大姆歌 發牢騷

286愛的鼓勵 1訂閱站台

(本文部份收錄在申佩玉 《日本》攝影集 ) 
筆/ Ida Yang  譯/ Nick Coulson  

藝妓或是她們身上的和服給人一種日本異國情調的印象，旅行的人用他們外來者的眼光看著藝妓婀娜的倩影，她們總是給人感覺一層神祕的面紗，在模糊的影像中，表現出來的正是這種意象，而這意象或許並不是刻意去凸顯的，而是在旅行中一個巧合的相遇，一位藝妓擦肩而過的瞬間，忽然意識到一個突如其來如魂魄般的身影，一個不小心按下了快門，雖然失焦了，卻不失為一種美感。或是說正是巧合才能製造出這樣的美感。煙囪冒出的煙，必定也是一種偶然與巧合之下的產物，正因為人的眼睛感知到美麗事物的煞那，經由視覺神經傳到手的神經可能需要好幾秒的時間，所以當我們意識到我們想拍一個東西的瞬間，其實我們已經難以將它捕獲了，所以大多數的照片，在某種程度上來說都是個意外。也許未來新科技的發明，可以在人的眼睛安裝一個機器，那時只要一眨眼就按下快門，如此這般要求精準的世界，或許巧合會變得更難能可貴。要如何與巧合相遇？不可能每次都碰運氣吧？我相信若真有一種氣，那就是攝影師的一種直覺，直覺帶領著她走向看似尋常、瑣碎的，卻不同凡響的事物。    在平凡中發現不平凡是何等不易？這時景框的構思就變得格外重要，若畫面的構圖和配置可以創造出一種奇異的效果，再簡單的事物也可以變得很不簡單。在申佩玉的服裝照中，我們總是看不到模特兒的頭，或是模特兒的整體，這並不像一般市面上的時裝雜誌會出現的照片，總是呈現模特兒的整體。說實在話，在這種類型的照片中模特兒是沒有主體的，他們就跟他們身上的衣服和鞋子一樣，只是一個物件罷了；在這裡衣服才是主角，人的身體只是襯托它的衣架子。我想根本不需再套用那老梗：「畫面中被分割的肢體所呈現的是一種戀物癖，人體被物化了。」這樣的陳腔濫調不適用於申佩玉的這一系列的服裝照中，因為就時裝攝影的本質來說，它本就是一直不斷地操作特寫鏡頭來強調身體誘人的一面給觀者，進而引起觀者想要擁有的慾望。但是申佩玉逆向操作這個潛規則，在這些頭部被切掉的照片中，讓觀者更聚焦在衣服的質感上面，也令人連想到另一位先鋒攝影師Sarah Moon。     

Geisha’s always appear hidden behind a veil of mysteriosa, exactly the feeling we receive from fuzzy images; perhaps this imagery isn’t intentionally highlighted, but instead is a coincidental encounter in your travels - in the moment a Geisha brushes past your shoulder, you suddenly sense a shadow, a rising soul, and as you clumsily press the shutter, there is a loss of focus…but no loss of beauty. Maybe one can say this beauty is nothing more than a product of Lady Luck; but then the smoke from a chimney, is also nothing more than a product of chance and coincidence; because your eyes sense something beautiful in an instant, yet in the seconds it takes for your neurones of vision to travel back to the nerves in your fingers; by the time we have realized we want to take the photo, its already difficult to capture the desired image. Thus in some senses, all photos are an accident. Perhaps one day in the future, with the advances of science we will be able to attach a machine to our eyelids, and the mere wink would capture the setting. In a world with such demand for perfection, perhaps these ‘coincidences’ will become even more precious, and how does one encounter these coincidences? Surely we can’t call it luck every time? I trust that if there really is a sort of Chi, then it lies in the photographer’s instinct, an instinct which leads her to a something common, trivial, yet nonetheless, something outstanding.  Where lies the difficulty in unearthing the extraordinary from within the ordinary? Here, conceiving the frame is of utmost importance, if the composition and configuration can create a strange and unique effect, the most simple of things can become far from simple. In Pei’s Fashion photography, we never see the model’s face or her whole body. This is a far cry from what we see in the city boutiques and fashion magazines, displaying perfectly the entirety of the model's body. In reality, the models are not the subject of these photos, they are as their shoes and clothes they wear - just another object; the main actors here are the clothes. The human body is merely the clothes hanger propping them up, I don't think there is any need to reuse the triteness: "A partitioned body in the frame reveals the fetishism of human beings. The body has been materialized" This cliché doesn't work with the photography in Pei's fashion series, because the essence of fashion photography lies in its endless manipulating of close-ups to emphasize the body's most alluring side to the viewers, enticing them with what they so desire to possess. Pei, however manipulates in reverse these hidden rules, in these pictures which where the head has been cut, the audience's attention is diverted to the texture of the clothing, which also brings to mind the work of another pioneering photographer Sarah Moon.  

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