摄影师星玄人1970年出生于日本神奈川县。

Photographer Hoshi Haruto was born in 1970 in Kanagawa, Japan.

All images ©  星 玄人 Hoshi Haruto
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日本漫画家逆柱 いみり作品。

Works by Japanese comic artist Imiri Sakabashira.

All images ©  逆柱 いみり Imiri Sakabashira
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依然是关于深瀬昌久的《鸦》。本文是《鸦》在今年5月份被《British Journal of Photography》选为过去25年间最好的摄影书之后，卫报写的评论。原文在此，中文译本未经授权。本文图片选自日本 Rat Hole 画廊在2008年发行的的《鸦》复刻版，取了个新的英文名叫“The Solitude of Ravens”（鸦的孤独）。

Still about Masahisa Fukase’s “Ravens”. This article is the review by Guardian after “Ravens” was select by British Journal of Photography as the best photobook of the past 25 years since 1985. You can view the English version here. The pictures are from new version of the book The Solitude of Ravens published by Rat Hole Gallery in 2008.

被称为世界上最早的摄影杂志《British Journal of Photography》，近日开始评选“25年来最佳的摄影专辑”。在此起彼落的声浪里，以纽约摄影师Nan Goldin的《Ball of Sexual Dependency》最广为人知；不过，更令我感兴趣的是一本与《Ball of Sexual Dependency》旗鼓相当且同是1986年发行、鲜少人知道的一个作品：深瀬昌久（Masahisa Fukase）的《鸦》。

努力揭露美国社会生活真实面貌的Nan Goldin就像城市里的游击手，灵敏地将眼前激情、漫游、暴力的美式生活，以叙事诗般的方式呈现给观众。但相对于深瀬昌久来说，这部《鸦》的作品如同是一本自传、回忆录，忏悔着自己无法挽回的失败，如受药瘾控制般无法自拔地浸淫在阴霾底下的美感。1986年，这本《鸦》─由日本的苍穹舍所出版的限量书，每本都有深瀬昌久的亲笔签名，收藏家们无不趋之若鹜，但现今的古书店或是二手市场上也已经叫价超过两千英镑。若想要拥有一本深瀬大师的杰作，还得仔细丈量自己口袋的深度。

模糊、粗糙的显影粒子、高反差的对比、看似不精确的局部放大，甚至有些曝光不足或是过度的曝光，却灵巧地勾勒出渡鸦仅有的黑白轮廓。看似粗糙的手法却是刻意、精准地透露出深瀬昌久的心境，借着渡鸦的影像跟随深瀬昌久孤寂地游移在城市之间，探究自我内心。这些乌鸦就像群聚于城市的我们，穿着疏离与防卫的衣装在各个角落饥饿地觅食着；透过这些影像，我们被深瀬昌久的危险震摄，心中也随之漂浮着不安与焦躁。

深瀬昌久就着迷于这些写实的心计，因此拍出像是肥胖的女按摩师、裸妇、眼神恶毒的猫或是正在酗酒的街友等，以城市为据点记叙着生与死的快活，拍出生活中被现实逐出的黑暗。不仅于此，深瀬昌久在婚姻失败后找到更契合这些现实的角色、晦隐的代言者–渡鸦，令人打颤的面貌，血淋淋地嵌入初识深瀬昌久的眼瞳。

深瀬昌久对渡鸦的十年追逐，是投射在与他连理十三年之久的妻子身上。在《鸦》问世的十年前，爱妻甚深的深瀬昌久就以自己的爱妻–洋子为主角，拍摄了一系列作品；在「Yoko」的影像作品中，弥漫着感官性的挑逗与虐待，构筑出私密的空间感使人窒息而无法进入。这是深瀬昌久对洋子最窒息、暴力的拥抱，也是至深的爱。结婚十三年后，洋子的离开对深瀬昌久是一大打击，并使深瀬昌久的情绪陷入暗黑，并且染上重度的酗酒习惯。这段期间，深瀬昌久的作品转变地更为幽怨。恰巧渡鸦也是日本文化中不吉祥的预兆与危险的象征，而这个部份也让许多评论家对《鸦》背后的创作故事更有戏剧性的附会。而在《鸦》问世的六年后，这个阴霾的命运并未随着时间而渐渐逝去；在某晚，昏醉的他从酒吧的楼梯跌下并重创头部，导致记忆丧失与语言重度障碍。如今，洋子每个月两次会前往医院探视深瀬昌久。虽然深瀬昌久无法藉由相机释放心中的冲击，但对深瀬昌久来说，洋子是心底深处的一块重要记忆，也是唤醒深瀬昌久最重要的人。

