FRESH MIRROR 奂镜 _
#1COLLECTED
#1COLLECTED 创始人 / FOUNDER Rodney Evans 总编辑 / MANAGING EDITOR Jay Mark Caplan 创意总监 / CREATIVE DIRECTOR Natasha Ivachoff 美术总监 / ART DIRECTORS Allan Marshall Rodney Ye 编辑 / EDITOR 徐浩腾 / Pedro Shiu 郑嵘凯 / Kai Zheng 谢梦韵 / Aroma Xie 插画 / ILLUSTRATOR 吴怡舒 / Stammy Wu 摄影 / PHOTOGRAPHY Samuel Croskery Milosh Gazdic FRESH MIRROR 奂镜 by Central Studios 上海市黄陂南路751号1号楼1楼, Building 1, 1F 751 Huangpi South Road, Shanghai 200025 www.centralstudios.cn © Central Studios 2015 All rights reserved May 2015 Shanghai, China
Dear Reader Central Studios exists to support the craft of talented creators. Part of that is providing cutting-edge technology, service, and a great space to do it in. But another aspect of great technique is inclusiveness and collaboration, which is really about great people. That’s the essence of our community. Fresh Mirror is a lens we can all look through to find a new way of seeing, a collection of perspectives from our community. This is an opportunity to reflect on the exciting creativity being produced by our friends, and an outlet to reveal the stories behind the images. Our inaugural issue #1COLLECTED consists of five esteemed fashion photographers each sharing the personal ideas, inspiration and spirit of their work. Thanks for being a part of our community. It’s been a great five (and a half) years, and we’re just getting started.
- Rodney Evans, Founder, Central Studios 亲爱的读者， 奂镜为充满才华的创意人而生。它的一部分使命通过提 供顶尖的技术、设备、空间与服务而实现，另一部分则 通过兼容并蓄既存的想法，并不断拓展新的合作而实 现。而这一切都与人才息息相关，他们是我们打造的创 意社区的灵魂。 -Fresh Mirror- 的诞生为聚焦这些创意人与发现新的合 作可能提供了一个崭新平台。我们讲述的是身边朋友的 故事，讲述他们每一次创作背后的真实心声，给予彼此 一个机会在新的讲述中发现创意的生命力。我们的创刊 号#1COLLECTED集合了五位圈中知名时尚摄影师的作 品，作品之外，他们还与我们分享了各自的创作灵感与 成长故事。 感谢成为我们创意社区的一员，与我们度过了五年（半） 的美好时光，但一切才刚刚开始。 - 奂镜创始人 Rodney Evans
李奇
LI QI
“We live in a world where the moment we open our eyes, all we see is color, from morning to night everything is color. That becomes boring, incredibly boring. I like black and white because it is simple.” “我们所处的世界本身，每天当我们睁开眼睛，看到的世界就是充满了这些 色彩的，从早晨到夜晚，各种色彩充斥其间。这些色彩渐渐让我觉得乏味， 特别乏味。我喜欢黑白是因为它简单”
01 FM: We hear you shoot very quickly. Why? LI QI: I like stuff with a strong rhythm. You know, like music... when I was little I danced, in middle school and primary school, I breakdanced. The reason I don’t like to shoot slow probably has something to do with that. I’m a pretty impatient character. FM: Does shooting fast give your photos a quality that you like? LI QI: If you shoot fast, and you can feel the rhythm of the shutter, click, click, I get excited by that. If I shot slow, then I couldn’t get that feel. It’s really more about that feeling than a fixed idea of how I want the end image to look. FM: You also like riding motorcycles. What attracts you to that? LI QI: Riding a motorcycle is really special. There you are, wrapped around this piece of metal. When there is rain it hits your body, when there is wind it whips against you, when there are people around they can see you, there is a direct connection, a naked feeling. That feels very comfortable. FM: Riding motorbikes is also fast. Is there something in common with taking photos?
