1. Which foreign photographer's work do you like best? Why?

2. Have you seen China's works by foreign photographers? Do you think they are objective?

Do you have much contact with foreign photographers? What do you think of their impression of China?

4. Have you ever photographed the works of foreign photographers or seen the works of China photographers imitating foreign photographers? Do you think this is a necessary stage?

5. What do you think of the level of China photographers compared with foreign photographers?

6. What do you think is the urgent task for China photographers to go global?

Li Zhensheng

My first favorite foreign photographer was Henri Cartier-Bresson. 47 years ago, in August of 1960, China cultural circles severely criticized him as "the general representative of bourgeois neo-realistic photography school". I secretly regarded him as my mentor and idol from the beginning of "reverse thinking", and his "decisive moment" became the theoretical basis for guiding my photography practice for decades. If narrow nationalism can really be put aside to tell the truth, I think most of China's works taken by foreign photographers are objective, but some photographers are not familiar with China and China's lifestyle, so the photos taken are inevitably biased and one-sided. With the globalization of information, I think the impression of foreign photographers on China is generally good, and it will get better and better. China's photography is much better than China's football! Many China photographers have rushed out of Asia to the world. I think China photographers are no worse than foreign photographers.

Sisushi

Foreign photography circles generally pay attention to China's photography, and, Ma and Ma have also begun to sort out China's works according to their own views. Mr. and Mrs. Baldwin in Houston, USA, recently made great efforts to understand the styles of photographers from different places and systems in China. The level of photographers in China is different from that of foreign photographers. Compared with their western counterparts, the younger generation is more naive, but China's unique aesthetic concept (expressing ambition through poetry, being implicit, inner, profound and circling the beam for three days) will soon play a unique role. As far as the current works are concerned, works that naturally reveal homesickness like Wu Jialin are more likely to reflect people's feelings and ethnic customs; The mainstream of conceptual art photography is still in the imitation stage, which is also a relatively blunt stage. No matter what kind of photography, photographers can only get rid of the "yellow mouth" and mature as soon as possible if they restore their individuality and self-identity, and improve their cultural literacy, ideological understanding and artistic expression taste on this basis.

Zheng Gu

There are ordinary photographers abroad and excellent photographers at home. I have contacted foreign photographers, but I don't care about people's impression of China, and I'm not interested in asking people to change anything, even if he has a so-called "negative impression". We should know that there are too many "negatives" in society, and it is not good to ask others not to be negative. What is the urgent task for China photographers to go global? The problem of pouting in this big country is of little significance. Most importantly, industry standards are universal, dedicated, trustworthy and of course talented. Zhang Haier is a typical example.

Yang Xiaoyan

Many western photography styles have had a profound influence on China. First of all, photography was introduced from the west. I was probably the first person to introduce Mark Rib to China. At that time, I watched what China saw, and selected about 50 works to be published in the photography series. Now I have a lot of contact with Liu, a photographer who teaches at the Art College of the University of Kansas. It is not good for China photographers to "go out". First of all, many China photographers have participated in international photography exhibitions. Is this "going out"? Secondly, China's photography is not "going to the world", but "going to himself". Photography in China should be based on local conditions, especially in today's era of globalization.

Baukun

China's works by foreign photographers are mixed. Those who know China in particular and China at all are in the minority. Imitating the works of foreign photographers is not a necessary stage for China photographers, but an unavoidable nightmare. How do China photographers compare with foreign photographers? Compared with the general technology, it is slightly worse; Compared with a serious work attitude, it is a thousand miles away; Compare the in-depth cultural view and see where it is. Compared with commercial photographers, creativity is not comparable at all, and technology is comparable. There is no point in comparing with masters, because masters are a thing of the past. Compared with reporters, first of all, there is no professionalism, and nothing else can be compared. In China, the top priority for photographers is to pay close attention to their own land.

Jiang Rong

Living in new york, I am lucky to often go to photo studios and museums to see photo exhibitions. I like Robert best.

Mapplethorpe's works, and Andre.

