關於 sunflower photographs ，我們在網路上蒐集到這些相關的討論、資訊與評價

【NOTICE】
庫存驟減中，大家都拿到了嗎？
本期點播的歌，大家會唱了嗎？...

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攝影之聲 Voices of Photography
Issue 13 : 抗議、行動與影像
Protests, Activism and Images

本期由郭力昕、張世倫、李威儀、廖偉棠、冨山由紀子、東方輝、港千尋、顧錚與伊妮絲築起筆陣，進入台灣、香港、中國與日本的反叛運動場景。我們試圖重回台灣黨外運動興起的70年代、街頭狂飆的80年代，直至2014年太陽花學運的佔領現場，在抗爭照片、影片與攝影書堆中，追尋抗議攝影與影像政治的軌跡；同時爬梳香港與日本社會運動與抗議攝影的發展歷程，並針對60年代在日本引發的大規模抗爭事件——「三里塚鬥爭」進行了抗議攝影書考；另外也從達達主義攝影蒙太奇，看影像藝術的政治反抗。這期也特別邀請三位戒嚴世代的資深攝影工作者——宋隆泉、蔡明德、許村旭——進行影像對談，重現他們在《自由時代》、《人間雜誌》等新聞媒體工作時期在街頭運動前線攝影的衝撞實況。而內頁夾帶的《SHOUT》，則收錄香港攝影師林亦非在台灣三月學潮裡對懸浮青春的影像素描。

在Artist's Showcase單元，本期由張照堂書寫影像創作者葉清芳的狗眼人生，打開阿芳黃湯揮灑而自由放逐的私密暗箱；而Q單元則專訪著名的日本攝影書設計師町口覺、攝影家瀨戶正人與新加坡國際攝影節創辦人李錦麗，分別就攝影的編輯、創作和展覽進行對話；「台灣攝影史」連載則探查1870年代就在自拍的恆春首任知縣周有基的生平，以及台灣古早相館的命名典故；還有藝評家黃翰荻從鄧南光的鏡頭側寫，一探上世紀女性從20到60年代的歲月風華。

寫到這裡，不免發現編輯台又一次呈現被資料大規模轟炸的狀況。在工作期間的日與夜裡，我們與滿坑滿谷的影像文獻交談，與堆積如山的稿件版面作戰；透過照片穿越各個抗爭現場，看到那些曾在街頭激起的火花，又被重蹈覆轍的歷史泥浪淹沒覆蓋，令我們在理應充滿鬥志的編輯路途上，偶爾心情暗淡。

為了提振精神，這次破例在此點播一首收錄於楊祖珺1985年《大地是我的母親》專輯、由蔡式淵作詞、楊祖珺作曲的〈超級倒楣小市民〉給大家，這首歌30年依然不退流行，適合各世代闔家聆聽。保重。

「餿水牌沙拉油 毒玉米米酒
飼料牌奶粉 國民黨也要吃
袋鼠牌牛肉乾 黃樟素沙士
沒信用合作社 倒楣的小市民
我們還要衷心感謝他們
賜給我們核能電廠
有一天不必再煩惱
我們都上了天堂」

------------
更多資訊MORE：www.vopmagazine.com/vop013/
購買本期BUY：www.vopmagazine.com/vop013shop/
訂閱SUBSCRIBE：www.vopmagazine.com/subscribe/
------------

Collaboratively penned by Kuo Li-Hsin, Chang Shih-Lun, Lee Wei-I, Liao Wei-Tang, Tomiyama Yukiko, Akira Higashikata, Chihiro Minato, Gu Zheng and Agnès, this issue brings us into the scenes of movements in Taiwan, Hong Kong, China and Japan. We trace the trails of protest photography and image politics through revisiting the rise of Taiwanese social movements in the 70s, its flourishing in the 80s… all the way to the Sunflower Movement in 2014. At the same time, we look at the development of social movements and protest photography in Hong Kong and Japan, investigating the development of protest photobooks with a focus on the Sanrizuka Conflict, which sparked off large scale protests in Japan in the 60s. Also, we explore the political revolt of image arts from the point of view of Dadaism photomontage. We invited three experienced photographers from the martial laws era —Song Lung-Chuan, Tsai Ming-De and Hsu Tsun-Hsu— to a discussion on their photographs as frontline photojournalists covering street movements. As for the SHOUT insert in this issue, photographer Lam Yik-Fei from Hong Kong presents youth and uncertainty with snapshots taken during the Sunflower Movement in Taiwan this past March.

