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如傷疤都有靈 -《我們不是暴民》⁣⁣⁣

如傷疤都有靈 -《我們不是暴民》⁣⁣⁣
說2014年的「雨傘運動」是本港史上擁有最豐富影像記錄的社會運動,絕不為過,媒體上當然有著全方位的報導,所有攝影記者在這81日期間疲於奔命,展現了無邊的專業精神,外國媒體也派遣大量攝影師來港採訪,另外當時出現了不少「素人」攝影師,當中包括很多非從事報導攝影專業的攝影師,亦承擔了影像記錄的工作,因為當時運動的幅員甚廣,他們的圖像可以作為補漏拾遺,也起著佐證的功用。⁣⁣⁣
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傘運過後固然有不少文字著作回顧或反思這片載入了史冊的時空,也有一些相關的攝影集出版,各有其特色,有以純拍攝抗爭空間的超現實場景,有詩人以攝影作品配上文字的詩集,也有以抗爭道具或物件作主題的。更多的是用報導攝影方式,嘗試將「傘運」始末展示出來,正如不少報導攝影作品,他們相對強調一些富有視覺衝擊或張力的情緒化場面,例如抗爭者跟警察對峙,劍拔弩張的衝突場面,又或夜色下萬人高唱的感性場面,這些書都有一個共同特質,就是以攝影集作為給讀者一種再次體驗事件的平台,希望傳達「傘運」的那份波瀾壯闊。資深攝影記者譚志榮自資出版的《我們不是暴民》,卻一是本小品,我說是小品,是因為此書恬靜得根本感受不到「暴」與「動」,有別於其他以事件本身為主軸的出版,這是一本以抗爭者為本位出發的攝影集,實屬異類。⁣⁣⁣
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此書分為三個章節,有人物的黑白特寫肖像,有街頭的抓拍場景,最後是一些細節的特寫例如抗爭者的用品和物件,是簡潔易明的編輯思維。情緒上的冷靜貫穿全書,書中沒有衝擊場面,沒有暗角黑警,沒有水馬鐵馬,沒有炫目的拍攝手法,對抗爭者的浪漫感性投射是有但也是相對約制,就正正是這種平鋪直敘,更令讀者更容易將自己的情感代入書中。⁣⁣⁣
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可能是作者個性所然,《我們不是暴民》出版時沒有經過大肆推廣和發行,沒有在社交媒體viral過,在書店裡悄悄的上架,也不知不覺的下架,更因為此書沒有叫人驚艷的皮囊,沒有一些特別高規格的印刷水平或製作工藝,以至相信認識這本書的人比認識其他「傘運」相關出版的人為少。⁣⁣⁣
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翻到書中一張張疲憊的臉孔,隔著沾著霧氣的眼罩也能感到他們目光灼灼,這些臉孔跟讀者面面相窺,帶來無限想像。我們也許已知道他們往後的命運,其中可能有人被拘捕,有人被撿控罪成而斷送前途,更甚是正在受牢獄之苦,也或是要因此而遠走他鄉。⁣⁣⁣
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自已一直冷靜審視一些「傘運」的書籍,是不希望如傷痕文學般去看待這段歷史,今天「反送中」的社會運動,參與人數屢破記錄,原來潛藏良久的「傘運」種子今天已開花。每人抗爭成本不同,自然有各個程度的不合作運動,「6.12」政總鎮壓雖沒有站在前線,卻目睹警方高度暴力鎮壓抗爭者,他們再一次被標籤成為「暴徒」。帶著焦慮不安回家,立即再翻一下這此書,希望跟這些有血有肉的臉孔來一次再遇,我的目光最後停留在一個抗爭者那雙穿破了的皮鞋特寫,久久不能自己。⁣⁣⁣
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https://store.thesaltyard.hk/products/we-are-not-a-mob⁣⁣⁣
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Alec Soth - I Know How Furiously Your Heart Is Beating⁣⁣

