那些青春期的小情绪，日本女摄影师川内伦子[转]

                
                
                
                
                
                
                
                
                
                
                
                
                
                
                
                
                
                
                
                
                
                
                
                
                
                
                
                
                
                
                
                
                
                
那些青春期的小情绪，日本女摄影师川内伦子
 
川内伦子（Rinko Kawauchi），女，1972年出生在日本。
1993年，毕业于Seian Women′s College。
2004年以Aila摄影作品出名，在美国、日本艺廊展出，前后发表过很多个展，获得2002年第27回木村伊兵卫写真奖。
川内伦子的照片多采取6*6的构图，捕捉日常生活中的细节，安静柔美却又酝酿着神经质的小情绪，明媚灿烂却又暗藏着成长的挣扎和阵痛。每一个经历过或残酷或绚烂青春的人都可以从这些作品中嗅出那些熟悉的味道，那些曾经疯长的小情绪。
找来了川内伦子的英文介绍和采访。
      
Interview: Rinko KawauchiRinko Kawauchi (1972) has already won several international awards, and she has had, and continues to have, a prolific publishing profile. In a matter of a few years she published around six significant books featuring different series of her work including: Aila(2004); Hanabi(2001); Utatane(2001); Hanako(2001); Cui Cui(2005) and the eyes the ears (2005). The flow of Rinko's images echoes the cycle of nature as much as her subject matter focuses on both the natural world and humans' place within it. She has at times presented her work alongside her own haiku poetry.
Kawauchi is nterviewed by Masakazu Takei, an editor and the representative of FOIL, a publisher in Tokyo. He has been editing all the photobooks of Rinko Kawauchi published from Little More and FOIL.
Interview:Masakazu Takei
Foto:Katrine Bartram Reinert Nielsen
Rinko Kawauchi (JP)
Aila + the eyes, the ears
25. november - 21. januar 2007
Fotografisk Center
Gammel Strand 48, 1202 K鴅enhavn K
web site:http://www.photography.dk/
Tirsdag - s鴑dag 11-17
Rinko Kawauchi: Aila + the eyes, the ears,
When did you begin studying photography?
I attended a two-year college and took a photography classonce a week, which I enjoyed more than anything else.
Did you intend to become a photographer when you entered college?
No. I went to art school because I thought it would be fun to take art class every day. I was interested in studying drawing, design and images. But what I enjoyed the most was my photography class.
Rinko Kawauchi: Aila + the eyes, the ears,
What did you do just after graduating from college?
I was employed by an advertising company and worked in the photography sectiononly for a year. After that, I worked as an assistant at a photography rental studio in Tokyo for aboutone and a half years. The first year I spent most of my time shooting packaging and works of art. This experience helped me learn a lot about technique. After about three years working for others, I decided to go free lance.
As a free lance photographer did you work more for advertising or for magazines?
In the beginning I worked more for advertising. However I have had many different types of clients including magazines.
Your first publications were the trilogy of photo books Utatane, Hanabi and Hanako. As a free lance shooting commercial work, when did you find the time to work on personal projects such as Utatane?
Well, sometimes I would work on my personal projects during the spare time I had between each job. At other times, I would shoot what caught my eye while working on a advertising project. I always carried a camera with me just in case.
Do you have a different approach to photography when you are doing your personal work?
I've been often asked that question. When I am shooting there is no difference in my approach whether I am doing personal work or commercial work. However when I am selecting them and putting them together, I do think about where and how the prints will be shown. For commercial photos, I sometimes have to shoot subjects that are set up in a studio, so perhaps I should say there is a difference with my personal work. I have a much clearer intention in mind when I am doing commercial work. But even when I am working on an advertisement, I am looking for the same kind of feelings and sensations as I am shooting.
When you shoot, do you have any specific plans?
It depends on the series. Generally, I have a potential book in mind. For Utatane, I took pictures of things that moved me. For Hanabi, I had something very specific in mind. I searched for the times and places of summer fireworks shows in Japan. I wanted to photograph them from many different points of view. I often shoot with the idea of a project in mind: a view from a hotel room, a view of the highway. Then I work on the layout of my publication.
What do you think about while you are shooting?
Basically I try not to think about anything.
Like athletes who can move their bodies without thinking?
Sometimes I am thinking as I shoot, but the best photos are brought about when I am not thinking about anything ?when my mind is empty of thought. When I am intently concentrated, I feel nothing of myself. I think it's similar to "runner's high".
Do you have this same feeling when you are putting together a series?
As I am printing, I always think about how I will put together a series ?at this stage my mind and my body are working together. I sometimes have a hard time finding an idea, but after several days of printing and reflection an idea will come to me suddenly.
