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ISSUE 23


不一樣

Beyon

與其說是結果的描述

Not just

倒不如說是一種拍攝的態度     對很多人來說其實再怎麼不一樣的技法與效果,可能 大致都已經有人嘗試過,但從另外一個角度看來,其實就 算拍攝者在一模一樣的攝影環境進行拍攝,其最後呈現 出來的效果其實還是會因人而異,想要說的是處在器材 普及的數位攝影時代,想要跳脫出來走出屬於自己的特 色,只有在想法上不斷更新,不斷的練習努力,不斷的勇 於嘗試,保持想要不一樣的態度,才能做出屬於自己的  『不一樣』的作品。

    本 期 內 容 偏 重 在 攝 影 方 面 , 除 了 一 般 單 元 的 形 式  呈 現 , 增 加 拍 攝 概 念 的 描 述 , 邀 請 欣 賞 的 攝 影 師 一 起  參與,更增加了影片的單元。除了要求呈現出高質感的攝 影作品,在每個拍攝的單元背後,每個攝影師也都在想法 與技法上表現出與其他人或與自己不一樣的新嘗試,希望 藉此帶給讀者更多不一樣的視覺體。

Photography nowadays. In other photog different tha

However, in a nique or me done or test be thought o ferent today attitude to w longer so mu a photograp ever-changin

This issue of added blurb pher has wo or different photographe whilst addin diverse visua


nd Different an adjective, but an attitude.

y equipment are widespread and relatively easy to acquire n this age, many people feel that in order to stand apart from graphers out there, is to discover a style which is unique and an anyone else; a style they can call their own.

a fairly developed craft such as photography, whichever techethod you feel is “different” than others, has probably been ted already by someone else. Thus, being different shouldn’t of as a means to an end, but rather an end in itself. Being dify is not so much in the technical, but rather in your consistent work hard to stay on top of your game; being different is no uch based on hardware, but on how adventurous you are as pher, to experiment with new concepts, and to integrate the ng perceptions from the world around you in your work.

f ABOOK Magazine is primarily focused on imagery. We’ve bs about the concept behind each shoot, and each photograorked hard to demonstrate something that is conceptually new from things they’ve done in the past. We have also invited ers we admire to join us in creating an issue unlike any other, ng supporting video pieces in hopes of giving our readers a al experience.


A B O O K 意團隊有限公司 1 0 4 台北市內湖區港墘路221巷3 9 - 1號 Te l : ( 02)2657-1666 Fa x : ( 0 2)2657-1555 E m a i l : annie@abook.cc Web s i te : www.abook.cc

監製 Super visor : 張艾嘉

總編輯Editor 林炳存 Joshu

營運長CEO : 林炳存 J oshua Lin

翻譯編輯Tra 姜怡帆 Annie 姜怡如 Conn

創意總監Creative Director : 尹培袞 Sean Yin 發行人Publisher : 賀錫敬 Leo Ho

英國特駐Ove Linda Coope 採訪編輯Ass ASH


r i n Chief : ua Lin

視覺主編D e s i g n D i r e c t o r : A l ex C h a n g

造型總監Styling Director : 林夢薇 Monfi Lin

行政管理 : 張騰元

n s l ation Editor s : e C hiang ni e Chiang

攝影總監P h o t o g ra p hy D i r e c t o r : 林炳存 Jo s h u a L i n

編輯策劃Special Project Managers: 趙欣、桑科

執行公關 : 星予公關

攝影編輯P h o t o g ra p hy E d i t o r s : 張騰元、陳冠璋、L i n d a C o o p er

顧問團隊Consultants : 陽帆、廖鎮漢、詹仁雄、 林知佑、廖曉喬

e r s eas Editor : er is t ant Editor :

後製編修 : ASH

色彩管理 : 王振昇


The Ghost

PHOTOGRAPHER / RICOR MAKE UP / HUNGYI LU HAIR / PO TSANG HO MODEL / CAMILLA @ FELIZ CLOTHES / WISDOM BAG DESIGNER / RED CAPACITY 承載體 BY 鍾政文


我自高中開始離家,如今回來苗栗拍照,覺得自己像鬼魂一樣在公園遊 盪,與在這裡對我們投以好奇眼光的在地人們格格不入。我把這種情感投射到 model身上,想像model是這座歷史悠久的公園裡飄蕩的一隻孤鬼。

