2013年9月15日，对于中国工业摄影来说是个值得记取的日子。2013中国沈阳(铁西)国际工业摄影大展盛大开幕，一场宏大的里程碑式的工业影像饕餮盛宴，创造了中国工业摄影的无数个“第一”。其中，中英两国工业摄影家的首次同场PK，最为引人注目。而来自英国北部的伊恩·本斯理(IanBeesley)和来自中国东北的王玉文两位著名工业摄影大师用执著与坚守共同演绎了一次精彩的工业影像对话。二人极为相似的生活背景和摄影经历，使这次对话为研究工业摄影提供了样本，而二人各自独特的摄影理念和人文情怀呈现出迥异的个性，却让这次对话成为中外工业摄影观念与实践的鲜活对照。其意义不仅仅是一次普通的影像展示与交流。笔者，亲历了这次对话，采撷一二以志之。

　　PK之一：聚焦与呈现

　　18世纪60年代，英国，作为工业革命的发源地，以大机器生产为代表的工业文明涤荡了人类的进步史。摄影，作为一种新兴的记录历史和文明的手段，给我们留下了无数珍贵的图式记忆。

　　“英国和中国有一个共同点，国家的北部是重工业群。”这种资源型工业布局造就了各自的工业辉煌，而聚焦工业与工人，则催生了无数记录北方工业的影像，最终成就了两位工业摄影大师，也成就了中英工业摄影的首度PK。

　　在2013中国沈阳(铁西)国际工业摄影大展上，《厚重的积淀：英国工业摄影130年》大型展览成为大展国际部分最为画龙点睛之笔。展览包括英国布拉福德工业博物馆(BradfordIndustrialMuseum)、奥德姆画廊(GalleryOldhamBolton)、博尔顿博物馆与艺术画廊(MuseumandArtGallery)、利兹工业博物馆(LeedsIndustrialMuseum)及卡尔德达尔工业博物馆(CalderdaleIndustrialMuseum)的馆藏影像，涵盖了很多维多利亚和爱德华七世时代的工业摄影作品。同时，还邀请了英国著名工业摄影家伍德(C.H.WoodC.H)、杰克·休莫(JackHume)、丹尼斯·索普(DennisThorpe)、汉弗莱·斯班德尔(HumphreySpender)、约翰·布尔莫(JohnBulmer)、蒂姆·史密斯(TimSmith)、伊恩·本斯理(IanBeesley)、克里斯·克金(ChrisCoekin)、彼得·米歇尔(PeterMitchell)、斯托特·威帕斯的摄影作品参展。展览梳理了自1870年代至今，130年恢弘的英国工业摄影史，让诸多尘封已久的工业影像，第一次在亚洲、在中国展出。而策展人正是在大展论坛之一--《30年，我的工业摄影生涯》的主讲人、英国最富盛名的工业摄影大师、国际策展人伊恩·本斯理(IanBeesley)。这次策展被誉为亚洲摄影史上来自世界工业摄影的最强音，吸引了众多摄影人的目光。

　　而作为国内展览部分份量最重的致敬展：《中国工业摄影的名家名作--辽宁篇》则以低调的姿态将一部东北老工业基地影像报告不失凝重地呈现在国内外摄影人面前。策展人则是曾经在中国摄影界多次策展工业影展的原中国摄影家协会副主席、著名工业摄影大师王玉文。在策划了姜振庆、线云强、周荣生、梁建勇、史春、周洪歧、于沈光等国内知名的辽宁工业摄影师的展览，同时他也献上了自己的工业摄影回顾展《工业摄影30年》。将中国工业摄影，尤其是辽宁工业摄影带到了新的高度。在这些影像当中，以“展中展”的形式，将某个时间段放大，完整地呈现出，不同年代、不同理念、不同表现方式下，摄影碰撞工业的激情火花，老工业与新工业以交互式的影像传递精彩呈现。