Everyone says that you have a very unique way of capturing light on your prints. What do you think? I do not do this consciously.
Sometimes your shots are deliberately en contre-jour?
Atmosphere and lighting are very important to me. When I photograph en contre-jour, what I am trying to do is capture the soul or aura of the subject rather than the subject itself... I guess that is the reason why people say that my lighting is unique.
In your work, you often address the universal themes of life and of death. Are these themes particularly important to you?
I do not necessarily think about them consciously while I am shooting. They emerge as I select the prints and put them together as a series. This is a very important process to me, as important as the shooting process. I look at my works objectively and calmly during this stage.
Are there moments during a shoot when you are sure that you have taken a great photograph? Or moments during the development when you are surprised by something you discover on a print?
I love it when I discover something extraordinary in my prints while developing. There are always moments when I surprise myself by seeing something I did not expect to find.
After you develop a photograph, you reexamine it and decide how you will include it within a series of images? This could be called an editorial approach to photography.
Sometimes I feel that it would be better not to do this. If you think too much about the selection of photographs and how they will be put together, the result will seem over-structured, artificially composed. It is always difficult to use good judgment during this process.
How do photography books differ from exhibitions?
The biggest difference is that a photography book can be held in your hands. It can thus be appreciated on a more intimate level. Exhibitions are seen in white boxes. When you are putting together a photography book, you must keep in mind that you look at them in a sequential way as you turn the pages. When viewing an exhibition, what counts most is the space and how it is structured. These are two very different ways of looking at photographs.
In your exhibitions, you often present a selection of photographs in a small box-like room.
When possible I like people to view the images in a very small space. In this way, the public is brought closer to the work.
The experience thus becomes similar to viewing the photographs in photography book.
Up until now, I have been mainly focused on making publications. It is probably for this reason that I like people to view my works up close. Although I know there are many advantages to showing my work in larger spaces, I still believe it is more suited for smaller spaces. For this reason, I always make sure that there is a small room where people can appreciate the work on a more intimate level. Theone I made for the exhibition at Art Tower Mito was called a confession room, which was well described.
It was like a church?
It owed the effect to the height of the ceiling and the way the sunlight streamed into the room. When I am shooting, I appreciate the same kind of atmosphere. I want to create a quiet, intimate place where people can be alone and listen to their inner voices while they are looking at my works.
What were your interests as a child?
I wasn't a very cheerful child. I was rather gloomy. I didn't like school. I was always reading books, but they were nothing serious - fairy tales, illustrated children's books, novels for young women, and world literature.
Do you enjoy reading?
I like books. Even if I don't understand the content, I am happy just having them. I love libraries. Since there were not many books in my school library, I often went to the municipal library in Tsurumi Ward(Osaka) by bicycle. I like being by myself in the library.
Did you look at any photography books when you were a child?
Yes. I saw American Roulette of Shinya Fujiwara when I was in elementary school. I couldn't understand why he had given that title to his book of photographs of the US. I tried to read the postscript, but it was too difficult for me to understand. I also saw his publication Memento-Mori as well as Joji Hashiguchi's 17 years old and couple. I was also interested in photographs of animals in nature books. I remember being particularly surprised by the texts in Hashiguchi's couple. I was even reading Osamu Hashimoto and Seiko Tanabe.once, a young librarian told me that I was too young to be reading such books. I didn't care and just kept reading them even though I didn't always understand them.
Who are the photographers that you particularly respect and why?
In Japan, I respect Kyoji Takahashi, Toyohisa Araki, Daido Moriyama and Takuma Nakahira. In Europe, I respect Boris Mikhailov. I also like the works of Wolfgang Tillmans. I generally respect the work of all photographers.
Have you been influenced by anyone?
Though there are many people, Banana Yoshimoto has influenced the spiritual part of me very much. I was also influenced by the work of Satoru Sato, a great illustrator of children's books.
It is very difficult for young artists abroad to publish their books before they exhibit their works, while in Japan young artists can publish their work relatively easily. What do you think of this difference in opportunities?
