陈家刚：可以啊。
Chen Jiagang: Yes, it's the same.
陈家刚：对对，这个也是一样。
Chen Jiagang: Yes, different ways.
陈家刚：方式的不同。
Chen Jiagang: All of them were ruins.
陈家刚：都是废墟了。
Chen Jiagang: Background introduction.
陈家刚：背景介绍。
Chen Jiagang: Yes. I have it in this part.
陈家刚：对对，也有。我这一部分都有。
Chen Jiagang: Because peopler were simple at the time.
陈家刚：因为那个时候的人简单。
Chen Jiagang: You mean to make the title longer for my works.
陈家刚：你说的意思是我把题目取长一点。
Chen Jiagang: Something like we pushed the envelope of technology.
陈家刚：相当于我们挑战技术的一个极限。
For various reasons, Chen Jiagang left the business world in 2000.
由于种种原因，陈家刚在2000年以后退出了商业。
Maybe that is the basic information Chen Jiagang wanted to convey.
这些或许是他的摄影所传达出的最基本的相信（信息）。
Cheng Jiagang: What is this website? It means that we make a bigger tag.
陈家刚：这是什么网站。就是相应于我再做一个大一点的标签。
Chen Jiagang: You mean the short text I wrote, the one may be called the essay?
陈家刚：文字说明我原来写的很小短小的那个，我那个是不是叫随笔那种。
Chen Jiagang: Later, there are some more behind. Didn't I give you the book before?
陈家刚：然后，后面还有。没有给你看过这个吗？
Chen Jiagang: I just use the cop and thief as a metaphor to illustrate the problem.
陈家刚：只是说我用警察和小偷这个故事来隐喻这个问题。
Chen Jiagang: Strictly speaking, it was a private matter, but it has become a public attention.
陈家刚：严格的来讲，本来就是一个私人话题，现在弄成一个公众话题。
Wang Jiagang oil field is a complex one with multi-reservoirs, in which many par ts of reserves come from thin layers.
王家岗油田为一复式油气集聚油藏，其中有相当一部分的储量和产量来自薄储层。
For Chen Jiagang, there are more individual life experience understanding in the photographing of these abandoned cities.
对于陈家刚来说，对于这些废弃的城市拍摄与把握，还有着更多个人生存经验上的感悟。
Maybe Chen Jiagang didn't mean to prove the absurdity of the past history and economy, but rather to represent the decay of the idealism.
陈家刚的本意或者不在于检讨历史与经济的荒谬，而在与呈现理想主义的衰落。
Chen Jiagang: So where is the problem? Why I didn't adopt this method. It was very hard to complete a whole story with only one photograph.
陈家刚：就是说，问题在哪呢？就是说后来为什么没有采取类似的方式，就是说你只有一张图片，你要把这个故事讲完整是很难的。
This series of works give the impress of "super" realistic impression of time and space confusion, and Chen Jiagang called this "Re-reality".
这一系列作品因而给人时空错乱的“超”现实感，而陈家刚自己则将其称作“再现实”。
In the past several years, Chen Jiagang went all over these abandoned places scattered in Sichuan, Yunnan and Guizhou in order to complete these photographic works.
在过去的几年中，陈家刚作为一个摄影家走遍了这些散落在四川、云南和贵州的废旧的厂区，完成了这些摄影作品。
Chen Jiagang: Yes. I was in Chongqing when I was young. They also have a third line there. A lot of my relatives and classmates' families were all in the third line.
陈家刚：对，我小时候在重庆，重庆也有三线，我的很多亲戚、同学家里都是三线的。
Chen Jiagang: Right. What you see is the result, you feel that even a pupil can make it, but you should see the trajectory of his artistic career, how he has become so.
陈家刚：对啊，你看到一个成果，你觉得小学生能描，但是你要看出他的艺术轨迹，他为什么会这样？
Chen Jiagang: If I changed the method of shooting, there would be another genre of pictures. I don't shoot memory now, I shoot the today's existence of the third front.
陈家刚：因为，换一种拍法是另外一种，我现在不拍记忆，我拍三线的今天。
Chen Jiagang: Yes, the integration of many pictures, and with a super vision, not the concept of wide angle. In definition, it is similar to cubism in terms of language.
陈家刚：若干的组合，而且这个视角是一个超视角，不是一个广角的概念，用这个东西来定义就是说，它从照相语言来讲，跟立体派有相应的地方。
Chen Jiagang: Yes, the integration of many pictures, and with a super vision, not the concept of wide angle. In definition, it is similar to cubism in terms of language.
陈家刚：若干的组合，而且这个视角是一个超视角，不是一个广角的概念，用这个东西来定义就是说，它从照相语言来讲，跟立体派有相应的地方。
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