出生于1934年的深瀬昌久，正是背负着战败国的国辱阴影的一代。或许，1945年二战投降的日本社会，也间接的影响到深濑昌久，使其具有如此深沉幽怨的创作因子。例如Oil Refinery (1960)以及Kill the Pigs (1961)两幅作品，就像是走进一座污血淋漓的屠宰场，表达深瀬昌久内心对战争的残酷与现实的感受。而在《鸦》作品中所呈现出的灰蒙蒙天空，以及一双双从头上掠过、具有攻击性的双翼，彷佛听到战时轰轰作响的空袭声，随着原子弹所引发的社会恐慌深植在深瀬昌久的作品中。

不像Nan Goldin的纪录性摄影，深瀬昌久的作品无法单单从现实生活中剥离出来，因为这就是他的自身写照。即使不了解深瀬昌久的创作背景，他的作品还是强而有力地敲击第一次的观赏者，成为一种嗜血的喂养，并且把这种阴郁狠狠地从最高处往下坠落，使人沉迷于无情、黑暗的视觉艺术。

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Works by Tokyo based graphic artist Yoshimitsu Sakoda.

All images © 迫田容満 Yoshimitsu Sakoda
欢迎自荐 / Welcome to submit yourself to jiazazhi@gmail.com
假杂志新浪微博 / JiaZaZhi in twitter

北原一宏，1976年出生于日本兵库县明石市，毕业于视觉艺术専門学校摄影专业，师从写真家上田義彦，现为独立摄影师。“Utsutsuke”系列的主题是一个分别处于黑白背景前的舞者，一阴一阳，寓意人的两面性，同时他也尝试着克服黑白胶片的限制并尽量去除黑白印刷中的灰度。

Kazuhiro Kitahara was born in 1976 in Akashi, Hyogo, Japan, majoring in photography in Visual Arts Special School. He studied under a respected photographer Yoshihiko Ueda. He now works as a freelance photographer. In this”Utsutsuke”series, one dancer lives in the white (means light place), and the other exits in the black (means underground). He tried to express that one can exist in both the black and the white. He also tried to overcome the limitations of monochrome film by removing the tone gradation of monochrome print.

屠夫 / Butcher / 2008

滝口浩史，1977年生于日本静冈县。他凭借作品“狭间”受到评委荒木经惟的青睐而与川村素代共享了2004年佳能写真新世纪的大奖。假杂志曾对他的“挂毯”系列做过介绍。应摄影师自己的推荐，今天再来介绍一下他正在进行中的项目“窥视”。这个系列以个体为切入点，跟踪拍摄他（她）在工作、家中、在做喜欢的事时的状态，被拍对象的职业有屠夫、学生、清洁工人、AV女优、杂志编辑、服务员、公务员等等，看上去是在“偷窥”他人的生活，但是到头来窥见的却是自己。最终的结果让我想起了那部德国影片《他人的生活》（俗译《窃听风暴》）。

Koji Takiguchi was born in 1977 in Shizuoka, Japan. His photo “Hazama (in between the two)” won the co-grand prize (selected by Nobuyoshi Araki) of Canon “New Cosmos of photography” in 2004.  Jia Za Zhi has introduced his Tsudureori series before. Koji wrote to us to recommend his on-going series PEEP. The series “peeps” people’s state in one’s work time, home and favorite, such as Butcher, student, cleaner, female video porn star, magazine editor, maid-coffee shop, government officer. Finally, the photographer peeps himself. The result reminds me of one Dutch movie The Lives of Others.