It has been my first goal to publish books. It has been more important to me than making an exhibition. Even when I knew my work would not be published, I did not consider it completed until I was finished organizing it into portfolios. Before I published my first book, I was making my own handmade books every half a year or so. It was very important for me to unify my works into a series before moving on to the next stage. For me an exhibition is a reward, not a goal in and of itself. I think that if I was not able to publish my work, I would continue making books on my own. It is more important to me to show my works in the form of a book than to show the print itself.
You simultaneously released three photography books in Japan. Did your situation change following the release of these publications?
It completely changed my life. It means that I am now appreciated as an artist. You are not recognized as an artist in Japan unless you have published something. People place more importance on your publications than on your exhibitions. For the selection of Annual Kimura Ihei Award, what they consider is the publications.
For this exhibition, you will show the photographs from AILA, the eyes, the ears, and cui, cui. What does each titles mean?
AILA comes from the Turkish word meaning ig family?or more generally relationship? the eyes, the ears, is about what can be captured with our five senses; notonly what the eyes see, but also what the ear hears and the skin touches.
the eyes, the ears, represents your first experience bringing together your photos and your poems?
Organizing the photographs has gone smoothly because I usually listen to my inner voice when I am doing this. I have had many offers from various magazines to write, but I have always been a little reluctant to put words next to my images. I tried to express my inner voice as well in my poems as I do in my photographs. It was also a challenge for me to do things in a new way.
The AILA series notonly deals with the themes of birth and death, it also includes scenes from everyday life. Why did you include these images in this series?
If I had not included these scenes from the everyday, the series would have been cut off from reality. I included them to make daily reality more tangible. As a result, the series became more interesting.
Why did you choose cui cui as a title?
Since I knew the exhibition would take place in France, I consulted a French dictionary. There was a column about how birds cry in various languages. It is "chun, chun" in Japanese and "cui, cui" in French, and so on. Among them, "cui, cui" sounded very cute, while the sound of "chun, chun" was too familiar for me. As it is a photobook of my family, I didn't want it to have a weighty meaning. In this regard, the sound of "cui, cui" was exotic and suitable for the title.
How long have you been taking the photographs of your family?
For about 10 years. It is really a quite an average family. Although there are dramas in the life of any family, I didn't want to focus on this aspect of things in cui cui. There is nothing exceptionally dramatic shown in this series. I wanted to consider the events that can happen to any family. I thus tried to avoid focusing on the specific qualities or personality of my own family. For me, these events are sometimes as small and insignificant as the cry of a sparrow. People die, live, get married, grow apart... I hope that after seeing my work people will begin to reexamine their own families. But it was very difficult to put the series together.
What was difficult for you?
I tried to be objective, but this was very difficult because the images concern my own family. I felt that in order to merit a presentation and publication, the work had to be more than just a personal family album. I wanted to make a book that would bring people to reflect upon their own family relationships. More generally, I would like that my work serve as a catalyst for people to think about themselves and their relationship to the world.
There are a great many photographs in the size of 6x6. Are there any reason for it? What kind of camera do you use?
I use Rolleiflex twin-lens reflex camera in 6x6 format.
Do you use any other camera?
I use Hasselblad 6x6 and Canon A1 and F1once in a while. Also Kyocera T Proof, a compact camera and Panon Widelux, a panoramic camera. And I want to use 4x5 format from now on.
Do you change your equipment when you go from a commercial shoot to your personal work?
I rarely change them. I judge on a case-by-case basis. But I don't change the equipment I carry. When I go on location, people are always surprized at my very small luggage. I bought a suitcaseonly a year ago or so. I used to go abroad with a small camera bag and a backpack. As for the tripod, Ionly have a smallone.
I believe that you will be doing more and more exhibitions abroad from now on. How do you feel about this?
I am grateful for having many opportunities. They are like rewards to me as I've explained before. I think I'm very fortunate that my works will be seen by many people. I would like to work on each exhibition earnestly and steadily.
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川内伦子（日本女星菊川内），女，1972年出生在日本。
 