Alec Soth - I Know How Furiously Your Heart Is Beating⁣⁣
A lot of portraiture photography comes from the photographers ego. They want this particular shot and they’re going to get it. This often leads to many forgetting that photography only ever takes. It is only a one way transaction. And in Alec Soth’s new book, ‘I Know How Furiously Your Heart Is Beating’, he considers a different approach to portraiture. ⁣⁣
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In this new series of work, each photograph has been crafted so sensitively, so aware that his own presence intrudes the sitter, he’s often photographing them from afar. He creates a soft and intimate look at his sitters, allowing them and himself to just co-exist. Where he once pushed for the photo he wanted, this time, it’s more to do with catching even just a glimpse of the person in front of him. Because in the end, portraiture photography isn’t going to capture someones' soul/essence, it’s only ever going to capture the external appearance of someone.⁣⁣
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TH⁣

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製造耶穌光-濱田祐史《photograph》⁣

製造耶穌光-濱田祐史《photograph》⁣

大家都聽過,攝影的字根由光(photo)和繪畫(graph)組成。翻開日本攝影師濱田祐史(Yuji Hamada)的攝影集《photograph》,的確像本以光繪畫的美術畫冊。書中數十張照片,是城市不同角落出現的「耶穌光」景象,你開始會想,哪來這麼多「耶穌光」?⁣

原來那是濱田於2005年至2006年期間的創作,他利用煙霧機,在多個日常生活場景造煙,再用長時間曝光的方法,讓照片沒有任何人的痕跡,剩下來的只有光線。換言之,光線是真的,煙霧不是,卻像一幅畫布般,將光線清晰地襯托呈現。⁣

他說:「我常常思考這些沒人留意的光線,不管是地球上某處,或在外太空。看見光線,有時讓我平靜,有時讓我驚歎不己。正是這些瞬間,讓我想將日常生活看見的光線紀錄下來。」題目就是那麼簡單尋常,但誰說攝影一定要驚天動地呢?⁣

要是你登上濱田的網站,又會看到一段令人會心微心的短片,他在參與瑞士Festival Images時,把自己作品《Primal Mountain》照片造成裝置,浮在日內瓦湖上面展出。仔細看又會發現,那些不是真的山巒,而是錫紙造成山的形象。看來他擅長將最簡單的題目,用創意的方法展現出來。⁣

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書本連結:photograph (A) / photograph (D)

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Pixy Liao/廖逸君 - Experimental Relationship Vol.1/實驗性關係 Vol.1 ⁣

Pixy Liao/廖逸君 - Experimental Relationship Vol.1/實驗性關係 Vol.1 ⁣

Are you dating yet? Is there anyone chasing you? Have you met any boys? How many times have you been asked those questions during your New Year celebrations? Growing up in Hong Kong, the only mindset that seems to be around is that you need a man to be happy. This man should be older, wiser, has a great job, and has the ability to take care of you for the rest of your life. It seems growing up in mainland China is not so different. Pixy Liao’s ‘Experimental Relationship’ should need no further introduction. Her work flips around the power dynamics of a heterosexual couple, whereby Liao directs Moro during their photo shoots, within their boundaries of course - such as no full frontal nudity. ⁣

Lying naked in bed, with Moro on top but turned away from the camera, and Liao on the bottom with a direct gaze towards the camera, holding our attention; almost as if challenging us, daring us to comment, but her gaze holds such power, you don’t dare to speak up. And with Moro looking away, as if shying away from the camera… this scene challenges our preconceptions of what a heterosexual relationship should be. A man does not need to be in charge. They can be just as sensitive as women are ‘supposed’ to be. If there is a message we should takeaway from this piece, it’s this: Hong Kong, it’s 2019 for goodness sake! Liao’s work is a stark reminder for us to embrace the breaking down of gender roles, for us to not make assumptions of others, and to accept love in all its forms.⁣

TH⁣

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家書抵萬金-Ed Kashi《Photojournalisms》

家書抵萬金-Ed Kashi《Photojournalisms》

一般人對紀實攝影師,常有浪漫化想像:在戰火連天,槍林彈雨的環境,用鏡頭道出真相,拍攝人性化的畫面。從事報道攝影近40年、VII圖片社成員、著名攝影師Ed Kashi的攝影書《PhotoJournalisms》卻告訴你想太多了,攝影師所真實面對的另一面,並非想像中的浪漫。