LI QI: Well, the two of them have one thing in common, which is that only you can feel it, no second person can. I think this is the most important. FM: You’re also well- known for black and white photos. What do you like about black and white? LI QI: I prefer vintage photos, only an old image can make me very excited, even if the subject is quite unremarkable. Often there is too much color, and color is very dazzling, but also very boring, I think. Because we live in a world where the moment we open our eyes, all we see is color, from morning to night everything is color. That becomes boring, incredibly boring. I like black and white because it is simple. It has texture, it makes me very happy. FM: And portraits? LI QI: From very early on when I started to take photos, I liked portraits. Those of us who shoot, we believe ‘what you see is what you get.” A person’s heart is transparent in his appearance. All the contents of his mind are reflected in his face, in his eyes, surpassing a thousand words, surpassing change. That’s enough, that’s how it is.
A person’s heart is transparent in his appearance. All the contents of his mind are reflected in his face, in his eyes, surpassing a thousand words, surpassing change. That’s enough, that’s how it is. FM: What advice would you give to photographers seeking to achieve honesty? LI QI: If you think simply your work naturally becomes simple. Cultivate it, body and mind. When your heart is simple and direct, then the work you do will be simple and direct.
你拍照速度很快，有特别的原因吗？
那么肖像呢？
我喜欢节奏感，就是节奏感强的东西，就是音乐吧，小
肖像我从很早就开始喜欢了，接触摄影开始吧，我都已
时候也跳过（舞），很小，上初中、上小学的时候，也
经忘了什么时间，可能二十年前，差不多，二十年前或
跳霹雳舞，从小就对这种有节奏感的东西会很感兴趣。
者更久。它很直接，没有那么多啰嗦的东西。其实相由
拍照我不喜欢拍慢的原因可能也和我的性格有关系，性
心生么，我们拍人就是“相由心生”么，他的一切的内
格也比较是属于急性子。
容全部都心里所想的东西一切都表现在他们脸上、那双 眼睛里边，其实有的时候就是那么一张特写的照片，对
拍得那么快会影响质量吗？
于脸部的特写，其实胜过千言万语，胜过各种修饰，足 够了，就是这样。
如果你要是工作一旦转起来，节奏感很强很好，然后你 拍摄的速度、摁快门的速度、那个咔嚓咔嚓的节奏感，
你会给追求真实的摄影师怎么样的建议？
它会让我很兴奋，我会越来越有状态，慢了我就找不着 状态。对我来说，这种感觉比起去计划好最终会呈现出
想的简单就是自然做的简单了。修心么，正心修身。你
一个怎样的画面来说更重要。
的心很直接很简单很单纯，那么你做出来的东西一定是 简单直接的。
除了摄影之外，你也爱骑机车，这又为何而吸引你？ 开摩托车，我觉得它很特别，摩托车是你包着那块金 属，然后有雨的时候直接打在你的身上，有风的时候直 接吹在你的身上，周围的人想看的话他们可以直接看到 你，你自己能够感受到，你跟他们之间一种直接的，一 种赤裸裸的感觉吧。我觉得挺好玩儿的，挺自在的。
骑机车也是在追求一种速度，这跟你快速的拍摄风格有 联系吗？ 他们两个有一个共性，那个共性可能就是那一刻只有你 自己感觉的到，没有第二个人可以感受的到，我觉得这 个是最重要的。 你非常擅长拍摄黑白照片，为什么会热衷于黑白？ 首先，讲到摄影的年代，摄影诞生有一百多年了，早期 的摄影都是黑白的，因为那时候的科技的原因。那么 我又是一个比较喜欢vintage的人，我喜欢很多旧的东 西，那么只有老的影像能够让我很兴奋，即使被拍摄的 主题并不是那么有趣或鲜明。现在很多影像有太多色彩 了，颜色多到让人晕眩，甚至觉得无聊。因为这就是我 们所处的世界本身，每天当我们睁开眼睛，看到的世界 就是充满了这些色彩的，从早晨到夜晚，各种色彩充斥 其间。这些色彩渐渐让我觉得乏味，特别乏味。我喜欢 黑白是因为它简单，它是有质感的，它让我快乐。
范欣
FAN XIN
“I think the most beautiful light is vague, with many colors. Or to put it another way: the moments when things have yet to become clear.” “我觉得光线最美的瞬间，就是很多颜色都很模糊的时候。或者说： 很多东西还没有呈现清晰样子的时候”
02
FAN XIN: The concept is always kind of obscure. I might think about this color, or that quality of light. I think the most beautiful light is vague, with many colors. Or put it another way: the moments when things have yet to become clear. That is the most attractive time. So for this shoot, I shot just past dusk, when the light is the most vague. This girl is an actress, a friend. The props I chose because they seem to have the quality of water, shining and eye- catching, but not so pompous and obvious. Right – that should look really nice. FM: How do you get such honesty from your models?
