從 Daryl Qilin Yam《After Risaku》談到 Steve Reich 
窺看日常的縫隙
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Daryl Qilin Yam 是位作家，從文學上的方式談到舞蹈再來講影像挺特別的，其實在創作上我覺得兩著也是有著類似的觀察，只是最後的呈現只是透過了照片或是身體的方式，攝影只不過是傳達的一種媒材而已．Daryl Qilin Yam 在日本旅遊時拍攝的照片，大量拍攝了許多陌生人的背影，把焦段調到無限遠，只看得清楚遠方的風景，前方的背影模糊．Daryl Qilin Yam說人的正面臉對他來說太直接，所以才選擇背面，但他選擇的不是背影而是記憶中的風景，展現我們平常在走路時經常跟著路人的後腦勺走的回憶片段．

那種其實你不太記得，但是又有一點印象的日常生活，就如同散文一般，當你大量閱讀一整篇文章回過頭來回想才瞭解整段故事．每個不斷重複的背影就像及平淡的日子，重複性的圖案但過著不同的日子，歲月就在極細的狹縫裡溜走．可以看見Daryl Qilin Yam 除了放背影之外，也穿插一些像是櫻花，佛像等其他照片．如同閱讀每篇段落的逗號，如同工作都需要休息，停下來看一看再前進．

而 Steve Reich 的舞蹈正式完美的流露出，這之間最微妙的變化， Steve Reich 的舞蹈簡約有邏輯性，一直重複同樣的動作，再從中稍稍地改變一點點姿勢，每次都改變一點，就可以發現兩者時間關係的不同，這些細膩藏在日常繁複的動作之間，就如Daryl Qilin Yam 在不同的背影裡找到風景，攝影也是．

《Sorry, You’ll Never Walk Alone》

今天來談一下日本攝影師Shin Noguchi 的其中一組街拍作品很有意思，三十幾張照片裡的街拍每個人的臉孔幾乎都被遮住，這是Shin Noguchi 對日常的一些觀察，他說雖然都市人都總覺得自己很寂寞，常常為了生活奔波和掙扎，然而在這個繁忙的社會裡，其實根本沒有時間感到寂寞，甚至連走路的時候都有物件陪著你一起前進，連雙手沒有辦法空閒的時刻，哪有別的時間思考

我個人是很喜歡背著人，抱狗跟抓著兩個小孩的三張，就是有一種莫名的幽默感，令人不經嘴角上揚

http://www.shinnoguchiphotography.com/…/sorry_youll_never_…/

This project is based on main project “Something Here”.
Being aware of their own lonely existence, people do not even have time to look at the real figure of themselves through mirror, while they are not able to afford to see the appearance of others that can be comparable either. In order to adopt themselves into the society as well as to become a cog, people are leading their daily lives frantically.
The photographer is trying to through this project sending a message of “you are not alone at all. There must be someone in the society keeping an eye on your struggle for living”, in addition to which, it is attempted to express the both side of a socially ironic message as “There is no time for being lonely in this constantly vigorous society. It is even impossible to walk streets with nothing in your hands”.
I wish you could feel the “contradiction” between the nature of human being and the essence of the society created by human being, not through the aforementioned commentary, but from the appearance of people in the photo who are living frantically in the realistic world.

年初跟朋友一起拍了一個作品，彩妝師有個概念想把果肉和皮膚結合，後來我一直很困擾要怎麼呈現才好，因為感覺這組作品很獨立，再怎麼編排用素材都有一種“突兀”．今日突然靈光乍現，乾脆講一整組完全不挑片，一整個時光的連續全部保留下來，從每一張細微的差異，意外的精準的表現我想要的那種真實的迫切