日本料理店主 / Japanese Bar / 2008

AV女优 / Female Video Porn Star / 2008

画家 / Painter / 2008

杂志编辑 / Magazine Editor / 2008

保安 / Watchman / 2010

机械工 / Engineer / 2009

女仆咖啡店服务生 / Maid-Coffee Shop / 2009

All images © 滝口浩史 Koji Takiguchi /
请去他的网站查看大图 / more bigger images on his website
欢迎自荐 / Welcome to submit yourself to jiazazhi@gmail.com
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小山内大輔，1980年生于青森县，2002年移居东京，2005年开始从事摄影，去年开始在瀬戸正人设在 Place M 的工作坊学习摄影。假杂志今天要介绍的是他的『物質の行方』系列。关于这个系列，他说：

“我之所以拍摄空景，是因为这样看到的物体之间都很平等，每个物体的特性都消失了。这样，会产生什么样情绪呢？我试图去否定拍摄者的观点。”

Osanai Daisuke was born in 1980 in Aomori Prefecture. He has been living in Tokyo since 2002, and started to take photography from 2005. Last year, he studied in photographer Masato Seto’s workshop at Place M. The series we want to introduce is his “The Matter where to go?”. We invited him to talk about this series, and this is his reply:

“Shooting empty landscapes.
Because seen as equivalent The material in front of view.
And rid the individuality of each.

What emotions come out in the photograph?

I tried to deny the author’s point of view.”

All images @ 小山内大輔 Osanai Daisuke / 转载请超链接的形式注明假杂志 Please link Jia Za Zhi if you want to use any part of this article.

欢迎自荐 Welcome to submit yourself / jiazazhi@gmail.com

Art works by Ai Yamaguchi. She was born in1977, Tokyo, Japan. You can see more works at Roberts & Tilton Gallery.

林田摄子，1976年生于东京，2000年毕业于东京综合写真专门学校。她的「箱庭の季節」（箱庭的季节）系列开始于2000年，至今已有10年。每年夏天，林田摄子都会回到母亲的出生地，也是林田摄子儿时成长的地方，长崎海边的小镇。“回归”是每个假期的固有基调，虽然每一年的眼光在变，人和物也在变，但在这座有着上百年历史的古老庭院里一切仿佛变得安静、缓慢。摄影师镜头中表现的都是最平常不过的景物——长辈、孩子、器皿、插花、食物、字画、落叶等等，却有一股强大的对时光流逝、物是人非的悲悯潜藏始终。本文作品选自「箱庭の季節 2009」。

Hayashida Setsuko, born in 1976 in Tokyo, graduated from Tokyo College of Photography. She started the “Ebb and Flow” series from 2000. Every summer, she came back to her mother’s hometown at the seaside of Nagasaki. “Came back” was only possible to feel sincerely. The courtyard has been quiet for a hundred years, watching the changes on people and things. Sometimes, we can feel the changes on photographer herself. These works are from “Ebb and Flow 2009″.

All images © 林田 摂子 Hayashida Setsuko

中野修一，1966年出生于北海道，后前往德国游学，现居秋田县湯沢市。他的绘画常常利用想象让自然和城市的景物相聚、冲撞，看似偶然，却在质疑整个星球迈向都市化和现代化的必要性。本文作品选自他的”寻找乐园”系列。

Artist Shuichi Nakano was born in 1966 in Hokkaido, Japan, and stayed in Germany from 1991-1992. He now lives in Yuzawa, Akita Prefecture. His works make natural and city scenes meet and collide in imagination, seemingly accidental, tending to question the necessity of the whole planet to urbanization and modernization. The images are from his Searching for Paradise series.

All images © Shuichi Nakano / via Pink Tentacle

minä perhonen 是日本服装设计师皆川明的自主品牌，对芬兰的热爱是设计师将品牌用芬兰语命名的缘由，minä perhonen 在芬兰语中意为“我蝴蝶”，因此皆川明又特意将品牌的产品目录命名为《紋黄蝶》，自07-08秋冬系列以来都会随着每季的新款衣服同时出版发行，在其官方网站有售。2010-2011秋冬系列的产品目录除了册子之外还附有一张DVD，合计2100日元。

minä perhonen is Japanese fashion designer Akira Minagawa’s brand. Because of his special love to Finland, he named the brand as minä perhonen which meant My Butterfly. He also named the catalog of the brand as  紋黄蝶 (means yellow butterfly in English), released every season from 07-08 a/w collection. You can buy the catalog on its website. The catalog for 2010-2011 a/w collection includes a booklet and a DVD, amounting to 2100 JPY.

