1、首先，我想了解一下你这次展览的创作灵感是什么？为什么选择第零空间？你还有没有在国内和海外有过艺术展览？

　　这次展览属于机缘巧合，随着2011年《镜子中的地平线》个人摄影作品集的出版，可以说作品展的雏形已经成熟了。我不迷信缘分，但相信缘分的存在——随缘。一方面第零空间做过很专业、学术性很强的展览，让我信任；另一方面更是由于第零空间主人和策展人对于我作品的理解与由衷的喜爱，并专门为了本展览对画廊空间进行改造，你能看到画廊中弥漫的阳光光线与洞窟般的布展效果的对仗，这可以说是对我作品“琴瑟和鸣”式的最佳的阐释。

　　2、你可不可以告诉我们一下（介绍一下）你这次摄影展里所有照片所用到的特殊的摄影技巧（技术）？你是怎么想到要用这种摄影技术的？你可不可以给我们举一个例子描述一下这个摄影技术的几个步骤？

　　对于影展作品中所使用的技巧，其实没有什么神秘可言，“反转”也即负向、或“负相”，熟悉胶片负片的话可以说一点即破。反转是很容易的，关键是为什么反转？反转之后是什么？以及它所承载的是什么？

　　利用这种技术源于一个偶然的发现。2004年，曾使用4×5英寸黑白胶片去云冈石窟拍了一些片子，在使用放大机放大照片的时候，放大机镜头下斑斑驳驳的细节真是非常诱人，于是期待相纸显影后“杰作”的产生，然而，相纸显影之后却发现平淡无奇了。原本斑驳的那些细节全被光影吞没掉了，这样就感觉特不过瘾，总觉得应该把它再反过来，再把放大机下边的那种让我激动的感觉做出来。

　　最初采取的技术是这样的，使用4×5黑白胶片正常拍摄，正常冲洗；将4×5胶片电分后，在photoshop中将电分得到的正相再反相过来，就变成一种负片的效果，这时，感觉就基本上出现了；但是关键问题是“负片”的黑白多分布是不完整的，与人的正常视觉感觉不一样，这样会带有一种很强的不完整性。这时需要在电脑上继续修改画面，对画面整体黑白布局进行调整，弱化负片的感觉，强化我的感受，因此，后期实际更像是绘画的工作。

　　最后，选择无酸的仿银盐相纸，艺术微喷打印输出。

　　3、这种摄影技术是如何帮助你表现，支撑这次摄影展览的主题的？

　　摄影是影像制造的重要方式，但绝不是影像制造的唯一方式。这种技术途径帮助我走出了摄影的一般习惯路径，成为我内心视角的表达语言。

　　以黑白“负相”方式创作，物体突出、且受光的部分，“反转”之后变得浓重、而细节分明；靠后的部分、特别是位于缝隙中的部分，由于受光少之又少，变得透明甚至显现出纯粹的纸基，其打破了人习惯的“真实”视像。它不再是真实世界、不再是光影的复制，而成为一种新的影像存在方式，一种“心像”。其不再受光影的影响，而是让细节来唱主角。这样，就能够更充分地显现我心中对于物象、对于光线、对于影像的思辨的认识。

　　这种摄影技术，让“斑驳的细节”重现出来、让消融在光影中的佛像又重现出来，使我的所感所思得以表达。

　　4、基于您这次展览的技术来源于暗房技术，你是不是刻意回避现在所有照片都经过数字处理的数字摄影技术？

　　完全没有，我从不回避数字技术。我觉得摄影师应该是开放的，而且是内省的，要勇于尝试众多的摄影技术，并时刻关照内心，以逐步发现适合自己独立视角的摄影技术或技巧。

　　5、从您的书中，《镜子中的地平线》，我有一种感觉，您在非常努力的希望通过您的作品，能够让您的读者们多多注意到生命中一些少见的，难以见到的一些侧面，以及精神上和看不见的联系？您可不可以和我们讲讲您的看法？