Chertes. Most of the foreign photographers I know are well-trained, very professional and independent, and have professional qualities and professional ethics. They are more curious about China. Have a good impression on China at ordinary times. China is a gold mine for photography, and many foreign photographers are aware of this. Photographers in China should seize the opportunity to find suitable subjects for their own shooting.

Liu Shuyong

Contemporary foreign photographers have different ideas about the scenery created by the mainstream ideology in China, such as the Olympic Games and modern cities, and their views on the life of the remote areas or the bottom people in China. They are more willing to know the latter, and regard this kind of understanding and inquiry as approaching a real China. Judging from my concern about photography's involvement in social criticism and personal inner expression, China's photography works are more direct, powerful, compassionate and frank. Without going to the world, you are the world itself.

Na Risong

The best foreign photographers in contemporary China-Yan Lei, Robert Van der Hughes, etc. They are all my friends. They have a thorough understanding of China. Other photographers who travel to China to take photos (including some big names) give me a ridiculous feeling. When you see them taking pictures, you sometimes even wonder if they are the "masters" you once admired. A few photographers in China have reached the level of top foreign photographers, but our photographers are still a mob. Our foundation is too poor. We don't even have a decent History of Photography in China, a decent Photography Review, a Photography Museum and a Photography Art Fund ... There is a unique phenomenon in contemporary photography in China, that is, amateurs are more popular than professionals, and amateurs are more professional than professionals.

Wang Wenlan

I often buy some documentary albums of foreign photographers from all over the world to see how they shoot their own country and China. I like Eugene Smith best, as well as the pictures of Bresson and Mark Rib about China. I often contact some foreign photographers, and they all think that China is the most sensitive place to look for photography. Photographers in China can reach international standards as long as they take good pictures of what is in front of them.

Lu guang

I like Eugene Smith's Minamata Disease best, so being a photographer means being a responsible photographer. Mainly look at the works of the world photojournalism competition. German photographer Michael wolf's "China ―― The Factory of the World" won the first prize of Dutch contemporary hot spot group photo. Alessandro Di Gaitano's "Shanghai Migrant Workers" won the third prize of the Dutch contemporary hot spot group photo. Korean photographers are very interested in China. They often shoot alone in the northeast and northwest of China.

The main problem is China's system, which makes many China photographers unable to play their role, trapped in the circle and unable to participate in world-wide theme competitions. So we can't see China photographers' photos of major themes in the world. Poor information, poor English proficiency of photographers and difficulties in English translation have all become stumbling blocks for China photographers to go global.

Wu Jialin

After 1996, I went to Houston, new york, Paris and other places to hold film festivals, and stayed for one or two months at a time. I like Kodeka's works best. He is a talented video artist, and his picture composition is extremely rigorous and unpretentious. Cartier Bresson and marc riboud's works of China are profound and objective, and they are the epitome of China's social and humanistic state at that time, so they are very precious. They all like China, especially China's 5,000-year history of civilization, and are very happy with the development and changes in China today.

China photographers pay attention to content and light form; What to shoot again? How to shoot it gently. His works tend to be "photography" and "recording" and lack artistic expression. Foreign photographers pay equal attention to content and form, and pursue personalized vision. The most urgent task for photographers in China is to photograph what they are familiar with and touch with in a personalized visual way.

Ceng Huang

Adams, Bresson, salgado, Eugene Richard, James Nasway, Joe.

Mcnally ................................................................................................................................................................................ Haven't China photographers gone to the world yet? In my opinion, there are many world-class photographers in China who fly around the world.

Lin road

I buy as many as 50 or 60 albums of foreign photographers' works from the Internet every year, which is equivalent to 10,000 to 20,000 RMB. I like Adams when shooting scenery, Newton when shooting human body, and Sakowski after turning to criticism. Due to curating, I have been in frequent contact with foreign photographers in the past two years. Their works participated in Pingyao International Photography Exhibition, and they were often excited after seeing the grand occasion of China International Photography Exhibition with their own eyes. The influence of China photography in the world is far from the expected space. In 2006, American photographer Steichen's Moonlight Pool sold for $2.928 million. In this year's Huachen image auction, which caused a sensation in the whole country, China photographers took a total of 132 photos, and finally 84 photos were sold, with a total turnover of 2,455,970 yuan, which was less than 1/8 of one of Steichen's works. The urgent task for China photographers to go to the world is to establish humanistic spirit, which is manifested in the maintenance, pursuit and concern of human dignity, value and destiny, as well as the great attention to various spiritual and cultural phenomena left over by human beings, and the affirmation and shaping of the ideal personality of all-round development.