摄影：茂木綾子 / Photo by Ayako Mogi

这是日本品牌/零售商Beams今年秋冬季的一些商品目录表。

2010 Fall/Winter catalog from Tokyo based brand/retailer Beams.

All images © Beams

Mercibeaucoup是由设计师宇津木创立于2006年的日本服装品牌，它隶属于三宅一生集团，最新的2010秋冬装的主题是“花”。

Mercibeaucoup is a Japanese fashion brand created by the designer Eri Utsugi in 2006. It is part of Issey Miyake’s A-Net group of brands. The theme for Autumn/Winter 2010 is “flowers”.

系列说明：

馒头好呢，
还是花好呢？

花填饱你的心灵，
馒头填饱你的肚子。

何不两者皆有？

Series statement:

Steamed buns are better than flowers,
or are the flowers better than steamed buns?

Flowers fill your heart,
while buns fill your belly.

Won’t it be nice to have both?

摄影师 Patrick Tsai 的最新展览“Hot Water”上周六（9月4日）在东京的Cultivate画廊开展，为期一个月。同名摄影书也由独立出版社 Bathysphere Books 出版发行。这个系列拍摄的是一段从日本到赤道的旅程。

Taiwanese-American photographer Patrick Tsai’s new exhibition “Hot Water” opened last saturday, September 4th in Tokyo for a whole month at Cultivate gallery. “Hot Water” is the title of his book published by Bathysphere Books. This new series takes you on a voyage from the tip of Japan to the equator.

摄影师Justin Waldron 2006年从纽约移居东京，娶了一位日本太太，平时爬爬山、骑骑车、散散步，在那儿过着悠然的日子。他一开始的梦想是做电影摄像师，但在进入纽约电影学院之后反而放弃了这个理想，转而钻研胶片摄影。不过，移居日本前才买了第一台胶片机。他的摄影温暖、别致、注重色彩，但却又完全超越了“小清新”式的自怨自艾。受到艺术家妻子河井美咲的影响，他开始做自己的手工杂志，每季度出版一次。最新一期的主题是“步履”。这次，假杂志请他详细的谈了谈他的摄影和手工杂志，访谈在作品后。

Justin Waldron is a film photographer based in New York & Japan. He moved to Tokyo in 2006, and married a Japanese girl. Riding a bicycle, exploring mountains, walking around in his spare time, he leads an idyllic life there. He once dreamed of being a cinematographer, but falled in love with film photography after entering New York Film Academy. He bought a film camera just before he moved to Japan. His photography is warm, chic, colorful…making people happy, though totally different from the self-complaint style. Under the influence of this artist wife Misaki Kawai, he began to do a handmade zine, published quarterly. The latest issue is titled “footsteps”. JIA ZA ZHI invited him to talk about his photography and handmade zine. Please find the interview after the images.

你为什么会移居日本？你觉得日本是个怎样的地方？

其实并没什么特别的原因，我只是凭自己的感觉罢了。平常里我要么待在工作室里，要么骑自行车在附近逛逛，或是在京都附近的山里走走。身处这些地方让我意识清明，贴近自我，而这一切都发生得非常自然。这样的心境对我的工作和每日的生活来说很重要。所以，我感觉和日本有种密切的联系。

你的作品温暖、别致、色彩丰富，使人愉悦，你是如何做到的？摄影对你来意味着什么？

我的作品中凝结着诠释我的感觉的瞬间。我会有选择地拍摄，并在冲洗前仔细观察每一幅胶片，一直等到有将某一张冲洗出来的感觉。浏览胶片、整理照片之前我也会等待那个对我而言正确的时机的到来，接下去做的事也会顺理成章地完成。为了将我的感觉原汁原味地保留，我不会强迫自己去做事，每一个步骤都耐心对待。

