In a humid summer afternoon in 1992, I received an unexpected birthday gift. It was my first camera, a Contax RTS II. It was a dark and beautiful creature, and immediately captured the little boy’s soul. In my younger days, I was inspired to seize the unnoticed moments in the day-to-day life. Soon, I developed a sense to retell stories with photographs. I believed that the truly great photos require absolute truthfulness. This notion had accompanied me to the teenage years. Yet it was challenged when I slowly realized the reality is seen through perspective, rendered in the mind of each individual. As my understanding of the world around me deepened, plain photographs no longer told these stories in my mind. Years later, when I started helping on set at a fashion photo studio, I came to the realization of what photography meant to me as an artistic tool. There has always been a part of me that is cold yet wild that is rooting deep underneath my warm and friendly personality. Working on fashion stories is a deeply satisfying experience. It helps me to express the withdrawn and arrogant side of my heart. If photography is a form of art, then the artist must be convinced himself when expressing his concept through the photographs. Fashion is against my very notion of intelligence, that one must submit to the notion of appearances. Fashion is also for display. For the right individuals, the power of being fashionable is a considerable force. It’s often important to have a vague fashion story, because the narratives remove the excitement of sexuality and newness in photographs. When that happens, fashion becomes secondary. As someone interested in devoting to expressing artistic sensibility through fashion photographs, I found it difficult to be independent from commercialism or politics. However difficult, I went on the quest to experiment a possibility to tell my stories expressing loneliness, depression, and cruel sexuality in humanity.