　　原本，我们的生命是多彩的，而且我们每天都会有众多的可能选择。然而，作为生命的个体，由于追求、观念和目的等原因，我们常常会忽略很多很多的过程与细节，或者说侧面，而只游走在自我的轨道上。也许，换一个视角、换一种心情，你就会在身边发现另一种美丽，哪怕是一个小小的感动。我觉得，作为艺术家重要的就是获取和传递这些让你感动的“意外的”美丽，因为这些往往是人内心“至纯至真”的东西。

　　6、您的照片里同时有一种不寻常的风格，感觉您特别赋予了您每一张照片一种古老的感觉。请问这种风格是您的一种有意识的决定么还是一个巧合？您的照片同时还和中国的石刻碑碣，一种在黑花岗石上的灰白色雕刻，有一种不同寻常的关联，这是否是一种在您的理念上的一种和中国文化的呼应，还是这只是一种巧合？

　　这种古老的感觉，是与中国汉代“画像砖”拓片的意趣相融的契合。这种契合来自偶然的发现，更来自有意识的“坚持”与固化。

　　最初的石窟影像制作给了我很大的启发，也就是反相后黑的东西变白了，白的东西变黑了，就是过去在前边受光照很强的这部分，反过来之后它变暗了；而越往后越在阴影当中，越黑的东西变成了越透明的，变成了白的，这样的话就出现了“佛光”，佛像好像在光中一样，出现了一个这样的情节，这就感觉挺有意思了。一是像“佛光”的味道出现了，画面有一种光的存在；再有，就是像汉代画像砖的韵致，感觉特别像拓片。于是，把这一发现和联想固化并发扬，我的画面中便有了内在“光”的出现，这和绘画语言中的追求是相通的，即画面内部是发光的，很多绘画大师都运用此法创作了杰出的作品，如高更的名作《我们从哪里来？我们是谁？我们往哪里去？

　　中国经典的山水画《早春图》中也有光的因素，但这种光有别于太阳的可见光，而是基于思考和想象的理解之光，也可以说是物体内部发出的光。在中国古代人的心中，物体自身发光是可以理解的现象。贡布里希在《艺术与错觉》中谈到：“中国古代艺术传统所关心的要点既不是物象的不枯，也不是似乎可信的叙事，而是某种称为“诗意”的更为近真的东西，但是他这样做是要记录并唤起一种心境，而这种心境深深根植于中国关于宇宙本质的观念之中”。这正道出了中国宇宙观的特点，即物我相融的宇宙观，外部宇宙与个人心境从不分离，中国人在思索无限宇宙时并不把它当作隔绝于自我的外在客体，而是“深着我之色彩”。

　　这种摄影方式的内在美学传承，除了来自中国传统的物我相融的宇宙观之外，我自认为还来自传统中国水墨山水、来自于“计白当黑”的绘画理念。这和我从中学时代就开始学习中国画艺术有关，中国山水“宜游”、“宜居”的意境，早已深入骨髓。我的作品直接摄取于影像（光影复制）反相而得，是基于摄影语言的发展与再创作，其进行影像判断、判别的核心却是中国传统式的审美，是计白当黑之法。

　　7、在摄影世界里，请问谁是您的精神上的偶像，或是给与您灵感最多的人？

　　因为原本是搞绘画的，所以绘画界的大师们给了我很多灵感和精神上的寄托。在摄影师中对我影响较大的有，爱德华•韦斯顿作品中的质朴与精美，杰里•尤斯曼作品中纯真与灵动、充满想象的空间，当然还有安塞•亚当斯作品中的静谧与真诚。

　　在摄影学习过程中，跟冯建国老师有一年多的时间，学习4×5相机摄影，学会了技术、观察与摄影的心智；宿志刚老师的很多观念让我开始关于“自我”的自省式的思考与寻找，让我觉醒；解海龙老师给了我方向的指引与肯定，支持我走到今天，他从事摄影的热情与执着对我影响很深。