FM: How did you get into photography? FAN XIN: Originally I didn’t want to do this business, ha ha ~ I mean at the start it was just because I saw some magazines, and looked at the photos, and it seemed the photographers made the models look very contrived, very nervous. I figured, ‘ok this is a job I can do.’ I was at the edge. And then I got my first job, and I got that because there was a photographer who didn’t want to work that day. So, someone put my name as a replacement. I didn’t have anything to do at that time, so I went to shoot.
I place great hope in the model’s being; I think everyone is mysterious, everyone has a black hole inside of them. When I put her in this environment that is unfamiliar, I am so curious to see how she explores the problems that it presents. FM: Many of your photos feel like scenes from a fantasy. When you shoot, do you have a story in mind?
FAN XIN: I don’t guide the model a lot when I shoot. I don’t tell her to smile, I don’t make jokes, I don’t admire her, or say things like ‘you’re beautiful.’ I speak very little, so little that everybody says I’m kind of slow, ha… but I feel there’s a lot of possibilities leaving it open in this way. I place great hope in the model’s being; I think everyone is mysterious, everyone has a black hole inside of them. When I put her in this environment that is unfamiliar, I am so curious to see how she explores the problems that it presents.
FM: Why do you think other photos lack this open quality? FAN XIN: I think that it’s the work environment. It’s so easy to be guided by it - very easy to accept this simplistic criterion. The concept of ‘beauty’ becomes very clearly regulated. People aren’t tired of that yet, so I think everyone will shoot like this. FM: What advice would you give to photographers who want unregulated beauty? FAN XIN: If you want to achieve a spontaneous feel, you have to find a middle space between known and unknown. What do you like? The orange light, for example, or you like the water, or you like this model. You always begin with something you really like, something you are sensitive to and familiar with. Then you bring the element of the unknown, the unfamiliar, into this well- known context. There, in the middle, you may find to space to shoot.
上，我觉得每个人的特质不是很一样，我也觉得每个人 都有一个“黑洞”。所以，如果她处于这个环境里，我 就会有很大的好奇心，想看看她是怎么样面对这个问题 的。所以大家都会说我比较“呆”（哈哈），但我觉得 是会有更多可能性在这里面。 为什么你认为其他作品缺乏这种真实性？ 我觉得现在的工作环境里，或者说在最开始的时候，应 该都很容易被引导吧，很容易接受这种简单化的准则。 就是把“美”变的非常条例清楚，而且，人们还没厌倦 这种模式，所以，我觉得大家都会这样。 你会给其他摄影师怎样的建议？ 如果我也想拍这种特殊的感觉，就是多和她／他多待一 段时间，花一点时间在她／他身上。你总要和他们相处 一段时间，对他们很熟悉。或者说你喜欢这个橙色的 光，比如说你喜欢这些水，再或者，你就是喜欢这个 你是如何进入摄影这一行的？
人。我觉得这个中间，你总要有个东西你是很喜欢，很 敏感的。那你就能把你不认识的，你不熟悉的东西带入
我当初也没有想做这个行业。一开始我想拍照，只是因 为看了一本杂志，上面有别人拍的照片，我觉得这个事 我也能做。这些模特面对摄影师的时候，非常做作，非 常紧张。我当时就幻想着我可以在边上，完成一些其他 的工作。我第一次工作，是因为有个摄影师当天不想工 作了。所以，别人就把我叫去了。那个时候我也没什么 事干，然后就去拍了。 你的许多作品都让人感觉恍如幻境，当你在拍摄的时 候，会在脑中构想一个故事吗？ 其实我每次在拍摄之前，也比较模糊。我当时就是在想 这个颜色，或者说这个光线。我觉得光线最美的瞬间， 就是很多颜色都很模糊的时候。或者说：很多东西还没 有呈现清晰样子的时候。我觉得那个时候才是最好看的 那一瞬间。所以，我就想在夜间，或者光线最模糊的时 候拍摄。这组片中的这个女孩是一个演员，一个朋友， 使用这些道具因为我觉得这些都很像水里的东西，它会 不停的闪，但又不显得那么浮夸。对，应该就挺好看 的。 那你又是如何诱导模特给出最真实的反应呢？ 我拍照的时候不太喜欢和模特说笑，或者说引导她笑， 比如说给她讲一个笑话，或者去夸她，“你很漂亮”之 类的。我都很少说话。我有时寄予很大希望在模特身
到你熟悉的环境和介质中间来。
