「溼」而復得

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2011 / 11月

文‧編輯部 圖‧楊文卿



人手一機的數位時代,影像瞬間捕捉成形,每個人拍出的照片大同小異,於是有攝影家開始感歎,似乎離傳統攝影越來越遠了。

已有百年歷史的濕版攝影,是運用物理與化學原理留住影像的一種方式,方法是先在相機裡的玻璃片(即底片夾)塗上火棉膠,拍照後再經過感光、曝光、顯影、定影、水洗等方式處理,由於有數十分鐘時間玻璃片一直處於濕潤狀態,因此稱為「濕版攝影」。這個技術源起於1851年的英國攝影家弗雷德里克•阿伽,拍出來的照片影像清晰又穩定。

濕版攝影的迷人處在於影像的獨特性與個人化,從藥品的調配、塗佈、藥膜對顏色色差的變化,攝影師可以掌握製作工序,但又因藥液在玻璃片上的流動痕跡無法控制,因此沒有任何一張濕版作品會是相同的,這種「不完美」又有一種反璞歸真的美感。

在數位影像充斥的今日,楊文卿選擇慢下來,重新以「手工藝」的方式啟發影像思維,藉由濕版影像的技術賦予作品新生命。?

相關文章

近期文章

EN

Getting Back to Photography's Roots

the editors /photos courtesy of Yang Wen-ching /tr. by Chris Nelson


In this digital age when ubiquitous cameras snap images in the blink of an eye, the photos people take tend to look alike. Some photographers have begun to lament this departure from traditional photography.

Wet-plate photography, over a century old, is a technique using physical and chemical principles to preserve images. In this technique, the glass plate within an old-style camera is smeared with collodion, and once the photo is taken it is processed via sensitization, light exposure, development, fixing and washing. Since the glass plate is kept in a moist state for dozens of minutes, it is called "wet-plate photography." This technology originated in 1851 with British photographer Frederick Scott Archer, who discovered that photographic images taken in this manner were clear and stable.

What's especially fascinating about wet-plate photography is the uniqueness and individuality of the images. Changing the chromatic variables by adjusting distribution, coatings and membranes, the photographer has some control over the process; however, since he can't control the flow of the liquids on the glass plate, no two wet plate photos look the same. These imperfections impart a simple, rustic aesthetic.

In an age overflowing with digital images, photographer Yang Wen-ching has decided to slow down and look at the photographic image from the standpoint of a craftsman, allowing wet-plate image technology to breathe new life into his work.

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