当我用胶片去表达感受时，我认为其它每个步骤都和抓住瞬间同等地重要。这大概就是摄影于我而言的意味了。

你什么时候对摄影感兴趣的？还记得是怎样开始的吗？

我对摄影的兴趣源于我对摄像的爱好。11岁的时候，我开始用一台VHS-C便携式摄像机记录玩滑板的过程。我一直这样记录并在15岁时开始学会剪辑。在摄像和剪辑过程中，我不断地审视自己拍摄的作品，并逐渐形成自己的观点。20岁时，我进入纽约电影学院读书，在那里我第一次接触到电影胶片。到那时我才开始真正确定自己的方向——跟胶片打交道，虽然那之后的好几年我都是在做电影摄像师。2006年我移居到日本后，才买了一台很重的胶片相机。那之后我开始正式成为一名胶片摄影师。

说到“大师”，你马上会想到谁？请谈谈你自己对他/她的评价。

老实说，听到“大师”这个词，我谁都没想起来。对我来说，只有在说起一个用以拷贝的原始记录时才会提及这个词。不过要说一个人的话，我觉得大竹伸朗很棒。他是位多产的日本艺术家，他的作品带有大师的感觉。

你为什么开始做手工杂志？能谈谈你的最新的那本《步履》吗？（图片见访谈后）

制作手工杂志让我觉得我可以在工作流程中保持一种持续性。为了能够完全掌握每个步骤，我会尝试各种能够保存我捕捉到的感觉的方法。同时每季度一次的出版频率，也让我有新的动力去寻求感觉和继续尝试。另外一个原因是，我的妻子是一位日本当代艺术家，她从事手工出版已经超过10年时间。她的手工艺术作品非常出色，这也激励了我出版自己的作品。

《步履》是一个手工杂志的第四个系列。杂志每季出一刊，每刊发行50本，包含12页印在手工选择的原料上的图片。这一期里的图片都是在最近去尼泊尔的旅行中拍摄的，从中可以感受到一个人的童年、居住环境以及成长的过程。

（访谈：言由 / 假杂志版权所有，转载请超链接本文网址）

Why did you move to Japan? How is Japan in your mind?

There was no one particular reason for moving to Japan. I simply followed my feelings and found myself here.

These days, I often spend my time in my workspace, riding my bicycle nearby, or exploring the mountains surrounding Kyoto. All are places where I am able to have a clear consciousness & connect with my inner-self. It happens very naturally here, which is very important for my works and everyday life. So, I feel a close connection with Japan.

Your works are warm, chic, colorful…making people happy, how do you manage it? and what does photography mean to you?

My works are moments which naturally translate feelings. I shoot selectively and hold each film closely until a time comes which feels right to develop it. I also wait until I feel the time has come to begin scanning films, assembling series of images, and so forth. To naturally retain what was originally felt.. nothing is forced. Each process is approached with patience. When translating a feeling with film, I believe each process is equally important as capturing the moment itself. In words, this is precisely what photography means to me.

When did you first get interested in photography? Do you still remember how you started?

My interest in photography had derived from my interest in videography. At the age of eleven, I began documenting skateboarding with a VHS-C camcorder. I continued recording and began editing at the age of fifteen. As both a videographer and editor, I was constantly re-evaluating my own footage, and began growing on my own criticisms.

At the age of 20, I attended the New York Film Academy where for the first time, I began working with motion picture film. It was then that I truly developed my direction towards working with film. However, it was mostly motion picture film for several years to follow. It was not until I moved to Japan in 2006, that I equipped myself with a heavy still film camera.  There & then was when I grounded myself as a film photographer.

Speaking of “master”, who will you instantly think of? Please talk about him / her in your own words.

I must speak out of honesty: No one person came to mind when I heard the word “master”…

For me, it is a term used when speaking of an original recording from which copies can be made. However, when thinking of a person…Ohtake Shinro is a name which comes to mind. He is a prolific Japanese artist whom I believe works in a master-like manner.

Why did you start to do handmade zine? Could you talk about your new zine “footsteps”? (find the images after the interview)

To do so, I had felt that I would be able to create a consistency in my workflow. To be able to be in full control of each process, I could experiment with ways of retaining the feelings which I had captured. I was also interested to create a quarterly (seasonal) release in which I would have an additional motive to continue capturing and experimenting.

It is also meaningful to note that my wife, who is a Japanese contemporary artist, had been creating handmade publications for over ten years. She works with a prominent handmade / craft aesthetic. So, she had certainly inspired me to move forward with self-publishing my works.