　　8、作为一名教授，你是否会对学生们的具有创造力的艺术方向感到兴奋？

　　是的，我对学生们的具有创造力的艺术尝试感到非常兴奋。我要求学生不要像我，而是要寻找自己，他们做到了。我的学生三次获得平遥国际摄影大展的“新人奖”，让我非常欣慰。

　　9、您的作品中的主体都是经得起时间的考验的，（或可以说是历经千年的，古老的象徵），是什么带领你去西藏，龙门这种地方拍摄，而不是去到大街上（这种没有那么强烈没有强烈感觉的地方，取景？

　　拍摄历经千年的充满人文的主题，应该是一种内心的莫名的需求吧！我曾走过青海、甘肃、新疆、内蒙古等多地，也拍摄过很多漂亮的风光与民族风情的照片，起初还充满激动，久而久之，对于拍摄这些内容心中越发失落，总觉得缺失了什么。

　　我不喜欢简单，而总希望在作品中附加更多的内涵与信息。在现代文明的今天，石窟雕像已经失去其原本的功能与意义，只是成为旅游者眼中的“目的地”，这不能不令人叹息；千年的人文精神传承、历代的变迁与损毁、以及自然的剥蚀，古代祖先留下的宝贵“神迹”，益发显得平凡而显神奇。静静观看与思索，从中可以发见先民对于“佛”的崇尚和信奉，其行动、精神决心，其气魄，足以撼动世人，而其中更可以依稀窥见东方人内心“神”的踪迹。而这正是很多现代人所缺失的。

　　10、请问您有没有尝试过其他题材可以使用这种反像技术？

　　最初，我只选择较平面化的题材进行实验，后来扩展到空间感较强的题材，基本都可以适用，只有人和动物的眼睛不适合表现，可能“眼睛”与视觉真实太过接近了吧！但是，并不是随意的题材都适合“反转”。

　　11、请问您目前的艺术方向是什么？

　　关注人文、关怀人的内心。

　　除了前面提到的作品中的“细节”，我一直对“光”特别感兴趣，特别是那种永恒的且能够触动我心灵的光芒。一次偶然的机会让我在这些貌似冰冷的图像里找到了这样的感觉，光弥漫了整个空间，像一团雾气包围着我，似乎我的精神开始透过我的眼睛与她一起飘动，事实上这些图像已经默默地诉说了很长时间甚至上千年。我迫不及待地拿起相机追随她，尽可能捕捉我所看到的这种感觉，但事实上单靠简单的拍摄，是无法复原这种感受的，庆幸的是通过一些技术手段，我在相纸上看到了，那些隐藏在雕像背后的一丝温暖与光芒。

　　在以后的时期内我将继续这方面的寻找。

　　12、请问在您的摄影展里以及您的书中有没有一副您最喜欢的摄影作品，如果有，能不能请您告诉我们为什么？

　　不同的作品传递不同的感受，很难说我“最”喜欢的是哪一幅。“光中的佛影”是我最喜欢的系列，可能是因为它更抽象、更具变化、更接近“精神”的自由世界吧！

　　13、我下面要说的话更多的是我看完了您的作品之后的一种感受，不过我真的感觉，您的作品留给了我很多很多的久久不能忘怀的感触，让我得到了很多，感受到了很多，就像是，感觉我们终于能够看到这个世界上更多的细节，更深层的含义，您的书的封面让我马上联想到了流动的火山熔岩，它一边闪耀着光芒，可是周边一层却被黑色包围着，我能够从你的作品中感受到一种共存的精神的和心灵上的温暖以及冰冷（冷静，冷酷，寒冷）并且，您还确实真切切的展示给我们：尽管我们生活在一个色彩斑斓的世界，但仍有太多的细节，是我们没有感受到或错过了感受，可能正是通过这种反像，才让我们看到了另一面里的一个世界。

　　佛像表面那么多的细节，从光影的桎梏中摆脱出来，从来自背后远方的光中逐步向前浮显出来，佛像从岩石的裂隙中浮现出来。先民的精神内核、自然的消融、人世间的变迁，以及这上千年的积淀好像都化作繁杂斑驳的符号，从过去迎面而来。这是我所要实现的。

