》(《伤痛》) 系列里,我们看到模特儿脸上没有笑容,她脱下一切防备和掩饰,眼神时而空洞、时而疏离。我们不认识照片中这个悲伤的女孩,却仿佛能触碰到她的伤痛,在拍摄这组照片的同时,她饱受精神不适所苦。Jesuuna 说模特儿是她大学时期的好友,也是一直以来鼓励她去勇敢追求梦想的人。“我现在住在韩国,当我在首尔与她同住时,一次早晨醒来看见她蜷缩在瑜珈垫上,当下我觉得她好美。我问能不能拍下这样的她,她答应了。几天后在一个潮湿的下午,我们没有任何计划的拍了这组照片。”

From Ache / 《伤痛》
From Ache / 《伤痛》
From Ache / 《伤痛》
From Ache / 《伤痛》

“A week later, when I first viewed the scans from the negatives, I teared up immediately, because I could see the affection I felt for her and the heartache she had suffered through,” she says.


“一个星期后我看到洗出来的底片,我立刻哭了。因为我可以从照片中深深感受到我对她的情感。而她却正在受苦。”

From Ache / 《伤痛》
From Ache / 《伤痛》
From Ache / 《伤痛》

At age eight, Jesuuna was diagnosed with a hearing problem, and since then she’s had to live with hearing aids. As a child she began to search for a different way to experience the world. One day she took her mother’s camera and discovered photography. “The camera became an extension of me,” she says. That’s how Jesuuna describes the medium’s meaning to her. It became a third sense, beyond sight and sound, and ever since that discovery she’s given herself body and soul to photography.

“Most of the time an image or feeling will be very strong and vivid in my mind until I create it. These ideas are uncontrollable, and only by manifesting them can I feel at peace, even if I’m not clear on what the meaning is,” she says. “I hope to create works that stand the test of time, and tell stories that are complex and evoke a myriad of emotions.”


Jesuuna 八岁时被诊断出听力有问题,从此需要戴着助听器生活。不能好好听见,她开始向外寻找另一种感受世界的方式。直到她从妈妈那里偷来一台相机,接触到摄影,Jesuuna 是这么形容摄影对她的意义:“相机就像是我身体的延伸。” 所见所闻之外,摄影成为她的第三个感官,从那时候开始她就全心将自己投入摄影。

“我脑中常常会出现很多生动、强烈到不受控制的画面和感受,我必须找个方法把它们表达出来,心里才能感到平静。虽然有时候连我自己都不清楚这些想法代表什么,但我想唯一不变的是我想做出经得起时间考验的作品——有故事、能引发人们强烈情绪的作品。”

Websitejesuuna.com
Instagram: @jesuuna

 

Contributor: Yi Xuan


网站: jesuuna.com
Instagram: @jesuuna

 

供稿人: Yi Xuan

White Night

Chengdu-based photographer Feng Li has worked on a single project, White Night, for over a decade now. The series, quirky and surreal, is a visceral exploration of the odd moments between and behind those we most often pay attention to. With no plans to stop or start on another, he says the series will only come to an end if he loses interest in taking pictures altogether.

Though in his early days he experimented with black-and-white and film photography, he now works primarily with a Sony digital camera and a mounted flash. Capturing everything in flash is a purposeful decision, often making it difficult to distinguish the time of day, a hallmark of the series.


来自成都的摄影师冯立,已经在单个摄影项目《白夜》(White Night)上进行创作逾 10 年了。这个系列离奇而超现实,它是对那些我们最会关注的人之间和其背后的古怪时刻的一种本能探索。由于还未计划停止或开始另一个摄影项目,冯立说,只有当他对拍照完全失去兴趣时,这个系列才会结束。

尽管冯立早年曾尝试过黑白摄影,但现在他主要使用索尼的数码相机和外接闪光灯。冯立此系列的一个显著特点,是在一瞬间捕捉一切,而这个决定带着明确的目的性,常会让人难以分辨出照片究竟是在一天中何时所拍摄的。

In an old article, the interviewer attempted to draw a comparison between Feng’s photography and his original field of study – Chinese medicine and acupuncture – writing, “It’s as though he approaches portrait photography as clinical cases. When the bulb’s warning light flashes, he’s able to accurately pinpoint the illness’s acupuncture point.” When I asked Feng, however, if he thought his previous profession influenced his artistic work, he replied that he thought the period had at most an indirect connection.

