刘垣（豆瓣、微博）的摄影被很多人称作“好看”，但他却试图打破自己摄影中“好看”的节奏，比如最新的“Digital Building”系列。他试图通过对比、类比等手法让作品衍生新的意义和各种不确定的可能性。他的这个系列作品被中国当代艺术文献机构Zn看中，并对他做了专访。出于个人对刘垣作品的偏爱，假杂志特意在他赶赴2011连州摄影节之前介绍这个系列并转载这篇访谈。采访者是Zn的编辑黄诗云。
InterView 52 we present photographer Liu Yuan with his new series Digital Building. We wish him good luck at Lianzhou Photography Festival 2011. The interview was made by Huang Shiyun, editor of Zn.
第五十一个访谈我们转译了 Tokyo Art Beat 对日本女摄影师志贺理江子的访谈。志贺理江子，1980年出生于日本爱知县，2004年在英国切尔西艺术与设计学院取得艺术新媒体本科学位，2008年获得了木村伊兵卫摄影奖，2009年获得纽约国际摄影中心无穷奖/新人奖。
The 51st InterView with Japanese female photographer Lieko Shiga was translated from Tokyo Art Beat. Lieko Shiga was born in Aichi prefecture, Japan in 1980, graduating from Chelsea University of Art and Design with BA Fine Art New Media. She got the Kimura Ihei Commemorative Photography Award in 2008, and Infinity Award / Young Photographer from International Center of Photography, NewYork.
访谈第50期，我们将转译一篇《Interview》杂志的访谈，采访者是 ALICE PFEIFFER ，受访者则是《Acne Paper》杂志的主编 Thomas Persson。本次转译未经《Interview》杂志的同意，仅供喜欢这本杂志的同学参考，即便是个人也请勿再转载。原文在此。
The 50th InterView, we translate an interview with Thomas Persson, editor in chief of Acne Paper, by ALICE PFEIFFER of INTERVIEW magazine. This article has no permission from INTERVIEW, just as a reference for the fans of Acne Paper in China.
每次我开始疑惑摄影到底是什么的时候，我就会到张君钢（k1973）的网站去逛逛，然后就明白，这就是摄影。就是抱着这样的崇拜，我一直想做一次他的访谈。这次趁着他的新系列发布，访谈一事终于如愿。希望借张君钢的这个拍摄于冰天雪地的系列，能给各位带去一丝沁凉。
Every time I question what photography is, I will visit Zhang Jungang’s website, then I know this is it. He is such a fabulous photographer that I’ve admired for a long time, and I planned for several times to do an interview with him, but was postponed all the time. Along with his new series, we interviewed him finally.
本期假杂志访谈的摄影师朱墨（the scientist）是个谨慎浪漫的人。之所以在浪漫前加个谨慎是因为他总是有意无意的将自己的浪漫掩藏，却又在有意无意之间流露出浪漫的本性。这在他拿着印刷版的“空日”系列，给我讲系列背后故事的时候尤为明显。在他眼里，摄影是一件关乎记忆和情感的事，“也许记性不好的人更能体会摄影的美好”，正如他爱的荒木经惟说过的一句话，“如果记忆变得淡薄点，照片就会呈现出一种浪漫的状态。”本文作品选自两个风格颇为不同的“空日”和“向北”系列，作品后是访谈。
The photographer we interviewed this time was Zhu Mo, a half-romantic man. I described him as “half-romantic” because he tended to hide his romance, but always revealed it unintentionally. In his opinion, photography was a thing about memory and emotion. “You will feel better about photography if you are a person with a bad memory”, he said. He also quoted a sentence from his favorite photographer Araki Nobuyoshi,”the picture will show a kind of romantic feeling, if the memory became thinner.” The two series we selected, Kong Ri & North Way, were quite different. The interview is below the works.