郭濮源 CHARLES GUO
“You can say it’s real, because there is no retouching, but it doesn’t look real… that’s what makes it interesting.“ “你可以说它是真实的，因为我并没有使用后期，而是真实还原当时
的状态，但影像看起来又有不真实的感觉，这也是最有趣的地方”
03
photo is real. But the second meaning of ‘real’ is whether the intention is honest, and in fashion our intention is to shoot the clothes. Showing off clothes, shooting for an objective, to me this is not honest. For instance, if I go to Africa and there by the sea, I see a man fishing, and his body is so black against the blue see, so I take a picture… that’s a very honest picture. Everything occurs naturally. No artifice, nothing constructed. FM: But your fashion work is still quite beautiful. CHARLES: Shooting fashion is my work. For work, you cannot always pursue something honest, but still I will still not use much post- production, I still hope there will be something original of the moment in my photos. FM: You want your photos to reveal the real, but it seems you go out of your way to be unusual. Why?
FM: What do you consider a great photograph? CHARLES: Before, I used to love the style of fashion photography. That very prepared, pristine look. But now I want to make my photos real. Make photos out of what I see, not something pretend.
CHARLES: I hope my photos always have some aspect that is different, that is fresh, to provoke a new feeling. For instance if you shoot a cat, you can always find a way to represent it in a new way, so that the audience feels they have never seen a cat before. Photos should feel fresh.
FM: Is that what you were going for with the photos featured here?
FM: What advice would you have for fashion photographers who want to take real photos?
CHARLES: For these pictures, I used a long exposure and double flash. No post- production to get the effect, just one exposure for many poses. So you can see it’s as if pieces of the body are missing, no leg or no arm. Not much meaning here, more of a pure visual idea, the feel of several moments captured together. Every movement is natural, but in the end, the effect is uncanny. You can say it’s real, because there is no retouching, but it doesn’t look real… that’s what makes it interesting. No complete image, but a real feeling.
CHARLES: To feature in fashion magazines, you kind of have to shoot the same thing, but you can find another way to show it, a way with your own character. It’s about expressing your way of thinking. That’s how you give the audience a deeper feeling. But that’s hard to say, whether you can achieve this because of the light or how you use equipment. But for me, I know that when people see my work, they know, ‘this is Charles’ photo.’
FM: How do you achieve that feeling in your professional work? CHARLES: It’s not easy. When we shoot for fashion, we find a model, a stylist, a makeup artist, an environment, these are the prerequisites for a fashion shot. This way doesn’t feel real. ‘Real’ has two meanings, and in the sense that the subject is really there, yes the
For instance if you shoot a cat, you can always find a way to represent it in a new way, so that the audience feels they have never seen a cat before. Photos should feel fresh.