In such a response, one sees ties to the fact that even within the realm of artistic photography, he does not seem to care for either comparisons or a discussion of influences. White Night began when he was taking photos for his job as a photographer with the Chengdu propaganda department; that evening, he recalls, was particularly foggy, and the fog and the lights wrapped themselves around each other in surreal ways which reminded him of scenes from films by influential directors such as Angelopolous or Tarkovski. When I brought up this story, however, with a shrug, he replies, “It happens those are a few of what amount to the few films I’ve seen.” When I asked about photographers he’s named in the past as being of interest – Diane Arbus, William Eggleston, Nobuyoshi Araki, Han Lei – he said he had never used his own photographs to draw any comparisons to those of others, and that he rarely looks at photo books himself.


在一篇先前的文章中,采访者试图将冯立的摄影与他最初的研究领域──中医和针灸──进行比较,曾论及:“拍照时像是将人作为临床病例,总能在闪光灯发出警示的刹那找准病症的穴位。”然而,当我再问冯立他是否认为他以前的职业影响了他的艺术作品时,他的回答却是,他认为这段时期至多是一种间接的联系罢了。

即使在摄影领域,冯立似乎也不太爱比较或讨论影响的作用。《白夜》这个系列,开始于他在成都市宣传部门当摄影师的时候。在他记忆里的那个夜晚尤其模糊,蒸腾的雾气和朦胧的灯光,以超现实的方式把夜包裹,这让冯立想起了安杰洛波卢斯(Angelopolous)或塔尔科夫斯基(Tarkovski)等导演的电影场景。然而,当我提起这些的时候,他却淡然地答道:“碰巧这些只是我看过的为数不多的几部电影中的一部分。”当我问及他曾提起过感兴趣的摄影师,诸如黛安娜·阿伯斯(Diane Arbus)、威廉·埃格尔斯顿(William Eggleston)、荒木经惟和韩磊时,他说他从来没有用自己的照片来和这些人作比较,他自己也很少看影集。

It is difficult even to say that Feng considers himself an artist. Instead, he says, “I think of myself as a photographer, but use an artist’s style in order to think.” He has not tried other artistic mediums, and expresses no desire to do so. His primary inspiration, he says, is life, and his sole aim seems to be to approach life as a kind of unreal, storied fabric; he looks for unreal moments that to him ultimately comprise our chaotic reality. Nor does he spend his time fastidiously choosing the photos he likes best. There aren’t any unpublished White Nights photos, he says; basically anytime he takes a picture, he releases it online. Asked whether he minds that some have evaluated his work as ugly and amateurish, he said he’s never minded others’ experiences, and that ugly and amateurish are good evaluations as far as he’s concerned. Indeed, when I asked him to talk about composition and aesthetic, he claimed his photos have neither.


甚至,说冯立自认为是个艺术家也很难。反之,他说:“冯立没有尝试过其他艺术形式,也没有表达过这种想法。据他而言,他的主要灵感是生活,唯一的目标似乎就是把生活当作一种虚幻的、传奇式的材质来对待;他寻找不真实的时刻,且对他来说,这些时刻最终构成了我们混乱的现实世界。

对待自己喜欢的照片,冯立也毫不犹豫地直接发布,不经过任何选择。他说,《白夜》系列几乎没有未发布的照片,基本上任何时候拍下的任何照片,都会立刻在网上公开。

而当问及冯立是否介意有人评判他的作品丑陋又业余时,他的回答是,他从不关心别人的评论,而且就他而言,无论丑陋还是业余,那都是很棒的评价。事实上,当我请他谈论构图和美学时,他甚至声称他的照片根本不包含这些东西。

What, then, does Feng Li look for when he is photographing? Tellingly, when I asked him to describe a moment he’d been unable to capture, he said he was unable to describe it – “just like the moments I captured.” He told another interviewer that a good photo prevents you from understanding what happened and that it is filled with unknown, mystery, and uncertainty. I tried to go a step farther and ask what he thought a successful photo is, only to have him tell me that there is no such thing as a successful photograph – “just difficult-to-put-to-words photographs, no-way-to-use-writing photographs, or no-need-to-use-writing-to-describe photographs.” In terms of subjects, he says he can only run into them, that they cannot be sought out.