　　我们生活的这个世界，是一个笼罩在光影之下的太过喧嚣的世界，而这个世界的“主人”也越发沉溺于自身所抢占的、所创造的这个世界，而少了一种反思，少了一种对这个世界的敬畏，缺少了我们从另一个角度去观察、去思考的机会。也许冷静下来，在傍晚暮色中的石窟，你会发现一个个原本面目不清的佛像的外形就立在对面，我们正视着它，它也默默地看着我们这个世界。一种来自上千年的远古的精神好像接通了。

　　1. First i would like to know what was the inspiration for this exhibition. Why space zero? Where else have you ad exhibitions both in china and overseas?

　　This exhibition really was not planned much ahead. Following the publication of my personal photographic collection Mirrored Horizon, the idea of presenting them to the public came just naturally to me. I would say I am not a superstitious person, but I believe there is destiny in the world to some extent; I tend to follow the way how things happened rather than doing whatever it takes to change it. I chose “The First Zero Space Gallery” because they has successfully held professional exhibition with strong academic characteristic. In addition, both the director and the curator of the gallery really love and appreciate my work and even altered the interior design of the gallery specifically for my exhibition. You can see the lights casting on the exhibition room through the windows which is similar to the lighting effects of the grotto, such similar environmental effect is the best paraphrase for my works.

　　In terms of other exhibition, I had exhibited my photographic works in the Ninth China Photography Festival in Hubei province in May this year. And also, in October, my works will exhibit in the China International Biannual Photographic Exhibition in Shandong province.

　　2. Can you talk to us about the specific photographic technique employed in these photos? What led you to use this technique?

　　Could you give us an example of the stages involved in this process?

　　There is no secret in my works, the reversed image is negative image, and any person who is familiar with films is familiar with this technique. Actually to inverse image is very easy, the key point is why we use inverse technique onto my photographic works, what it will be after the photograph is reversed, what is the meaning of reversing, as well as what is it then carried in the processed images?

　　The idea of applying the technique onto this series of photographic works is originated from a pure coincidence. Using of this kind of technique is by chance, in 2004, I have used 4 by 5 inch black and white negative film to take some pictures of Yungang grotto, when I went back using enlarger to make large prints, the fine details under the enlarger was really very beautiful indeed, so I expected to see my ‘mater-piece’ after the development process. However, after the development process, I found the result very dull. The original fine detail dispersed, the final effects was not very good and I thought that I should inverse the negative image and produce the fine details of black and white negative film.

　　The detail of the technique is as follows. At first, I use 4x5inch black and white film to take pictures as usual and develop them with ordinary development process. After the development process, I scan film with drum scanner, then I use Photoshop software to inverse the image obtained after the scanning, then the image will change to negative effect, at this movement, I get the effect I wanted, but there comes another problem, The distribution of black and white tone is not continuous and it has different effects as people normally will see and feel. Then I will do some re-editing work on computer and adjust the black and white tonality and reduce the effect of negative and enforce my personal feeling. Therefore, the post production is similar to painting.

　　Finally, I choose acid-free pseudo silver halide photographic paper, then print them using Giclee Print.

　　3. how does this technique lend support to your subject matter?

　　Photography is an important way of constructing image, but it is not the only way. This measure helps me find another different way that differs from the ordinary photography and becomes the visual language of my inner feelings.

　　The black and white negative image creation makes the objects obvious, and the parts which catch lights after inversed become stronger plus the details become more clear; the rear part, especially those inside the gap, with little light casting on it, they get transparent, even some part become pure paper base, and it breaks the real image which people are used to see. It is neither the real world nor the duplication of lights , the shadows become a new way of image---a kind of spiritual image. It is no longer affected by lights and shadows, instead the fine details play the key role. Thus, it shows my understanding of lights, objects and images more sufficiently.