    有別於過去拍攝不一樣的地方,在於這是首次在自己的家鄉 - 苗栗取景拍 攝的。場景就在我的國小旁邊,一座歷經百年歲月的恩主公廟和近三十年歷史 的公園,是苗栗一個具代表性卻有點過氣的景點。公園裡有許多解嚴時期的公 眾遊憩場合會出現的奇異造景,例如等比放大的樂器或文具、有點畸形的動物 雕塑、用假樹做的橋樑、有烏龜和鯉魚的小池塘等等;這並不是一個拍電影或 連續劇會來取景的地方,更不會是時尚雜誌取景之處。這裡幾乎跟影視或時尚 產業絕緣,卻是專屬於我的祕密拍攝景點。


I’ve been living on my own since high school, and even though I grew up in Miaoli, I no longer feel like I belong here. Returning to Miaoli for this shoot, I feel as if I’m a ghost, loitering in the park. I’ve transferred these emotions on to the model, and have presented her as this lost spirit wandering around in an ancient park. This shoot is different for me because it’s the first time I’ve shot in Miaoli; the location is actually right by my elementary school. The park has a history of over 30 years, but the temple which is situated within it is over 100 years old. It’s quite a representational destination for Miaoli but it is quite outdated and perhaps forgotten. This place is isolated and detached from the modern film and fashion industries, but it is a secret location for me that will forever be close to my heart.


PHOTOGRAPHY / KUAN MAKE UP / SANDY@SANCOCITY HAIR / MICKEY PAN @ EROS STYLING / MENG ATTRAVERSIAMO MODELS / 黃仔綾@STORM MODEL & CAMILLA @ FELIZ MODEL SHOES / AEE SPECIAL THANKS / BE CEPHAS

What If I Can’t


Am I , Be Yours


If I am not yours, what would I be? These emotions represent an attachment, a type of pain, and perhaps a form of perseverance. The relationship between two beings can be complex, or it can be simple.

如果我不是你的,我會是什麼 這樣的情感可以是一種依戀一種痛苦或是一種堅毅 兩者之間的關係可以很複雜也可以很簡單 由兩人簡單的情緒表達,搭配特殊的景片去模擬一種想像的情緒空間 透過鏡射與抽色去呈現不同的視覺想像與情緒表達


PHOTOGRAPHY / A YUAN CHANG MAKE UP / PO TSANG HO HAIR / PO TSANG HO STYLING/ PEARL KWOK MODEL / 徐尹@凱握 CLOTHES / GEM GEM, PET SHOPS GIRL DARK MATTER TAIPEI


當夢境陷入了一個混濁卻華美的空間 如同緩慢流動於黏膩窒息的液體之中 魂沌的思緒迷人, 可是你選擇繼續沉浸其中抑或絢爛出界 透過不一樣的光影流動與肢體的交互作用 創造出突破夢境的新奇視覺張力。


When dreams become a blurry yet extravagant setting...as if moving through slowed time. But the stickiness that surrounds you is subsequently suffocating. Do you choose to stay in such a majestic, but self-destructive world?


The Difference is Your Heart


PHOTOGRAPHY / JESSIE HO MAKE UP & HAIR / MONFI LIN STYLING / MONFI LIN ASSISTANT / HALU HUANG MODELS / DAISY WANG & TANYA & IVAN LI


Une ‘époque n’est confuse que pour un esprit confus ある時代が混乱して見 えるのは、見るほうの 精神が混乱してるから に過ぎない。 A time is confused for a confused mind 時代的混亂, 迷茫的心態 Jean Cocteau


THE AUCTIONEER’S LADY PHOTOGRAPHER / ALEXANDER SUPERTRAMP MAKE UP / HUNGYI LU HAIR / ODYE WENG @ E LAN HAIR CONCEPT STYLING / XIWI. CHANG MODEL / ALENA@INSENZE MODELS SPECIAL THANKS/ TUAN TUAN


This was a legend from the 17th Century. This precious painting was part of a famous auctioneer’s secret collection. When the clock hit midnight, the woman in the painting came out to roam. The auctioneer was curious and peeped at what the woman was doing. This story was a legend, but was also a curse.