那么,冯立在摄影时在寻找什么呢?我请他描述一个他无法捕捉到的瞬间,但他却说这无法描述──“就像那些拍到的瞬间一样。” 他说,“一张好照片,它阻止了你理解发生的事情。它充满了未知、神秘和不确定的因素。”

我试着再进一步追问,问他认为一张成功的照片究竟是怎样的,结果他却告诉我,根本没有成功的照片这一说──“而对于被拍摄的对象,冯立说,他唯一能做的是与他们偶遇,而不是去寻找他们。

But despite his reticence to discuss influence, style, form, aesthetic, Feng Li has in fact expressed a pretty clear worldview throughout interviews and in his own artist’s statement: the world is problematic and in a state essentially of primeval chaos, such that a distinction between the real and the unreal is difficult to achieve. The moments he seize tell a story of a dangerous world, “reality’s others face,” an underbelly of existence that essentially is our reality, only too many people are too afraid to look directly at it. The only way to live, in Feng Li’s mind, is to do one’s utmost to understand the reality of existence through experiencing the world around oneself, the value of which cannot be replaced by others’ stories and experiences.


然而,尽管他不愿讨论影响、风格、形式、美学,但事实上,在整个采访和他发言中,冯立都表达出了相当清晰的世界观:这个世界是有问题的,本质上是一种原始的混乱状态,以至于很难区分真实与虚幻之间的差别。他拍下的一个个瞬间,都在讲述这个世界的危险故事,“现实世界是他人的脸庞”,我们所处的现实本质上正是存在的阴暗面,只是太多的人不敢直视它。在冯立的心中,唯一的方式就是通过体验周遭的世界,尽最大的努力去了解存在的现实,这种存在的价值是其他故事和经验所无法取代的。

For all that, though, he does not claim to understand reality; far from it. When previously asked to define his works in a few words, he responded he had finally reduced it to one: “Why?”

He calls eternity a question mark and says that he is still unable to understand the world, in the same way that he can’t express in words what his photographs might mean. This is a particular paradox: Feng thinks it of utmost importance to understand the chaotic world but rejects attempts to define or contextualize the photographs that attempt to capture that chaos. But paradoxes by nature wrap in on themselves: so perhaps the paradoxical nature of Feng Li’s mission – finding the unreal cracks that make our reality so real – made further inconsistency inevitable, and perhaps ultimately that is this artist’s point.


但即便如此,冯立却并不认为他理解了现实,甚至远不及理解。此前,冯立被要求用几句话来定义自己的作品,他最终简化为一句话作答,即:“为什么?”

他把永恒称为一个问号,并说他仍不能理解这个世界,就像他不能用语言表达他的照片的意味何在一样。而在这,矛盾显得尤其特殊:冯立认为了解混乱的世界是至关重要的,但他拒绝给那些试图捕捉混乱的照片下定义或加以语境。但这种矛盾自然而然地出现,所以,也许冯立的使命也正是相互矛盾的──去寻找使我们的现实如此真实的虚幻裂缝──以使得进一步无常性不可避免,或许最终,这就代表了这位艺术家的观点所在吧。

Website: fengli-photo.com
Instagram: @fenglee313

 

Contributor: Kiril Bolotnikov


网站: fengli-photo.com
Instagram: @fenglee313

 

供稿人: Kiril Bolotnikov

The Old

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

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


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

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

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

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


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

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

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

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


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

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

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

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


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

“如果我没有拍这张照片的话,我们就不会共度非常有趣的半个多小时。可惜的是,现在我再也没撞见过这样拉卷帘的瞬间,也没有再见过这位婆婆了。”

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

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


但是街上随处可见的老人,让人不得不对日本的高龄化现象萌生隐忧。照片中的老人们,难道一直离群索居、独自生活吗?他们真正的生活境遇又是如何呢?