1993年，毕业于齐庵女子学院。
2004年以艾拉摄影作品出名，在美国，日本艺廊展出，前后发表过很多个展，获得2002年第27回木村伊兵卫写真奖。
 
川内伦子的照片多采取6 * 6的构图，捕捉日常生活中的细节，安静柔美却又酝酿着神经质的小情绪，明媚灿烂却又暗藏着成长的挣扎和阵痛。每一个经历过或残酷或绚烂青春的人都可以从这些作品中嗅出那些熟悉的味道，那些曾经疯长的小情绪。
川内伦子将日常生活用柔和地色调细微地表现出来，她的作品意在表现特有的质朴忧郁和韧性，有种抓人的魅力，这种魅力不是从第一眼就把你牢牢抓住那种，但在连续看过大量她的作品以后，你不会审美疲劳，倒有些意犹未尽。“淡淡的”是她形式操作很重要的一环，这种淡色调下面却藏着意想不到的冲击力，用“低色调高能量”来形容比较合适。
她的图片就像是“轻薄的假象”，透着淡淡迷人的幽雅。因为这层薄雾包藏着“祸心”，让人沉溺在轻柔且淡雅的氛围里，而事后上演的，却是一幕幕惊悚的恐怖片。这也只是她较为深层的观察能力。最精彩的部分还在于她成功地展现出了日本两个不同端点的极致文化氛围。
找来了川内伦子的英文介绍和采访。
 
     
专访：川内伦子
川内伦子 （1972年）已经多次获得国际大奖，她已经并继续对一个多产的出版文件。在她的左右出版的六款她的工作，包括不同系列的重要书籍几年的问题： 艾拉（2004年）; 花火（2001年）; Utatane（2001年）; 花子（2001年）; 崔璀（2005）和 眼睛耳朵 （2005年）。在伦子的图片集流呼应了她作为题材多集中于它的内部自然世界和人类的地方自然循环。有时，她提出了自己的旁边，她工作的俳句诗。
由川内的nterviewed 武井正和，编辑和金属箔，在东京出版的代表。他曾编辑所有的菊地从川内多和铝箔出版photobooks。
专访：武井正和
照片：卡特琳巴特拉姆赖纳特尼尔森
川内伦子（日）
艾拉+眼睛，耳朵
25。 11 - 21。 2007年01月
Fotografisk中心
Gammel东街48，1202亩鴅enhavn亩
网址：http://www.photography.dk/
Tirsdag - 拧鴑山11-17
 
川内伦子： 艾拉+眼睛，耳朵，
 
你什么时候开始学习摄影？
我参加了一个为期两年的大学，采取了摄影课每周一次，我喜欢比什么都重要。
 
你想成为一名摄影师当你上了大学？
不，我去艺术学校，因为我认为这将是有趣的美术课以每天。我很感兴趣，学习绘画，设计和图像。但我最喜欢的是我的摄影课。
 
 
川内伦子： 艾拉+眼睛，耳朵，
 
你做了些什么刚刚大学毕业后？
我是受雇于一家广告公司和摄影节只工作了一年。之后，我当过摄影助理在大约1年半的租金在东京工作室。第一年，我花了我的大部分时间拍摄的包装和艺术作品。这个经验使我学到了很多有关技术。经过三年左右的工作人一样，我决定去自由撰稿。
 
作为一个自由撰稿摄影师为你工作，为杂志广告或更多？
一开始我做的广告更多。不过我有杂志，其中包括许多不同类型的客户。
 
您的第一个出版物的相册，Utatane，花火和花子三部曲。作为一个自由撰稿拍摄商业工作，当你发现时间上的个人项目工作，如Utatane？
嗯，我有时候会在我的个人项目在业余时间我彼此之间的工作有。在其他时候，我要拍什么吸引我的目光，而广告上项目工作。我总是随身携带，以防万一我的相机。
 