Ed曾到世界各地工作:敘利亞、伊拉克、尼日利亞、斯里蘭卡、尼加拉瓜,也有他的足跡,每次離家便是數月半載。攝影生涯令他缺席了兩個孩子的成長,與妻子的相處機會。「我花了大半生,在不同的酒店房間中獨自渡過。」他在接受《紐約時報》訪問中這樣說。

從1992年開始,Ed Kashi帶上筆記本,紀錄每次旅途所見所聞,寫下當下的感受,在每次旅程後,把整本筆記送給太太。《Photojournalisms》結集了近20年,Ed寫給妻子Julie Winokur的筆記和書信,在20至30篇文字之中,附以該次旅程中拍攝的照片或contact sheet。

他這樣說:「我想告訴人們--攝影師是會思考、敏感、投入生活的普通人。不是西部牛仔--或者至少,我不是尋找刺激的西部牛仔。我這樣做,因為我真切關注這些議題,我希望帶來改變。」

例如在拍攝受橙劑影響的越南女孩後,Ed在筆記上寫道:「2010年7月9日,越南峴港。這個美好清晨,我拍攝小女孩Ly。她到醫院檢查,她的胸膛凹陷,將來需要進行手術,但她太過瘦弱了。醫生對Ly的媽媽說,她需要吃更多東西。他們說就容易。能夠見證Ly的勇氣和家人對她的愛護,是件美麗的事。她是個特別的小女孩,但願她能夠渡過難關。我希望自己能夠說出更重要的話,可惜我的腦袋空空如也。」

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Feng Li -White Night/馮立《白夜》⁣

Feng Li -White Night/馮立《白夜》⁣

Over a decade of shooting in Chengdu, China, Feng has captured the most intimate yet bizarre moments on the streets. Yes, singularly, each photo is
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Feng's work seeks to excite, intrigue and amaze. And all of that, I have felt. If you follow him on Instagram and love his work there, then you must grab a copy of his book, 'White Night'. ⁣⁣⁣⁣⁣
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Feng Li's work on Instagram is amazing. Feng Li's work in a book, just spectacular. ⁣⁣⁣⁣⁣prettymind blowing. What is most exciting however, is the pairing of photographs. In one spread, on the left, you have a woman going up the escalator, perhaps shocked by the flash Feng used, which has made her eyes go wide open. While the photo on the left shows a man with an enormous toothy grin. You may read into this however you like, but to me, this pairing creates the narrative of the most awkward encounter; it’s as if the man made an attempt at flirting, only to fail in the worse way possible. ⁣⁣⁣⁣⁣
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In these pairings, Feng has created a fictional narrative of chance encounters. He has created his own beautiful reality, and 'White Night' is our invitation to join him.⁣⁣⁣⁣⁣
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Julia Margaret Cameron: Photographs to electrify you with delight and startle the world

Julia Margaret Cameron: Photographs to electrify you with delight and startle the world

Photography from the 19th century certainly counts as history, but that’s no reason to dismiss older work. So, if you're in a rut, like myself, lost in today's photographic world, perhaps we should take a step back into the late 19th century, and visit Julia Margaret Cameron's work. 

There are many ‘rules’ when it comes to portraiture, who determined them, I don’t know. But does Cameron care about it? She hardly does. In fact, her work is known for disregarding any rules there are about portraits. Out of focus, smudges and scratches, all part of Cameron’s process, making each portrait more personal, more of a collaborative process. One portrait in particular transports me right into her time. An elderly lady, aged 94, looks down and away from the camera, she wears a soft smile, as she reminisces her wedding day perhaps. The tenderness in her expression, the slight out of focus... just makes you wonder. And that’s what Cameron does beautifully, she captures the person in front of her, and creates the space for the viewer to catch a glimpse of these people.