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

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

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


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

“我经常拍摄的这些区域正在以惊人的速度发生变化,各处迷人的古老建筑正在被拆除。当然,这不仅仅是建筑物正在消失,还有曾经在其中居住的人。这也让我的摄影工作看起来更加紧迫,而且在某种程度上,显得更为重要。”

Website: leechapman.photos
Instagram: @tokyotimes_lee

 

Contributor: Chen Yuan


网站: leechapman.photos
Instagram: @tokyotimes_lee

 

供稿人: Chen Yuan

Dear Sky

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


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

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

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


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

下面即是由 Mebius 所拍摄的照片及他书中的片段节选。

“Sunan Airport City, September 14, 2016 ––

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

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


“平壤顺安国际机场,2016 年 9 月 14 日——

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

这些同志、爱国者们的团队努力,体现着体制教育的顶峰,犹如白头山(位于中朝边境的一座“圣山”)一样雄伟;而以“主体思想”(Juche,意为自立,是朝鲜劳动党的思想体系和理论基础,由金日成创立,因而也称为“金日成主义”)为导向的飞行,无论遇到什么障碍,历经多少个十年,或说政治形势如何,这个任务都已经完成了。”

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


《Dear Sky》现已于 Neocha商店限量发售。

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

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Product Details:

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

详情

  • 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

Losing Face

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


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

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


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

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


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

Website: arguspaul.com
Instagram: @arguspaul

 

Contributor: Shanshan Chen


网站: arguspaul.com
Instagram: @arguspaul

 

供稿人: Shanshan Chen

The Art of Censorship

During the 1960s and 1970s, Thailand was a thoroughly conservative place. In the West, sexual liberation had prompted a reexamination of values and views on sexual orientation, premarital sex, birth control, abortion, and expressions of desire, gradually freeing people from the fetters of antiquated thinking. But that wave of open-mindedness didn’t make its way east until later, and in Thailand any hint of sexuality was still viewed as dirty, obscene, and immoral.

At the time, a censorship law banned nudity—which after all tends to make people think of sex—in all public media, whether in print, on television, in film, or in art. Parts of this law remain in place today, and nude images in Thailand are still subject to strict controls.


六、七零年代的泰国,是一个极端保守的地方。尽管当时风靡西方的性解放运动(上世纪 60 年代从美国发起的社会运动,针对性欲的表达、性向、婚前性行为、避孕行为、堕胎……种种性价值观进行重新检讨)正把人民一步一步从守旧的思想地狱解救出来,在这波开明的理念东传之前,泰国依然处在一个任何有关性爱的联想,都被看作肮脏、淫秽、伤风败俗的年代。

比如裸露的身体容易让人想到性,所以当时泰国有这么一条法律,规定裸体必须接受审查,禁止在任何公开的传播管道上出现,印刷品、电视电影、艺术品都不行。这条法律一部分甚至沿用至今,所以在现今的泰国,裸体的影像依然受到严格控管。

That’s not to say there was no private demand for such images in the 1960s and 1970s. The popular erotic magazine Siam’s Guy is emblematic of the times. Like any erotic magazine worthy of the name, it contained all kinds of titillating photos, but given the government censorship, it couldn’t publish images with full nudity. Far from giving in, the editors took censorship as an opportunity to test their creativity: they let their imaginations run wild, playfully covering nipples and private parts in flowers, butterflies, blooming geometric forms, and other indistinct shapes. The images, which almost never appear twice, practically upstage the women themselves, becoming the magazine’s most conspicuous feature.


但是人们私底下寻欢作乐的时候不是没有这个需求——比如红极一时的情色杂志《Siam’s Guy》,它可是当年标志性的刊物。作为一本堂堂正正的情色杂志,里面可见各种性感的裸体照。但由于受到政府审查的限制,裸体照又不能大方的直接刊登。

可杂志编辑并没有因此打退堂鼓,反而心想“这是一个发挥创意的好机会”。于是他们异想天开,玩了起来,画出各种几乎不会重复的简笔画,比如绽放的几何形状、花和蝴蝶,或是你认不出来的有趣图形,覆盖在乳头和生殖器官上。这些图案抢尽了裸体女郎的风采,甚至成为杂志中最抢眼的部分 。

Tiane Doan Na Champassak, a French photographer who collects old photographs and magazines, stumbled across early issues of Siam’s Guy at a Bangkok flea market. The find set him on a journey to collect Thailand’s pornographic magazines, some five hundred of which now sit piled on his bookshelves. Eventually, he realized he had an encyclopedic collection of erotic censorship, so he scanned all the images and published them as a book titled Censored. “I was first drawn to the very sophisticated design,” he says. “In the 1970s many different erotic magazines were released, but none came close to the originality and quality of Siam’s Guy.”


