ABOOK MAGAZINE Issue 29

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一 本 純 粹 用 底 片 表 演 的 雜 誌

10 4 台北市內湖區港墘路2 2 1巷3 9-1 號 No 39-1 L ane 221 Gangqian Road Taipei T W

Tel : (02)2657-1666 Fa x: (02 )2 657-1 555 Email : info@abook studio.com We b s it e : www. a b o o k stu d i o . co m

發行 Publisher 意團隊有限公司 Abook Studio

攝影編輯 Photography Editors A Yuan / Kuan / Ash

總編輯 Chief Editor 林炳存 Joshua Lin

採訪編輯 Assistant Editor 曾譯萱 Tonnie 許菁芬 Ching

副執行長 Deputy Director 姜安妮 Annie Chiang 統籌 Production Supervisor Kuan 創意總監 Creative Director 林炳存 Joshua Lin 視覺主編 Design Director 游晶涓 Jane 文字主編 Editor 趙鑫 Vincent Chao

造型總監 Styling Director 林夢薇 Monfi Lin 翻譯編輯 Translation Editor 姜安妮 Annie Chiang 行政管理 Administration 張騰元 A Yuan 英國特駐 Overseas Editor Linda Cooper 執行公關 Marketing / PR 星予公關 Starfish Concept


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04 Editor ’s Note 編輯的話 06 Cover Story 封面故事_安心亞 FASHION OVERLOAD 時尚超載

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28 Joshua Lin’s Photography 林炳存專欄 GRAY 灰色

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56 Our Fashion, Our Style 時尚攝影 56

Choice _Kuan

The Technological Kidnapping 科技綁架事件 _A Yuan Delayed Load 載量延遲 _Ash

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ALONE _Kuan

26 Celebrity Column 名人專欄 E

In The Name Of Progress _Annie

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難以負荷之重 An Unbearable Load _Vincent 弱點 KRYPTONITE _Nella

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106 Master Inter view 大師訪談 生死 _蘇益良

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96 ABOOK’s Picks 潮流新觀點 MV新銳導演 _葉少琥 文青好好笑

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喜事集團品牌經理 _宋安

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EDITOR’S NOTE 編輯的話


Editor’s Note

對於年輕一輩來說,如今的年代,從事影像創作 的門檻變低了,但登峰造極的頂點變高了。 一次快門聲,意味著事前鑽研了多少器材與軟 體,在腦中構思過多少創意與想法。 一次快門聲,也或許僅僅是手機容量又少了千分 之幾,無意識中紀錄了晚餐的內容。 台灣一天可以製造出多少照片,恐怕已經無法計 算,更不用想如何去估算全世界的照片總量。 而每張照片背後的想法,每個構圖蘊含的意念, 有誰能消化的完? 又有誰願意去消化?

For the younger generation, our industry today is an industry you can easily get into, but the bar for success has been raised tremendously. Just think about how many photos are taken in Taiwan alone, each day. How many photos are taken around the world, each day? How does your image stand out and not get lost in the massive bundle?

瞬息萬變的資訊洪流裡,很多遙不可及的終於被 我們信手捻來,很多難能可貴的又不得不任其流 過指縫。 而我們,只能隨時做好千變萬化的準備,來面對 這千變萬化的世界。

If there’s a meaning behind each photo, or a compositional method, who has the ability to really digest each and every image? Or who would want to? We live in a world now where information flows rapidly. Alot of what we could not achieve before, can now be achieved. But with a pro there’s always a con. Amidst a sea of ideas and information, how many valuable pieces of data are we letting slip through our fingers each day? All of this data now moves and drives our ever-changing world. All we can do is be prepared. Prepared for what the world has in store for human kind.

攝影大師 林炳存


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FASHION OVERLOAD 時尚超載

安 心亞 Amber An 新品的需要並不是絕對必要, 在重新搭配與燈光的塑造組合後, 又有誰能分辨什麼是過時?什麼是時尚? 擁有自己的風格與態度就是最流行的線條!

PHOTOGRAPHER / Joshua Lin MAKE UP / 詹惟晴 HAIR / Dereck Chen@ FOUR hair concept STYLING / Monfi FEATURES / Amber An SPECIAL THANKS/ VERNA


Cover Story



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Q :恭喜心亞出了第4張專輯,新專輯『人生要漂亮』感 覺是一張充滿正能量的專輯,之前訪問提到你將康永哥分 享的「長得漂亮是優勢,活得漂亮是本事」當做這次的中 心思想,可以跟我們稍微分享一下你的想法?

A :這一兩年我對於自己的人生態度想了很多,也找到了比較適合 自己的生活方式,也因為這樣我更了解自己,理解自己之後,我才知 道怎樣可以讓自己放鬆,譬如可以關掉外界的聲音,不要太在意外界 的評斷與眼光,藉由觀點的轉換,讓我變得比較有自信。所以這張專 輯『人生要漂亮』,是希望大家拿出自信來,面對所有的挑戰、挫折 和困難,然後你一定會戰勝這一切!首先你一定要有自信,讓自己的 人生變得很漂亮。

Q :從全民最大黨到主持、舞台劇演員,再到偶像劇女主 角、流行歌手,可以感受到你很大的改變及努力,可以跟 我們分享一下你是怎麼精進自己,讓自己不斷前進呢?

A :我覺得這一路上算是蠻幸運的,一直都有人給我機會,然後我 從什麼都不會開始,慢慢學習,不斷努力地挑戰自己、充實自己,然 後慢慢就會感覺自己不一樣的變化,發現其實自己也做得到,我就是 一直在感覺自己做不到但又突然做到了的過程中,挑戰了很多不同的 角色,看著自己成長,然後希望自己繼續成長下去。


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Q :嘗試了這麼多不同的角色之後,下一步又是什麼呢? A :我上次參加舞台劇的演出是屬於客串的角色,不是那麼扎實的在舞台劇工作過,我希望未來有機會 可以很扎實的參與舞台劇的演出。再來是希望可以挑戰更多不一樣的角色,目前幾部戲我都是演好人,下 次希望演壞人,因為好人演久了,就會一直用好人的角度跟很美的觀點去看世界,所以我想要轉換,希望 用不一樣的態度去看世界,我覺得這對我的個性還有生活態度會有一些幫助與收穫。

Q :本期雜誌的主題是”超載“想請問對於這個主題有什麼想法? A :我最近會覺得很疲累,因為打開手機就會接觸到很多的照片、新聞、搞笑影片、悲傷的影片、廣 告,而想看真正美的或是真正好笑或是有意義的東西,我都要刷很久,要從一堆氾濫的資訊裡去找到一個 自己真正需要的東西真的有點難,就覺得很疲累。

Q :之前和炳存大哥合作的案子大多是商業型的拍攝,對於這次的拍攝有什麼想法? A :我很開心這次能和炳存大哥合作,像這樣自然展現隨心所欲的拍攝已經很少了,做自己想要的 pose、表情,要怎麼拉繩子都可以,想怎麼拍就怎麼拍,覺得玩得很盡興!。其中很特別的是背景乍看之 下好像很繽紛、很豐富、很時尚,可是其實卻是工地用的塑膠布,上面掛著塑膠袋和雨衣,還有一些衣 物,很一般卻藉著燈光營造出一種特別的感覺,表現著乍看的是美的,可是你深入的去了解會發現很多不 一樣的東西,我很喜歡這樣的有想法的拍攝。

Q :在拍攝的時候發現你很容易就能進入一種拍攝的情緒,是因為有受過演員的訓練嗎? A :當演員也有影響,我會讓自己在一個情境裡面,給自己一個角色,然後融入在裡頭,再來就是自 信,因為我一直以來在修的課題就是自信,我覺得我現在自信比較多了,在拍照的時候也比較融入其中。

Q :如果用一句話來形容覺得今天的自己像什麼? A :我覺得我像『越南玫瑰』張曼玉,自己還點了一顆痣,覺得很有特色,再配上吊衣桿,就很像『家 有喜事』在陽台的感覺,哈哈哈。



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We dont’ neccessarily need “new” things. But rather with new arrangements or different lighting methods. Noone can tell what is passe and what is not. Having your own style and atittude will forever be in fashion.


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Q:

Congratulations Amber on your fourth album “Live Beautifully”. It seems like a very positive album, can you tell us the meaning behind it?

A:

In the last few years, I’ve thought alot about my attitudes towards life, and luckily I’ve been able to reach a lifestyle that I’m comfortable with. I think I am comfortable enough in my own skin now, that I can tune out all the negativity in the world, or all the criticisms thrown at me, and be able to just be confident, and be happy with who I am. This album, “Live Beautifully” is hoping to inspire people to face all their obstacles with confidence. You must first believe in yourself, in order to truly live a beautiful life.

Q:

From appearing on variety shows, to acting on stage, to starring in TV dramas, to being a pop singer. You’re a chameleon. How do you prepare yourself for all these different roles?

A:

I think I’ve been pretty lucky throughout my career. I’ve had so many opportunities given to me by different people. At first, I really didn’t know anything, but I took each job as a learning opportunity to better myself, and to push my own boundaries. Overtime I started to see the changes happening within myself, and realizing that I can do anything I put my mind to. I just hope to keep growing and keep learning.

Q: A:

What’s next for you?

I hope to be involved in more theatre. Last time I had a tiny role in a play, but hopefully in the future I can experience that more in-depth. I also hope I can play characters that aren’t always so nice. I hope to play the villain, because I want to act with different mindsets and perspectives. When you play the good guy too often, you tend to see the world too perfectly.


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Q:

What’s your interpretation of “overload”?

A:

I find myself feeling exhausted these days. When I turn on my cell phone, I see alot of photos, news, videos, advertisements, etc.; to be able to see something really meaningful you have to scroll for a long time. It’s like trying to find something worthwhile in a flood of unimportant information. It can get pretty tiring.

Q:

You’ve worked with Joshua Lin before on various commercial projects. How is this shoot different?

A:

I’m so happy I got to work with Joshua again. To freely shoot, and be able to do

anything I want, any pose I want, is extremely rare. It’s just so fun to shoot this way, and be creative. The background for our shoot this time, looks really colorful and vibrant. But if you look closely, it’s actually pieces of industrial tape, plastic, and different pieces of clothing piled together. It looks beautiful at first glance, but it’s actually trying to say something. I love installing a deeper meaning behind the photos that we take.

Q:

During the shoot we’ve noticed that you get into the mood quite quickly. Is this because of your acting background?

A:

I think having an acting background definitely helps. You can give yourself a character and get immersed in that mood quite quickly. However, I think having confidence in yourself really matters as well. It’s a constant reminder for me, to have confidence. I think I’m much more confident now and it shows in the photos.

Q:

If you had to use one word to describe yourself today, what would it be.

A:

I feel like the “Vietnamese Rose” today, which was Maggie Cheung’s character

in “Chasing Boys”. I even have a fake mole. I think it’s so unique and funny. I had a great time.



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ABOOK MAGAZINE 29 在與安心亞合作拍攝完封面後,特別邀請 ABOOK的造型總監林夢薇Monfi與攝影大師林炳存Joshua針對這 次封面拍攝進行簡單拍攝訪談。

Q:

這一期的雜誌主題為OVERLOAD,對於超載有什麼特別的

想法,為什麼會想到這個主題?

Joshua : 每 天 起 床 的 時 候 , 手 機 就 叮 叮 噹 噹 的 響 起 , 一 堆 東西一直進來,尤其是照片,我那時想,如果每個人一天拍十 張照片,平均下來一天全世界總共產生多少照片,那影像的量 是非常龐大非常可怕的,而在這麼多的量裡面,有多少是真 正有必要有意義的,由這個作為出發點,所以這一期我才會用 OVERLOAD來作為主題。

Q:

對於現在生活上有很多超載的事情,以你自己來說,有方

法可以減少超載這件事?