你有不同的方法来拍摄时，你正在做你个人的工作？
我已经常问的问题。当我拍摄中没有我的方法则无论我做的工作或个人商业工作。然而，当我选择他们，把它们放在一起，我觉得在哪里以及如何将显示打印。对于商业照片，我有时要拍摄被设置在一个录音棚的科目，或许我应该说有一个与我个人的工作不同。我想到了更为明确的意图，我在做商业工作。但即使在我工作的一个广告，我的感情和感觉的同类研究，因为我射击。
 
当你射击，你有什么具体计划？
这取决于系列。一般来说，我有一个考虑到潜在的书。对于Utatane，我把事情的照片，感动了我。对于花火，我心中有非常具体的东西。我对时间和夏季烟花爆竹的地方搜查显示了日本。我想从他们拍摄的角度很多不同的论点。我经常拍摄同一个项目的想法记：从酒店房间，一个公路景观的看法。然后我的工作在我出版的布局。
 
 
你想想，当您拍摄？
基本上我不会去想任何东西。
 
就像运动员谁可以将他们的尸体没有思想？
有时我想，我拍，但最好的照片是什么时候我不是什么思想带来了什么？当我的心是空的思想。当我专注集中，我觉得我自己没有。我认为，类似“亚军的高”。
 
你有同样的感觉，就再次推出了一系列？
由于我印刷，我总是对我怎样整理在这个阶段我的脑海，我的身体正在共同一系列？想。有时我很难找到一个想法，但在印刷和思考一个想法几天会突然来找我。
  
大家都说，你有你的打印捕捉光线非常独特的方式。你觉得呢？
我不自觉地这样做。
 
有时，你的投篮故意中文contre，今日报？
气氛，灯光都对我很重要。当我拍摄中文contre，今日报，我所试图做的是灵魂或捕获的主题氛围，而不是问题本身...我想这就是为什么人们说我的照明是独一无二的。
 
在您的工作，你经常处理他们的生活和死亡的真谛。这些主题是特别重要的吗？
我并不想对他们自觉地当我射击。他们成为我选择打印并作为一系列在一起。这是一个非常重要的进程对我，像射击过程中的重要。我期待我的作品在客观和冷静地在这个阶段。
 
是否有拍摄期间，当你确信你已经采取了伟大的照片的时刻？或在开发的时候当你是你的东西打印发现感到惊讶吗？
我喜欢当我发现我在打印不同寻常的同时发展。总有一些时刻，当我大吃一惊，看到的东西我没想到，发现自己。
 
开发后的照片，你重新审视它，并决定如何将包括在一系列图像吗？这可称为摄影编辑方法。
有时候，我觉得最好不要这样做。如果你觉得太多太多的照片，以及如何选择他们将联合起来，结果似乎对结构，人为组成。它总是难以在此过程中使用良好的判断力。
 
如何摄影书籍展览有什么不同？
最大的不同是，摄影书可以在您的手里。因此可以欣赏一个更亲密的水平。展览，看到白色的盒子。当你组建了一个摄影的书，你必须记住，你看，在连续的方式在它们打开的网页。当观看展览，最重要的是空间和它的结构。这是两个非常不同的方式在看照片。
 
在您的展览，你经常出现在一个小盒子的一些照片样的空间。
如果可能我喜欢的人认为在一个非常狭小的空间图像。这样，市民的距离拉近工作。
 
经验从而成为类似书籍中查看摄影的照片。
到现在为止，我一直主要集中在提供出版物。或许正是出于这个原因，我希望人们近距离查看我的作品。虽然我知道有以显示我在更大的空间工作有很多好处，我仍然认为它更适合较小的空间。基于这个原因，我始终确保有一个小房间里，人们可以欣赏一个更亲密的工作水平。我为一个在艺术展览大楼户提出被称为自白房间，这是很好的描述。
 
这就像一个教堂吗？
它所欠效力的楼底高度，阳光的方式流进了房间。当我投篮，我欣赏的气氛也不尽相同。我想创建一个安静，亲切的地方，人们可以独自倾听他们内心的声音，而他们在看我的作品。
 
是什么作为一个孩子的利益？
我不是一个很开朗的孩子。我是相当暗淡的。我不喜欢上学。我总是看书，但是他们并不严重 - 童话故事，说明了儿童读物，青年妇女小说，和世界文学。
 
