Photographer: FEIYI HUANG

Styling: FEIYI HUANG

Model: SHIQI RAN

Edit: FEIYI HUANG

* I was wondering if I could find bamboo in the Uk……

Photographer: FEIYI HUANG

Styling: FEIYI HUANG

Model: SHIQI RAN

Edit: FEIYI HUANG

*the grass and trees begin to sprout in the spring rain

ZHANG JIACHENG, his photographs has a very strong personal style, I can recognise it easily every time when I see his works, his works are always rich of colour and bright, the overall tone is more like oil painting feeling of film.

This picture feel like was taken in a theatre, the background and pose of model gave me of this idea.

Leslie explained this picture is from the collection was reminiscent of a dying circus, the members of the group performed last performance before disbanding, a mood of uneasy is accentuated by photographs of the gloomy, bleak landscape.

He think Chinese fashion photography is too westernised, and did not do very well on the premise of this. Compared to this, Japanese photography is very stylised.

He used more nature light in his shooting, in the real light and shadow, the depth and darkness of the object being photographed is reflected.

Most of the scenes and still lives he shot were pieced together from his ordinary life, which was more or less the aesthetic characteristic of  “sorrow of things” in Japanese tradition. I can see that he retain the original personal characteristics of the model, instead of same beauty.

It can be seeing the most of the work are photographed girls with slender eyebrows, the mood they revealed looked a bit of sadness and wild, a sense of oriental aesthetics.

He said he doesn’t like when people bring in too much of their own personality in his shooting, and it’s boring because it is what they are supposed to be, he wants everyone he photograph to be him.

Compared to Olivier Richan’s grey minimal tone, his tone is more lively, the shooting angle is close up to the object. It seems to me that rather than photographing an object, his works are more like dissecting objects.

“astro crusto, a,” 2012

I can clearly see this is a lobster, but the broken shell, the texture of flesh was torn off, and the flies, they convinced me it was a trash on dinner table.

Pear, passion fruit & lychee, 2000

The title is explain the image in a very directly way. But in this image, the pear is a peeled pear skin, the lychee is without the skin, and the passion fruit is left with only a shell. The whole image is like being a small kitchen, the skin, the lychee pulp, and the shell. None of them are complete.

Olivier Richon’s works give me a very quiet feeling, there’s no unnecessary decoration, and people can catch the key point at directly. The colour is also mostly in grey tone, the whole work is very clean and minimal.

Kani, Tokyo, 2016, Color Photography, silver print type C, 117.5 x 95.3 cm

These two works remind me of the life drawing studios. When I used to study drawing and sketching, the tutor would put some fruits and other things on some sheets.

Les Exercices Spirituels, 1991, Analog photography, C-type Print, 83 x 67 cm

Madeleine Penitente, 1991, Analog photography. C-type Print, 67 x 83 cm

This is my favourite work compared to the others. Still life is mainly “still”, objects do not move, but the difference is the turtle moving track was captured.

<em> Portrait of a tortoise in motion, 2008, 90 x 74 cm

Symmetry, life, and despair, these are the words my mind came out when I saw the image. The fish in image is not complete, only two heads face to face, the overall gray tone gives a cold sense od despair, and the fish eye and red meat remind me of their life.

Acedia, 2013

Photographer: FEIYI HUANG

Styling: FEIYI HUANG, SYRAIN LI

Model: SYRAIN LI

Edit:FEIYI HUANG

These mood boards came out after I did research about these 24 solar terms, the research including basic information, some poem, customs and culture.

“I would photograph an idea rather than an object, a dream rather than an idea.”

-Man Ray

Glass tears (Les Larmes), 1932

His works are sometimes more like art than photography. This work gave me a lot of thinking and imagination, first because of the big round teardrop, second because of the close up view, there’s no more element to tell people what happened behind it. For me, there are two ways to explain this tear, the first one which is the one I prefer, she was too sad and condensed the glass tear, but what happened to her to shed such tears? It;s more beautiful than a real tear, but also never goes away because of the sadness. The second is that although her eyes were sad, but perhaps just lament, these are his tears for her.

Yesterday, Today, Tomorrow. 1924

I can clearly see the tittle meaning from the picture, he made it in a very direct way to express what he was talking about. The picture gave me feeling that, in the same place, same person, same position, the exposure means the left side is yesterday, middle is today dan right is tomorrow, but in the end the three become one, expressing whatever yesterday, today or tomorrow, but all are current/now.

Silver bowl for almost 20 years…

First shooting:

Second shooting:

taking all contact away……

Third shooting:

photographing subjects in their usual context……

I prefer the second one compared to others, it looks much stronger and black white give a sense of story telling,

These works are inspired by Ishiuchi Miyako.

Photographer: Feiyi Huang

Pearl Necklace

Pyjamas

Chopping board

Lines