　　两国工业摄影精品力作齐聚中国东方鲁尔--沈阳，不是一次历史的巧合，而是一个人不懈努力圆梦的结果。他就是年逾花甲的王玉文。在谈到这次大展时，他兴奋得像个孩子：“从年轻的时候，我就盼望着有这一天，全世界的工业摄影师都来到沈阳，把他们的作品交流展示出来，等了30多年，现在终于实现了。”2013中国沈阳(铁西)国际工业摄影大展展出国内外300多名摄影师的近4000幅工业摄影作品，这一亚洲规模最大的工业专题摄影大展的成功举办，开创了中国摄影的先河，对中国工业摄影的发展产生了积极而深远的影响。而大展的成功举办是他一手策划、组织的。相比之下，在英国却难觅如此规模的国际性工业专题展览，这也是英国工业摄影人难以想象和企及的。从某种意义上，彰显了中国工业摄影的精神和魄力。

　　PK之二：记录与坚守

　　“对我来说，这张照片既美好又凄凉：照片中的人给了我坚持摄影的勇气，鼓励我事业的起点;而这张照片所记录的，却是他事业的终点。”这是IanBeesley在拍完自己在污水处理厂打工时的领班BobRowell后所说的话。这位1954年出生于英国北部布拉德福德工人家庭的年轻人，18岁辍学后，开始在布拉德福德的Esholt污水处理厂打工，省吃俭用买下了人生中第一部相机，并开始在工作间隙拍些照片。在被问及“是什么原因让你拿起相机拍摄身边的工人”时，IanBeesley说，“是我对摄影的兴趣。我的创作开始于1978之前。我做过纺织工人、铁路工程师，也在物资回收厂干过。在工厂的时候买了第一台相机，开始记录周围人的生活，当时我还是工人。之后，我发现报纸上有许多关于工人和工业的影像，并不是特别客观。与我看到的不一样，有很大距离。出于一种不同的责任，从那时起，我就开始记录身边的工人和工业的影像，记录周围的变化。尤其是1970年代，英国大工业衰竭，那时在我生活的城市里，许多工厂关闭了。我开始记录这些。这就是我早期拍照的原因。记录最真实的周边的事情，同时也记录正在消亡的事物。”

　　见证了英国的重工业从昌盛到衰败的过程，IanBeesley把镜头对准了工业化时代的社会基层人士，对准了大工厂、工人的生活、社会环境。“我希望更多的摄影师来关注现实社会，用纪实性的方式拍摄改变和变化，因为这些作品将在未来告诉我们这个时间段发生了什么。”IanBeesley说，在社会发展中，很多东西已经消失不见，只有纪实的照片记录了这些改变。他的作品，成为了英国发展史上一个非常重要的资料。国内最早见到他的作品，是在2010中国·橘子洲国际摄影文化节上亮相的个展《北英格兰》，共有50余幅记录英格兰北部工业社会衰退的作品，是从业30余年的IanBeesley最著名的代表性作品，都是他的骄傲之作。

　　在被问到是什么让IanBeesley真正走上职业摄影人之路时，他很坦诚地直言：“80年代，英国国家摄影博物馆(现在的英国媒体博物馆)成立，我的很多作品被收藏，当时对我来说是一个很大的鼓舞。成为一个英国国家级摄影师，并且在英国建立了自己的摄影界的声誉。”