有一位喜欢收藏各种老照片和旧杂志的摄影师的法国摄影师 Tiane Doan Na Champassak,一次偶然在曼谷的跳蚤市场上发现了早期的《Siam’s Guy》,从此开启了一段搜集早期泰国色情杂志的漫长旅程。在他的书柜里,堆叠了超过五百本这样的色情杂志。直到后来他意识到自己对于“情色审查”这个主题,已经拥有如百科全书一般的影像资料库。

于是,他把这些幽默的图像全都扫描整理成册,成为了共有六册的图集《Censored》(《被审查》)。Tiane Doan 说:“我想我最受这些杂志吸引的地方是它精致的设计。即使后来有更多色情杂志出现在市面上,但无论是质量上、原创性或创意上,都比不上早期像《Siam’s Guy》这样的杂志。”

Censored contains over four thousand of these photographs. “I find it amazing that all models posed completely naked in front of the camera later to be ‘covered’ so creatively,” says Champassak. “In some photos, it’s clear it would have been easier for them to pose in bikinis.” That way they could have complied with the censorship rules, and the results would have been more or less the same. But that’s exactly what they didn’t want to do—they wanted to be playful.


在《Censored》里,总共收录了四千张以上这样子的照片。有趣的是,这些裸身女子在镜头前摆出撩人的姿势,之后又必须想尽办法“遮盖”起来。 “杂志编辑不是有更轻松的方法吗?比如让模特儿穿上比基尼,或是避开特写的镜头——可以符合审查的规范,效果其实也差不多。但他们偏偏不要,他们就是要这样玩。”

Today, nearly half a century after the height of erotic censorship, nudity still hasn’t shed its negative associations: it’s often labeled pornographic, brazen, or even depraved, a view Champassak rejects as unnatural, unnecessary overinterpretation. “As for comparing the past and the present, not much has changed. Hypocrisy is still high,” he says. “Our societies are becoming more and more prude, and at the same time tolerating violence as if it were natural. What is natural is the body we were born with.”

Censored is now available for purchase on RVB Books.


时至今日,即使距离情色审查的年代已经过了近半世纪之久,裸露这个概念的负面形象尚未褪去,它依然容易被贴上腥膻色情、大胆、甚至荒淫的标签。这些看在 Tiane 的眼里,全部都是不自然、而且不必要的过度解释。 “我认为即使过了这么久,事情依然没有改善。社会上伪善的人还是很多,他们嚷嚷着裸体多么破坏风气,却对传播着更多暴力的东西视而不见。裸体不应该被当作禁忌,它不就是人的身体而已吗?”

《Censored》现已于RVB Books发售

Websitewww.champassak.com

 

Contributor: Yi Xuan


网站www.champassak.com

 

供稿人: Yi Xuan

Seeking Sacred

When visiting new places, traveling off the beaten path can often yield unexpected surprises, as was the case with photographer Enoch Contreras’s trip to Cambodia. Jaded by the hordes of tourists on his visit to Angkor Wat, he wandered off from the crowds in search for a moment of quiet and ended up stumbling upon an adjacent monastery. There, he was met with a monk covered in tattoos, a look that Contreras hadn’t ever associated with Buddhist practitioners. Intrigued by the disparity between his preconceived notions of monkhood and the monk’s actual appearances, he sought to learn more about their lifestyles. For the next few days, with the aid of a younger monk at the monastery who spoke passable English, he embedded himself within their community and produced the Seeking Sacred photo series.


每到一个新地方,独辟蹊径往往能让人收获意想不到的惊喜。摄影师 Enoch Contreras 在柬埔寨的旅程正是如此。前往历史悠久的吴哥窟旅游时,Enoch 避开了热门的旅游景点,却在偶然间发现了附近的一个寺院。

在这间寺院,他遇到一个身上布满纹身的僧人正在切菜,这位僧人看上去与 Enoch 印象中的僧侣形象如此不同,让他感到十分好奇。在接下来的几天里,通过一位会一点英语的年轻和尚的帮助,Enoch 得以融入到这座寺院的生活中,拍摄了《Seeking Sacred》(《寻找神圣》)这一系列的作品。

“I thought that all monks were serious practitioners who chose their path because they wanted to dedicate their lives to the teachings of Buddha,” Contreras told us.