你说你的照片是想传达真实，但当中又有很多是表达超 现实的感觉，为什么？ 照片来讲，是我的一种视觉的表现，希望影像里总是有 一部分带来不一样的感觉。打个比方说，当拍摄一只猫 或一个动物，可以怎么把它拍得不太一样，不是平常会 你心目中好的摄影作品是？
看到的样子。照片里有特别的内容，在视觉上给人有新 鲜感，我觉得是很重要的。
我喜欢时尚摄影。因为比较喜欢拍人，一开始我比较喜 欢好看的人，漂亮的人，现在我比较喜欢真实的，比如
能给也想拍出真实的影像的时尚摄影师们一些建议吗？
说旅行中，在街上看到的人，和时尚没关系。 当拍摄时尚杂志，虽然同样是拍时装，但重点是如何 你这次提交的作品有任何故事在里面吗？
拍的不一样，来表达自己的风格与思想。但这很难说 是用哪种光或器材来概括，虽然这些都是构成照片的因
这次提交的作品，是一次性拍摄出来的，基本上没使用
素，但都不是最重要的，最重要的是思想上、视觉上的
太多后期处理，而是使用了一次的二次曝光。也就是只
东西。因为摄影基本上就是一种表达的工具，就好像
按一次长快门，但有两次的闪光，画面里模特有连续的
当你看到我的影像时，你就会知道“这是Charles的作
movement，所以， 会呈现身体有丢掉的感觉，可能
品”。
没有腿，可能手变形了，让画面变得有意思。 这组照片虽然没有太多的意涵在里面，主要是要呈现一 种纯视觉的感受，利用摄影的技术去抓住人一瞬间的 一种状态。你可以说它是真实的，因为我并没有使用后 期，而是真实还原当时的状态，但影像看起来又有不真 实的感觉，这也是最有趣的地方。不完整的影像，但表 露最真实的感觉。 那如何在摄影作品中去表达这种“真实”的感觉？ 这其实不简单，当我们进行时装拍摄时，会有模特、发 型师、化妆师、造型师及拍摄的场地，这些都是拍摄时 很重要的条件。但这样的照片反而给我不真实的感觉。 真实有两种意思，就像实际发生的事是真实的没错，但 拍摄时装大片是为了表现身上穿的衣服，这对拍人来说 相对就是不真实的。另一种意思是，流露的情绪是真实 的，就好比我之前去了非洲，看到海边有个黑人在钓 鱼，黝黑的肤色站在蓝色的水里，我觉得这就是很真 实，很美的一个影像。所有的事情都是自然发生，不是 刻意或人造出来的。 那这是否也全部反映到你的商业作品上呢？ 时尚拍摄是我的工作，而在工作上有时你不能太去追求 真实的东西，但我会尽量让我的照片没有太重的后期处 理，希望影像能传达视觉上的想法。
咖小西 KA XIAOXI
“When you see someone in a picture, you must be infected with one of his emotions. No matter what kind of mood, it should impress itself upon you.” “通过照片，你会被影中人的情绪感染到，不管是什么样的情绪，都 会打动你”
04
I like to shoot my friends. I want them to feel comfortable and relaxed. Then we can just play together and I take photos That way it’s not so nervous. FM: What makes you want to shoot someone? KA XIAOXI: I shoot people because I am interested. I particularly like the action they take, their eyes, their every move, all are very attractive to me. I like to observe them. In fact I rarely shoot, but I will always be carrying a camera and observing, waiting until the moment appears, when I think ‘this is the one,’ and then I will take a picture. As to why they attract me... well because they are nearby, so I shoot.