Ren Yue

The works of magnum photographers are good as a whole, representing the highest level in the field of photography, and their styles are constantly changing. Foreign journalists' attention to China has shifted from the poverty of the young and the old to the urbanization and modernization of China. China is changing so fast that everything you record will soon become history-this is the dream job of a report photographer. The best reporting photographers in China are no different from those abroad. There is still a gap in the overall level of photography education. In the future of photography, we should ask ourselves: Why go to the world?

Sun Jingtao

The older generation of foreign photographers, I like Joseph Kaudelka and Diane Arbus; The new generation likes martin parr. The former is the unity of knowing and doing, while the latter is the endless banter and expansion of photography ontology language. No matter from which angle, China is a paradise for photography-there are endless subjects here, and it is also a huge undeveloped market. Photographers in China are not as good as their foreign counterparts in many places, but also surpass them in many places, and there are many places that are not comparable. The urgent task for China photographers is to know how to become a real "China photographer" instead of becoming a world photographer. A Dutch photo editor asked me, "How can I take a good photo of China?" I said that if I know Chinese, I should live in China for more than ten years.

Pine Wang

I like Thomas Diman, a German photographer who lives in London. His works have an absurd expression of life. Personal attitude is the most important thing for photography. I think foreign photographers are very interested in China, because the change of Chinese style is hard for them to see in the west, so they have been exploring in China, but some foreign photographers like China and have lived in China for many years. There is no comparison between China photographers and foreign photographers, because their social and living environments are completely different and their expressions are different. At present, what domestic photographers shoot is more interesting and their works have greater visual impact. China photographers don't have to go out to the world, because art is interlinked.

Jiang Wei

I like more than one foreign photographer, each with his own merits. I think most foreign photographers don't know China, and their impression of China is actually limited to their imagination of the East. Compared with foreign photographers in recent twenty years, the difference between China photographers and foreign photographers lies in their mental state. Many people in China probably feel that they are out of the "world", so they are anxious to go to the "world". In fact, the real photographer himself is the world. He should go to his heart and ask himself: Why should I take pictures?

Tang Shiceng

I love robert capa and Eugene Smith best. They are both Americans. China described by Bresson is objective. I have been in contact with professional photographers in the West, and they think that China is changeable and has no rules to follow, and something great is bound to happen. My photography has imitated Magnum photographers such as Kappa and george rodger, and their good friends George Orwell and Hemingway. There is a big gap between China photographers and foreign photographers, not technically, but conceptually.

Liu Xiangcheng

I liked Henry better when I was young.

Lattiger's works, he described the interest of people's life in a particularly good way. I have basically seen all the photos of China taken by foreigners. They saw French China, Swiss China and American China. Among China's works shot by foreign photographers, I prefer Rene Bree's works because his location, background and characters are well combined. Mark Rib is also good, but his later works are not very good. Bresson's China is not his best work. Photography is one thing, but their impression of China and their understanding of China are another. If there is an album, please ask sinologists to make a preface. These photos are beautiful, but they don't reflect China. From the personal point of view of China photographers, there are not many works. To do this, we need humanistic accomplishment, care and understanding. It's not that photographers in China don't have opinions, but that their opinions should be proved by a series of works and run through their own interpretation of society.

Su Zhigang

I like to understand the interpretation of contemporary society by western photographers through the ever-changing works of new photographers. There are many western photographers who take "helping the poor" as their own responsibility and shoot images of Asia, which is quite heavy. It is necessary to imitate the west, but it is most valuable to stick to one's own cultural position in the end. There is no comparison between China photographers and foreign photographers. Photographers in China should be patriotic and have national dignity if they want to go global.