　　This kind of technique can make fine details reappear again and let the Buda figure that dispersed in light shadows reappear. Thus, my feelings and my thoughts can be well expressed.

　　4. Given that this technique was birthed in a darkroom, do you shun the digital world with everything being photoshopped these days?

　　Absolutely no, I did not shun the digital techniques. In my view, photographers should have a broad and open mind and like to try various new photographic techniques as well as think about themselves to find suitable unique photographic techniques.

　　5. In your book mirrored horizon, i get a sense that you are trying to draw our Attention to the seldom seen part of life, the spiritual the unseen ties that bind us together? Can you comment on this?

　　Our lives are colorful from the beginning, we have to face various choice every day. As the subject of life, for different pursuits, ideas and purposes, we may ignore lots of details and process, or we may wander on our own trail. If we change a view perspective or mood, we can find beauty exists besides us, even if it is trifle things that touched your heart. I think the important things for an artist is to acquire and spread these accidental beauties, because they are the pure and genuine thing in one’s heart.

　　6. your photos also have a distinct look as if they have been given a treatment to give it an antiquated look. Was that a conscious descision? Your photos also have a distinct link to Chinese stone Stele, made of black granite, with figures cut in relief in a greyish white, was that a link to Chinese culture that you were aware of or was that just coincidence?

　　This kind of ancient feeling coincide with that of Chinese Han dynasty rubbings of portrait bricks. Such connection not only came from accidental discovery but also intentional persistent.

　　At beginning, the making of grotto images gave me strong inspiration, that is after the inversing process, the black part changes to while, the white part switches to black. Which is to say, the front part which takes strong lights before becomes dim, and the rear part that is originally in the shadow changes to transparent and white. Then the ‘Buddha lights’ appears, as if the Buddha is in the light, then the whole image become meaningful. On one hand, there is a sense of Buddha lights and the picture contains the existence of light; on another hand, it is the glamour of the Han dynasty portrait bricks, the pictures look like those rubbings. Therefore I solidify and develop my discovery and feeling, and finally, there is light in my pictures. This is actually similar to the pursuit in painting, being ‘painting itself emits lights’. Many painting masters have used such technique in their works and created masterpieces. For example, Paul Gauguin’ famous piece - “Where Do We Come From? Who Are We? Where Are We Going”?

　　There is element of light in Chinese classic landscape painting early spring landscape, but this kind of light is different from the visible light of sun, it is based on thinking and imagination, we can say they are lights from objects themselves. In the mind of ancient Chinese, it is reasonable that objects themselves can emit lights. Gombrich in his book art and illusion said: “what Chinese ancient art cares about is neither the immortal of objects nor the seemingly true story telling, they actually care about something about poetic, something more genuine. They want record and recall some kind of spiritual mood, but such mood is deeply rooted in Chinese people’s perception about the nature of universe.” This statement actually points out the characteristics of Chinese views upon the universe, which is that the universe is the combination of nature and mankind, outside world is not separate from one’s inner feelings. When Chinese think about universe, they did not isolate it with mankind and related it with mankind’s inner feelings.

　　The aesthetic inherit of his kind of photography does not only comes from Chinese traditional view upon universe, but also come from Chinese water ink landscape painting, as well as the painting idea of taking white as black. All these ideas come from my experience of studying Chinese painting from my middle school----the idea of suit for travelling and living in Chinese mountain and river landscape deeply rooted in my heart. My works were obtained by using reversing technique and based on the development of photographic language and recreation. The key idea of judgment of image is Chinese traditional aesthetics, which is idea of taking white as black.

　　7. Who do you take as inspirational figures in the world of photography?

　　Because I am a painter originally, the masters of painting give me lots of inspiration and spiritual sustenance. In photographic field, the simplicity and delicacy in Edward Weston’s works, the purity, vividness and full of imagination in Jerry Uelsman’s works, and also the sincerity and tranquility in Ansell Adams’s works have strong influence on my creation.