FM: You got your start in photography shooting rock shows. How did you get into that? KA XIAOXI: Back in ’98 or ’99 it wasn’t like every family had the Internet. So if you wanted to know about the music scene, there was only some underground magazines you could find, and back then, the quality of those photos was relatively poor. But still, those magazines had a subtle influence on how I like to visualize things. FM: What makes rock shows interesting to shoot? KA XIAOXI: It’s hard to say, because there are a lot of people who want to shoot the rock scene, but you will find that they cannot make an impression. They are just recording. Some people shoot the same thing, and you will be moved. FM: Okay, so how do you make them interesting? KA XIAOXI: You have to be real and natural, so others can feel resonance with you. Because if something is false, no matter how good it may be, then it will feel strange. Being natural, you will easily get people’s sympathy. I like to shoot my friends. I want them to feel comfortable and relaxed. Then we can just play together and I take photos That way it’s not so nervous.
FM: What’s your definition of a great photo? KA XIAOXI: I hope that a picture, from a composition point of view, is beautiful, but also that you can feel the emotion captured. This man, is he lively or depressed, sad or happy. You should feel him from this picture, you must be infected with one of his emotions. No matter what kind of mood, it should impress itself upon you. That’s how I define a good photo. If I can take this kind of photo then I think I was successful.
你最早是在拍一些摇滚现场，当时是怎么开始的？ 互联网在1998和99年还不是每个人家里都有的，当时接 受这些信息的途径很少，只能通过一些杂志，或是一些 地下杂志来获得这些资讯，然后当然那些照片都是质量 比较差的。但是当时（杂志画面）对现在的我喜欢视觉 化的东西有一个潜移默化的影响。 怎么能把摇滚现场拍得有意思？ 很难说，因为很多人想要去拍一些摇滚的现场，你会发 现他们的现场没法打动别人。他们只是一个现场的记 录。有些人拍的那个（感觉），你一下子就知道他打动 你了。 那你怎么做到让这些变得有趣？ 要真实和自然，这样别人才能感觉跟你有一种共鸣。因 为如果一个东西是假的，可能它再好，你也会觉得有一 些怪怪的。如果真实自然的话，首先你会很容易取得别 人的共鸣。所以我觉得，我跟朋友们的拍摄都会尽量让 他们自己觉得放松。然后，我们互相，特别是玩的时候 就把照片拍到了。这样也不紧张。 除了本身就是摇滚乐队的成员，拍摄乐队吸引你的地方 在哪里？ 我为什么对拍这些人感兴趣。其实我特别喜欢拍摄的人 的这些动作，他们的眼神，他们的一举一动，都是很吸 引我的。所以，我也很喜欢观察他们。然后，其实我拍 的很少，但我会举着相机去观察，直到有一个瞬间，我 觉得就是这个瞬间，然后就会拍。然后，至于为什么他 们会吸引我，他们就在我身边，所以我就拍了。 你如何去定义好的摄影作品？ 我希望这个照片，从构图和环境上看是美的，然后从 中还可以看到一些情绪的东西。就是这个人的活力或 是…… 包括今天是不开心，是忧伤还是高兴，从这张照 片可以看到，就是通过这张照片，你会有被其中的情绪 感染到，不管是什么样的情绪，会打动你。这就是我努 力去做的一张好照片，如果能拍到这样一张照片我就觉 得我就成功了。
YIN CHAO
尹超
“It’s very important to show the soul of the artwork, the story behind, so I insist to create a character for the model, to set up every shot just so. I want the photos to be meaningful to me.” “我更愿意去记录当下的故事，如果我不给拍摄的对象一个假定的角 色，或是有一个故事性的引导，这样的影像对我来说是没有意义的”
FM: What have you learned about photography since then?
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YIN CHAO: Chinese people are more into the artistic concept, like the mood when drinking tea, contemplating the atmosphere and beauty. This can also be said to be a spiritual journey. A while ago I went on a British magazine shoot, and the theme was ‘the journey,’ and at the time I was very interested about drinking tea, and this became my subject. Chinese traditional culture has a lot of experience and knowledge to offer, just like travel. I feel that fashion photography is about expressing what the photographer themselves have experienced, what they have tried and what they have felt, and photography is a process to put this feeling into photos. That’s why it’s important.