Joshua : 以我個人來講,我覺得我的器材就有點超載,有出 新的設備就想買,現在我盡量讓自己單純一點簡單一點,把器 材的成本降低,不要隨便買讓自己有壓力,以前是想就要買, 現在是有需要才買,是不一樣的。


Celebrity Column


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Q :這次封面拍攝的主題為『時尚超載』,你們使用了一些二手衣物和一般隨手 可得的物品,將其重新組合拼湊再加上燈光顏色,就將一般照片轉變成一組時尚 感強烈的影像,透過這樣的呈現方式,想傳達的是什麼?

Joshua : 這組造型主要是小薇發想的,我只是在上面蓋上一層燈光讓他變得更不一樣,我拍 下來的感覺是只要用對方法,一般的東西也可以有很漂亮的呈現,我並不是要大家不要再買, 因為這不太可能,而是說用重新組合的方式,讓自己有自己的風格態度也是蠻好的。

Monfi : 每一季其實都有它流行的線條,但就像大哥之前說的,想要和需要要分清楚,有的時 候只要用一些很簡單的單品,配上舊的東西,就可以在創造出新的感覺,這也是減緩自己的衣 櫥超載,這是我想傳達的。 我和大哥已經合作多年,彼此之間已經太有默契,大哥常常只告訴我這次的主題和人物,然後 就等拍攝當天直接拍,我們不用作太多太詳細的溝通,在拍攝時反而更有火花,像這次的主題 OVERLOAD,我們一起拍了MV,又拍了封面,我們一直在強調如何保護地球,如何減少over這 件事,所以造型上與想法上都用了一些在生活上隨處都可以得到的物件,那些常常會忽略,但 他其實是漂亮的東西。


Celebrity Column

Q : 這次在拍攝的燈法上,因為色燈讓場景呈現出完全不同的感覺,為什麼會想要使用有 顏色的燈光,這種燈法有什麼技巧或需要注意的地方?

Joshua : 拍照對現在的我來說就是一種感覺和感受,佈景搭下來後,會覺得要用什麼光讓這個氣氛 出來,就直接用下去,選擇蜂巢和色燈,都是在經營一個畫面的層次,哪裡要打色燈,哪裡使用大小蜂 巢,最主要的目的都是要將畫面的細節balance,把每一盞燈點在我覺得不會太突兀又很平均的地方,至 於技巧跟要注意的地方應拍攝的不同而有太多技巧及太多要注意的地方,但我的大方向就是這樣,然後 再依照感覺好或不對再微調。其實我今天打得光很超載,因為最近拍攝的燈法都很簡單,很常都是一支 燈,很久沒打過這麼多盞燈,應該有用到八九隻的燈頭了,另外在拍安心亞的時候,也想讓她有不一樣 的感覺呈現出來,所以刻意使用了有色的燈光,當然也不是很刻意地說一定要這樣,我覺得攝影師在每 次拍攝時,都要把自己當成新人,當作是一個嘗試一個挑戰然後好好地完成。


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Q :這次一樣是使用底片拍攝,底片給人家一種真實、現實、實在的感 覺,在拍攝時尚題材或是意識較強烈的的影像時,在畫面的經營上使用 底片拍攝會是一種限制嗎?

Joshua : 我是從底片的年代拍到數位的時代的攝影師,以前我們都在控制底片, 現在是數位在控制我們,像在拍照時就會覺得沒關係之後有後製,這樣技術就會退 步。但在拍底片時,每一個步驟,包含換底片,設定光圈,光的對比,每個細節 你都要算得很清楚,只要在這部分有很扎實的功夫,拍攝的想法與概念都有拿捏到 位,那麼底片和數位就不會是決定時尚或不時尚的最重要因素。

Q :最後針對OVERLOAD可以給我們一個簡單的結論嗎? Monfi : 先從自己開始,每個人簡單一點,這一點點的簡單,就會讓這個環境不那 麼的超載。

Joshua : 當你回家的時候少開一盞燈,對這個社會就會有一點點的幫助,超載有 很多的面相可以談,但我不想要讓這個議題這麼的沈重,應該用舒服生活一點的方 式去看待它,我想從生活切入然後確實去做,這個幫助才會大,而不是很刻意的去 逼自己要怎麼做。


Celebrity Column


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Interview with ABOOK Styling Director Monfi Lin and Photographer Joshua Lin on the concept behind the cover shooting.

Q:

Why did you want to focus the theme around the topic of “overload”?

Joshua: Everyday when we wake up we are bombarded with information. It just came across my mind that, if everyone took ten photos a day, how many photos would there be in the world? Once you quantify it, the numbers are staggering. Yet behind all these photos, which one of them are actually meaningful? We are just overloaded with so much information. That’s how the topic came about.

Q:

How do you overcome or strip away the overload?

Joshua : To me personally, my equipment inventory is a bit overloaded. Before, I’d just buy anything that I wanted to buy. New equipment comes out, I buy it. Now I just hope to simplify things. Not only does it save me money, but it makes you buy things that you need, not things that you want.


Q:

The cover shoot portrays a concept of “fashion overload”. You used alot of second hand clothes and inexpensive accessories, along with varities of color, to create this strong juxtaposition. What are you trying to communicate?

Joshua : The styling was mainly the idea of Monfi. I just gave it a layer of color and light, to make it different. What I’m trying to say is that, if you use the right method, even the most mundane of things can become beautiful. I’m not saying that we should stop consuming and buying things, because that’s just impossible. But rather, I’m trying to suggest that by combining things in different ways, you can create your own unique style.

Monfi: Each season has its own trends. Just like what Joshua said, what you need and what you want is two different things. Sometimes you just need a simple accessory, along with something vintage, to create a look that is completely new. In this way you are also diminishing the overload of your closet, which is what I’m trying to portray. I’ve been working with Joshua for many years, I think we just have this unspoken understanding of each other. He usually only tells me what the theme and model is for this issue, and the next day we shoot. We don’t need much prior communication, but rather the spontaneity on the day of the shoot is what creates sparks. For this issue and for our music video, we are trying to bring people’s attention to the environment, and our planet. How do we take away the excess? Styling wise I wanted to take normal things around us, those things that are often times overlooked, and show audiences that it can be beautiful.


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Q : You chose colored lights for this shoot. Why did you make this choice? What techniques do we need to pay attention to when playing with color?

Joshua : Photography to me now is all about how I feel. When you see the set, you should feel something, that in turn should help you decide what kind of lighting to use, and what kind of atmosphere you want to emulate. The type of honeycomb grids and lights you choose, are all important factors in creating depth for your photo. Your main objective is how to balance all the details of the photo and adjusting as you go, according to how you are feeling. The different lights I used for this shoot is kind of excessive. I usually use very simple lighting methods, but for this shoot I must have used 8 or 9 different lights. I wanted to give Amber a look that was different, and so I used color. I wasn’t trying to deliberately be a certain way, but rather I was maybe experimenting with something different. Trying new techniques are always great for self improvement.

Q:

Again you used film for this shoot. Film gives this realistic, genuine, and honest imagery. In shooting fashion editorials that perhaps don’t want such realism, does using film become a restriction?

Joshua: I’m a photographer that has witnessed the film era transform into the digital era. Back then, we were in control of the film, but nowadays it seems as if the digital is in control of us. Digital photography gives you something to fall back on because if you don’t take the photo well, you can always photoshop it. But what happens is, true skill is lost. When using film, each step is crucial. You have to really understand each and every step and detail. As long as you truly understand photography techniques, then you can capture exactly what it is that you want. It wouldn’t be a matter of film or digital that determines whether your photo is fashionable or not.


Q:

Anything else you’d like to say about the concept of “overload”?

Monfi: Begin with yourself. If everyone just chose to live life more simpler, then maybe our environment wouldn’t be facing an overload.

Joshua: When you go home, choose not to turn on so many lights. Little things like that really can help in the long run. The topic of “overload” has many sides to it, but I don’t want it to be so solemn and sad. We should be looking for solutions that are achievable and relevant to our lives. Perhaps then it would be more helpful, rather than forcing ourselves to be a certain way.

“The man who shuns and fears everything and stands up to nothing becomes a coward; the man who is afraid of nothing at all, but marches up to every danger becomes foolhardy. Similarly the man who indulges in pleasure and refrains from none becomes licentious ; but if a man behaves like a boor (agroikos) and turns his back on every pleasure, he is a case of insensibility. Thus temperance and courage are destroyed by excess and deficiency, yet preserved by the mean.”— Aristotle, The Nicomachean Ethics


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In The Name Of Progress T E X T A N N IE

現今人類社會的發展已經變得像健身訓練

我們人類為了發展到底是穿越了什麼樣的

一樣。在健身的世界裡,如果訓練者想要

底限才使全球氣溫的變化仍然不是我們首

進步,他們必須讓身體持續對其無法負荷

要關心的議題? 我們寧願積極尋找在外太

的超載訓練量感到習慣,然後想方設法讓

空的另外一個世界, 也不願意多花點時間拯

訓練增加到原本已適應的身體再度無法負

救我們地球這個家.

荷的訓練強度來使之極限達到提升。 我稱之為”小頭顱大軀體”症狀。這是比 廣義來說,我們的世界似乎也用同樣的方

喻那些做重訓做到身體不成比例的人們。

式承受著人類的發展與進步,人類用不斷

這樣的體型看起來詭異又荒謬,但他們自

的自我超載來突破極限。科技日新月異,

己似乎無法意識到。我們的世界也正處於

機器不斷取代著人工;人類則不斷找尋新

這樣的症狀中。土地上的垃圾,冰山的溶

的領域來研發,就像是為了凸顯人類智慧

化,以及邁向滅絕的物種。我們的世界已

與人類重要性一般不斷挑戰著所有事物的

經超載且快要爆炸,然而居住其上的我們

底限。當然也或許這一切只是因為貪念。

似乎渾然無所覺。

但是人類要碰觸到什麼樣的底限才會停手 呢?警告我們的標誌早就在我們視線裡。


Celebrity Column

Social progression is like that of sports training. In sports fitness training, the concept of overload is that in order for athletes to improve, you must continually work harder as your body adjust to existing workouts. You must find some way to make the exercise more difficult so that your body is constantly pushing its limits.

In the bigger picture, our world seems to be so set on improving and progressing the human kind, that we are literally overloading ourselves in the same way. New technologies are developed each day, robots are now taking over jobs; we are constantly looking for new ways to invent, create, and overload as if to prove that human kind is intelligent and important. Or maybe it’s just greed.

But when is enough, enough? The warning signs are already there. How intelligent can we be if climate change is still not the top priority of all human beings.

It’s what I call “SHBBS (small head, big body syndrome)”. It’s like someone who weight trains to the point that their body is disproportionate to their body, yet they don’t even realize it. It looks ridiculous and scary. Our world too is experiencing SHBBS. All the garbage in our landfills, all the icecaps melting, all of our animals going extinct. Our world is overloaded and it’s about to implode, yet we seem to know even know it.

-end


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GRAY 灰色

PHOTOGRAPHER / Joshua Lin STYLING / Monfi Lin ASSISTANT / Wu Hanlin / Ivy Tsai MODEL / Paula@ FMI model SPECIAL THANKS/ 新美豐印染廠


Joshua Lin’s Photography


灰色的細胞,灰色的心情,灰色的天空 在世界末日來臨前,在一片灰色之中 把握最後機會 綻放機會之光


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Gray cells, gray emotions, gray skies Before the coming apocalypse, everything turns gra y You ceaze every opportunity you get Opportunities for light to shine through




35

Q 1 : 這一期雜誌主題為OVERLOAD,是關於現在的社會與生活時常處在 一個超載的狀態,很多東西都太過於氾濫,我們想要從很多不同的切入點 去探討這個問題。而大哥選擇為這個主題製作一支MV,想必您對此議題 非常有想法,可以和我們談一下這支影像你想傳達的想法是什麼?