你喜欢阅读？
我喜欢的书籍。即使我不明白的内容，我很高兴他们只拥有。我爱图书馆。我在学校图书馆由于没有太多的书，我经常去的鹤见区（大阪）市图书馆骑自行车。我喜欢我自己是在图书馆。
 
你在任何摄影书籍当你看孩子？
是。我看到美国的藤原新也赌，当我在小学时代。我不明白为什么他的头衔给了他对美国的照片的书。我试图读后记，但为时我很难理解。我还看到他的出版物，记忆碎片，森喜朗以及丈二桥口的17岁的夫妇。我也有兴趣在动物的照片性质的书籍。我记得自己特别惊奇的是，在桥口的夫妇的案文。我什至读修太郎和精工田边。有一次，一个年轻的图书管理员告诉我，我太年轻，阅读这些书籍。我不在乎，只是不断阅读他们虽然我并不一定了解。
 
谁是摄影师，你特别尊重，为什么？
在日本，我尊重高桥恭司，荒木丰久，森山大道和佐藤中平。在欧洲，我尊重鲍里斯米哈伊洛夫。我也喜欢的提尔门斯的作品。我通常尊重所有摄影师的工作。
 
你有没有任何人的影响？
虽然现在有很多人，吉本芭娜娜，影响了我很大的精神的一部分。我也影响了佐藤悟，有儿童读物插图的伟大工作。
 
这是非常困难的青年艺术家在国外出版的书籍，才表现出他们的作品，而在日本的年轻艺术家可以公布他们的工作相对容易。您如何看待这个机会，分别在想？
这是我第一次出书的目标。它已经变得更重要，我比作一个展览。甚至当我知道我的工作将不会被发表，我认为没有完成，直到我完成它组织成组合。之前，我出版第一本书，我做我自己手工制作的书，每半年左右。这对我来说是非常重要的统一成为一个系列然后再进入下一个阶段我的作品。对我来说，展览是一个奖励，而不是在本身的目标。我想如果我不能公布我的工作，我会继续就我自己的书。更重要的是向我显示了一本书比我的作品的形式来显示打”旧怼
 
 
 
您同时在日本推出三个摄影书籍。贵形势的变化后，这些出版物的发行？
它完全改变了我的生活。这意味着，现在我作为一个艺术家赞赏。你不承认日本作为一个艺术家，除非您已经发布的东西。人民对您的展览，比你更重要的出版物。对于木村伊兵的年度奖，他们认为选择是出版物。
 
对于这次展览，您的照片将显示从 移民律师协会，眼睛，耳朵，崔，崔。每个标题是什么意思？
移民律师协会 来自土耳其的意义灌胃家庭？或者更一般的关系词来？眼睛，耳朵，什么是可以捕捉我们的五官，不仅亲眼看到什么，而且还听到什么耳朵和皮肤的一面。
 
眼睛，耳朵， 是你的第一个经验汇集您的照片和你的诗？
组织照片的顺利完成，因为我通常都是听我的内心的声音时，我这样做。我有很多来自不同的杂志提供写，但我一直有点不情愿把我的话旁边的图片。我试着在我的诗表达我内心的声音，以及我在做我的照片。这也是一个挑战做好新的方式开展工作。
 
那个 移民律师协会 系列不仅出生和死亡的主题交易，也包括日常的生活场景。你为什么要在这个系列包括这些图片？
如果我没有包括来自日常生活，该系列将被切断从实际关闭这些场面。我包括他们的日常现实作出更明确。因此，该系列变得更有趣。
 
为什么选择作为标题崔翠？
因为我知道展览将在法国举行，我咨询过法语词典。有一个问题是如何只列在不同的语言哭。它是“春春”在日本和“崔，崔在法国”，等等。其中，“崔，崔”听起来很可爱，而“春春”的声音对我来说太熟悉。由于这是我的家庭写真，我不希望它有一个沉重的意义。在这方面，“崔，崔”的声音是异国情调和合适的标题。
 