年后一直没有继续『访谈』的单元，一来是在筹备一本『假杂志』的真杂志，二来则是被万恶的微博占去太多时间，整个人变得（更）懒散。如此这般，我想就把『访谈』做得更“高端”些，选择的摄影师要有够份量，比如本期的客人，现居成都的摄影师：冯立——如果你觉得这个名字陌生，那自由猪（free pig）这个网名肯定不会。他说，“如果需要文字来说明的照片在我看来是不纯粹甚至失败的，好的照片自己会说话”。所以，我们就让他谈了谈他作品以外的事。更多作品可以去他的fotoyard，你也可以关注他的豆瓣和微博。
It’s been a long time without interview as I was preparing for a real magazine of Jia Za Zhi and was occupied by the damned micro-blog. I become more and more lazy, but I have the chance to think differently about the column of INTERVIEW. The photographer with enough qualification will be invited, for example, this time’s guest, Feng Li, a Chengdu-based photographer. He said, “if one photo needs explanation, it’s not pure any more, even unsuccessful. Good photos can speak for themselves.” So we let him talk about something beyond his works. You can find more works on his personal site.
春节前的最后一个『访谈』客人是摄影师杨弘迅。和很多人一样，我最早知道他也是通过《城市画报》，后来订阅了他的博客，看那些日常照片和读书笔记心中对他便有大致的想象：温和、含蓄，内心却又深情款款。去年9月份他在钱粮胡同32号的宝丽莱摄影展中第一次见面，果然与想象中相差无几。弘迅的大多数个人作品都是宝丽莱，而在我印象中宝丽莱是一个很难融入自己语言的摄影媒介，因为它本身的色调便先入为主，但弘迅却以独特的看待世界的眼睛让自己的宝丽莱作品有了观点和情绪。随后在他故乡广州的第二站展览则引起了更多关注，同名宝丽莱画册《柒右贰分之壹》也相继面世。这次假杂志重点请他围绕刚出版的宝丽莱作品集谈了谈自己的摄影观。更多作品可以去他的个人网站，欲购买本画册可以去他的淘宝店。
The last guest of InterView before Chinese Spring Festival is photographer Yang Hongxun from Guangzhou, China. His works are mainly shot by polaroid. His first polaroid album Seven and A Half was released in the end of 2010. Taking this opportunity, Jia Za Zhi asked him to talk about the polaroid album and his photography experiences. Please move on to his website to see more works. If you want to buy this book, you can contact him directly via: yanghongxun@gmail.com
黄臻伟 (豆瓣)1986年出生于漳州，在厦门长大。他在成都美术学院完成了动画本科学业，之后前往伦敦传媒学院学习摄影，2010年获得爱丁堡艺术学院摄影硕士学位。2010年4月，他和朋友前往冰岛旅行，在两周时间内拍摄了这组“Lost Island”系列。他说这个名字最好的翻译应该是“迷失岛”，因为冰岛就是这样一个能令他迷失的岛屿。而这次的访谈，除了“迷失岛”系列之外，他还向假杂志讲述了他的其它很多经历。
Zhenwei Huang was born in Zhangzhou, and grew up in Xiamen, Fujian Province, China. He studied Animation in Chengdu Fine Art Academy, then moved to London and finished Postgraduate Diploma Course in Photography at London College of Communication. He got his MA in Photography at Edinburgh College of Art in 2010. He traveled to Iceland in Apr. 2010 for about two weeks with his friend, and finished the series LOST ISLAND. In this InterView, he talked not only about his LOST ISLAND series, but more about his photography experiences.
Larysa Sendich 和第四二期访谈的摄影师 Mae Ryan 都是假杂志的老朋友纽约摄影师白白的推荐。白白说，Larysa、Mae和她自己是纽约国际摄影中心学纪实摄影的同学中最不像纪实摄影的。在上周见面的时候，我对白白说，因为你们都有一些东方的味道。后来一想，这样的概括其实并不精准，她们作品中对人物内心情感的把握和表现被我草率地冠上“东方”这个标签，而这种对内心情感的注重其实并没有东西方的分别。有着乌克兰和波斯尼亚家庭背景的 Larysa Sendich，在美国生活有着不一样的成长经历，也造就了她现在的摄影风格。我们结合她的系列作品“波浪之间”来看看她是怎么说的。
Larysa Sendich and Mae Ryan in vol.42 interview were both recommended by our old friend New York based photographer Wenjie Yang. She said, among the students studying in IPC Photojournalism and Documentary Photography, they three were quite different from others, and their works were not so documentary. When I met Wenjie last week in Beijing, I told her that all of their works were full of Oriental sense, however, I didn’t think my conclusion was accurate. They should not simply be tagged with Eastern sense, because human beings share the same emotions. Born to Ukrainian and Bosnian parents, Larysa Sendich spent her childhood between the Ukrainian communities of the Midwest and East Coast of the United States. She had a different experience during her growth, which impacted her a lot. Let’s see what she said, combining with the Between Wave series.