　　I have learned 4*5inch photography with my teacher Feng Jianguo for one year. I have learned the technique, observation and photography thinking skills from him. I also have learned lots of photographic ideas and way of thinking about myself from Professor Su Zhigang. Famous document photographer Xie Hailong supports my photographic creation and his photographic passion gives me a good example and deeply affects me.

　　8. As a professor are you excited by your students creative direction?

　　Yes, I am excited with students’ creative ability. I wish my students do not mimic my works and find their own style of photography and actually they did it. My students has won the “New Photographers” award in Pingyao International Photography Exhibition three times and I felt really rewarding.

　　9.There is something timeless about the art you create along with a subject matter that has withstood the tests and trials of time? What led you to places like tibet and long men, instead of just doing street scenes or something less intense?

　　I guess photographing themes carrying thousands of years’ history should be an pursuit of inner heart. I have traveled to lots of places including Qinghai, Gansu, Xinjiang, inner Mongolia and many others. I also have taken some beautiful landscape photos and ethnical life photos. At the beginning I was very excited with these photo, however with the time passed by, I always feel there is something missing.

　　I do not like simplicity. I want to carry more information and connotation in my photo. In today’s civilized world, the grotto has lost their original function and meaning, they become the destination of travelers. We can not help regretting for this phenomenon. Thousand years of culture heritage, the destroying and changing by history, the corrosion by natural, the treasure left by our ancestors become special. By careful think, we can discover that worship of Buddha by our ancestors, their action, determination, and guts can move human kind, and also we can find trace of the ‘God’ inside eastern people’s heart, which are what the modern people are lack of.

　　10. Have you explored other subjects where this photographic technique can be used?

　　At first, I only choose 2-D graphic theme to do some test, then I try some of the themes with strong spatial characteristics, I find most of themes suit it, only human and animals’ eyes do not suit for expression, maybe that is because of ‘eyes’ and visual reality are too close. However, not all themes are suitable for reversing technique.

　　11. What is your current artistic direction?

　　Paying attention to humanistic theme and caring about human’s inner heart.

　　Besides the ‘details’ we talked about just now, I always pay special attention to ‘light’; especially those immortal lights that can touch my inner heart. Once, I found such feeling in these apparently cold photographic works, lights permit in the whole space, and it looks a ball of frog around me, as if my spirit floats with it through my eyes, in fact, these images have narrated for a long time even thousands of years. I can not help but grabbing my camera chasing her, and trying to capture this kind feeling. In fact, only the simple shooting can not reveal my feeling and can not duplicate this feeling, fortunately, by using some techniques, I get what I want on the printing paper, that is a sense of warm and lights hiding behind the statues.

　　In the future, I will explore towards such direction.

　　12. Is there a favorite photo in your show or book mirrored horizon, and if so why?

　　Different works can convey different feeling; it is hard for me to decide which picture is my most favorite photo. ‘Buddha shadows in the lights’ is my favorite serials, maybe because these photos are more abstract and close to spiritual freedom world.

　　13. This is more just a reaction to your art, but i really take away so much information, its as if , we can finally see the world in a much greater detail. The cover of " mirrored horizon" immediately made me think of lava flowing, when it glows reddish white and all around it is black. You feel both spiritual warmth and a coldness from your work, and you really show that there is so much detail we miss even living in a world full of color

　　The details on the surface of Buddha, separating from the limitation of lights and shadows, shows out gradually from the lights coming from the rear, Buddha appears from the gaps of rocks. The spiritual essence of ancestors, disappearance of nature, the changes of human, as if all these precipitate of thousand years’ history turn into complicated symbols and run towards me. This is what I want.

　　The world we living is a chaotic world which lies under the shadows of light, and the owners of the world addicts in the world they robbed and created, are lack of self- examination, the honor to the world as well as the opportunities to think and observe in a different perspective. Perhaps when you calm down watching the grotto in the twilight, you will find a misty Buddha figure standing in front of you, we are staring right at him, he is also looking at us and our world silently. The spirit from a thousand years suddenly connects with that from the modern world.