多久你一直到你的家人的照片？
10年左右。这真是一个相当一个普通家庭。虽然在没有任何家庭生活的电视剧，我不想在崔集中在这方面的事情崔。没有什么特别显着，在本系列所示。我想考虑的事件可以发生在任何家庭。因此，我试图避免在具体特点或自己的家庭的个性为重点。对我来说，这些事件有时小，作为一个麻雀呼声微不足道。人死亡，居住，结婚，成长除了...我希望我的工作后，看到的人会开始重新审视自己的家庭。但是，很难把这个系列在一起。
 
是什么困难吗？
我试图客观，但这是非常困难的，因为图像关心自己的家庭。我觉得，为了值得一介绍和出版物，工作必须不仅仅是个人家庭相册的更多。我想作一本书，将让人们反思自己的家庭关系。更一般的，我想，我的工作，为人们服务的催化剂思考自己和世界的关系的。
 
有一个6x6大小的许多照片。是否有什么理由？什么样的摄像头使用？
我使用6x6格式禄来福来的双镜头反光照相机。
 
你使用任何其他相机？
我使用哈苏6x6和佳能A1和F1的偶尔。京瓷?也证明，一个小型摄像机和帕农威德勒克斯，全景相机。我想从现在开始，使用4x5格式。
 
你改变你的设备，当你从商业拍摄到您的个人工作？
我很少改变。我判断，在逐案的基础上。但我不会改变我的设备进行。当我去上的位置，人们总是很奇怪，我的小行李。我买了一个手提箱仅在一年前左右。我曾经去一个小相机包和一个背包国外。至于三脚架，我只有一个很小的。
 
我相信你会做得更多，更从现在起，国外展览。你怎么认为呢？
我感谢有很多机会。他们就像我的奖励，我已经解释过。我觉得我很幸运，我的作品将被许多人看到。我想每个展览扎实工作，稳步增长。
 
6*6，方形的构图，泛着蓝光沁着白，飘散着日常生活琐碎的气味，但又藏着一种神经质般的敏感——川内伦子，一名来自日本的女摄影师，给我的第一感觉。凝视她的作品：昆虫的躯骸，鸟巢中待哺的雏雀、天空、水果、街道——为我们所熟识却同时被忽视的场景，在6×6画幅中以一种自然而温和的方式展现。川内伦子惯常使用一台Rollei双反，在拍摄时大量运用闪光灯，削减了自然的光影效果，使得画面更多倾向平板、刺目，形成了Rinko Kawauchi独有的影像风格。 我相信每一幅作品都表现着摄影家的心情。Rinko Kawauchi将女性的敏锐触感凝入胶片，用最温和的方式把生活中她所看到的一切东西，锁链、水果、天空一一记录下来，杂糅着拍摄时的宁静，温暖的感觉油然而生。生活中所有的微小都被她用影像的手段放大。而Rinko Kawauchi又仿佛总是充斥着敏感的矛盾，NO WAR中仅有的一只“坠罚啡俗惚咭隐的血迹，厨案上的刀俎——每个细节都让人想入非非，仿佛看到了温暖中隐藏的悲情，平和中蕴藏的不安，苍白寒冷得要刺痛观看者的内心。高度的神经质以及落寞，这是另一个Rinko Kawauchi。 “我喜欢聆听周围细小的声音，那些轻细的低语对我来说如若生命的救赎，自然而然地将我的目光引向那些细微的事物。在涩谷散步时，我会情不自禁地奔向一小束路边的野花，也许别人会感到奇怪，但是我自己却很中意这种安静的关注。” “人们常常说，我有一双孩子的眼睛，比如，我会长时间观察蚂蚁如何搬运砂糖，要不就是在躲雨的时候偷窥蜗牛的世界。从某个角度来说，我的确还保有孩童时的好奇与敏感。” Rinko Kawauchi，川内伦子 72年生于日本，1993年毕业于Seian Women's College；初出茅庐便以三部曲影集《Utatane》《花火》《花子》受世人瞩目，并获得日本权威摄影奖。胶片方面多以彩色负片为主（几乎不使用黑白胶卷），为便于在后期控制低饱和度影调与弱反差而亲自手工放大印相。此外也使用反转片，多为400度胶片，不输入电脑修图，有着一份对自然的敬意与诚恳。