A : 其實對於OVERLOAD的定義與說法很多也廣,覺得現在這個社會不管任何東西都 很多很氾濫,這次想要針對的是污染這件事情,對每個人也都是很嚴重的議題。每個 人如果每天少開兩盞燈,這世界就可以節省很多能源,我們在這個地方,能力有限, 沒有什麼辦法去影響全世界,但至少從身邊的人開始受影響也是件好事,現在是一個 太過太多的時代,我想用減少去講,不管有多少幫助,至少是把我們想講的話去表達 出來。 這次以立體及平面的方式來說一個關於污染的故事,關於只剩下唯一的一人去面對已 經超載後的世界,雖然是個沈重的議題,但就像邱吉爾講過的一句話:「你現在不面對 現實,現實有一天就來面對你。」這就是一件我們現在必須面對的事,即使我們現在 做了再多的努力維護環境,它還是沒法及時反應出來,但當我們還能為下一代做些什 麼,我們就盡力去做吧!


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Joshua Lin’s Photography


38

Q 2 : 藉由影片與照片可以表達出許多不同的東西,這次 我們同時進行兩項拍攝,可以很明顯地感受到兩者之間的 差異,影片比起平面需要更多的資源與人力,請問對於之 間的差異有什麼看法?

A : 其實在Video的部分我也可以用很簡單的方式完成,但現在連影 像都很超載,一直在氾濫粗製濫造的結果就是以後都沒有專業可言, 對於影像不專業沒有要求又隨便製作然後惡性循環,所以這次我們用 比較正規的拍攝編制與手法去製作,看看是不是能有些不一樣的地方 讓人比較,畢竟影像是我們的專業領域,我們不會隨便去敷衍了事。 影片和照片的呈現很不一樣,影片的部分是去敘述一個簡單的故事, 而照片是一個畫面你就要讓人有所感受,我覺得這是其中很大的差 異,好比說側拍,紀錄拍攝影片的過程也是另一種說故事的方式,而 有時候一張照片在不同人的眼中,吸收反應出來的都不一樣,解讀的 方式也不同,所以如果用照片去呈現,有時必須要花更多的精力去敘 述這個故事,既然我們都要花這樣的精力,不如兩個都拍讓人家可以 去想像去聯結,我覺得在現在的環境裡,我們要表達的東西越清楚越 好不然就很容易模糊掉,配合NELLA寫的歌,更讓我們知道哪裡需要 做調整與搭配。 現在的社會充斥很多批評與謾罵,很多亂七八糟的現象,我希望 ABOOK是不是可以帶給社會一些好的事物,我們不去批評人家,並讓 大家認為這個社會還是有一些美的地方,哪怕最後作品出來還是會有 批評的聲音,但我覺得不必太在意這些,至少我們的心是正面的是對 得起自己的。



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Q 3 : 此次影片的拍攝還加入了葉少琥導演一同合作,想必共同激盪出 更多的火花,可以談一下合作的心得?

A : 這一次的拍攝蠻好玩的,我們都在開玩笑說這次的導演很多,我一直以來都很 喜歡共同創作,在拍攝期間我們可以交流彼此的情感與想法。現在的環境個人主義 很濃厚也比較自我,大多不願與人合作,但在ABOOK我們彼此都很願意分享,不管 是經驗或是智慧,我覺得能一同工作就是一種難得的緣分,能藉由工作來增進情感 交流是件很好的事。

Q 4 : 拍攝影片從來都是一個集體創作的狀態,每個人都有自己的專業 與負責的項目,然後依照導演的方向及故事的結構去盡量呈現,看大哥 在導戲時都能很精準的切入去讓每個人達到你的要求與方向,為什麼能 夠在如此複雜的環境去快速精準的下達指令?

A : 一部分是經驗,一部分是在做這件事情之前其實都已經準備好了,有了概念在 現場就不會浪費太多的時間,清楚的知道接下來要做什麼,然後做就對了。拍平面 的時候,頂多五六個人一起工作,所以就算慢慢地磨也還好,但拍Video時就是另一 回事,現場有這麼多人,不可能這樣耗下去,所以一定要事前做足準備 ,快速且精 準的執行,但絕對不是隨便敷衍。 關於精準這件事其實也很難用講的表達,當我在拍攝的現場時,自然有很多感受及 經驗跑出來,好像內在已經儲存了大量的數據在腦袋裡面,接受到什麼指令就該做 出什麼樣的反應,有的時候也會有系統無法支援無法反映出來狀況,我不比別人厲 害或聰明,而是在多年拍攝中累積,不斷地遇到困難,困難會造就你,碰到好事反 而不會造就你,因為對的事你會覺得是應該的,但錯的會提醒你下次不該再犯同樣 的錯,才會使人進步,從錯誤中了解什麼才是對的,所以不要怕犯錯。


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44

Q 5 : 您在影像的領域裡已經達到如火純青的境界,對製造影像這件事有感到 厭煩的時候嗎?

A : 對於自己創作的東西,我覺得再辛苦都是開心的,因為那是自己的意識的表現,當然也 常常會碰到一些無奈的事,但儘管無法盡如人意還是要盡力去做好,我相信不管各行各業, 每個人都會碰到現實的問題,而真正專業的你就是要去掌握好。這讓我想起剛出道時碰到一 位貴人-崔苔菁女士,她曾跟我說:「炳存,你當攝影師要像當醫生一樣的心態,你不能分 大牌小牌 ,任何進來攝影棚的人你都要讓他開心地走出去。」其實也影響我蠻多的。

Q 6 : 使用數位相機拍攝時可以隨意地拍,拍到滿意為止,但在使用底片相機 拍攝的時候就有張數的限制,要怎麼樣在有限的張數內抓到最好的表情或是怎麼 樣才算是拍到了?

A : 一張好的照片不見得是模特兒的姿勢好不好,反而是他的神韻決定一切,我覺得可能我 現在還是在逼自己,有時候一個造型只拍一張照片,我覺得拍照就是在抓那個moment,眼神 對了很多事情就合理了,眼神不對你去調整pose,就會發現你之後拍的都還是怪,另外在拍 照時自己要知道自己要的是什麼,有就有了,不一定一定要抓到什麼。

Q 7 : 對於台灣市場低價競爭的生態,常讓專業領域的人感到沮喪,我們要怎 麼才能讓這個市場往好的方向走?

A : 我覺得我們的心態要隨之改變,我們無法改變這個世界,但是可以改變自己的想法。以 前的時候,一群人出外聚餐或遊玩,常會問誰有相機可以拍張照,底片的時代,每一張照片 都是相當珍貴得來不易的。現在是人手一機,各種修圖APP,怎麼拍怎麼好看的時代,我們要 用什麼心態去看待他,當所有東西都大量充斥氾濫在市面上,你得更精進自己,找出自己的 獨特性及無可取代的地方,在市場上要能夠被人看見,這應該是現在要在意的重點。


Behind The Scene


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Q1:

Society has become overloaded and too many things are in the excess. We want to delve into this topic from various perspectives. There’s multiple messages in the music video that you shot particularly for this issue. Can you talk to us about some of these messages?

A:

The term overload can have multiple meanings behind it. In our world these days, we are inundated with so many “things”. I particularly wanted to focus on the topic of pollution. It’s a serious matter that effects all of us. If each and every one of us chose to turn off our lights more often, then maybe we can conserve alot of power as a whole. As one person, what we can do to help the environment is limited, and it seems our influence on the world is even more so. But nonetheless we hope to do our part and bring forth this important topic. The world is overloaded with things we don’t need and is quickly reaching a full capacity. The music video we shot is tell-

ing a story of the last human left on earth, who has to now face the overloaded and exhausted world we left her with. It’s often times a sad topic, but like Sir Winston Churchill once said, “If you don’t face reality, one day it will come and face you.” This is something we all have to keep in mind. What we do now for the environment may be too late, but nonetheless we have to keep going forward. We have to make a change, for our future generations and for human kind.

Q2:

Compared to print photography, motion video allows for the portrayl of multiple messages, though it also requires alot more resources and man power. What do you see as the essential differences between the two mediums?

A:

Actually for our music video we wanted to complete it in the simplest way possible. All the videos we see now are just overloaded with too much imagery and post production. Videography and photography are alot different. Usually, video tries to depict a simple story, while photographs are trying to move you with just one single image. Though, when you’re trying to capture behind the scenes moments, the entire process can be seen as another way of story telling. Each photograph has different meanings to different people. Thus if you’re trying to tell a story through photographs, you must put in even more effort to tell the story. For this issue, I just thought that if we’re going to put in a lot of effort anyways, then why not just do both. I find that in our world now, you have to be as clear as possible about what it is you’re trying to say, or else it can be easily blurred or lost in translation.


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Q3:

For the music video you co-directed with Shao-Hu Yeh. What was it like working together?

A:

It was really fun on set. I’ve always loved to work together with different people and co-create something completely new. We live in a selfish world, but at ABOOK we believe in sharing. I believe alot in fate. To be able to work together is fate and destiny.

Q4:

As a Director you have to be able to direct each and every personnel to complete their task to the level that you want it to be. How hard is it to do so in such a fast paced and complex working environment?

A:

A major part of it comes with experience. Another part of it is to be prepared. If you know exactly what it is you want to accomplish then you won’t waste too much time on set. For a photoshoot, you might have 5 or 6 assistants on set so comparatively you can take more time. But for video shoots it’s completely different because when there’s that many people involved you can’t afford to waste time. For me, I find that alot of ideas come to me spontaneously, and I think it’s maybe because through the years I’ve accumulated alot of data and bits of data pop out at different points in time. Sometimes though, that data does get lost. I’m no smarter than anybody out there, it’s just I’ve been through so many years in this industry, that when problems arise, I find solutions that I’ve learnt through experience.

Q 5 : Do you ever get tired of the industry you’ve been in for so long? A : When I’m creating and working, I find that no matter how tired I am, the overall experience is a happy one. Ofcourse like any job, not everyday goes smoothly. The most important thing is to be professional about it. During my early years as a photographer, I had the opportunity to shoot Louise Tsuei. She inspired me a lot because she once told me, “Joshua, as a photographer you have to see yourself as a doctor. You cannot treat people any differently based on their status or fame. Each and every person that enters your studio wants to leave happy.” I will always remember her words.


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Q6:

With digital cameras you can shoot until you are satisfied. But with film, there are limitations as to how many shots you can take. When do you know you have enough shots?

A:

Sometimes a good photograph isn’t determined by the pose of the model, but rather by her charm and spirit. On some shoots, I challenge myself to take just one photo. Photography is in the moment. The expression in the models’ eyes is the most important to me. If the expression is wrong, no matter how good her pose is, it’ll still be an odd photo. It also helps to know what it is that you want before the shoot.

Q7:

As the economy slows, clients are opting for low budget options. In your eyes, how does this effect the photography industry?

A:

I think our mindsets have to change. We can’t change the world, but we can change the way we think. Everyone has a smartphone now, and different APPs have made photography and retouching extremely accessible. In such an environment, as a photography professional you have to find your own path, and find out what it is that makes you irreplaceable. You have to make yourself seen.