But as it turns out, many from this particular monastery didn’t join out of religious devotion alone. For many of the monks there, Buddhism was more than a religious belief. The monastery provided shelter and food, and so, following the path of Dharma became a practical way for them to survive.

“Many of the younger monks especially,” Contreras tells us. “Their families couldn’t afford to provide for them so they were brought to live there where they knew their kids’ basic necessities would be taken care of. Others were orphans who came for the same reason, as a means of survival. One of the older monks became an orphan during the Cambodian genocide when he lost his entire family. He chose this path in order to maintain a life off the streets.”


“我一直以为僧侣都是严肃的教徒,他们之所以选择成为僧侣,都是想为佛陀的教诲奉献出自己的生命。”Enoch 说。

然而,他发现,在这座寺院里,许多僧侣最初都不是出于纯粹的宗教信仰而加入的。对于这里的许多僧侣来说,佛教不单只是一种宗教信仰。寺院能为他们提供住所和食物,所以,遵循佛法的道路也成为了他们生存的途径。

“对于许多年轻的僧侣,尤其如此。”Enoch 解释道,“他们的家人因为无法负担他们的生活,才把他们带到这里,因为他们知道,小孩在这里可以得到基本的生活必需品。而另一些僧侣则原本就是孤儿,来这里也是出于同样的原因——生存下去。寺院里有一位较年长的僧侣在柬埔寨大屠杀期间成了孤儿,为了免于流落街头,他也选择成为了僧人。”

With an authentic interest in these monks’ lives, Contreras was able to create compelling photos that are a refreshing departure from the typical, detached perspectives of a photographer experiencing a new culture for the first time. Seeking Sacred shows these monks not as mysterious zealots. but reveals them for who they really are, as regular people with their own hopes and struggles. “When there were no tourists around, they relaxed and allowed themselves to be exactly who they were without any masks,” he tells us. “They were gritty and playful, yet balanced by their beliefs. Despite their decision to walk the path of Dharma, they were still holding on to who they were before they became devoted. That’s exactly what I wanted to show.”


通过深入了解生活在那里的僧侣,Enoch 的照片不同于业余摄影师照片中那种置身事外的视角。在《Seeking Sacred》镜头下的僧人,并不属于一个神秘的狂热宗教,相反,这些照片呈现了他们内心真实的一面,和普通人一样,他们也有着自己的希望、梦想和奋斗。“我想表达的是,尽管他们选择了佛教,但他们仍然坚持着做真正的自己。当周围没有游客时,他们会放松下来,卸下面具,做真实的自己。他们坚强又风趣,同时有着自己的信念。”

Websitewww.enochcontreras.com
Instagram: @enochcontreras

 

Contributor: David Yen


网站www.enochcontreras.com
Instagram: @enochcontreras

 

供稿人: David Yen

Persona

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Ao Kim Ngân (aka Yatender) is a Vietnamese photographer who enjoys being in front of the lens. She shoots self-portraits that capture her own feminine essence in all of its authenticity, vulnerability, and sensitivity. From peculiar poses alongside household furnishing to drips of menstrual blood dispersing in toilet water, Yatender’s softly lit photos are surreal but intimate. Despite having achieved an aesthetic and style that’s easily recognizable, Yatender humbly tells us, “I actually never think of myself as a ‘photographer,’ as I usually only take photos for myself.”


越南摄影师  Ao Kim Ngân (a.k.a Yatender) 喜欢把镜头对着自己,捕捉自己身为一个女性, 最真实、最脆弱、最敏感的时刻。在柔和的光线中,她拍摄自己摆的奇怪的身体,经血落在马桶里自然散开的红晕、或是和家中一些摆设的互动……透过日常的物件,当然还有她自己,创造一种既亲密又迷离的氛围。尽管早就自成独特的摄影风格,但她说 “我从不觉得我是一个摄影师。因为我拍自己,也只为自己拍照。”

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“Before I started photographing myself, I was my first love’s muse for a long time,” she recalls. “After I started to develop a sense for photography and considered creating something with a camera of my own, I felt there was something missing in the process of making photos with others, so I chose to shoot and work with myself. It made sense to me because who else knows how we wish to be captured in front of the camera better than ourselves?”