發生在17世紀時的一個傳說 是一名拍賣師收藏裡的一幅珍貴藝術品 話說半夜時間一到這幅畫裡的女人會偷偷的跑出來活動 他想窺視這女人的真實的狀況為何 聽說 這是一個傳說也是一個詛咒 有別於一般的敘事進行方式 用故事的形式與現場的簡易道具去 隱喻勇於擺脫框架的現代女性


Dancing With Desire PHOTOGRAPHER / 徐浩秦 MAKE UP & HAIR / EDDI SHI STYLING/ EDDI SHI MODELS / GAMA HSU & LEE YUAN TU & TANK CHEN & YU-TING HSU BAG DESIGNER / RED CAPACITY 承載體 BY 鍾政文


ng


The exceptional use of lines and curves Perhaps was destined from the beginning A dancer, and their naturally born talents Under the same lighting, is uniquely different than that of a model The strength of their fingers, and the angles to which their head moves Exudes a graceful yet mysterious power The picture is filled with emotion Nothing more needs to be said

關於線條的使用方式 也許在一開始的時候就已經註定了 舞者 與生俱來的流暢肢體 在一樣的燈光下 延展出與模特不一樣的情緒氛圍 那指尖的律動 甩頭的角度 傳遞著優雅而神秘的張力 飽滿的情緒在照片中一覽無遺 無需多說 想呈現同樣美麗卻又不太一樣的 身體的表演者


PHOTOGRAPHY /TIM CHEN MAKE UP & HAIR / NOREEN WU STYLING / NOREEN WU MODEL / DAISY WANG


將光明與黑暗倒轉 想要看見反轉後的黑暗光線 透過不一樣的燈光 不一樣的角度 去看 去表達 去呈現 不同於一般的 情緒 熱情 感性 或神秘 是什麼? 由你解讀


TO REVERSE THE BLACK AND W ON THE OT THROUGH DIFFE TO S TO EXP TO PRE SOMETHING THAT IS DIFFER EMOT PASS SENSIB OR MYS WHAT IT’S UP TO YO


WHITE, TO SEE THE DARK LIGHT THER SIDE ERENT LIGHTING SEE PRESS ESENT RENT THAN THE MUNDANE TIONS SIONS BILITIES STERIES IS IT? OU TO DECIDE


COVER STORY

PHOTOGRAPHY / LINDA COOPER ART AND FASHION DIRECTOR / SORAPOL CHAWAPHATNAKUL CASTING DIRECTOR / DANIEL LISMORE STYLING/ LUCREZIA MANCINI STYLING ASSISTANT/ CAMILLE MAKEUP & HAIR STYLIST / ERNESTO MONTENOVO CLUB KIDS / MAXI MORE, LUKE A HARRIS, EPPIE CONRAD, ROUGH DIAMOND, JASON SUMMERFIELD, ATLANTIS


特殊的台韓混血身份有沒有讓你有什麼特殊的視

這次新專輯,哪首歌是最喜歡的,以其背後是否

野或經驗想法?

有特殊含義與過程?

我覺得自己除了是混血兒外,因為真實的在這兩個國

很難選擇,因為每一首創作都是屬於自己的一部份,

家生活過,接觸了兩邊的文化和朋友,會說中文跟

每一首歌都有它的意義,不管是抒情歌或快樂的歌。

韓文,讓我更了解很多事情背後的意思,所以很感謝

如果真的要說特殊涵意的話應該就是每首創作都代表

這個身份跟我過去25年的所有經驗,讓自己的視野

著不同的我,大家也可以從每一首歌去感受或體會當

更多元化。

時寫這首歌時我的心境以及我的改變。

當初是如何發現自己對於音樂創作的熱情,

創作音樂時,有什麼特別堅持的地方或是特別注

又是怎麼堅定的走上音樂這條路的?

重的細節?

有一次全家人一起去KTV時偶然發現爸爸唱歌很好

當我有靈感時我會馬上找一個小角落,然後完全不可

聽,那時候就想著要跟爸爸一樣,所以每天都鬼吼

以有人跟我說話,我喜歡先把東西做完,如果身邊的

鬼叫也聽了很多韓國歌,自己練唱歌。然後很幸運在

人有任何意見我們可以再討論,但一定要先讓我完

某次機會我遇見了現在的老闆亞明哥,他給我很多機

成,不然一被打斷靈感常常就跑掉,怎麼找都找把回

會學習,從創作、彈吉他、甚至發片當藝人,我發現

來了。我的創作習慣通常是先寫曲再填詞,靈感大部

創作跟唱歌對我來說除了表現自己以外,某些程度上

份來自生活和韓國音樂。

也是一種抒發,用我的作品跟聲音表達我自己,跟你 們說話。所以讓我更堅定走音樂創作這條路。

本期的主題是不一樣,覺得什麼是『不一樣』 ,自己『不一樣』的地方在哪裡?