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OVERLOAD / AN UNBEARABLE LOAD 超載 難以負荷之重 P HOTO ku an & TE X T 趙 鑫

四十年前的農曆除夕,照往例爸爸要帶著

廂,看到這個景況,車上的人面面相覷,

我們一家四口,從台北跋涉到南投埔里小

司機解釋帶著連聲抱歉,說這個超載的男

鎮,和遠房表伯父團聚。印象中,那是一

人,也是野雞車同行,想趕回埔里過年,

段擁擠漫長的旅途,通常都是天未亮摸黑

他好心多載他一程。

起床,搭公車來到台北車站,搶搭載滿返 家過年乘客的台鐵火車,經過搖搖晃晃地

司機繼續開車,轉過彎路不到三分鐘,赫

7-8小時之後,接近傍晚時分才抵達台中。

然是警察的檢查哨,在暗夜無光的山道 上,用冷冽刺眼的手電筒光芒,照著車內

出了火車站,恍如隔世,陌生的城市,彷

每一個人的臉。霎時,車裏擁擠的空間

彿去到另一個世界。

裡,安靜到沒有一丁點的聲音,當時的 我,深覺得自己是參與犯罪的一份子,害

當時台中到埔里,除了排了長長人龍的公

怕多呼吸一口空氣,會被凶惡的警察從我

路局班車,就只剩下盤據車站外,呼喝攬

驚恐的臉上看出破綻,又或擔心,在這時

客按人頭計價的野雞車,為了及早趕到目

候身後的後車廂那個人,發出什麼動靜,

的地,爸爸要了兩個位子,和媽媽一人抱

後果不堪設想。

著一個小孩,擠進裕隆勝利2400 cc柴油引 擎的大轎車裡,連同司機一輛車8個人(沒

在那短短的卻又似乎無止境的靜止中,我

錯,司機1人,前座大人2人,後座大人3人

感受到抱著我的爸爸的手,隱隱地在用

加腿上抱著的我和妹妹)駛向了蜿蜒漆黑

力;媽媽將妹妹抱向懷裡,似乎怕她一不

的山路。

小心開口說漏了什麼。

記得在沒有路燈的半山腰上,司機停下

當然,什麼事情也沒有發生,警察和司機

車,讓前座一個男子,下車鑽進後行李

是認識的,隨口聊了幾句就放行了。這時


Celebrity Column

候更大的恐懼出現我腦中,我想,那個人該不

世界末日的恐慌焦慮。由於我們太過於依賴,

是悶死了?怎麼一點聲響沒有…

思考力行動力都因為科技進步而退化虛弱,一 旦失去,習慣於超載的我們,生活中的小事,

就在野雞車開了漫長的三五分鐘,又轉過一個

都將變成難以負荷之重。

彎路後再度停下,後車廂的男子爬出來坐回前 座,跟大家歹勢兩句,一車人繼續上路。

從現在看來,花十幾個小時去和親戚吃一頓團 圓飯,簡直好笑到不行,但仔細想想,現在的

緊張後的放鬆,讓人昏昏欲睡,很快的乘客們

過年大家寧願傳個簡訊,打幾個字加上一張貼

都進入休眠狀態,到了目的地才醒來,已經是

圖,就完成祝福的儀式,其實打從心裡就根本

午夜以後,埔里空蕩蕩的街道上,冰涼的空氣

沒有覺得團聚是一種需要了。

中充滿了鞭炮放完的硝煙味兒,除夕夜已經過 完了。

回到四十年前的新年,第二天大年初一,爸爸 和表伯父為了蔣介石是獨裁者還是好總統大吵

去年我又去了一次埔里,從台北搭高鐵到烏日

了一架(當年我爸爸的反動思想可是會殺頭

才花50分鐘,就算開車,走高速公路一路到

的),氣的爸爸拂袖而去,不到中午就帶著我

埔里,兩個小時多一點就能抵達,回想起小時

們一家人,再次長途跋涉回台北了。

候,我不禁開始懷疑,那一次旅行到底是不是 我自己真實的記憶,還是想像出來的夢魘。

現在看來,面對面拍桌子吵架,是多麼激烈而 且有溫度的事,在今天,人和人只會在電腦

過去一百年,是一個加速的時代,一切都變快了。

前,用打字相愛或相罵,見面時低頭玩手機不 再溝通,物理上人與人似乎更容易接近,但心

鐵皮火車變成高鐵,大排量柴油引擎被小而有

裡上,人與人其實漸行漸遠。

力的渦輪引擎取代,我們在旅行過程中,時間 更迅速空間更寬闊,然而,一家一戶的電話也

在這個超載的世界,我們拒絕擔當無力負重,

被人手一支的手機取代,不僅彼此可以說話,

不知不覺失去的,將是承載情感的能力。

甚至不用長途跋涉就能看見遙遠的對方,就連 人腦思維的速度,都可以憑藉著電腦的運算,

或許我們該卸載那些帶給我們方便的科技外

而無遠弗屆。

掛,用最笨的方式去表達情感,不要因為科技 而喪失人類可貴的本能。喜怒哀樂悲傷恐懼,

科技像是腎上腺素,分泌滿足慾望多巴胺,讓

雖然殘酷真實,但那是我們永遠無法捨棄的生

我們的生活,進入到全新的境界,然而習慣科

命的負重。

技帶來的便利超載,似乎也讓我們的生活,變 的虛弱,經不起意外的打擊。 從前颱風夜停電,不過點起蠟燭早早睡覺而 已,但今天如果有一夜缺電,失去Wifi網路、 手機無法充電所帶來恐懼感,恐怕會讓人產生

-end


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Too much of anything can be dangerous. Too much darkness can kill you, yet too much light can blind

About fourty years ago, I remember my father taking our entire family, from Taipei to Puli for Chinese New Years, to spend the holidays with my uncle. I remember that it was a long and tiring journey. We woke up before the sun was even up, and took the bus to Taipei Main Station, where we hopped on the train for an eight hour ride to Taichung. Puli wasn’t accessible by train so we had to get to Taichung first. When we finally got there and exited the train station, I remember feeling as if we had entered an entirely new world. At the time, to get from Taichung to Puli you had to either take the Freeway bus or choose to go with the private truck drivers who offered to carpool you there for a fee. I remember my dad bought two tickets, one for my mom and one for him, while me and my sister sat on their laps. There were eight people in the truck including the driver, my family of four, and three other strangers. I remember that when we got to this dark road right beneathe the mountains, the driver suddenly stopped, and one of the guys in the front seat got out, opened the trunk, and jumped in. All of us were stunned but didn’t say a word. The driver kept apologizing to us and told us that he was just doing the man a favor

by taking the man along, even though his car was over capacity. The driver continued to drive, but about three minutes later we came to a police road block. We stopped, and the policeman shone his flashlight in, the light hitting everyone’s dark faces. I just remember feeling like I was some sort of criminal, fearing to even breathe too loudly. I felt afraid for the man in the trunk. I didn’t want him to get caught. I felt my dad’s arms tighten around me. My mother also held my sister tight, as if fearing she would say something she shouldn’t. Ofcourse, in what felt like forever, was actually a matter of minutes. The policeman chatted up the driver, and quickly let us continue on our way. Nothing had happened. All the fear was just in my head. After we drove for another three to five minutes, the driver stopped again and popped his back trunk. The man inside got out, and got into the front seat again. The eight of us then continued on our long journey to Puli. When we finally got there it was well past midnight. The streets of Puli was already empty. The smell of used firecrackers filled the dark streets. Chinese New Year’s Eve was already over.


Last year I went to Puli again. From Taipei I took the high speed rail for 50 minutes to Taichung (even if I had driven, it would have only taken me two hours or so). Then from Taichung it was only another 45 minute bus ride to Puli. I started thinking about my childhood trip to Puli with my dad, and I began to wonder if it had all been just a part of my imagination, or did it really take that long back then? The last one hundred years has been a generation on fast-forward. Everything is faster now. The trains of the past have now been replaced with high speed railways. Large diesel engines have now been replaced with small and powerful turbo ones. In our travels, we now spend less time on the road, and have more time to spend with our families. Everyone has a cell phone now, that even if you aren’t able to travel home, you can speak to and see each other via your smart phones or computers. Technology gives us an adrenaline rush. It’s as if it secretes dopamine, allowing our lives to enter a whole new realm of happiness and convenience. However, technology is actually a double-edged sword. It makes our lives easier, but also makes us weak and unable to withstand change. Back then when the power would go out because of a typhoon, most of us would

light up a candle and head to bed early. But now, when the power goes out, and we no longer have wifi, or the power to charge our phones, a panic seems to sweep mankind. We’re so reliant on our technologies that once we lose them, even for just a fragment of time, it all becomes an unbearable load on our lives. Nowadays, travelling 10+ hours to eat dinner with your relatives seems like a ridiculous waste of time. It’s hard to fathom because you can easily just send your holiday greetings to them with a text message and an emoji. However, when you look at it from another perspective, modern society has lost this sense of humanness. Our face-to-face relationships with one another seems to be dwindling as technology advances. How rare is it now to find genuine human emotion and interaction. In a world that is overloaded with too many tangible things, we’ve seem to have forgotten some of the intangible elements of life. Let us be fearful of relying on technology rather than human instincts. Happiness, sadness, anger and fear; these are emotions and realities we all must face each day, as that is the true weight of life that we should never trade for anything.

-end


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Creative Director / AN SONG Photography / KUAN Hair / KAI HOU@EROS HAIR STYLING Make-up / MAKO CHOU Styling / AN SONG Model / SHER@DOLLS MODEL MANAGEMENT Special thanks / TUAN TUAN


Our Fashion, Our Style


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用什麼姿勢看什麼書是我的選擇


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眼前的一切似乎都超載,過度負荷讓人煩躁甚至痛苦 但其實要面對的大部份還是掌握在自己手上, 沒有人強迫著你只是環境需要你去做更多的選擇, 也只有自己可以選擇自己的日子要怎麼過, 不要把自己一直困在影像、資訊、物質超載的世界中, 要能評估衡量進而去控制他 專心做好一件事,專心做好自己的事,忠於自我,活在當下

Everything before us is reaching a tipping point How you cope is up to you Noone is forcing you, but the environment needs you to make better choices Only you can decide how to live your life Don’t be blinded by materialism But seek for balance Do things to the best of your ability The choice is up to you


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Our Fashion, Our Style


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用什麼態度穿什麼衣服是我的選擇


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對什麼人說什麼話或是只聽見什麼是我的選擇


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一切都是我 我自己的選擇


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Behind The Scene


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科 PHOTOGRAPHY / A Yuan Chang HAIR / Isiah@EROS MAKEUP / 詹惟晴 STYLING / Tob Yang MODEL / Peace Yang@齊心娛樂 SPECIAL THANKS / RAY CHU / WU JIU / ELLA LIU

The Techno


Our Fashion, Our Style

ological Kidnapping


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ISO感光和數位快門的差距承載科技綁架的世代, 輕蔑跨踩復刻的回憶,輕撫穿越文涵的感知。


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Behind The Scene


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| 弱 點 | KRYPTONITE

TE X T N el l a

我為了寶藏不顧生命挖開了船底 嘴上一直道歉心裡卻不再反省 我要吞下多少烏煙瘴氣才能夠喝茫 忘卻自己超載了大自然的後車廂 我歡呼著將美麗撕毀 看地球跪著裝上了義肢腿 我像是動感超人硬要耍帥裝蓋特 我吃過雙層四盎司就再也不吃大麥克

我是你鄙視的,我是你抵制的。 雖然你是正,我是邪。 但是你看看你的周遭,我想必是你人格裡的一部分。


Celebrity Column

I tear away the sunken ship to get at its treasure I say sorry but to me it doesn't matter The smoke and smog is my drug of choice The environment is crying out but I can't hear it's voice The beauty of it all is being ripped apart Hedonist tendencies for a prosthetic arm Call me Superman, YOLO Why choose normal when you can get oversized? Like me or not, I'm all that you detest You call yourself good and akind But look around you, I'm your kryptonite


84 DIRECTOR / Ash BEHIND THE SCENES / Tonnie HAIR / Odye@FOUR hair concept MAKE UP / Kev Kevin STYLING / Beryl Chang MODEL / Arana M@FMI model ASSISTANT / Da Huang / San Cho DRESS / Allsaints / Balenciaga / Johan Ku gold label / Luxottica / Monstyle / Moncler / Project Ornament / Proenza Schouler / Ray-Ban / YVMIN SPECIAL THANKS / Mini shop / Mr.Pond / AK Fly