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Vanessa Winship - And Time Folds

Vanessa Winship - And Time Folds

“The bridge was built by the day and destroyed at night by the spirits of the water. It demanded a sacrifice. Let someone come who is willing to be sacrificed in the piers of the bridge, the bards sang.” - Ismail Kadare, ‘Three Arched Bridge’⁣

And Time 
Folds, is a beautiful introduction to Vanessa Winship’s work. Shying away from the story-telling traditions that are popular with Magnum, her work steps away from the frontline action; instead, invites us to join her on her meanderings around the world, as she seeks out human connection, communities away from home, and as she attempts to make sense of the world around her.⁣

In her project of Georgia, there is a photograph that depicts five pillars that may have used to carry a bridge, but only the five pillars remain standing. At ‘the junction of chronicle and fiction’, your beliefs are questioned. Paired with a quote from Kadare, it pulls at you to believe in the myths and legends of the place, yet the photo 
pleads you to see the reality. With the historic implications that comes with black and white, Winship’s work dares you to question where do we go from here.⁣

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夢回三峽-木格《回家》

夢回三峽-木格《回家》
⁣你有沒有試過,夢到兒時的家?醒來卻發現,家早已不存在,於是感到茫然若失。記憶的碎片在腦海飛舞流過,所有事物都像是熟悉又不真實。這大概是重慶攝影師木格,攝影集《回家》(Going Home)給人的感覺。⁣

2005年,木格沿着長江水重返故鄉,發現眼前景物,因長江三峽工程引起了巨大變化。三峽工程是世上最大的水壩,歷時超過20年,共淹沒了129座城鎮,估計有120萬人成為移民。不像眾多其他拍攝三峽影響的紀實作品,木格的照片十分個人,在沙塵滾滾的照片中,瀰漫着一種近乎夢幻的憂鬱、蒼涼和詩意。⁣

相中人物或低頭或望向遠方,有一些空洞地望向鏡頭,似是若有所思。人和景物都像是超越了時間。木格在前言寫道:「一路回家,看着一座座即將消失的古城,看着一座座建設的新城,在不斷上升的江水裏我依然感受着絕望的生命本身都會綻放燦爛的陽光……而鏡頭前來來去去的面容,他們如靜物般沉默無語的表情讓我肅然起敬。」⁣

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明信片再演譯-Matthew Monteith《捷克伊甸園》

明信片再演譯-Matthew Monteith《捷克伊甸園》

可能大家會覺得,明信片與平民百姓拍的業餘照片,沒甚麼特別,但攝影師Matthew Monteith,卻從中找到了靈感,創作出攝影集《捷克伊甸園》(Czech Eden)。

Monteith初次來到捷克時,是在天鵝絨革命後,共產黨結束40年統治的1990年代。那時候,捷克正經歷轉型。數次旅程中,Monteith慢慢對捷克1920至1930年代的明信片和老照片產生興趣。

從這些無創作者名字,時而浪漫、多愁善感或幽默的照片裏,Monteith被當中洋溢的理想主義所觸動。2001年至2003年,他再多次到訪捷克,試圖創作出一個能反映到相同理想的當代寓言故事。

《捷克伊甸園》名字取自該國的自然保護公園Český ráj,該地尤以砂岩與雲石洞穴景色聞名,但Monteith拍攝的不只是自然風光,更有城市景觀、環境肖像、靜物甚至是街拍作品。照片類型之不同,就像是在旅客區商店貨架上看到的明信片一樣。

輕煙飄過城區的火車軌大橋、住宅旁邊的老舊城堡和教堂、吊在室內的風乾火腿、在湖邊赤裸上身的年輕夫婦和手抱嬰兒等。這些作品精心構圖、色彩豐富,部分可以看到日常生活之中,共產時代及更古遠時代的歷史痕跡。

搜尋Monteith的其他作品,你會發現,原來這算是他相對「正經」的作品了。他拍攝過紐約國際攝影中心(ICP, International Ceter of Photography)、藝術講解員(The Explainers)、畢業生(The Graduates)、汽車(Cars)和自己父母(Mom Dad)等系列,大部分相當幽默有趣。

不變的是,Monteith擅長從日常事物找到靈感,變成精彩的攝影題材。


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