“在拍摄自己之前,我长期是我初恋的拍摄对象。跟摄影开始建立关系后,我一直觉得与别人之间的合作好像少了什么。于是当我拿起相机,第一个想到的就是拍我自己。这不是很合理吗?因为有谁会比我自己更清楚我想要捕捉的画面呢。”

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And thus, the Persona series was born. In the early days of the series, Yatender solely shot with a digital camera. But four months into the project, she picked up her first point-and-shoot film camera and fell in love with the graininess and subdued tones that comes with shooting analog. “I found that there are some limitations with shooting film that really amazed me: the unexpected results, the excitement of waiting for a roll to be developed, the strangeness and unusualness of a ‘bad outcome,’ and so on. It’s these unique qualities that have made me such a huge film lover.”


当《自画像》(《Persona》) 系列刚开始进行时,Yatender 用的是数位相机,四个月后她得到一台底片相机,从此就用底片拍摄。赋予了她作品中这样温柔的色调和特别明显的颗粒感。“我想我喜欢用底片的原因是它的限制——无法预期的结果、和等待它们被冲印出来那种紧张的期待感。最不寻常的惊喜常常都是来自一张‘坏掉’的照片。”

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For Yatender, photography isn’t merely a way for her to capture specific moments of her life. She often doesn’t face the camera in her self-portraits, purposeful avoiding eye contact with viewers. Other times, a movement or lone body part may be the sole focus of a photo. With this approach, she sees her photography as being more of a vessel for her emotions. “This process helps me learn how to accept feelings as a part of our body,” she explains. “To me, the most important thing is being honest with yourself about how you feel – even when you’re hurt or not feeling well. We’re human beings. We’re sensitive and vulnerable creatures, and it’s okay to not always be okay when it comes to dealing with anxiety, stress, or depression.”


Yatender 想透过摄影捕捉的不仅仅止于她某个瞬间当下的样子。很多时候她选择背对镜头,不与我们对视,透过一个肢体动作,她想记录下来的是自己的感受。“情绪也是身体延伸出的一部份。对我来说,最重要的是要对自己的感受诚实——不管你是受伤了、或是感觉不好 。我们都是人类,是敏感、脆弱的生物。并不需要一直假装感觉良好,尤其是当焦虑、压力、忧郁来临的时候。”

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“My life is actually pretty ordinary – sometimes quite boring,” Yatender confesses. “The fact that I only feel alive and driven to take photos when I’m traveling means that I’m often struggling to find inspiration here in Vietnam. It’s hard to stay in one place for too long and still maintain productivity.”

She admits feeling disheartened by the stagnation of Vietnam’s creative environment, believing that the art scene is severely hampered by the country’s authoritarian governance. However, at the same time, she remains optimistic towards the future. It’s limited, underdeveloped – but it is growing – albeit slowly. I truly believe that it will change in time. There are a lot of good opportunities for young artists here to develop themselves and their work.”


“我的生活很平凡,甚至有一点点无聊。我一般都是在旅行路上会获得灵感和特别想拍照,这表示我在越南没办法得到很多刺激。但我想待在同一个地方太久,无论是什么地方,都会有同样的倦怠感。”

谈到越南的艺术创作环境,Yatender 抱著有点灰心、但依然乐观的态度。她认为越南是个被政府控管的社会,艺术产业受到相当程度的限制。“即使现在越南的艺术环境还没完全发展起来,但是已经有在成长了,以一种缓慢的速度。这是我的看法,年轻的艺术家有越来越多机会,我相信情况总有一天会变得更好。”

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Websitecargocollective.com/yatender
Instagram: @yaothemoon

 

Contributor: Yi Xuan


网站: cargocollective.com/yatender
Instagram: @yaothemoon

 

供稿人: Yi Xuan

Unexpected Boxes

A behind-the-scenes look at how Unexpected Boxes was created.

Taiwanese artist Sydney Sie is a photographer and graphic designer who creates surreal, dream-like pictures that blur the line between imagination and reality. Using pastel colors and playful illusions, her work radiates a gentle feminine energy that eases viewers into each scene. Sie approaches every project like they’re her personal playgrounds, places where she can use candy-colored backdrops, mundane props, and familiar body parts to play games of hide-and-seek with the viewers.