“Footsteps” is fourth in a series of handmade zines that are released on a quarterly basis. Each zine is in an edition of 50, and features 12 pages of images printed on a hand selected stock. The images from this particular release were all captured from recent travels through Nepal. There may be felt a sense of childhood, community, and growth in this series of images.

(Interviewed by Yuan Di / all images © Justin Waldron; Please link JIAZAZHI, if you want to use any part of this aritcle )

这是日本摄影师谷本美加2004年从朝鲜带回来的影像，与其它摄影师带有强烈猎奇心的或充满意象与隐喻的作品不同，她的这些照片捕捉到的是更日常的朝鲜——生产、生育、表演、游乐、集会一样也没少。大家都是人类，再不同又会有什么不同呢？

These images are from Mika Tanimoto‘s DPR Korea series, showing the daily scenes there. I’ve never been there, but I always believe that there is little difference between DPRK and the rest of the world as we are all human beings.

(all images © Mika Tanimoto)

我们可以将山本昌南的摄影比作日本的俳句。俳句常常运用与季节和时令相关的词语描绘鲜活的瞬间来营造出诗的意境，而山本昌南的摄影作品呈现的瞬间有着类似的美的、流动着的意境。世界如此美丽，变化万千，我们只有停下来才能看到河川的流动。

Framed individually, Yamamoto Masao‘s work can be similar to the poetry style of HAIKU. HAIKU brings flow to the poetry world by featuring seasonal words and capturing a vivid moment.  Yamamoto’s photographic works present a moment in a similarly beautiful and momentous flow. The world is beautiful and ever changing; only when we stop at this river do we notice the flow.

(written by Munehisa Masao, translated by Yuan Di, all images © Yamamoto Masao)

Creep是由Kiyofumi Awai在1997年日本大阪建立.  2008年居住在加拿大多伦多的Hiroshi Awai作为男装创意总监加入Creep。

Creep was founded in Osaka, Japan by Kiyofumi Awai in 1997.  In 2008, Toronto based Hiroshi Awai joined the firm as men’s creative director.

Fumie Ishii 来自日本, 现居美国纽约. 以上作品选择她的”Beard Men Mustache Men”系列。

Fumie Ishii, originally from Japan, is currently based in New York City. The above works are selected from her “Beard Men Mustache Men” project.

Kitchen Minoru 出生在美国德克萨斯州的沃斯堡，两岁的时候父母离异后便被带回日本国内生活，因此他脑中根本没有故乡的记忆。2005年，他获得了第33届日本广告摄影师协会大奖，之后他辞去了在房地产公司的职务正式成为一名自由摄影师，2009年再次获得该奖。

Kitchen Minoru最引人瞩目的作品当属“多摩川的人”系列。这个系列的产生是一次偶然的机会在多摩川拍外景看到一群放学的学生在夕阳下沿着河岸走过，他被那一 刻深深打动，害羞的他犹豫再三才下定决心上前询问这些孩子是否愿意接受他的拍摄。学生们欣然接受，于是就有了第一部分的“多摩川的人”。Kitchen Minoru从此找到了自己摄影创作的方向，一直在多摩川的河岸旁守候走过的人，也逐渐拍下其他不同的人，其中有工人，有交通协管员，有消防队员，有恋 人，也有孩子。这些作品全部为摆拍，大家的目光一律都虔诚的望向正在落下的夕阳。摄影师认为，夕阳是一天中最特别的时刻，人们往往能在那一瞬间看到一个真 实的自我。而屏幕前的你在看到这些夕阳下的人的时候，是怎样的情绪呢？感伤、孤独、幸福，抑或是满足？

Kitchen Minoru was born in Fort Worth, Texas. At the age of two, his parents divorced, and as Kitchen Minoru was brought up in Japan, he had no recollection of the Texas landscape or his original home. He had suffered a complex because of this ever since. He graduated from Hosei University. He won the 33rd Japan Advertising Photographers’ Association Awards in 2005. After a brief employment in the realty business, he realized his dream of becoming a freelance photographer in 2005.  He won the 37th Japan Advertising Photographers’ Association Awards for the second time in 2009.

His most famous work is “The People of Tamagawa” series, shooting people who passed by the riverbank of Tamagawa in the sunset.