Actually, I grew up in a city in Xinjiang, but it was a relatively small city where you could see snow-capped mountains from within the city. Compared to many friends who live in modern urban areas, I was very close to nature.

At night, I could see countless stars in the sky, and from the city, I could gaze at the distant snow-capped mountains. Growing up in this environment, being in touch with nature has become a habit for me. However, as I grew older and worked in big cities, the hustle and bustle of urban life and work pressure made me, like most people, anxious and exhausted.

Every time I go on a trip and reconnect with nature, I rediscover the familiar feeling. Slowly, I realized that I longed for this kind of lifestyle, so I ultimately decided to leave the city and delve deeper into exploring nature. From something once taken for granted to something lost and then regained, when I rediscovered that familiar feeling, it made me feel at ease and comfortable.

When we're capturing the natural landscapes, most of the time, we need to camp out. Spending the night in the mountains, with the sky full of stars and the sound of flowing water in the valley, is a moment where I can calm down. There's a serene sense of solitude in it. When you're there, you can fully immerse yourself in nature, becoming a part of it, and experiencing a complete sense of tranquility. These aspects are what particularly attract me.

In daily life and work, there are often many worries and stresses. In the city, you must force yourself to slow down, but with the fast pace of society, maintaining that slow pace is difficult. However, in the natural environment, slowing down happens effortlessly and naturally. While shooting in nature can indeed be challenging at times, when you see the beautiful scenery, it's truly breathtaking. So, this is one of the reasons why I persistently seek out the unknown, searching for it, and experiencing it.

I believe it's a part of the evolution of photographic understanding. In reality, everyone goes through a phase of strong purposefulness. Initially, you're driven to seek out unique and different landscapes, and most people experience this. However, as you progress, and these landscapes continuously impact you, you start to care more about your feelings when you're in these natural environments, rather than just the act of taking photos.

Sometimes, when photographers reach a new location, their immediate reaction is to find the perfect spot. Then, they might become anxious if they can't find it or if the weather isn't favorable, worrying about not being able to capture impressive shots. In this mindset, they completely overlook their inner experiences, and it becomes more like a job. In such cases, the photos they take are just photos, not fundamentally different from tourist snapshots.

Actually, personally, I can't recall anything that made me feel particularly regretful. I guess for most people, the regrets stem from missed opportunities or bad weather. Many people start photography because they see beautiful scenery and want to share it with others. It's the most genuine and primal impulse in photography. The most important thing is that I see it first. I want to share my joy and awe with everyone. But gradually, when you start taking photos just to share, it becomes a situation where the means become the end, and you forget the original perception. So, I think in the process of rediscovering the initial passion for photography, everyone can get closer to photography.

For example, when I set out to experience nature, I first immerse myself in it, putting myself in that environment, and then think about how to express it. For instance, if it's a rainy day, I consider how I feel in that situation and then think about how to convey it. Instead of saying, "Oh, it's raining, I won't take any photos," I approach photography with a creative mindset that is connected to nature. This way, there will be fewer regrets.

I believe that beginners often start by imitating, and I completely understand the concept of imitation. Even I have maintained a learning attitude by studying the works of many masters. However, it's important not to imitate just because you see a beautiful picture online. Photographers are human beings, not just shutter machines. Before imitating, the first thing to do is liberate your own thinking. Also, don't rush to press the shutter button.

For example, landscape photography doesn't necessarily mean you only learn landscape photography. You can also consider other fields of photography you've seen, such as documentary photography, street photography, and so on, and combine some of their concepts and approaches with landscape photography. This way, you'll produce something different. You don't have to strictly adhere to concepts like composition, foreground, midground, etc. While technique is certainly important, thoughtfulness and inspiration are even more valuable.

For example, some of my previous award-winning works were panoramic, with aspect ratios of 1:3 or 1:2, large-format photos. Before shooting, I was always thinking, drawing inspiration not just from photography but also from other sources like paintings, advertisements, and various forms of art. I broadened my perspective by exploring a wide range of artistic works, not necessarily limited to photography, but also including movies, books, and art exhibitions. By doing so, I was able to establish my own style. So, before establishing your own style, it's important to expand your knowledge and awareness, to look beyond photography and explore various forms of art.

I'd give it a 9 out of 10. Actually, I'm very satisfied with every piece I publish because they are all like my own children. I always strive to express the current scenery to the best of my ability. I'll leave one point for my next piece.

I initially started with architectural photography for design firms, including interior design space photography. Additionally, I've done some photography for smartphone launch events and other independent commercial projects.

I started with landscape photography first, then I got into architectural photography. As I established a stable income through architectural photography and gained some recognition in landscape photography, I began to receive collaboration opportunities with brands for projects like shooting sample photos for smartphones. It's also a way to monetize landscape photography.

Of course, it does. When I was doing landscape photography, I specifically studied architectural photography as well. In fact, architectural photography has been tremendously helpful for my landscape photography. During my previous work in architectural photography for design firms, I had many opportunities to communicate with lead designers and technical designers involved in the projects. Architects often say: architecture is the connection between people and nature. So, good architects consider how to integrate their designs with nature. They express their ideas in their architectural designs. Therefore, through communication with designers, I was able to learn some of the logical thinking in the design field and apply it to photography.