你的偶像,或是期許自己未來變成的目標樣子? 不一樣的地方,對我來說就是「改變」,今年12月發 我一直都很欣賞蕭敬騰,不管在舞台魅力或是他對

行了我的第三張個人專輯「Action Bii」,出道也快4年

自己聲音運用或在歌曲的詮釋上,都是很容易讓人感

多的時間,這段時間裡當然會有很多不一樣的地方,

染到的,所以我自己的目標是希望變成大家都認同的

不管是我、我的家人、或是身邊的同事甚至歌迷,其

台灣國民歌手。

實都有很多不一樣。我覺得因為我做這個工作,所以 慢慢的學會去觀察去感受發生在身邊的所有事情,在

覺得自己創作的風格是哪種類型的?希望自己的

我自己本身最大的不一樣應該是以前總堅持自己的想

創作能傳達給聽者什麼樣的感覺?

法是對的,但現在學會去聽去消化大家給的意見。

我比較喜歡也擅長的創作風格屬於抒情搖滾類型, 希望自己的創作可以為大家帶來快樂和正面的力量。

平時不工作時的休閒喜好是? 去河堤騎腳踏車或是去海邊吹吹風,因為戶外活動可 以讓我放鬆心情。


You are half Korean and half Taiwanese; how has this mixed identity broadened your experiences or world-view? I think besides being mixed, I’ve actually lived in both Korea and Taiwan, and have been able to really understand and experience both cultures and make friends in both countries. Being able to speak Mandarin and Korean has allowed me to understand the meaning behind many things, so I am really thankful to be where I am now, and to have been able, for the past 25 years, to experience diverse perspectives and cultures.

How did you discover your love of music, and what led you down this musical path? One time our whole family went to Karaoke, and we were all pleasantly surprised at how well my father sang. At that time I wanted to be just like my dad, and so I started listening and singing along to many Korean songs. Upon chance, I had the opportunity to meet my current boss Lee Ya Ming, and he gave me a lot of opportunities to learn, write songs, play my guitar, and even release my own album. I realized that singing and writing songs is more than just a chance to show people who I am, but also a form of self-expression; through my work and my voice, I can speak to all of you. I think this really confirmed and motivated me to keep going down this path.

Who is your idol, or who do you look up to? I’ve always really admired Jam Hsiao because his voice and his stage presence is so strong that it really resonates and moves audiences. I think my goal is to become an artist that can be accepted by everyone in Taiwan.

You write your own songs; how would you describe your creative style and what do you hope to bring to listeners? I think I like and am good at writing music that is more of the soft rock genre. I hope that my music can bring happiness and positive energy to everyone who listens to it.

What do you do on your time off? I ride my bike along the riverbank, or go to the beach. Outdoor activities really relaxes me.

You have a new album out. Which is your favorite track? Any special meaning behind the songs? I think it’s hard to pick a favorite song because each track is very much a part of me, and each song has it’s own special meaning. Each song represents a different aspect of me, and when you listen to it you can really feel the different emotions that I was feeling when I was writing the song.

When you’re writing music, which elements are you more focused or insistent on? When inspiration hits me, I tend to look for a quiet space where I won’t be disturbed; somewhere I can finish writing down my own ideas. If anyone has any suggestions, I am open to it, but they’ve got to let me finish my own thoughts first because if I’m disturbed during this period, I tend to lose the inspiration and it’s hard to find it back. I usually write the melody first then the lyrics, and my inspiration comes from life and Korean music.

The theme for this issue of ABOOK Magazine is “Different”. What does different mean to you and how are you different? Different to me means change. In December of this year I released my third album titled “Action Bii”, and in the past 4 years I think I’ve changed in many ways and am different in many ways. No matter if it’s me, my family, my colleagues, or even my fans, I think everyone is different now than they were in the past. I think in my work I’ve learned to slowly observe and to really take in all the things that are happening around me. I used to find it hard to compromise on things that I feel is right, but now I’ve learned to listen to other people’s suggestions and to consider things from different perspectives.


TAIWAN TALENTS

江民仕 看起來很隨性,也喜歡大家開開心心拍照,但有著自己絕對 堅持不妥協的部分在,這就是自己不一樣的地方

He looks laid back and enjoy a happy working environment, but to him there are some things on which there can be no compromise. This is how he is different.


