I am a direct-track PhD candidate at Beijing Jiaotong University, studying Computer Science with a focus on Cybersecurity. As an engineering student, I am trained to construct formal logic. Yet beneath the technical surface lies a deeper fascination with cognitive science—how knowledge crystallizes, how attention structures our lived experience, and how profound understanding diverges from mere exposure.

作为北京交通大学计算机科学与技术专业的直博生，我的主攻方向是网络空间安全。身为工科学生，我受到的训练是构建严密的逻辑。然而在技术表层之下，我却对认知科学抱有更深的迷恋——知识是如何结晶的，我们的注意力又是如何构建我们的生命体验的，以及深刻的理解如何区别于走马观花。

My first dedicated camera was a Fujifilm GFX100s, and to this day, it remains my only tool. This was not a gradual ascent from a smartphone or an entry-level body—the GFX100s was the absolute genesis. It was a deliberate, somewhat audacious commitment to a 102-megapixel medium-format ecosystem, a decision made before I had produced a single photograph to justify its existence.

我的第一台专业相机是富士 GFX100s，并且时至今日它依然是我唯一的创作工具。这并不是从智能手机或入门级单反慢慢往上升级的过程——GFX100s 直接就是我摄影之路的起点。在拍出任何一张足以证明其价值的照片之前，我就做出了一种近乎轻狂的决定，把自己死死绑定在了一套 1.02 亿像素的中画幅系统之上。

Being restricted to a single body and a single focal length is less a limitation than an act of forced clarity. When the tool becomes an uncompromising constant, the only remaining variables are light, time, and attention.

只使用一台机身和一个固定焦段，与其说是受到了桎梏，不如说是一种被迫的澄清。当工具成为了不可动摇的常量，画面中剩下的唯一变量就只剩下光线、时间，还有注意力。

A substantial portion of the photographs presented here are entirely unedited. This is not out of a disregard for the art of post-processing, but simply because the memory of the light and color at that specific moment has long fled my mind. Deprived of that truth, I can only sift through the digital dust to reconstruct an atmosphere, to observe a structural carcass. A photograph records a sliver of truth I once instinctively perceived, even if that truth has already dissolved into the ether.

这里展示的相当一部分照片是完全未经修饰的。这并非是因为后期的调整不重要，仅仅是因为那一个特定时刻的光影与色彩早已被我遗忘殆尽。由于丢失了那份真实，我只能在冰冷的数字噪点中试着重构出一种氛围，又或者，仅仅是默默注视着画面的骨架结构。照片的确记录下了我曾经本能感知到的一丝真实，即便那份真实早已消散在了风中。

Studio Phantasm derives its name from the elusive, liminal nature every photograph embodies: oscillating between harsh documents and soft fictions, fabricated memories and forgotten inventions. The studio's name also pays homage to the Phantasm Stage of the Touhou Project series, whose final boss's theme music persistently echoes the exact same ontological question that the image has always posed.

心像图片社 (Studio Phantasm) 的名字，源自于每一张照片身上都挥之不去的那种虚幻与交界的属性：它在冰冷的记录与柔和的虚构之间摇摆，在伪造的记忆与被遗忘的现实之间摇摆。同时，这个标牌也是在向《东方 Project》系列中的“幻想” (Phantasm) 关卡致敬。在那关的最后，最终 Boss 符卡的主题曲所一直回荡着的，正是图像自始至终在向我们抛出的同一个本体论问题。