Interview: Chengyi Sun X Bruno Barbey

访谈:孙成毅 X 布鲁诺·巴贝

To be curious about the world ,to keep a fresh eye !

It is said that you joined Magnum Photos in your 20s. At that time, did you shoot the “Italie” (Italy) series? Who was in contact with Magnum at that time? Can you talk about this experience?

In the early 60 I photographed the “Italians” with the help of the french publisher Robert Delpire .He had just publish the book the” Americains” by Robert Franck .At that time when I join Magnum there was only 2 photographers base in Paris : Henri Cartier Bresson and Marc Riboud.

They have made both remarquable work in China.

You have the reputation as a “color master”. When did you become interested in the perception of color? How does it relate to your life and experience?

I was born in Morocco a country with strong colors. The painters Delacroix did remarquable paintings and later ,Henri Matisse after is visit to Morocco said that he had to change his palette of colors. I guess it is one of the reason why I became interested in the perception of colors.

Magnum  photographers and Henri Cartier Bresson in the early days  did not like colors .At that time the color reproduction in publications was not good . There was only 2 Photographers shooting in color :Ernst Haas and Brian Brake when I joined magnum.I start to use seriously color in 1966 during a long trip in Brazil.

When you are young, you are fascinated by Italian neorealism movies. Do you think these experiences have an impact on your photography? Is it mainly reflected in photography?

Indeed I was fascinated by the Italian neorealisme movies and it help me to understand better the Italian rich culture!

Accuracy, authenticity, poetry, beauty and fragility of the world. Is this the commonality conveyed in your work?

I more interested to photograph beauty than wars.

Mr. Jean-Luc Monterosso described you as saying: “He seems to have a genius intuition. This intuition guides him to take the lead in the world and stand at the most suitable time. The right place.” Accurate time, the right location, how do you practice this intuition?

I make research to be inform on situation  which .permit me to be at the right place at the right time.

How can a photographer create his own photography project? How do you grasp the relationship between the generation of an idea, the identity in the filming process, the choice of a good photo, the performance of the filming, and the final presentation of the work?

To work on a photographic  project need preparation and research this to be familiar with the thema  that you want to photograph.The final presentation might be a book and an exhibit.

The styles of Magnum photo club members are now very different, with traditional documentary meanings, including Martin Parr’s new documentary type, and contemporary photography types such as Alec Soth. As a former chairman of Magnum Photo Agency, how do you view the differentiation of these “performances”?

The different way to work with magnum photographers is important and indeed each one has his on style .There is a larger diversity of style today .

Academician of the French Academy is one of your important titles. Can you tell us about the French Academy?

The French Academie des beaux Arts promote the artistique creation in the world and preserve the artistique patrimoine of France.

1973, 1980, 2010… You have visited China many times and witnessed a series of changes in New China. How do you view this country?

I have seen the last 45 years the extraordinary mutation of China who become a super power in few decade  but in the same time  China has to solve the huge effect of pollution specialy in big cities .

What is the most important thing in photography? Do you have any suggestions for Chinese photographers with dreams?

To be curious about the world ,to keep a fresh eye !


在60年代早期,我在法国出版商罗伯特·德尔皮尔的帮助下拍摄了“意大利人”。他刚刚出版了罗伯特·弗兰克的“美国人”一书。当时我加入马格南时,巴黎只有2位摄影师: Henri Cartier Bresson和Marc Riboud。(亨利·卡地亚·布列松和马克·里布。)



我出生在摩洛哥一个色彩浓烈的国家。 画家德拉克洛瓦做了重新制作的画作,后来,在访问摩洛哥之后,亨利马蒂斯说他必须改变他的色彩。 我想这也是我对色彩感知产生兴趣的原因之一。

马格南摄影师和亨利·卡地亚·布列松在早期并不喜欢颜色。当时出版物中的色彩再现并不好。 只有2位摄影师拍摄的颜色:恩斯特哈斯和布赖恩布拉克,当我加入马格南时。我在1966年的巴西长途旅行中开始使用严肃的色彩。





Jean-Luc Monterosso(让-吕克·蒙特罗索)先生形容您时说了这么一句话:“他似乎有一种天才的直觉,这种直觉指引他领先世人一步,在最合适的时间站到最合适的地方。”准确的时间,合适的位置,您是如何练就这种直觉的?




马格南图片社成员作品风格现在变化很大,有传统纪实意义的,有Martin Parr(马丁· 帕尔)新纪实摄影类型的,也有Alec Soth(埃里克·索斯)这类当代摄影类型的,作为马格南图片社前任主席您如何看待这些“表现”的差异化?



法国Academie des beaux艺术学院促进了世界艺术创作,并保留了法国的艺术创作。