是如何開始攝影的,後來又如何以此為工作? 第一臺相機是高中的時候朋友送的。那時候第一次感 受到單眼相機拍出來的質感與傻瓜相機的差異,拍起 來很漂亮,之後就開始喜歡拍照。後來聽很多人說過 攝影很賺錢,於是開始想把這個興趣轉成職業。以前 高中的暑假自己跑去視丘上課,跟著視丘的老師拍了 很多奇怪的東西,像猴子、廟會等等的,更加深了對 拍照的興趣,那時畢業製作後來也是用攝影來呈現, 下了課就直接衝去基隆的海邊拍照,在和平島拍那邊 居民造船。一開始也是以這樣紀實性攝影開始的, 只是後來發現這樣拍攝耗時較長,後來才往不同的攝 影領域去發展。剛當完兵的時候開始的商業攝影, 但是有次和媽媽吵架被她嗆說都只會拍一些死掉的東 西,於是激起我拍人物的想法。只是剛開始要找到 可以拍的人很困難,後來就先跑到尖端當in-house, 剛開始也還是只拍商品,拍久了才慢慢的開始拍攝人 像。所以我拍人像其實是沒有人教我,就是自己慢慢 地摸索學習來的。

要呈現的畫面,而後去捕捉住這個瞬間,畫面於是就 能呈現出來想要的感覺。「照片最美的就是瞬間」, 所以攝影師要去捕捉的是人很細微的神情、很強烈的 眼神或是那個動態造成的模糊或殘影。 佈光的話也沒有固定的訣竅,只是生活中本來就是會 有很多不同的色溫跟光線,在拍照的過程中就會為了 某個感覺而一直改變佈光以得到最完美的光影。另 外,客戶的信任度也是很重要的一個關鍵,有些已經 很熟悉的客戶知道我拍照的習慣跟風格,就會還滿放 手讓我去嘗試,這樣通常可以得到很不錯的成品, 我比較不喜歡人家一直告訴我該做什麼該怎麼做。 我的作品常常對比很強烈大概是因為自己是男生, 所以本來就不會走到很柔美日系的風格,當然我也可 以拍,剛開始的時候也拍過少女雜誌,只是比較不 習慣而已。

在拍攝的過程中,會如何搭配造型來完成腦中想要 的畫面?

攝影生涯13年來,在工作上遇到深刻有趣的事情? 印象最深是有次我想要拍一個降落傘的畫面,但當時 有個助理遲到,所以拍攝當天沒有人可以去拉著那個 降落傘,我們就先把傘綁在樹上,結果那棵樹被連根 拔起,然後全部人就在追那棵樹。而且原本是想要借 那種很漂亮圖案的傘,殊不知把傘打開後發現上面印 的是中華民國國旗,所以就要一直想辦法在畫面中避 開那個圖案,因此而印象很深刻。

拍照到現在,怎麼處理時常會遇到的創作瓶頸? 其實我覺得能遇到瓶頸應該要很開心。會有瓶頸是 代表你不滿意現況了,於是會想盡辦法去突破這個 瓶頸,然後就會進步。所以能有瓶頸是好事,用正面 的心態去面對解決,都會是成長的助力。

平常是如何培養累積出作品中所呈現那樣的影像構圖 或是視覺張力? 我覺得拍照是很直覺性的一件事,拍照應該要想得簡 單一點,不要做很做作的動作或是複雜的構圖,而是 要跟model溝通好主題想法,讓model從心裡散發出想

我最近拍比較多的是髮型,主要是幫他們拍形象。 有時候會玩一些後製或比較誇張的手法讓整個造型在 畫面裡面更加分,也有時候會看當時比較流行的畫面 風格去添加元素或搭配構圖,像最近就比較長看到約 俐落的影像構圖。影像也要跟着時代去變通,才能與 造型搭配而完成一幅完美又時尚的作品。另外,我覺 得攝影很重要的是主題,如果沒有主題故事而只是追 求一個漂亮的畫面,常常會呈現出空洞而無意義的 照片。