As I mentioned earlier, sometimes stepping out of the photography realm and learning from other artistic fields may be even more beneficial for photography.

Monetizing photography is primarily about how you position yourself in the field of photography, which is crucial.

If you're willing to pursue monetization, there will always be opportunities available. I know many photographers who are very busy but may not earn much. On the other hand, there are also many renowned photographers who may not be as busy but produce high-quality work and command substantial fees for each commercial collaboration. The key issue arises when you become overly fixated on monetization pursuits. If you're solely focused on making money, you might not have the time or inclination to improve yourself or access valuable information. Your growth as a photographer may stagnate if you prioritize earning over personal development. In such a scenario, your value may be solely measured by the quantity of work you produce, leading to a position akin to being a "photography laborer."

When considering photography monetization, it's crucial to first enhance your photography skills and intellectual depth. For me personally, this involves continually participating in prestigious competitions, striving to have my work recognized within the field, and only then considering monetization opportunities. Otherwise, if you prioritize monetization too early, your photography skills and knowledge may plateau.

Actually, I think mobile phones can already achieve a lot, but we must admit that there is still a certain gap between them and professional cameras. The advantage of mobile phones lies in their portability; you can take them out and shoot anytime, making them more closely integrated with daily life and personal experiences. For example, they can capture the entire process of my outdoor hiking and landscape photography. However, in my opinion, the best way to present photographic works is through output, and in this regard, cameras have a significant advantage. I believe this is ultimately what photographers strive for. Holding an exhibition or creating a photography collection should be the ultimate dream of every photographer. Only when their work is printed and displayed do they feel that it truly becomes a piece of art.

In my view, AI will have a significant impact on commercial photography, but for the kind of self-expression we're discussing today, such as landscape photography, its influence is relatively limited. From my understanding, creators of AI-generated photography still put in some effort, so we can't completely dismiss their work. However, their creative concept is entirely different from mine. They aim for complete freedom of expression, but unlike painting where I can express exactly what I want, AI photography can only approximate my intentions through algorithms. I believe AI has little impact on landscape photography. It doesn't truly capture the essence of nature or experience it firsthand. AI is more like a product of imagination, a byproduct of digital traffic.

For me, the primary goal of post-processing is to recreate what I saw when I took the photo. This includes both what I saw with my eyes and what I felt in my heart. During post-processing, I might make color adjustments, such as adding a slightly blue tint for a rainy day, but the principle is to restore what I saw at that moment. I also oppose excessive post-processing.

Sometimes it is, and sometimes it isn't. For example, for some photos, during the pre-shooting stage, I already have a rough idea of how I want them to appear in the final result. However, regardless of preparation, the lens and the human eye still have their differences. During post-processing, I might find it challenging to achieve the desired outcome or match my initial feelings about the scene. That can be quite troublesome. On other occasions, I might take a photo and barely make any adjustments during post-processing because it already matches the mental image I had of the scene at the time of shooting.

I remember this very clearly. When I first started with photography around 2016 or 2017, I was using a regular monitor and didn't understand much about color management or screen calibration. When I was editing photos, I always felt like the colors were off on the screen, no matter what adjustments I made. It was like trying to wash your hands when you have OCD and they never feel clean enough, it was really uncomfortable. So, I went online to find information and saw people discussing screen calibration. I spent around 100 RMB to have someone come and calibrate the monitor onsite, but even after calibration, the colors still didn't look right. I thought maybe the calibration was off, but the professional technician told me that it was the limit of that particular monitor. Later, I learned that the colors on that monitor had deteriorated, and as I upgraded to more professional monitors over time, my experience with color accuracy became much deeper.

Nowadays, when I choose a monitor, it mainly revolves around color accuracy.

Color accuracy is definitely a prerequisite. I look at whether the △E can be within 2, which can be gleaned from the factory report. It's also essential that the monitor can be consistently used over time. Since I experienced color degradation in monitors, I have placed a high value on calibration. Hardware calibration has become a basic requirement for me when it comes to professional monitors.

Next is the wide color gamut. RAW files captured by the camera can be considered to have an infinite color gamut. They are not sRGB. To put it simply, when adjusting colors in post-processing, there are some colors you just can't see in sRGB. So, a monitor that supports the Adobe RGB color space is also essential for me.

When it comes to color grading, I often use a software called 3D Lut Creator for fine color adjustments. Coupled with the SW272U professional photography monitor, which features a hardware 16-bit 3D LUT color lookup table, I can perceive subtle color changes very keenly.

I've used two BenQ SW series professional photography monitors so far: one is SW270C with 2K resolution, and the other is the recently acquired SW272U with 4K resolution. Each one has brought me great surprises. Especially this new model, besides the basic functionalities I mentioned earlier, it offers me a unique experience with its TÜV certificated panel. (quote) The display presents delicate and textured images, and on top of accurate color rendering, it elevates my editing experience to a new level.