来自台湾的谢昕妮(Sydney Sie)是一名摄影师,也是一名平面设计师。如果说要用一个词来概括她的作品,那或许就是:如梦似幻。

她的作品经常充斥着渐变的色彩、错位的视觉效果和柔软的女性气息。平凡的人物和场景,似乎统统隐匿在纯色背景之后,相片中呈现出来的只有经过筛选的景物,宛如置身真实与虚假的边界,并将其镶嵌到一个糖果色的故事气氛中去。

An image from Unexpectable Boxes
An image from Unexpectable Boxes

From the color usage to the methodical compositions, Sie’s experience as a graphic designer shines through in her photography work. But this intermingling of cross-medium concepts doesn’t end there. Having graduated with a degree in animation, influences from her major are also evident in her work – this is perhaps most apparent in her usage of close-up shots and attention to layering. Sie believes merging concepts from all three is what allows her to tell a complete story. In her eyes, photography should be more than just documenting reality – they’re opportunities to create something completely original and never before seen.


无论从色调还是构图的角度来看,Sydney 的作品都带有平面化的风格,那是因为平面设计出身的她,在研究所时期读了动画专业,所以她常用特写镜头,构图也更分解化。但 Sydney 觉得,这样反而更接近“完整呈现”,因为对她来说,摄影不仅仅是“记录”,更是“创造”。

A behind-the-scenes look at how Unexpected Boxes was created.
A behind-the-scenes look at how Unexpected Boxes was created.
A behind-the-scenes look at how Unexpected Boxes was created.

“I like to capture the surreal moments of ordinary life,” Sie tells us. “Rather relying on the pre-existing beauty of subject matters I’m capturing, I like to create unique settings and look at things from atypical perspectives.”

Each one of Sie’s projects is a window into the varied terrains of her active imagination, and this willingness to push the limits of her creative boundaries is what has captivated viewers again and again.


“我喜欢去捕捉现实生活中的超现实时刻……我喜欢去创造一个新的空间,或是新的构图,不依赖本来就很美好的东西。”但或许这就是 Sydney Sie 作品的魔力,让人在她创造的色彩梦境中,不断流连徜徉。

An image from Unexpectable Boxes
An image from Unexpectable Boxes
An image from Unexpectable Boxes
An image from Unexpectable Boxes
An image from Orange Requiem
An image from Orange Requiem
An image from Orange Requiem
An image from Orange Requiem
An image from Orange Requiem
An image from Orange Requiem

Website: www.sydneysie.com
Behance: ~/sydneysie
Instagram: @sydneysie
Vimeo: ~/sydneysie

 

Contributor: Chen Yuan


网站: www.ydneysie.com
Behance: ~/sydneysie
Instagram: @sydneysie
Vimeo: ~/sydneysie

 

供稿人: Chen Yuan

Between Two Cultures

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


许安荣是来自纽约的一名摄影师和导演。在中国出生,后在纽约唐人街长大,许安荣以自己独特的文化视角探索他身边的世界。他的作品以弥漫着朦胧愁绪的电影美学为标志,尤其擅长捕捉平凡人的美。

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。”

 

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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。”

 

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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.”


在许安荣的镜头下,他的拍摄对象总是呈现出一种讲述故事的欲望、亲密的情绪和复杂的情感。他解释了自己是如何去了解拍摄对象的:“接近他们时,我会先尽可能做充分的调查,思考应该怎样去接触他们,在我们之间建立信任和亲密感。我最喜欢做的事是去散步,所以如果可能的话,我常常会带着拍摄对象一起散步,沿路看他们做的事情,去观察他们和他们的心情。”正是这种真诚的创作方式,令许安荣的摄影和电影作品在情感上格外引人入胜。他用一句话概括道:“如果一张照片能让我除了看到画面上呈现的答案之外,还想要去追问更多的问题,那么在我眼中,这张照片就是美丽的。”

Website: www.anrongxu.com
Instagram: @anrizzy

 

Contributor: George Zhi Zhao


网站: www.anrongxu.com
Instagram: @anrizzy

 

供稿人: George Zhi Zhao