Delayed


d Load

Our Fashion, Our Style

載 量 延 遲


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載量延遲物件的製程或許不是當代俗稱的環保,但經過時間的擠壓、 超時代的運轉依舊能輕易對比出當前的快製程、快汰換。 大量的環保廢棄物襲捲而來,什麼是永續顯而易見。


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Behind The Scene


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INTRODUCE & INTERVIEW MV新銳導演 葉少琥

P HOTO Ku a n & TE XT To n n i e


Celebrity Column

葉少琥,新銳MV導演,連續兩年獲得音樂V榜年度盛典最佳導演獎,是大陸目前最受矚 目的新世代導演之一,在訪談的過程中,可以感受到他平易近人謙虛有禮的個性,對各種 事物都有自己的看法與主張卻又不會強加在他人身上。這次應炳存大哥的邀請,一起參與 ABOOK MAGAZINE 29實驗MV的拍攝,在合作拍攝的過程亦可以感受到他獨特的眼光及與 眾不同的導演魅力。

Q 1 : 如何開始導演之路? A : 我當初在華岡藝校時,就和炳存大哥有接觸,當他MV裡的主角,後來 在當兵之前想操練一下自己,因為之前都是在幕前演戲,想說幕後的工作 也可以嘗試看看,就去紅色那邊待了一陣子然後再到大哥這邊學習一些幕 後的製作。兵役結束後,跟著炳存大哥去大陸學習跟發展,然後一步一步 變成現在這樣。 在公司時大哥教我們非常多幕後的東西,原本一直是副導的位置,真正 踏入導演這個領域,也是大哥給的機會,他跟我說隔天有個案子要我去幫 忙,然後當天他說就交給我了,之後就開始了導演的工作。

Q 2 : 為何會選擇導演,而在龐雜的導演工事中,哪一部分是你最喜歡的? A : 其實一開始我沒有特別喜歡導這一部分,剛開始的時候其實也不知道 自己喜歡什麼,能做什麼就都去嘗試,等到試了一輪之後才會瞭解哪一個 最適合自己。至於最喜歡的部份,就是有新的東西出來都會想去嘗試的那 種感覺,還有一起開心工作的感覺。


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Q 3 : 如何會到大陸市場發展? A : 那時只是單純跟大哥去北京看看,順便去那邊讀書充電,會長時間待在北京的 原因就是因為讀書。因為我一直跟奶奶的感情很好,在奶奶百歲之後,我想有個新 的開始,所以決定在大陸試試看,就這樣一待,來來回回的也過了十年。

Q 4 : 覺得大陸的市場和台灣有什麼差異? A : 大陸和台灣光是在拍攝的時間上就有很明顯的差異,在台灣大家硬一點拍快一 點,一天就可以把影片拍完,但在大陸因為地理環境的限制,光是從城市要轉換到 鄉村的景可能就要花費半天以上的時間。在格局與編制上也不同,台灣這邊比較像 是精兵制,一個人必須同時身兼很多不同的工作事項並且同時進行處理,而大陸的 分工較細,創意是創意,美術是美術,道具是道具, 也因為部門龐雜,成本也就相 對較高,至於好壞就是各有利弊了。

Q 5 : 近幾年在拍攝時會較注重在哪些方面? A : 以前拍攝的作品都比較屬於意識形態方面的表現或是快歌表現動感的MV,但 近幾年我比較想用講故事的方式去呈現,想要把一個劇情完整的交代出來,以前玩 視覺玩創意,現在比較想要慢慢地回歸到情感與作品的本質上,當然也要考慮到藝 人、編制及預算的花費。像這次拍攝時間只有兩天,又要轉換許多場景,又有預算 考量,這些限制綜合下來在大陸是辦不到的,所以才特地回臺灣拍。

Q 6 : 我們看了您導的『小鎮青年』,這似乎就是一部故事取向的作品,看完後真的 會令人感動很久,可以和我們談一下這部作品嗎?

A : 小鎮青年這部作品,其實是“至上勵合”他們組團出道的故事,只是我轉換 了說故事的方式,再把場景帶到歐洲去。我想可能是因為他們真的經歷過這樣的故 事,所以呈現出來會特別容易感動人,現實中的小五要回韓國當兵,所以故事是圍 繞著他為主軸,而在結尾的部分搭配上他們全盛時期最紅歌曲“棉花糖”,是要告 訴歌迷他們組團不容易,即使小五離開了,其他的團員還是會一直等待他的歸來再 創高峰,我就是以回歸他們原點的方式去敘述他們的故事。


Q 7 : 在忙碌的工作中,都靠什麼來獲取靈感? A : 我覺得如果需要長時間的窩在剪接室,我會強迫自己灌水去運動,這 時的運動並不是消耗能量,而是去釋放壓力,以生理方面來說,身體就像 海綿一樣,當你卸壓完後,就會有吸收能量的空間,對我來說這就是一種 獲得靈感的方式,如果只是硬撐在那邊,就不會有新的東西進來。心理方 面來說,如果遇到了覺得不能再糟的逆境,事情再也不會比現在還更糟的 時候,那件事可能會是你深切的靈感來源。

Q 8 : 在導戲的時候覺得什麼事情是最重要的? A : 其實每一場拍攝都有在意的東西,而最在意的點往往都是不一樣的, 有時候怕在意的太多,反而那個點不是最重要的,基本上每一次的拍攝我 都會在意的就是整個工作團隊的氣氛是否融洽。回歸到導演這個角色的責 任,我覺得就是要在一定的時間內把整個團隊推到我們要到達的位置,有 時為了更好的成果,該要求的時候還是得要求。

Q 9 : 在拍攝的時候發現您很著重每一拍攝的環節與場面細節,每個物件 情節或是情緒都有具體的描述,在拍片時是如何去安排場景及推行故事?

A : 拍片時我會在意大家要到達的目的在哪邊,面對事情的高度在哪邊, 要給觀眾的想法在哪邊,我們該怎麼運行才能讓觀眾了解這個作品在傳達 些什麼。從執行面來講,當我們得到一個腳本,應該要在開拍前把所有流 程都順過一遍,但如果無法做到時,就應該要抓緊大結構的高度,然後儘 量往那個方向走。 拍片其實就像打游擊戰,會有很多的偶然,也會有很多的突發狀況,你要 有隨機應變的能力,我覺得這就是拍MV好玩的地方,可能因為偶然遇到 很巧妙的組合而跳脫出原本設定的東西,而這些異想不到的事就成為你的 經驗,也可能讓MV變得更美更豐富。


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Q 1 0 : 有特別欣賞的導演嗎? A : 我欣賞的導演還挺多的,一直都還蠻喜歡李安導演,他這次的新作以4K120格去 做拍攝,我覺得他是在電影上做一個新的跨度。早期都是受到林炳存導演的啟發開 始從事影像創作,陳宏一導演,則是第一批把法國新浪潮的概念帶進台灣的人,還 有易智言導演,他讓我了解電影這個領域,在我還是電影學院裡的窮學生時,有一 次幫忙給了我一百元美金,到現在我都還留著,而這三位導演也都是我的恩師。

Q 1 1 : 最近的休閒嗜好是什麼? A : 因為我的時間觀念非常的差,最近在研究“蕃茄鐘工作法”,想看看是不是可 以藉此把時間做更有效的運用,它還挺有趣的,就是用一個定時器去分割出一個25 分鐘的工作時間和5分鐘的休息時間,這個管理方式的目的是為了減少外在對意識流 的干擾以便更專注於工作上,想說對於迫切需要完成的工作說不定會有所幫助。

Q 1 2 : 對我們這期雜誌主題OVERLOAD有什麼想法? A : 現在的生活中充滿太多資訊碎片了,雖然你可以隨時吸收到很多不同的資訊, 但卻沒有辦法即時處理,其中有很多根本是不必要的訊息,最近為什麼會迷上蕃茄 鐘,就是想藉此列出一年中,幾個月中,一個禮拜中最重要的事情是什麼,再用蕃 茄鐘的方式把重要的抓到前面來做。在這25分鐘裡,不管手機或是旁人敲門,在沒 有觸及到人身安全的狀態下,我都先不予理會,專注在要做的事情上,不讓自己被 干擾。對於目前環境這樣的負載,我選擇用這樣的方式去面對。


New and Upcoming Director Shao Hu Yeh

Taiwanese Director Shao-Hu Yeh has won China’s “VChart Best Music-Video Director” award for two consecutive years. He is one of Asia’s most coveted upand-coming music video directors. During ABOOK’s interview with him, we were impressed by his approachable demeanour, and his humble personality. You can tell Yeh has his own viewpoints about many things, yet he doesn’t try to force it upon noone. Aside from our sit down with Yeh, we also got to work with him on the music video he co-directed with Joshua Lin. Lets get to know this young director’s unique point of view and his directorial charm.


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Q 1 : How did you begin directing? A : When I was still in school I had the chance to star in one of Joshua Lin’s music videos. Then right before my army service, I wanted to gain some experience in video production and so I asked Joshua for the opportunity to work at his studio. After my army service, I had the opportunity to go and work in China with Joshua, and there I stayed. And here I am now.

Q2:

What entices you about being a director, rather than any other role in film making?

A:

At first, the role of the director wasn’t something I loved. I guess I didn’t know exactly what it is I wanted to do. I just wanted to be able to try different things, until I could find something that really suits me.

Q 3 : How did you start working in China? A : At first I was just accompanying Joshua to Beijing. I thought I could recharge, do some reading, or studying. I stayed for the long term because I took up some studies there. Also because when my grandma turned 100 years old, I wanted to really begin a new life for myself. I’ve always been really close to my grandma and her turning 100 just seemed like a new milestone for her and for me.

Q 4 : How is the China market different than Taiwan’s? A : The production time is the biggest difference. In Taiwan, if we worked real hard, we can finish a video in one day. But because China is just so big, it’s the geography that is limiting. If you wanted to switch scenes from the city to the countryside, it would take you at least half a day of travelling time. Thus you need a higher budget when shooting in China. Working in Taiwan’s


like working with industry elites, and everyone has to multitask. However in China, everyone’s roles are more distinct. The Creative focuses on creativity. The Art Director focuses on the art direction. Though roles are more clear, it also costs more to have so many people on set. There’s a plus and down side to everything.

Q 5 : In your work now, what do you place the most emphasis on? A : My work in the past were more idealistic and for upbeat songs, I’d focus on the rhythm and movements. However, in recent years I’ve developed a liking for plot and story. I hope to be able to tell an entire story in my work. Before I’d play with different creative elements. But now, I just want to return to a focus on human emotion. Of course I have to take into consideration which singer I’m working with, as well as the budget, and the entire production scheme itself. For my most recent music video, I chose to bring the entire crew to Taiwan because my idea called for many different set changes. If we shot in China it just wouldn’t be achievable with the budget that we have.

Q6:

Your music video “小鎮青年” for TOP COMBINE tells a story. It’s very moving. Can you tell us more about this video?

A:

“小鎮青年” pretty much tells the story of TOP COMBINE’s rise to fame. I just changed the story telling method and changed the background to be set in Europe. I guess their performance moves you because they actually experienced all of these things. Xiao Wu really had to go back to Korea for army service, and so we based the plot around him. At the end of the story, we showcased their famous single “Cotton Candy” to tell fans that being in a band is not easy. Though Xiao Wu consequently leaves the band, the other band members will forever be waiting for him to return to sing together again. I told their story from the beginning, from their roots.


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Q 7 : What gives you inspiration? A : If I find that I may be spending too much time in the editing room, then

I’d force myself to take a break and hit the gym or go and exercise. Exercise to me is not for the physical exertion, but its to relieve stress. Our body is like a sponge. Once you squeeze all the water out, you’d have room to absorb more. Once you relieve the stress couped up inside of you, you’d have more energy and room to take in more ideas.

Q 8 : What’s the most important aspect of being a director? A : I find that being able to control the working atmosphere or mood for

your crew is very important. It’s important for everyone to be able to work together in harmony. The director has to be able to finish the job on time, and at times that involves pushing your crew to exceed their limits.