　　在本次展览的序言中，IanBeesley将自己的拍摄定位在一个北方人的视角：记录、参与与合作。他说，当我在1978年开始认真从事摄影工作以后，我就打算要尽可能地记录以前那种生活方式。我从拍摄即将关闭或已经关闭的工厂开始，但这样的工作往往都很急促，我的时间太少，而要做的事情又太多。我早期的作品手法非常简单，直接展现了工厂的生产过程和环境。但我开始发觉，这样的方法有很大的局限性，我只是在浏览事物的表面，因此，我开始思考如何发展更有深度的方法，以进一步展现和诠释这些事物。从拍摄各种环境中的工人肖像照到拍摄环境中重要的细节--工厂中的各种工具、产品、涂鸦，以及陈年的照片，来表达这些影像和周边的环境之间或古老或私人的联系。在谈到在拍摄中遇到的困难和问题时，IanBeesley一脸的无奈和沮丧，我发现我有了更多的时间，可以去完成不同的摄影项目，但面对一些大型的摄影图片工厂的迅速扩张，一个摄影师的力量是有限的，他怎样才能处理好包含着丰富历史和个人回忆的主题呢?另外，在进行小组的合作时，我希望我们能够对摄影的项目有更深刻的理解，同时也给工人们在表现自我的影像上有更多自主权。但结果却不尽如人意，还不够“专业”。

　　与IanBeesley相比，王玉文年纪稍长，从事工业摄影的时间也要长一些。最有趣的是他和IanBeesley都是工人的后代，也都有过做工人的经历。他们都是上世纪70年代开始真正拿起相机开始记录工业、记录工人的。而最让人感动的是他们对工业摄影几十年的执著和坚守，那份在影像中无处不在的责任。

　　“我是在工厂大院里长大的，我有责任拍下工厂。”一句平凡的话语，倾诉着王玉文最淳朴的“工业情愫”。在与IanBeesley的交谈中，王玉文不无自豪地诉说着自己的过去：“我是矿工的儿子，我对矿工非常熟悉，我对工业有种特殊的情感。从70年代末到现在，一直坚持着记录中国(东北主要是辽宁)变革的老工业和新工业。”而且，这种坚持持续到今天。40年的坚守，让他从一个矿工的儿子最终成为一名中国最著名的工业摄影家。这是影像的记录过程，也是把脉时代、记录生活、见证人性的心路历程，是中国工业摄影史上颇具象征意义的个案传奇和导向性的生动范式。

　　与IanBeesley无法真正融入工人当中的情况相反，王玉文在40年的拍摄中没有这种间离感。无论是从影像中还是在拍摄实践中，他都能真正成为工厂的主人、工人中的一员。相比IanBeesley用4×5大画幅的拍摄，王玉文用普通135相机的拍摄，这种“亲密接触”让他的影像充满人性的光辉，散发着默默的温情，鲜活感人。

　　PK之三：交流与融合

　　随着中国经济、文化的发展、繁荣，中国工业摄影成为中国式工业化道路的最强有力注脚。对于经济领域的开放、交流而言，文化领域，包括摄影在内的交流相对滞后，而工业摄影方面的交流就更少了。而2013中国沈阳(铁西)国际工业摄影大展提供了最佳的契机和平台。

　　来自英国Bolton大学的摄影系主任IanBeesley教授，作为Bolton大学摄影专业研究生院的学科带头人，其学术性为我们带来新的启迪，他不仅带来影像，更带来了西方当代工业摄影的理念。在展览期间，作为中国工业摄影的积极倡导者和领军者，王玉文不失时机地与IanBeesley进行着广泛的交流，打破了中西方工业摄影的障碍与隔阂，驾起了沟通与了解的桥梁。

　　在被问及“对于中国的工业摄影以前有没有接触过”时，IanBeesley连连摇头，以前很少，很少有这样的经历。他说，“这不是语言的原因，因为摄影是世界的语言。大概在2010年左右，我在北京798见到过中国摄影师的一组影像，在蓝天下的工人影像，当时我很感动，想买下来。那个摄影师在英国煤炭博物馆做过展览。这是我关于中国工业摄影和摄影师的第一印象。另外，我买过一本书，里面有中国各式各样的纪实摄影的作品，有很多作品也感染了我。很遗憾，我对中国名字不是很敏感，说不出来。”在谈到对本次大展上中国工业摄影师的作品时，他显得很兴奋。“很高兴能有这次机会，我很惊讶，有这么多作品反映中国工人生活，包括矿工、铁路工人、钢铁工人，有这么多摄影师，甚至一生的时间来拍摄工业题材。让我很感动。周毅的关于铁路的作品、王玉文的关于矿工的作品，拍摄了30年，一直坚持着完成这样的专题，很不容易，非常棒。”