假杂志本周的访谈客人是一个中国独立品牌JL的创始人之一芬芬。JL由芬芬和Nicole创立于2008年，至今已经做了四个系列，分别是以四个带有古典韵味的词语命名：春日迟迟、山水盆、子空皆地、山海经。想了解更多关于JL信息就看两个系列作品之后的言由对芬芬的访谈吧。
This week’s guest of InterView is an independent Chinese brand JL, established in 2008 by Fenfen and Nicole. JL is a Chinese character –“儿”(er), a japanese character ”ル”（ru）and also JL are two english letters J and L. It has no real meaning. They just hope people can read out JL aloud in as many languages as possible. JL is trying to combine the taste from Chinese traditional painting and poem what we call as Yi Jing with personal imagination about the future, to find a new way to make fashion and share it with everyone on the earth.
很多人问，假杂志选择摄影师的标准是什么，今天借纽约摄影师 Mae Ryan 的访谈正好做个解答。在我看来，好的摄影始终是一种叙述，它和文字一样是人的情感的载体，可能有些偏诗性，有些则偏故事性。Mae的作品属于后者，她的作品基于情感，连起来，它们有些甚至可以是一个动人的故事。Mae Ryan最初学的不是摄影而是建筑，最近才刚刚从纽约国际摄影中心的“新闻摄影”课程毕业。虽然专攻新闻摄影，但是她的个人作品中的感情却压倒了理性。她的“玛丽女王”系列拍摄的是纽约扬科斯的玛丽女王修道院里的吉光片羽。Mae镜头里老人们的那些细节和动作，让人不由的赞叹起生命和信仰来。
Many people asked me, what is the standard for Jia Za Zhi? I think it’s opportunity to answer the question with the interview with New York photographer Mae Ryan. In my opinion, good photography is a kind of narrative, a carrier of emotion, just like words. The images could tell a story if your connect them in series. Mae Ryan received a B.S. from Stanford in Architectural Design and recently graduated from the photojournalism program at The International Center of Photography in New York, NY. Though majoring in photojournalism, she brings her works more emotion than reason. Her Mary the Queen series shot the moments in Mary the Queen Convent in Yonkers, NY. Mae captured the old people’s details and gestures, making viewers admire life and faith spontaneously.
靳华（豆瓣）的摄影是安静的，这正好符合她喜欢的罗兰·巴特说过的一句话，“摄影必须是安静的：这不是关于判断的问题，而是关于音乐。”对于我们观者而言，她的摄影总是存在一种亦远亦近的疏离感，在无形中带给人恍如隔世的错觉；而对于她自己而言，摄影更多是她内心与世界产生联系的纽带，即便若即若离，却可以时时提醒自己并未和这个世界走得太遥远。她不断地测试自己与世界的关系和距离，包括最近的“明信片计划”，在执行的过程中发现人与人之间的距离并没有那么遥远。访谈中，假杂志请她谈了摄影的起点、加拿大留学的经历以及两个代表性系列作品背后的故事。
Hua (Phoebe) Jin‘s photography is silent, which is in accordance with one of her favorite words by Roland Barthes, “The photograph must be silent : this is not a question of discretion, but of music.” For us viewers, her photography has a sense of alienation, bringing us an illusion of a different world. For herself, photography is more like a ligament between her inner world and the real world, though not always being strong, reminding herself not going too far away from the world. She likes to test her relationship and distance with the world, including her new project “Postcards Exchange”, in which she found that the distance between each one was not as far as we thought. In the InterView, Jia Za Zhi invited her to talk about the beginning of her photography, her experience of studying in Canada, and background stories of her two representive works.