Q9:

On set we noticed that you care alot about detail. How do you prepare for your shoots?

A:

I care a lot about our goals for the shoot. What do we want to tell the audience? What methods should we use to ensure our audience understands our message? Execution wise, when I get a script, I go through it in it’s entirety before the shoot begins. A lot of things happen on set that you can not possibly plan for. But that’s what’s fun about it. Accidental things that happen may actually be blessings in disguise. It may add character and unexpected elements to your music video that can be positive.


Q 1 0 : Do you have a favorite director? A : I look up to a lot of different directors. I’ve always liked Ang Lee. His new

movie where he uses 4K to shoot is just revolutionary for film. In my early years I’ve always been inspired by Joshua Lin and Chen Hung-i. Also director Yee Chin Yen allowed me to understand the film industry in-depth. He once gave me one hundred USD when I was still a poor student in film school. I still have that hundred dollars. All three of the directors I mention above are also my mentors.

Q 1 1 : What’s your favorite hobby? A : I have a really bad perception of time. But recently I’ve been studying

the concept of the Pomodoro Technique. The technique uses a timer to break down work into intervals, traditionally 25 minutes in length, separated by a 5 minute break. It’s supposed to increase work efficiecy.

Q 1 2 : What’s your perception on the concept of “overload”? A : There’s too much irrelevant data in our world today. That’s why I’ve be-

come obsessed with the Pomodoro Technique. In the 25 minutes of work, no matter what disturbances you are hit with, you learn not to pay attention to it. I choose this method to face our world now.


生 106

Photography Su Yi Liang Assistant Oliver Chen Styling Monfi Lin Style Assistant \ WU HANLIN \ Aura Wang Model Xinju San \ Luu Cheng \ John Yuyi \ Jean


Master Interview


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INTERVIEW 時尚攝影大師 蘇益良


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蘇益良,著名時尚攝影大師,1970出生,入行已經超過20年,作品遍佈廣告、雜 誌、藝人、專輯、形象、紀實等各種攝影領域,最近剛結束『大人物』巡迴展與『no color愛無色彩』公益拼貼活動,是台灣時尚圈數一數二兼具想法與執行力的時尚攝 影大師。距離上次的個人專訪已經過了4年,很榮幸可以再次邀請小蘇哥參與我們雜 誌單元的拍攝與訪談。

Q 1 : 這次的拍攝主題為『生死』,請問是如何想到這個主題,主要想透過這 一組照片傳達出什麼?

A : 就我的認知來說,人生的overload就是死亡,當我們的人生overload到一個極限 的時候他就是我們目前已知的終點。另一方面就東方人來說我們比較相信輪迴,所以 死亡到底是不是一個終點,還是另外一個起點,這個問題在我心裡一直是個問號, 我很希望透過影像去表現,可是沒有什麼機會去接觸,畢竟長久以來都是做商業的案 子,所以這一次難得有這個機會和大家玩這個影像創作。用死亡去呈現overload這個 主題,用東方的輪迴去呈現,在影像的意義上他並不是全然的終點。

Q 2 : 這次的拍攝使用了閃亮的嘔吐物,或覆蓋在身上的透明膠膜等,一些有 象徵意涵的符號,哪一個物件是你覺得比較有趣的?

A : 我覺得三個我都蠻喜歡的,每一個物件代表著不同的人生,閃亮的嘔吐物代表 著紙醉金迷到一個極限,在人生最後一刻他把它吐出來,但卻帶著不甘心又不想放 棄。第二個部分,使用了霧面保鮮膜,我選了一位感覺很innocent的model,我們身 旁都有一些人是笨到死,其實他們永遠都活在一個圈圈裡面,是他們自己的夢裡。第 三個膠膜的部分,有一男一女的model,其實是在講亞當跟夏娃,這是我們在宗教上 的定義,最常表示人類起源的開始,這膠膜有種愛到死的感覺,再怎麼樣都要被包裹 在一起,可是在實際的情感面上,某些程度又想做出一種掙脫的感覺。所以三種物件 我都蠻喜歡的,各有各的表現力度。


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Q 3 :這次的拍攝model大多以裸身呈現,發現您對背部骨骼的線條、身體 的姿態與最後光影的呈現,都很有自己的想法,認真去經營與安排。在拍攝 人體時有什麼特別的想法?

A : 對於人體這件事,我們現在這個社會還是趨向保守,每個人的身體都是獨一 無二的,而這個獨特只給自己看。對於人體背面線條的喜愛,其實是我想呈現的一 種『表情』,有些是你平常看不到的,就像一首歌,它只有旋律沒有歌詞,如交響 樂你可以從旋律的跌宕感受出情感,這也是我對自己的挑戰,這幾年來我越來越喜 歡拍沒有臉的東西,除去表情後要怎麼去詮釋情感,我認為臉部的拍攝已經拍得太 直白太overload了。

Q 4 :對於這次全部使用底片的拍攝有什麼心得呢? A : 因為炳存大哥的要求,雜誌上的照片要使用底片去拍攝,我們就直接使用底 片去拍攝,我對於底片拍攝一直覺得沒有那麼難,因為我也是底片時代出來的攝影 師,可是離使用底片的年代大概已經隔了十年,這次拍攝第一套時我超挫折的,一 下就拍了五卷135的底片,在拍前兩卷時我還以為是不是相機壞了,怎麼這麼快就 拍完了,可是我挫折的點是在於數位讓我太習慣什麼畫面都想擷取,讓我什麼都想 抓,什麼都先抓到了再說,但拍底片的時候就不是這麼一回事,這讓我想起以前拍 底片時,使用Mamiya120的底片,一捲只有十二張,在那個你必須cue到你能預期 的下一個0.1秒,你才能按下快門,所以對我來說是一個重新回來學習的機會,第 二個造型的時候我就盡量去控制底片的量,但還是拍了四卷,拍底片的感覺我相信 會再回來,就如同炳存大哥說的,拍底片是很好檢測自己的方式,把以前學會的東 西重新抓回來,其實這才是攝影師的本能,攝影師的本能不在於事後挑片能挑出一 個好照片,而是我在拍攝之前已經預測好結果,再按下快門。

Q 5 :距離上次的合作拍攝及採訪已經有4年了,在這四年當中,對於攝影 的市場,對於整個大環境,對於自己有什麼新的想法?

A :在這四年當中,就攝影環境而論大家都哀聲嘆氣,我覺得數位的發達並沒有 讓更多好的攝影師出現,反而是出現一些次文化的攝影師,你只是看到人家美的部 分然後去擷取他,看到好的ref你去抓,但不去想影像背後的含義,因為數位太方 便了,拍完可以即時看到影像,太黑馬上開光圈就可以,如果大家之後還是沈迷在 這種速食影像中,我不敢想之後攝影會變成什麼樣,有可能平面攝影很快就被取代 掉,人們只要去擷取畫素夠的動態影像,那我們這種平面攝影師,壓快門的還有什 麼存在的必要,我覺得大家要思考一下。


Q 6 :我們這一期的雜誌主題為“超載”,對於超載有什麼特別的想法? A :我覺得我的生活就是在一種超載當中,我對超載的感覺,不管是在肉體上或 心靈上,我的感知都不強,就像你長時間泡在水裡,你就不知道在水裡和離開水 的感覺是什麼,我覺得現在人在精神上和視覺上接收的資訊就是一種超載,這種 超載便利了我們的生活增加了娛樂性,但是面臨的就像我們使用的文字一樣,會 在莫名其妙的情況下被統一,自己卻渾然不知,像最近的神曲PPAP,這種超載就 是一種洗腦作用。

Q 7 :這次拍攝的燈法比較簡單,使用一支小燈頭架在鏡頭上,有什麼特別 的想法在燈法上 ?

A : 燈光的部分我選用snap的方式,因為我不想用太多的思考,只想去專注被 拍攝者的情緒,這次被拍攝者有很多是素人,我覺得不要有太多的思考,是我的 一點小聰明,有時候太複雜的思考會讓人忘了很多東西,就像是我常常發生的事 情,買了一杯熱咖啡放在我的車上,下車的時候 ,手上又有鑰匙,又有錢包,又 有悠遊卡,又有包包,如果我一次全拿 一定打翻咖啡鑰匙又忘了,包包也忘了手 還被夾到,我覺得使用單純的燈法,是讓自己更專注在拍攝情境裡,另外snap給 我的一種感覺,他就是我的生活,有一種很直接很裸露不加修飾的去做一種侵入 式的拍攝,我想要做出這種效果。


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Renowned fashion photographer, Liang Su, has been in the industry for over 20 years. He works with famous celebrities and musicians, and his work can be seen in top fashion magazines and advertisements all around Asia. His critically acclaimed photography exhibit “Big Shot” has just finished touring in Taiwan, and now he is already preparing for the tour of his “No Color” charity exhibit with supermodel Ruisa. Liang is skilled in both the creative and execution requirements of fashion photography. Our last interview with him was four years ago. We’re honored to sit down with him again to talk about what he has been up to.

Q 1 : The editorial you shot for our current issue is titled “Life and Death”. What’s the meaning behind it?

A:

From what I know, an overloaded life means death. When our lives are overloaded to its maximum limit, we’ve reached the end. Most Asians believe in reincarnation. Whether or not death is an ending point, or a starting point, has always been a question in my mind. I’ve always wanted to explore that further but never had the chance to do it, because most of my work is commercial. So, I’m extremely happy for the chance to explore “death” through imagery. To use the concept of reincarnation and present it through photography, I find it doesn’t necessarily mean the end.

Q 2 : For the shoot you used glittery, and saran wrap, and various symbols. Which element was your favorite?

A:

I liked all three elements. Each element stands for a different life. The glitter stands for a life indulged in luxury, that when they die, all that extravagance is nothing but vomit. The saran wrap was used on an innocent looking model. I wanted to portray those who live in their own bubble, clueless and ignorant. The symbols we used were to represent a religious component. I chose a male and female model to represent Adam and Eve. They’re wrapped and tied together as if they love each other til death do they part. All three elements have intensity to them.


Q3:

The models were mostly nude in your shoot. What do we need to pay attention to when shooting the human body and form?

A:

Our society is still shy about nudity. However I see nudity as a potrayl of the uniquness of each human being. The back of the human body is something we don’t see very often, and to me it’s like an emotion. It’s like a song, without lyrics. Like the orchestra, you can feel the emotion behind the composition. For me it’s also a self challenge. Lately I’ve been fascinated in shooting things without a face. How do you give something emotion, with out the face as a vessel? I think shooting the face, or portraits are too common now. It’s something we’ve been overloaded with.

Q 4 : What was it like shooting with film? A:

I always thought that it shouldn’t be too difficult shooting with film, because I too started my career in the film era. But because I haven’t touched film in about ten years, I did find it nerve wracking. I went through 5 rolls of film so quickly that at one point I started to think the camera was broken. My frustration came when I realized that I had a dependence on the digital camera. Digital photography makes you want to capture every single angle, and take as many shot as possible. But with film you can’t do that. This experience was definitely a chance for me to get back to my roots and brush up on my innate skills as a photographer. A good photographer must be able to predict a good photo before he presses the shutter.


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Q5:

A lot has happened since the last time we spoke with you. In the past four years, how do you think the photography industry has changed?

A:

The industry has a lot of people feeling defeated. Digital developements hasn’t really created better photographers, but rather it has created cultural photographers. A lot of photographers choose to capture only what is beautiful, or they copy a reference, rather than having their own independent thoughts. Digital photography is too convenient. You can see the image right away, and correct your mistakes immediately. We’ve all become so lost in this world of “fast-imagery”, I’m actually afraid to think what will happen to the photography industry in the future. Maybe photographers will cease to exist, and all photos would be screen captured from video sources. What’s the value behind pressing the shutter? It’s something worth thinking about.

Q6:

What’s your interpretation of “overload”?