　　一句话引起了王玉文的兴趣，由来以久的想法更加强烈。于是便有了下面的对话：

　　王玉文：在适当的时候把中国国内关于工业的图片，到英国去联合搞一个展览。

　　IanBeesley：这是个不错的主意。我们可以提供邀请，其他没有问题，但时间是个问题，这需要提前很长时间去策划。英国的博物馆很小(不像中国，此次大展的场地这么大、这么好)，需要排序，甚至要用一年到三年时间去准备一个大型展览。

　　王玉文：那可不可以以其它方式，《大众摄影》《中国摄影》对这件事很感兴趣。在未来，在中摄协层面上进行合作，包括一些出版物。

　　IanBeesley：当然可以。最近，英国国立煤炭博物馆馆长可能要来中国。我会跟他联系，可以先组织一个矿山系列最好的摄影师的作品。另外，曼彻斯特人类历史博物馆主要关注各种各样的人群。对您和朱宪民先生的作品《工人·农民》很感兴趣。中国工人和农民是劳动阶级，最重要的，可以搞展览。不过由于展厅比较小，照片可以要缩减到100张以下。

　　王玉文：好啊。可以先搞小型的，条件成熟再搞大型的。

　　IanBeesley：我们可以用两年时间在英国国立博物馆策划一个顶级的在英国叫得响的展览。计划在2016年，我期待着能看到更多的中国工业摄影作品，期待着更多更好像王玉文先生作品那样有价值的影像。所以，我希望着在将来帮助中国优秀的摄影师、中国这些高端的展览能够带到欧洲、只是在英格兰，而是在整个欧洲，都会有他们的足迹。

　　这不是一次普通的影像对谈，而是关于工业摄影的深入探讨，是对中英工业摄影更深层面的接触与交流。中西方文化的差异性，让各自的影像呈现出不同的特质，而释放着不一样的价值观念。正像马克·吕布在与中国摄影家交流时告诫的那样，你们不要受国际上的某些潮流与风格的影响，它会束缚你的手脚，要在坚守中专注地做你应该做的事，只要用心去做，做深了，做好了，也会被别人认可。

　　30年的坚守，演绎了这次未期的约定。用影像架起心中的桥梁，在观看中沟通，在交流中相融。今天，两位工业摄影大师的对话，明天，将在构建中西方工业摄影艺术的多元格局中彰显价值。

　30 years, Unexpected Promise——Image dialogue between 2 masters of industrial photography

•15th Sep. 2013, it is a memorable day to Chinese industrial photography. The 2013 (Tiexi) Shenyang China International Industrial Photography Expo opens grandly, a spectacle of milestone industrial image, creating countless “No. 1” in Chinese industrial photography. In the event, the first competition between Chinese and British photographers is the highlight. The 2 famous industrial photographers, Ian Beesley from north of Britain and Wang Yuwen from northeast of China have performed an excellent industrial image dialogue with their persistence and insistence. The life background and photography experience of the 2 masters is quite similar, which makes the dialogue a sample for industrial photography research, while the unique photography concept and humanisticfeelings of the 2 has presented 2 different personalities, which makes the dialogue a vivid contrast of industrial photography concept and practice at home and abroad. The meaning of the event is far more than a common image expo and exchange. The writer has experienced the dialogue and hereby presented to you a bit. 

Competition 1: Focus and Presentation

In 1860s, Britain, as the source of industrial revolution, has swept human progress history with industrial civilization, in which big machine production as the representation. Photography, as an emerging way of recording history and civilization, has left us countless precious image memory.