覺得自己的作品跟其他人不一樣的地方? 我在拍照的時候其實不會有過多的引導,多半是讓 model順其自然的照著情緒走。要是說為什麼不一樣 的話,會覺得是因為每個人都有不一樣的心裡,所以 順其自然拍出來、捕捉到的東西當然就會每個人都 不一樣。我自己在工作的話有一個比較不一樣的地方 是,我想要的東西都會靠自己得到,比較不會完全依 賴別人去提供道具或是搭好台給你,如果有想要創造 的畫面,都會靠自己想辦法把東西湊齊完成。可能 因為是處女座吧,雖然自己看起來很隨性,也喜歡 大家開開心心拍照,但也有自己絕對堅持不妥協的 部分在,這就是不一樣的地方。


How did you get into photography? When did it become a career? My friend gave me my first camera back in highschool. That was the first time I realized the difference between a SLR camera and a compact camera; the former captured such beautiful pictures, and that’s how I fell in love with photography. Many people told me that photography can be a money-making business, and thus I started to think seriously about turning it from a hobby in to a profession. During summer vacation I used to take classes at Fotosoft Institute of Technology and they took us on location, shooting monkeys, temples, etc. which deepend my love of photography. After school, I used to rush to the beaches of Keelung to shoot the boats parked at the docks. In my early years I was mainly a documentary photographer, but I started to realize that this type of photography required very long hours, and thus began exploring into different realms of photography. After serving in the army, I started doing some commercial photography; I remember once during an arugment with my mother, she exclaimed that I only photograph “dead things”. To me, I think that was the pivotal turning point in my career. From then on I got a job in-house doing product photography, and slowly explored and taught myself portrait and fashion photography.

In your 13-year photography career, any interesting stories to share?

rather the photographer should communicate clearly with the model about the theme or what it is they are trying to capture, and have the model express that idea from the heart. Pictures are the most beautiful when you capture an instance; the photographer’s job is to catch that single rare expression or sudden action. With lighting, there really is no set style for me, just like how in every day life we see various tones, lights and shadows. During a shoot, I often change the lighting in order to achieve a certain mood. I think the clients’ trust in the photographer is also very important. My long term clients know how I usually work and often give me a lot of freedom during the shoot. This allows me to be creative and try new things and therefor allows me to create pictures that everyone is happy with. I really don’t like people telling me what to do or what not to do. My work often exhibits obvious color contrasts. I think it may be because I’m a guy, so I’m not naturally attached to the soft colors or bright shots that’s more of the Japanese style. Of course I can take those shots, because I used to work for a Japanese magazine, however I’m just not very keen to shoot that way.

During the shooting process, how does wardrobe or styling contribute to the shot you have in mind?

The most memorable experience for me was when I wanted to shoot a parachute, but my assitant at the time was late, so no one could actually go and hold that chute. We hung the parachute on a tree, but the tree was uprooted, and so everyone ended up chasing that one tree. It was quite funny. I originally wanted to utilize the pretty prints on the parachute, but I had no idea the chute actually had a Taiwanese flag printed on it. We tried to avoid that flag throughout the entire shoot. This was definitely most memorable.

Recently I’ve been shooting a lot of key visuals for various hair salons. We play with a lot of post-editing techniques or more exaggerated methods to bring out the soul of the hairstyle. Sometimes I look at what elements are in fashion and try to add those certain elements into the frame and have it work with the composition. Images have to be able to adapt to changing times, just like how fashion styles change. I believe that the theme or concept behind a shoot is very important, because if you are just trying to snap a beautiful picture without an idea behind it, sometimes what you get is an empty and meaningless photo.

How do you deal with creative block?

How is your work different than others?

I think one should be happy when faced with creative block because it means you aren’t satisfied with where you are now, and thus must find a way to overcome the block, and progress. Obstacles are always a good thing, because if you face the problem with a positive attitude, you can grow and learn from it.

When I am working I don’t usually offer excessive directions to the model. I usually give them a lot of freedom to just move and express how they feel. Every photographer and what they capture on camera can be different because everyone is innately different as a person. In my work, I’m different maybe because I don’t soely rely on others to provide a prop or to set up a scene for me. I rely on myself to obtain what it is I want. Maybe because I’m a Virgo, I may look laid back and enjoy a happy working environment, but to me there are some things on which there can be no compromise. This is how I am different.