A:

I think I’m living a life of overload. It’s like when you sit in a tub full of water for a long time, you begin to forget what it feels like when your body is out of the water. I feel that mentally and visually we are overloaded with information, which has brightened our lives and has entertainment value, but you start to get sucked in and become controlled by it. It’s like that song PPAP which has gone viral. It brain washes you. It sucks you in.

Q7: A:

What was the lighting concept behind this shoot?

I chose the snap method, or direct light on the subject. I didn’t want to overthink the lighting, but rather I just wanted to bring focus to the model’s emotion. Sometimes when you try to be too complex, or when you overthink things, you tend to forget what’s most important. It’s like when I buy a cup of coffee and take it with me in the car. When I get out I have my keys, my wallet, my MRT card, my bag, etc. that if I tried to carry it all at once, I would most definitely spill my coffee all over the place. Using a more simple lighting method allows you to better immerse in the mood of the shoot.


Master Interview


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文 青

F U N N Y WEN Q IN G

好 好 笑


ABOOK’s Picks

P HOTO Kuan & TEXT Tonnie


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文青好好笑位於台南,是一間風格強烈複合式餐廳與攝影棚,內部裝潢獨具一 格,兼具藝術樸質華麗與新奇,許多收藏品都是店長自海外精挑細選或是親自 手作而來,是一個非常值得一探究竟細細品味的奇妙場所。

Q1是念設計相關出身? 小時候功課不好老是班上成績排名倒數第二,大學第一年念先修班資訊工程學系,終 於在第二年考上了文化電機工程,好景不常還不到第三年就被二/一了。緊接著投入一 年十個月的兵役役期後,在退役後的第一天有感人生好像沒有成長的感覺,立刻在第 二天騎著腳踏車去環島28天。因緣際會下在台北找了個以攝影為主題的咖啡廳工作, 經常被要求假裝自己是個專業攝影師藉以推薦販賣來店裡喝咖啡客人的照片,後來 又再一次因緣際會在知名藝術品策展公司上班,每天的工作便辦一些國家級的藝術展 覽。說了一堆廢話,關於你的問題,我不是念設計相關科系出身。

Q2 當初怎麼會想要開設文青好好笑? 當初也沒有想開店的念頭,只是剛好自己的老房子想要裝修又沒有概念,便開始尋 找設計師溝通翻修內容。繞了一大圈突然了解,原來設計師也不是腦袋很靈光,因此 自己攬下了所有的工作開始一磚一瓦自己規劃設計,找不到的物件只好自己去開模鑄 造,買不到的零件只能自己拼湊…… 最後才變成一間奇怪的店。




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Q3 在什麼樣的契機下 開始決定蒐藏 ?

這樣的方式,將美感傳遞給國人,而經營

決定蒐藏的契機大概是第一次去泰國旅遊

計打造,將意念賦予在建築細節之中,例

時,發現了一盞非常具有結構美感的水晶

如旁邊這座旋轉樓梯,就是由自己設計、

燈,不知道買這麼大體積的東西要如何送

開模,再委請專業廠商製作而成,即便無

回臺灣,就算是自己帶,難保在途中會遭

法完全百分之百復刻國外工藝美學內涵,

遇碰撞毀損,幾經內心掙扎還是花了錢試

至少能夠達到七成質感。將這樣的成果呈

試看能不能完好無缺的運回台灣,終究運

現,讓更多人看見我們對於物件或空間用

回台灣後水晶燈還是被撞壞了,但是卻了

心與細膩的處理。假以時日如果有人因為

解了原來從國外買大型家具其實不困難,

看這些東西,進而開了他的腦洞,無形之

從此跌入了出國一定要尋寶的不歸路。其

中也成為一個良好的循環。 反窺現代社會

中少部分收藏品是委託在國外的友人協助

對於物質、流行等過渡氾濫與快速消耗的

寄送,當初購入的目的純粹是自己喜愛,

情況,臺灣受到歷史背景影響,從大陸而

並不是為了開店展示或其他營業目的,漸

來的過程中,形塑我們習慣使用便利性高

漸地堆滿了整個倉庫,建議大家若能親自

或容易被替代的東西充斥生活中,而沒有

到國外的二手市集尋寶,相較於在國內買

辦法累積太多穩固厚實的文化基礎。藉由

划算許多,但是近年來自於中國大陸、日

其他國家長久累積文化美學的底蘊,給予

本的買家紛紛搶進挖寶,以目前而言,珍

我們一些反思。空間裡的收藏或擺設其實

品的質量也不太容易找了。

都不是以營利為出發點,工作內容設定也

對於選物收藏的標準,就是一個難以言喻

沒有室內裝修項目,雖然也會吸引對於空

的「喜歡」,很多機會也都是稍縱即逝,

間或收藏物件有興趣的朋友,但一方面因

當你看中的物件錯過了,可能就再也沒有

為公司夥伴們各司其職,各自在業務領域

機會遇到,不想錯過之後後悔所以要掌握

內忙碌,雖然公司給予其他經營觸角發展

每一個「獵物」機會。曾經也跟國內幾個

很高的自主權,但我們很難還有餘力去處

不熟的玩老物賣家接觸過,但可能因為感

理額外的工作,而且每一件發自於自己喜

嘆老物的商業販售被炒作哄抬,所以都沒

愛的設計或收藏也很難割愛。這些出自於

有進一步的合作。我反而希望透過這樣的

手作的風格設計更代表另一個意義,只要

老物件「玩」出品牌去傳遞一些好的想法

有心,每個人都能藉由自己的雙手做出屬

或是審美觀念。每一個國外帶回蒐藏物件

於你的東西,這無關乎技術,而是一種摸

代表的是某個時期的美學工藝表現,透過

索與實踐的過程。

一個空間,也可以透過落實親自參與設


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Q4. 為何取名叫「文青好好笑」? 生活在現代感覺到臺灣的亂象實在太多,或許是因為缺乏屬於自己的文化底蘊,造成人 們喜愛跟風且過於速食的習慣。我們也常聽到大家說臺灣很好,但這樣的自我滿足或許 也帶有安慰的意味,當過於滿足於眼前的美好,往往忽略身邊其他國家正持續的成長進 步,這樣的現象正反映出我們對於自己其實是很沒有自信的。當初回到臺南時,發現怎 麼生活周遭突然多了這麼多所謂的「文青」,但到底甚麼才是「文青」? 除了表象行為穿 著外,內在思考是不是有應該有那麼一點自己觀點,文青之所以好好笑,是因為失去獨 立思考能力,隨著人潮跟風磨損掉自己的個性,所以就用了「文青好好笑」為名,也算 是對現今文化現象、老屋新立一窩蜂風的反諷。

Q5. 關於選物的審美? 其實也沒有特別培養,當我看到這些物件的同時,就完全被它們散發出來當時時期的工 藝之美所吸引,而我也總是跟我朋友開玩笑的說我上輩子應該不是台灣人,而是歐洲人 或日本人! 所以對於這些工藝家飾家具更有感覺。可是,另一方面我對於臺灣傳統廟宇文 化也相當喜歡,或許是因為從小居住在南鯤鯓五府千歲廟旁,生活就在這樣的環境中長 大,受到耳濡目染之後,對此也是載滿了滿滿的回憶,只不過所謂的「廟宇傳統文化」 逐漸式微,甚至是受到「汙染」,不再純粹。舉例來說,臺灣多數的廟埕前面都有一座 現代式的鋼棚架,與後方的燕尾雕樑形成非常衝突的景象,甚至完全遮蔽原有建築之 美,這也許有實用意義考量,但我們可以反觀日本,當他們思考傳統文化與現代實用搭 配時都會有所斟酌,而不會忽略美感貿然的破壞視覺外觀。加上傳統匠師凋零與技藝的 消失,都讓文化失傳情況日益嚴重,許多廟宇建築裝飾,不再代表個人手藝的精華,而 是由商人透過套裝物件批次統一生產和採買。 這裡的擺設風格其實很難被歸類,所有的物件也都是我喜歡的東西,有些是西洋古典工 藝,有些是歐美漫畫公仔漫畫等等,風格即便迥異,但美好的東西就是有種能被混搭的 魔力。我也很喜歡動手修復或是建構這些東西,雖然過程很辛苦,時常弄得全身髒, 甚至是雙手傷痕累累,但整個過程卻是令人感到享受且滿足的。我不太追求外表的「風 格」,穿著打扮對我而言不是重點,由於我經常處於大量苦力的工作之下,所以簡單舒 適是最重要的,雖然我也想當個帥帥的文藝青年就是了。


Q6. 開店過程中是否有發生哪些有趣的事情? 透過打造這樣的空間,我發現能讓有相同頻率的人,即便不用刻意營造,也能敞開話題溝通。我曾 遇過一位從北京來的朋友,他看到這樣的空間感到非常興奮,話匣子打開就不停的聊,這種回饋其 實還滿令人感動的,因為這讓我會覺得,透過一磚一瓦的打造出這樣的空間,所呈現出來的成果, 可以和有相同美感的人聯結溝通,或是藉此對於他們的生活或是想法有些小改變,都蠻有成就感 的。而有趣的事情也是太多了,今天跟你們的的際遇就是其中一件。

Q7. 文青如何才能「不好笑」? 台灣的文青很難不好笑,雖然我內心也有很多沉重嚴肅的論點,但是現階段的自己,我還是盡量輕 鬆面對,幽默的笑一笑就好。


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Funny Wenqing is a restaurant and photography studio that is unique and full of pizzazz. The interior decor will wow you as it focuses on artistic, yet glamourous and bizarre elements. A lot of the furniture in the restaurant-studio were hand picked by the owner from overseas. Funny Wenqing is a wonderful place worthy of your exploration.

Q1: Do you have a background in design? A:  I wasn’t the best student in school. I switched several majors back in college, but by my third year I was kicked out. After my army service, I felt like life wasn’t going anywhere for me, and so I decided to do a 28 day bike around Taiwan. After that, I got a job at a photography cafe. I was often required to pretend I was a photographer in order to sell photos to customers who’d come in. Then upon chance I got a job at an art exhibition company. Anyways, to answer your question, no, I don’t have a background in design.

Q2: Why did you want to open a store like Funny Wenqing ? A:  It wasn’t really premeditated. I merely had an old house that I wanted to fix up. I hired an interior designer at first, but then realized that not all designers are that smart. So I decided to do it myself. I’d find pieces here and there or actually make it myself. In the end...it just turned out to be a quirky bizarre looking store.

Q3: How did your home-decor collection begin? A:  It started in Thailand when I came across this amazing chandelier. I was hesitant about bringing it back with me because I had a feeling it wouldn’t survive the shipping process. But, I took my chances, and like anticipated, it was shattered by the time it got to Taiwan. What I

learned from the experience though, was that it isn’t that difficult bringing in large items from overseas. A great part of my collection are items that my friends have brought back for me from different parts of the world. I really do recommend everyone to go to flea markets or second hand markets when you’re abroad. You can find things for a lot cheaper than you would here in Taiwan. I do what I do not to make money, but to hopefully share different aesthetic inspirations with everyone.

Q4: How did you come up with the name Funny Wenqing ? A:  There’s too much chaos and negativity right now in our society. Maybe it’s because we don’t really have a distinct culture here in Taiwan, so everyone kind of just follows trends. A lot of Taiwanese praise our country for the progress we’ve made, but in a sense if you’re content with the status quo, you often overlook your shortcomings. When I first moved back to Tainan, I was confused as to why there were so many wenqing (hipster) joints. What exactly is wenqing? Besides dressing wenqing, what intellectual qualities must one have to be considered wenqing? Wenqing is funny to me because it seems like it’s just another trend, and people follow suit because it’s cool.