FM: You were in a band when you were younger. What attracted you to that? YIN CHAO: I joined a band in school because I found classes pretty boring. I wanted some interesting, unforgettable experiences in my youth, and school didn’t give me the same value of experience. We didn’t really know what we were doing; we were just a group of students coming together to play, who didn’t want to face the realities of finding a job. The band didn’t even have a name. I joined a band to realize my dream, but we did not really have a goal. That’s how I accidentally got exposed to another kind of life philosophy. FM: You don’t like school. So how do you approach learning? YIN CHAO: School was not the time when I began to study. The beginning was when I first came into contact with photography. That was when I found what to learn… and why I wanted to learn. The first time I went to work in a studio, just two days into work, the boss asked me what I wanted to shoot the next day. And I had no answer; I didn’t know anything about photography. That night I thought about it a lot: the lighting, the emotional content, the reaction from the models. I felt very alive, before I didn’t know what was the point of life or learning. Learning, fine, but what about doing? But after this moment, everything became meaningful.
I feel that fashion photography is about expressing what the photographer themselves have experienced, what they have tried and what they have felt, and photography is a process to put this feeling into photos. That’s why it’s important. FM: How does that affect the way you shoot? YIN CHAO: When I shoot I must control the shoot. It’s very important to show the soul of the artwork, the story behind, so I insist to create a character for the model, to set up every shot just so. I want the photos to be meaningful to me, I want more than a good photo: I want the photos to reflect the soul of the story. The elements you choose, the details present a full story behind… control and understanding are required to master this kind of storytelling.
年少的时候你曾组建了一个乐队，你是特别喜欢音乐吗？ 加入乐队是我还在学校的时候，因为不太喜欢学校枯燥 的内容，所以想给自己找点有趣的事儿。当时的出发点 很简单，就是想实现一些年少时实现不了的梦想，因为 在学校比较没有体现价值的地方。这是属于实验性的东 西，非创造性的东西。当时因为地域性的关系吧，视野 也没太广，只要有演出就很开心，并没有想过要变成大 明星。乐队其实没有名字，就是一帮学生经常聚在一起 玩，因为组建乐队有了一些临时的工作，但这又不是一 个能解决生计的方法， 而就在那时偶然间接触了摄影。 你讨厌学校，那你如何进行学习的？ 我现在回想，在学校里我的心是没有一刻在学习上面 的，直到刚开始接触的摄影的时候，我才知道什么叫做 学习，才知道为何要学习。刚开始工作的时候是在照相 馆，刚工作两天，老板就说隔天有人要来拍摄，要我想 想怎么拍。因为之前也没接触过摄影，当天晚上就想了 很多，怎么去拍摄画面，包括情绪，甚至模拟和他的对 话，当时就感觉自己有种被激活的状态。之前不知道生 活和学习是为什么，和学习之后要干嘛，但就在这瞬间 之后，一切都变得有意义了。 之后你从摄影中学到最重要的是什么？ 中国人讲究的比较是意境上的东西，就像喝茶时你会想 像的一些意境和美景，这也可以说是一种精神上的旅 行。当时是接受了一个英国杂志的拍摄主题：旅途。我 当时对饮茶文化很有兴趣，透过不断学习，以这个主题 拍摄了这样的一组片。通过这个拍摄让我渐渐又对喝茶 及中国传统文化有了更多的体验和体会。我觉得其实时 尚摄影本身就是要摄影师体验过，尝试过，感受过的真 实经历，才能通过照片把这种感觉传递给看到的人，而 这也是时尚摄影中一个很重要的任务。 你所学到的东西又反映在你的作品中？ 当我在拍摄的时候我一定要有能力去控制这个拍摄。我 更愿意去记录当下的故事，如果我不给拍摄的对象一个 假定的角色，或是有一个故事性的引导，这样的影像对 我来说是没有意义的。我要的比一张好的照片更多，我 更愿意让照片去体现这个人物的灵魂及画面背后所呈现 的故事，你拍摄中的任何一个细节，都是完整故事背后 的要素，都是需要去掌握、控制及了解的。