 “There is something in common between Britain and China; heavy industry clusters are located in the southern part.” This resource-based industrial layout has contributed to each other’s industrial glory, while focus on industry and workers has created countless industrial images in north, finally achieved 2 industrial photography masters and the first competition between China and Britain with respect to industrial photography.

In 2013 (Tiexi) Shenyang China International Industrial Photography Expo, Accumulation: 130 Years of British Industrial Photography exhibition makes the finishing point of the international part. The exhibition includes the image collections of Bradford Industrial Museum, Gallery Oldham Bolton, Museum and Art Gallery Leeds Industrial Museum and Calderdale Industrial Museum, covering many pieces of art of Victoria and Edward VII era. Meanwhile, photography works of famous British industrial photographers C.H.Wood, Jack Hume, Dennis Thorpe, Humphrey Spender, John Bulmer, Tim Smith, Ian Beesley, Chris Coekin, Peter Mitchell and Stuart Whipps are invited to the exhibition. The exhibition browses through the 130 years of magnificent British industrial photography from 1870 until today, uncovering many pieces of works in China and Asia for the first time. The exhibition planner is the speaker of 30 years, My Industrial Photography Life, Ian Beesley, the most famous British industrial photographer. This exhibition is honored as the best voice from world industrial photography in Asian photography history, attracting many photographers’ attention.

As the most important salute of domestic exhibition part: Master Pieces of Famous Artists in Chinese Industrial Photography—Liaoning Chapter presents a part of image reports of northeastern traditional industrial base to the photographers in low profile at home and abroad. The planner is Wang Yuwen, the famous industrial photographer, former vice president of Chinese Photographer Society, who has planned many industrial exhibitions.  Having planned the exhibitions of domestic famous photographers from Liaoning, such as Jiang Zhenqing, Xian Yunqiang, Zhou Rongsheng, Liang Jianyong, Shi Chun, Zhou Hongqi, Yu Shenguang, meanwhile presenting his own works 30 Years of Industrial Photography, which takes Chinese industrial photography, especially Liaoning industrial photography to a new height. In those works, “exhibition in exhibition” is adopted, which enlarges certain span of time, displaying completely the passion sparks of photography and industry in different times, different concept and different modes, wonderful show of old and new industries. 

Two countries’ industrial photography master pieces are gathered in China Oriental Ruhr- Shenyang, not a historical coincidence, but the result of one’s unremitting efforts to interpret a dream who is Wang Yuwen over 60 years old. When it comes to the exhibition, he is excited like a child: "I have been looking forward to this day since I was young, industrial photographers all over the world come to Shenyang to show their works and exchange, it is finally realized after more than 30 years." In 2013 (Tiexi) Shenyang China International Industrial Photography Expo display nearly 4000 industrial photography works by more than 300 photographers at home and abroad, the success of Asia's largest industrial photography exhibition creates the first example for Chinese photography and a positive and far-reaching influence for the development of industrial photography in China. And the success of the exhibition is under his planning and organizing, by contrast, it is hard to imagine and match the scale of such international industrial special exhibition in Britain. In a sense, it demonstrates the spirit and courage of Chinese industrial photography.

Competition 2: Recording and Persistence

 “To me, the picture is both beautiful and sad: the person in the photo has given me courage to insist on photography, encourage the starting point of my career. But this photo records the end of his career.” This is from Ian Beesley after taking picture of Bob Rowell, his foreman in sewage treatment plant. He was born in 1954 in Bradford worker's family in northern Britain, when he was 18, after dropping out of school, began to work in Bradford Esholt sewage treatment plant, saved his earning to buy the first camera in his life, and started to take some photos at work. When asked" what made you pick up the camera and take pictures of the workers beside you", Ian Beesley says, “It is my interest in photography. My work began before 1978. I have been a textile worker, railway engineer, also worked in material recycling plant. I bought the first camera in the factory and began to record the people around me, I was a worker then. Later, I found in the newspaper, there were many images about the workers and industry which were not particularly objective, far from what I saw. Out of a different kind of responsibility, since then, I started to record the workers and industrial images around me and record the changes of the surroundings. Especially in the 1970 s, Britain's large-scale industry failed, at that time in the city where I lived, many factories closed. I started to record that. This is the reason for my early photographing. Record the real things around, and at the same time record the perishing. "