Q5: What do you look for when you’re sourcing new products? A:  I always joke with my friends that I must have been European or Japanese in a past life, because I just love vintage furniture; I’m attracted by their worksmanship and craftsmanship. Another part of me really loves the traditional buddhist culture here in Taiwan. Maybe it’s because I used to live beside a temple when I was a child. However, modern day temples have sort of lost


their traditional charm because everything is too modernized. Everything in my store, all of the items, are things that I love. Some are European, some are American. This mix and match style is something I favor. I like fixing things up myself as well. Even if it’s tiring and gets you all dirty, I still love the process of refurbishing something. I don’t pay a lot of attention to my personal appearance. I just dress in whatever is comfortable.

Q6: Did any interesting things happen when you were setting up your shop? A:  I had a friend from Beijing who visited us, and he was so inspired by our space that he couldn’t stop talking about it. We talked for a very long

time. I was really touched that someone liked our space that much. It felt good to know that maybe we had a small impact on their lives, and to be able to share a similar appreciation for beauty and art, it’s something rare these days.

Q7: How can wenqing become not funny? A:  It’s hard for wenqing to be “not funny” in Taiwan. Though I have a lot of my own thoughts on more solemn topics, the stage that I’m at right now in my life, I rather just take things lightly, and just have fun.


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ALONE PHOTOGRAPHER/ KUAN HAIR/ ODYE @FOUR HAIR CONCEPT MAKE UP/ VANESSA O@VANESSA O MAKEUP STUDIO STYLING/ BERLY CHANG MODEL/ LUBASHA@FMI MODEL MANAGEMENT LOCATION/ TAIPEI MARRIOTT HOTEL SPECIAL THANKS/ AllSaints/ Gem Gem/ Johan Ku Gold Label/Luxottica/ Moncler/ Mon Style/Prada/ Pony Stone/ Project Ornament/ SCH/ Unitedwood/ YVMIN/ YWY/ Tarik Ediz/ Blanche Sweet


Our Fashion, Our Style


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與人的距離並沒有因為交通的發達而拉近 知識的匱乏並沒有因為資訊的便利而充實 心靈的空虛並沒有因為物質的充沛而滿足

太便利太多太快太表面太短暫的一切

再精緻再浮華再亮麗,也不過是內心孤寂的襯托

Despite advancements in transportation, the connection between humans remain distant Despite the information superhighway, our lack of knowledge remains great Despite the convenience in our consumer world, our souls still feel empty Too much, too fast No matter how seemingly vibrant Everything is short lived if our lonely hearts cannot be healed



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Behind The Scene


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INTRODUCE & INTERVIEW

宋安 喜事集團品牌經理 P HOTO Ku a n & TE XT To n n i e

宋安,喜事集團品牌經理,私底下的個性活

Q2:可以跟我們介紹品牌經理一職每

潑,率真有趣,讓人完全沒有距離感,但說

日的例行公事是什麼?

到商業或是工作上的相關事項,其沉著的應

每日進公司的第一件事是先看報表,然後了

對、犀利的眼光以及對工作與自己的要求,

解銷售狀況再做檢討與改善方案,主要是負

讓人很難相信這是一個年輕女孩會說的話。

責營運方面。

其對於時尚市場的觀查和見解,在長期的耳 濡目染下,從選物、銷售、品味到穿搭都有 著獨到的眼光與想法,是一個有趣的女孩也

Q3:請問穿搭的品味該如何養成?

是一個成熟的時尚人。

在千百次的試驗中成長,哈哈哈,我覺得在 每個階段都會有自己想要的風格,在不斷的 嘗試後就會慢慢培養出自己喜歡或是常穿的

Q1:最近在忙的項目是?

風格,其實沒有怎麼樣比較好,只要適合就

最近忙於週年慶的檔期,要了解市場情況還

好。以前在英國念書的時後,會嘗試一些誇

是得自己去看,最近常常去巡各店櫃,實際

張的穿搭,如全身圓點的裝扮,因為在那裡

接觸販售的第一線可以得到許多的資訊和顧

怎麼穿都不會怪,各種嘗試都是有趣的,台

客的想法。站櫃也是一種市場調查的方式,

灣就不太一樣,應該說台灣人普遍穿著還是

能在販售的過程中觀察並了解銷售員在販售

偏向保守,這也是團團為什麼一直想要帶給

商品時會遇到哪些問題、產品的客層需求及

大家一些不同的穿著風格與體驗。

產品有哪些地方可以再精進。這些可能成為 我們能提供給設計師很重要的建議,讓他們 能更了解亞洲市場的需求。


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Q4:在進行採購時,會以什麼樣角度去挑

Q7:身為時尚品牌經理,對台灣時尚風格有

選,近期有沒有喜歡的品牌?

什麼看法?

最近蠻喜歡Vêtements,他是一個街頭、解構的品牌,

其實蠻難去定義台灣的風格,不像其他國家,在日本

顛覆了以往在秀場需穿華服的印象,非常符合現在

有相當多元,各式各樣不同風格喜好的族群,路上穿

的時尚街頭風。採購時會以值得合作的團隊和自已喜

著很潮的大多是香港人,簡約俐落打扮的韓國人,而

歡的品牌風格趨勢為優先,這也是我們引進的首要條

台灣市場比較多元。

件。而像Comme des Garçons就是團團一開始就引進的 品牌,我們的品牌會取名為團團就是因為她,當初川 久保玲找上我們的喜事集團,因為川久保玲的設計 系列裡有一個叫做Play,如果合作開店,就會取名為 Play Box,因為馮小姐決定由一個Box做為開始,這時 發想該在Box裡裝什麼才好,如果盒子裝個人字變成 了囚犯的“囚”,裝了木字變成困住的“困”,但如果盒 子裡裝進了“專”業的人才及品牌,那就變成了”團“, 而”團“又象徵著團圓,“團團”就這樣誕生了。

Q5:最近的流行趨勢為何? 今年流行Oversize的服裝, 酒紅色系的各式衣著配 件,還有天鵝絨的材質,而像Comme des Garçons在 2016A/W,以18世紀的龐克為主軸,發表了盔甲式的 服裝系列,也都相當有趣。時尚瞬息萬變,每一種風 格都一直存在,目前街頭時尚較以前更為流行。

Q8:時尚與影像密不可分,有沒有特別喜歡 的時尚攝影? 在讀書時期滿喜歡Tim Walker的攝影作品,他在19歲就 進入VOUGE擔任實習攝影,加上畢業於英國艾希特大 學美術系,讓他有深厚的美術底子,創作出富有童話 故事感有趣大膽的照片,很常成為我電腦桌面更換的 圖片。

Q9:我們雜誌這次的主題是Overload,對此 你有什麼看法? 在這個資訊超載的時代洪流中,儘管一切似乎都太多 或是走向一個超載的狀態,但我覺得跟一些地方比起 來,我們自身還是可以有所選擇的,我們可以自己去 決定要不要讓自己過得那麼多,自己選擇在意的事情 去在意。在人手一機的時代,許多人有無手機恐慌 症,他們在失去手機通信的情況下容易感到焦躁不安

Q6:您的穿衣哲學? 會依場合及需求來決定當天做怎樣的衣著打扮,像要 跟客戶交涉談判和平時的穿著就會有一些不同。我覺 得只要找到適合當下在做的事情的裝扮,就會讓人心 情愉悅容光煥發。

,像我本身就不太被這些科技產品牽著走,像在休息 時,我就不會一定要隨身攜帶手機,手機對我使用的 方法來說,就像早期的BBCall,看到有誰打給我,我 會依情況回覆,雖然常有人說已讀不回很沒禮貌,但 這是我的選擇,我選擇不要把自己的生活塞得太滿, 過濾我需要的資訊再加以吸收,對我來說這就是不被 外在過多不必要的訊息影響的方式之一。


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INTRODUCE & INTERVIEW An Song is the Brand Manager for MSYAMING Luxury Fashion Group. Upon our first meeting, we could already feel her lively, bubbly, and welcoming personality. But when our interview began and we started talking about her work in the fashion industry, we saw another part of her that was determined, ambitious, and wise beyond her age. When it comes to merchandising and marketing luxury goods, An is one with an unique vision and refreshing viewpoint. Lets find out more about her.

Q1: What have you been busy with lately? A: I’ve been busy with our anniversary sales. I like to visit our stores in person and just talk to our customers and have a feel for the market. Being in the store allows me to see first-hand what problems arise, and to understand what kind of products our customers want, but perhaps may be missing in our stores right now. It’s a way for me to gather information and translate that into suggestions for our designers, so that they can better understand the needs of the Asian market.

Q2: What’s on the daily agenda for a Brand Manager? A: Everyday when I get in the office, the first thing I look at are the sales reports. I try to understand what’s doing well and

what’s not, and come up with strategies to improve our sales. I’m mainly in charge of operations.

Q3: How does one develop a good fashion sense? A: It comes with trial and error, and learning along the way. I think we all go through phases where we like different fashion styles. When you try different things you will slowly start to develop your own unique style. There’s no right way to do it, there’s only a suitable way. When I was studying abroad in England, I experimented with more exaggerated looks because nothing was considered “odd” in England. In Taiwan it’s a bit different, because most people are still slightly more conservative. This is also why Tuan Tuan is always trying to offer our customers more unique and different fashion options and experiences.

Q4: As a fashion buyer, what things do you look for when you’re buying for the new season? Do you have any favorite brands right now? A: Right now I’m obsessed with Vetements. It’s more “street”, and is definitely the opposite of that glamorous runway style that we see so often. When we’re looking for designers to work with, we look for brands that have similar visions as we do, and brands that we personally love. Like Comme des Garcons, it was one


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of the first brands we brought to Taiwan. Our name Tuan Tuan was actually inspired by them. When Rei Kawakubo approached us, she had a collection titled “Play”. We brainstormed name ideas for our shop, and at that time we thought of “Play Box”. Thus our founder Ms. Feng had the idea of taking the idea of a box, and interpreting that into Chinese characters that we could use, and so the word “Tuan 團” was chosen. Tuan in chinese looks like a box with the word “professional 專” in it. Together it means unified. That’s how the name Tuan Tuan was born.

18th century punk. They also introduced a helmet inspired look that is extremely eye opening. Fashion is ever-changing, but street-styles are very popular right now.

Q6: What’s your fashion philosophy? A: I tend to dress for the occasion. For example, how I usually dress is very different than when I’m meeting with clients. I think you just need to find out what suits you for different occasions. When you find what suits you, it can help you feel radiant and confident.

Q5: What’s in trend right now? A: This year oversized pieces are very

Q7: What’s your opinion about the fashion style in Taiwan? A: Unlike other countries, it’s actually

trendy. Burgundy, velvet, and different accesories are in fashion. For Comme des Garcons 2016 A/W collection, it is very

quite hard to define the “Taiwanese fashion style”. In Japan, you can see a mix of different styles as different demographics have


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different preferences. However, I’ve noticed that people from Hong Kong tend to look more trendy. Koreans prefer a more clean cut look with simple cuts and design. Taiwanese have a more diverse array of looks.

Q8: Fashion is closely related to imagery. Do you have a favorite fashion photographer? A: When I was in school I really liked the work of Tim Walker. He started as an intern photographer at Vogue when he was just 19. He graduated from the University of Exeter in England, with an Art Degree. His photographs seem to tell a story and have this fairy tale mood to them. I often use his photos as my desktop background.

Q9: What comes to mind when you think about the concept of “overload”?

A: The information superhighway has led our world to this overloaded state. However, I think we all have the ability to make the right choices. You can choose to live a more simpler life, rather than an overloaded one. A lot of people are addicted to their cell phones and dependant on technology. But to me, my cell phone is like a pager. I’m not that obsessed with it. Rather, if I get a missed call, I tend to call back or not call back according to how I feel. Some people think it’s rude to read a message and not reply. But to me, that’s my choice. I don’t think you have to make your life so overloaded and busy. You can filter out the information that you want or don’t want, and thus you can decide what affects your life and what doesn’t.


— form is emptiness, emptiness is form — WWW.ABOOKSTUDIO.COM

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