The Mysterious Unknown
Li Hui is a Chinese photographer originally from Hangzhou. She describes her hometown as a place that allows her to “slow down” and dive into self-discovery. Hui started her practice working with Nikon FM2 with a goal to find a way to create double exposure photographs. Since then, she has been experimenting with different cameras, focusing on medium format and 35mm. Li Hui creates a visual world with a particular way to apply light and shadows and provides a surprising new angle to reveal the story.
The double exposure technique has developed to a unique presentation of the narrative offering a world in which reality and a cinematic story merge to one. The dream-like frames invite one to experience someone else’s life as if watching a film in a cinema, following the character’s intimate story.
In this interview, we speak with Li Hui about her first steps to photography, which include sharing her work on Flickr back in the day. Hui tells us about her journey “I made a lot of mistakes until I found my ideal way to master the necessary tricks. Then I began collecting different film cameras like crazy.”
We discuss the themes that interest her, which can be summarized in three words “the magical unknown.“ Hui shares how photography helps in her personal and professional growth and explains her approach to working with subjects, who are mainly people she knows, driving the images to be more authentic.
‘My aim wasn’t really to become a photographer. I’m a quiet and shy person. I find it hard to approach someone. But when I do engage, it’s because I’m very curious.’
I Am
What were your first steps into photography?
It began when I stumbled upon a photographer on Flickr who used a Polaroid to experiment with double exposures. He took all these strange photos, a style that I'd never seen before. I just simply wanted to figure out how he did it. So I bought my first film camera, a Nikon FM2, and I started uploading my experiments on Flickr. Next year a Spanish publishing house asked me if they could publish my work, and then a zine called After The Wind featured my very early photographs. My aim wasn’t really to become a photographer. I’m a quiet and shy person. I find it hard to approach someone. But when I do engage, it’s because I’m very curious. I realized that this visual world that I create is something that I can share with other people. In that way, photography helps me a lot.
Do you remember the initial topics you started shooting, and what was your main interest back then?
I think my main interest at that time was to research the mysterious unknown, something that I’m still interested in. Subjects like insects, hermaphroditism, angels, coincidences, the cosmic, dreams, nature. I started with double exposures. I made a lot of mistakes until I found my ideal way to master the necessary tricks. Then I began collecting different film cameras like crazy, which led to the different themes that I explored later on. Each camera has a role to play regarding specific subjects and scenes.
‘Experiments keep things fresh in a way. There’s no complete failure. You can always draw from this experience for your next shoot. I think this is the best way to discover your own style and let your personality shine through.’
Self-Taught Photographer
As a self-taught photographer, you are probably more prone to experimentation. How did you discover your personal style, what helped you to understand what draws you in photography?
Yes, experiments keep things fresh in a way. There’s no complete failure. You can always draw from this experience for your next shoot. I think this is the best way to discover your own style and let your personality shine through. The rest is to let your sensibilities choose; your personal style will emerge on its own. It can be hard to find out what works for you, so what I do is focus on myself and try to think about what really fascinates me.
Before I came into contact with photography, I was a film/music freak, it somehow helped me better understand things that were interesting to me. Movies teach me how to use metaphorical language and draw connections between seemingly unrelated subjects. Watching movies is like sleeping while being awake, being plunged into relative darkness, almost like making sense of an unexplainable dream. You know it’s fake, but you’re willing to believe it and allow yourself to be immersed in it. I think photography is similar, as the photographer leads the way and captures a specific moment with their own approach. And music helps to explore your imagination in a deep state of mind.
Chinese Background
Photography is universal, and it would be extremely difficult to pinpoint the origins of a photographer. However, what do you think are some of the characteristics that define your aesthetics and are connected to growing up in Hangzhou?
Hangzhou is a city where natural landscapes can be seen everywhere, and there’s a clear distinction between the four seasons. I can easily find an interesting place for a photoshoot around lakes, mountains, forests. It helps me to achieve the visuals that I’m looking for. When I went to other cities, the whole atmosphere was totally different. Hangzhou makes me slow down and listen to myself more often.
‘I usually choose people that are being honest and that don’t have to act in a certain way. That allows me to easily capture their uniqueness and what they can do for the project.’
The Technique
One of the recognizable aspects of your work is a delicate use of light and shadows and a double exposure methodology that enables you to create deeply emotional and moving images, telling intimate and personal stories through spare moments in time. When photographing people, what are some of the directions you usually give them to create the right frame or perhaps the conversation you have with them prior to the shoot?
What I look for in double exposures is to not make them look too much like double exposures. So I’m trying to express an emotional core in a somewhat magical way and avoid focusing on the technique itself. Usually, I shoot close friends, so we already know each other. When it comes to people I don’t know, I’m just appreciative of the way they are. I usually choose people that are being honest and that don’t have to act in a certain way. That allows me to easily capture their uniqueness and what they can do for the project. We usually have a chat to get to know each other before shooting, as building trust is the most important thing before shooting.
‘I’m using a whole new concept to express what I have learned over the years. There's still a shadow of the past, I'm still the same me. But I’m finding different ways of telling stories.’
An Imaginary World
Through observation and photographing the body parts or the person as a whole in your later works, you create a new world with each image. What do you think you have learned about yourself by working in the field of photography, or what qualities have you discovered or developed?
They’re more abstract than my older works. I want to find connections to spark the imagination and tell a story in an interesting way. I've been trying to challenge myself to broaden my range, improve my skills, and expand the subjects that I can shoot. But now, I want to get closer to my own traits and make some adjustments. I'm allowing myself to think about a more timeless approach instead of getting lost in meaningless details. I’m using a whole new concept to express what I have learned over the years. There's still a shadow of the past, I'm still the same me. But I’m finding different ways of telling stories.
Next Steps
What project are you working on or planning as the next one?
Instagram is definitely not the right place for photography, and my account does not show the whole me. I was thinking of compiling a new book to continue sharing the magical unknown that fascinates me.