Having witnessed the process of heavy industry from prosperity to decline, Ian Beesley aimed his camera at social grassroots, big factories, workers' life and social environment of the industrialization era. "I hope more photographers will focus on the social reality and changes in a realistic way, because these works will tell us what happened at this time in the future." Ian Beesley says, in the development of society, a lot of things have disappeared, only documentary photos record the changes. His works has become a very important piece of information in British history. His works came to China first in 2010 China • JuZi Zhou International Photography Festival The North of England, a total of more than 50 pieces works, recording the downturn of industrial society in the north of England, which are Ian Beesley's representative works and his pride for more than 30 years.

When asked what made Ian Beesley really took to the road to professional photographer, he was very honest: "In the 80s, the British national museum of photography (now the British media museum), many of my works were collected, it was a great encouragement to me. I became a British national photographer, and established the reputation of photography in the country."

     In the preface of this exhibition, Ian Beesley positions his shooting as a northerner's point of view: record, participate and cooperate. He says, when I began photographic work in earnest in 1978, I was going to record the lifestyle in the past as much as possible. I started shooting factories closed or to be close, but doing so often involved urgency, I had too much to do in such a short time. My technique was very simple in early works, which directly showed the production process and environment of the factory. But I began to realize, this method has great limitations, I was just browsing the surface of things, so I started thinking about how to develop more in-depth method, to further reveal and interpret these things. The shooting was from workers of various environments to important details - various tools in factories, products, graffiti, and old photos to express the link between images and the surroundings, ancient or personal. On the difficulties and problems encountered, Ian Beesley had a face of helplessness and frustration, I found that I had more time and could complete different photography projects, but in the face of some big picture factories of rapid expansion, a photographer's strength is limited, how can he handle the theme that contained rich history and individual memory? In addition, during the team cooperation, I hope we can have a more profound understanding of the photography project, at the same time also give workers more autonomy in the image of self-expression. But the result is not very desirable, not enough "professional".

Compared with Ian Beesley, Wang Yuwen is a little older, engaged a bit longer in industrial photography. The most interesting thing is that he and Ian Beesley are both descendants of workers, and have had experiences as workers. They both began to pick up camera in the 1970s to record industry and workers. And the most moving is their clinging to industrial photography for decades and persistence, the ubiquitous responsibility in image.

"I grew up in the yard of factory, I have the responsibility to shoot factory." An ordinary sentence contains the simplest "industrial feelings" of Wang Yuwen. In the conversation with Ian Beesley, Wang Yuwen proudly tells the past: "I am the son of a miner, I am very familiar with miners, and I have a special feeling to mining industry. Since the late 70s to now, I have always recording the changes of old industry and new industry in China (northeast mainly Liaoning)." And it is kept to this day. 40 years of persistence makes him from a son of miner to one of China's most famous industrial photographers. This is the recording of image and a journey of taking pulse of times, recording life and witnessing the humanity; it is a vivid example of symbolic legend and guidance in the history of Chinese industrial photography.

While Ian Beesley couldn't really get into workers, Wang Yuwennever had this sense of alienation in the 40 years of shooting. Both in image and shooting practice, he can truly become the owner of the factory, a member of the workers. Compared with Ian Beesley’s 4 x 5 large format photography, Wang Yuwen uses ordinary 135 type camera, this kind of "intimate contact" makes his images full of humanity, emitting silent warmth, fresh and moving.