How do you create a powerful image or a well composed photo? I think photography is very much intuitive. Photo composition doesn’t have to be complicated rather it should be simplified. Shots shouldn’t be too “set up” or complex,


PASSAGE OF MERCY PHOTOGRAPHER / YANGLIN DESIGNER / JUNG YEN CHEN MAKEUP / HALU HUANG HAIR / ZEPHYR (HC SALON) SPECIAL THANKS / FOUFA STUDIO


靠餐具吃飯,靠兵法吃人 一分鐘影片,將我靠音樂賺錢的心得分成三個層面分享給大家。 我必須強調,這些方法僅適用於自保,一天到晚跟別人耍心機這個 小小的圈子很快會討厭你喔。 DIRECTOR / NELLA MAKE UP / OS WALD HUANG & 解芝瑀 HAIR / ISIAH @ EROS STYLING / JOYCE ACTORS / ZIN 陽靚 & ISIAH LIGHTING / A YUAN ASSISTANTS / VIC & ALEX


第一層,冷。 許多客戶上門,其實腦子裡仍有許多空白之處。來開會通常是希望你出主意給他們打槍,給他們挑選。此時 切勿真的提供對方一堆想法,壞心人通常會帶著你的創意去找自己平常合作的人處理,尤其是經常換工作每 次來都遞一張新名片的那種。雖然我們是服務業,不可能跟對方說你想清楚再來,但是我們可以擺出以退為 進的姿態,強迫對方腦補好整張需求列表再動工。冷靜,亦是冷戰。

第二層,讓。 做創意類的工作最怕遇到自己吃不下的案子。其中包含兩種可能性。一種是對方太看得起你,一種是對方太 看不起你。第一種情況好比你剛拍完洋芋片廣告,被通知接下來有客戶上門要拍變形金剛第五集,這種事情 怎麼能接,接下來做必死無疑。第二種是對方狂改不止,永遠覺得你的東西少了點什麼。剪指甲要拿刀剪, 不要一路用銼刀銼到好,花兒都凋謝了。所以要懂得把自己的弱點事先攤在檯面上,讓對方了解風險,以及 自己的停損點。學會拒絕,學會撤退,對剛出社會的男性來說恐怕是最艱澀的一門功課。

第三層,吃。 終於到了本片的關鍵處,我們先來算個簡單數學。 每個人的基礎月薪是22k,如果你接了11k的案子在兩周內無法完成,那麼恭喜你,你的底薪還不到一般上 班族的水準,請好好考慮音樂這條路是不是能走得長久。如果你接了一個44k左右的案子,剛到一個月就打 完收工…那麼讓我們好好聊聊接下來這一段。

做歌容易做人難。要歌容易要錢難。一個案子做完,期間不得罪任何人,結案拿到全額費用,對新手村的玩 家來說是一件比登天還難的事情。一個案子做得太快或太慢都不是好事,至於為什麼這麼說?大家若是有經 驗者就心照不宣吧。這其中的重點只有兩個:何時翻臉,何時要錢?翻臉當然指的是過河拆橋一類的事情, 在下非常不喜歡。我們來說說何時要錢。最好的收錢時機有兩個,案子快要結束差你臨門一腳的時候,不過 這是句廢話。第二種時機是客戶下次上門的時候。每個人都可以賴皮一次,但是如果第二次找上門,請把第 一次的費用全額付清。這個時候你要像影片中的女人,拿出最毒最狠的手段。這一口咬下去若不夠狠心,他 會爬起來對你賴皮一輩子。相信我,一輩子。一定要全額,一定要動工前。你後天要出國是你家的事,你金 主罵你又不是罵我。吃,得寸進尺的吃,變本加厲的吃。

三個層面不是三個不同的情況,而是單一案子的三個階段,三個面象。漫畫火鳳燎原有云:發計有三,單向 而發,雙向互發,融會貫通。考慮對方是否誠實,考慮對方是否認為自己誠實,考慮要如何從不誠實的對方 身上求公平。最後,考慮如何不傷和氣,讓兩人下次仍有合作。

做音樂的這短短幾年,無償幫助過的人好多好多。但是真正幫我挺我的僅三人。世界上多得是比我更有資格 分享經驗心得的前輩,但是像我這樣不上不下的半瓶醋人物,或許更能給剛接觸這個行業跌跌撞撞的後浪一 些精準的生存法則。我不感謝這些裝熟裝窮裝忙的客戶,但感謝遇到這些事情後自己學到的經驗在日後保護 我不受欺騙。這一次的主題「不一樣」希望大家看完文字之後回頭再看影片,能感受到劇本分鏡以外不一樣 的力道。


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ABOOK MAGAZINE Issue 23  

Cover Star: BII 畢書盡

ABOOK MAGAZINE Issue 23  

Cover Star: BII 畢書盡

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