Competition 3: Exchanging and Harmonizing

With the development and prosperity of China's economy and culture, Chinese industrial photography becomes the most powerful footnote of Chinese industrialization. In contrast to openness and exchange in the field of economy, culture, including photography, lags behind relatively; exchanges on industrial photography is much less. The 2013 (Tiexi) Shenyang China International Industrial Photography Expo provides the best opportunity and platform.

Professor Ian Beesley, dean of photography major at the university of Bolton in Britain , leads the graduate school discipline, whose academics inspires us, he not only brings images, but also the concept of western contemporary industrial photography. During the exhibition, as the active advocate and leader in Chinese industrial photography, Wang Yuwen makes extensive exchanges with Ian Beesley from time to time, which has broken the obstacles and barriers between Chinese and western industrial photography, setting up a bridge of communication and understanding.

When asked about “ever engaged in Chinese industrial photography", Ian Beesley shakes his head,rarely, seldom has such experience. He said, "This is not because of language, since photography is the language of the world. Probably around 2010, in Beijing 798 area, I saw a group of images by Chinese photographers, which are of workers’ images under the blue sky, I was very moved, wanted to buy them. The photographer once worked in British coal museum exhibition. This is my first impression on Chinese industrial photography and photographers. Furthermore, I bought a book, there are all kinds of Chinese documentary photography works, a lot of work also touched me. Unfortunately, I'm not very sensitive to Chinese names, cannot say them." When it comes to industrial photographers’ works of this expo in China, he was very excited. "I’m thrilled to have this opportunity, I'm surprised that there are so many works, reflecting Chinese worker’s life, including railway workers, miners, steel workers, there are so many photographers, and even spend their lifetime photographing industrial themes. I’m quite moved. Railway works by Zhou Yi, works about miners by Wang Yuwen, which took 30 years, who has been holding on to completing this project, it's not easy, very good."

One sentence arouses Wang Yuwen’s interest, long-standing thoughts becomes fierce. So we have following dialogue:

Wang Yuwen: In a proper time, send Chinese industrial photos to Britain for a joint expo.

Ian Beesley：This is a good idea. We can provide the invitation, but time is a problem, it will take a long time to plan in advance. The British museum is small (unlike China, the exhibition venue is so big and so good), which needs to be in order; even requires 1 to 3 years to prepare a large exhibition.

• Wang Yuwen：What about other ways, Popular Photography and Chinese Photography are very interested in this. In the future, cooperation on the level of ChinesePhotographersSociety, including some publications.

Ian Beesley: Of course. Recently, the national coal museum curator is likely to come to China. I'll get in touch with him and organize a series of best photographer's works on mining. In addition, Manchester museum of human history focuses on all kinds of people. They are very interested in you and Mr Zhu Xianmin’s works Workers, Peasants. Chinese workers and peasants are working class, and most important, exhibition is available. But due to the space of small hall, photos shall be cut to below 100.

Wang Yuwen：Good. Small scale at the beginning, big scale when the time is right.

Ian Beesley：We can use two years to plan a top show at the national museum of Britain. It is expected in 2016, I am looking forward to more Chinese industrial photography, more and more like Mr Wang Yuwen’s valuable images. So, I hope to help Chinese good photographers in the future, to bring Chinese high-end exhibition to Europe, not only England, but the whole Europe will be left with their footprints.

This is not an ordinary dialogue on images; it is an in-depth discussion about industrial photography, a deeper contact and exchange of Sino-British industrial photography. Due to the differences between Chinese and western cultures, their images present different characteristics of their own, releasing different values. As Marc Riboud  told when communicating with Chinese photographers, you shall not be influenced by some international trend and style, it will tie your hands and feet, be absorbed in what you should do, as long as you put your heart to it, when it is thorough and ready, will be recognized by others.

30 years of upholding come such unexpected promise. A bridge in heart by images, communicate while watching, harmonize in exchanges. The two industrial photography masters’ dialogue today will show values in building multivariate situation of the China and western industrial photography art tomorrow.