In the Artist’s Showcase, Chang Chao-Tang introduces to us the life and works of the late photographer Yeh Ching Fang, allowing us a peek into his personal black box; Q features the well-known Japanese photobook designer Machiguchi Satoshi, photographer Seto Masato and the curator of Singapore International Photography Festival Gwen Lee, who shares with us the design, layout, creation and exhibition of photographs respectively. In the Taiwanese Photography History series, we investigate the naming allusions of early Taiwanese photo studios and the life of the first governer of Heng Chun, Prefect Zhou Youji, who already took selfies way back in 1870s; art critic Huang Han-Di also explores the beauty and elegance of women in 1920s -1960s through the images of Deng Nan-Guang.

We realized, at this point, that once again the editorial desk has been again overloaded with a huge amount of reference materials. Night and day, we bury ourselves in the sea of images and documents, examining photographs of battles and the displays of passionate beliefs on the streets, which were drowned time and again by the tides of time and history. Such realization occasionally dampened our fighting spirit, which is --supposedly-- strong and relentless.

In order to boost our spirit, we have made an exception in dedicating a song here: The Ill-fated Citizens from the album The Earth is My Mother (1985) by TC Yang, written by TC Yang and Cai Shirun. After three decades, this song is still relevant and suitable for all ages.

"Cooking oil made from leftover food,
rice wine made from toxic corn
Powdered milk made from animal feed,
which the KMT themselves all need to eat too
Beef jerky made from kangaroo meat, root beer with safrole
Co-ops with no credit
Ill-fated citizens
We should also sincerely thank them
For giving us nuclear power plants
For one day we won’t need to worry anymore
As we’ll all go to heaven together"

---
攝影之聲 Voices of Photography
Issue 13 : 抗議、行動與影像
Protests, Activism and Images
www.vopmagazine.com

【GRAB A COPY NOW!】

攝影之聲 Voices of Photography
Issue 13 : 抗議、行動與影像
Protests, Activism and Images

本期由郭力昕、張世倫、李威儀、廖偉棠、冨山由紀子、東方輝、港千尋、顧錚與伊妮絲築起筆陣，進入台灣、香港、中國與日本的反叛運動場景。我們試圖重回台灣黨外運動興起的70年代、街頭狂飆的80年代，直至2014年太陽花學運的佔領現場，在抗爭照片、影片與攝影書堆中，追尋抗議攝影與影像政治的軌跡；同時爬梳香港與日本社會運動與抗議攝影的發展歷程，並針對60年代在日本引發的大規模抗爭事件——「三里塚鬥爭」進行了抗議攝影書考；另外也從達達主義攝影蒙太奇，看影像藝術的政治反抗。這期也特別邀請三位戒嚴世代的資深攝影工作者——宋隆泉、蔡明德、許村旭——進行影像對談，重現他們在《自由時代》、《人間雜誌》等新聞媒體工作時期在街頭運動前線攝影的衝撞實況。而內頁夾帶的《SHOUT》，則收錄香港攝影師林亦非在台灣三月學潮裡對懸浮青春的影像素描。

在Artist's Showcase單元，本期由張照堂書寫影像創作者葉清芳的狗眼人生，打開阿芳黃湯揮灑而自由放逐的私密暗箱；而Q單元則專訪著名的日本攝影書設計師町口覺、攝影家瀨戶正人與新加坡國際攝影節創辦人李錦麗，分別就攝影的編輯、創作和展覽進行對話；「台灣攝影史」連載則探查1870年代就在自拍的恆春首任知縣周有基的生平，以及台灣古早相館的命名典故；還有藝評家黃翰荻從鄧南光的鏡頭側寫，一探上世紀女性從20到60年代的歲月風華。

寫到這裡，不免發現編輯台又一次呈現被資料大規模轟炸的狀況。在工作期間的日與夜裡，我們與滿坑滿谷的影像文獻交談，與堆積如山的稿件版面作戰；透過照片穿越各個抗爭現場，看到那些曾在街頭激起的火花，又被重蹈覆轍的歷史泥浪淹沒覆蓋，令我們在理應充滿鬥志的編輯路途上，偶爾心情暗淡。

為了提振精神，這次破例在此點播一首收錄於楊祖珺1985年《大地是我的母親》專輯、由蔡式淵作詞、楊祖珺作曲的〈超級倒楣小市民〉給大家，這首歌30年依然不退流行，適合各世代闔家聆聽。保重。

「餿水牌沙拉油 毒玉米米酒
飼料牌奶粉 國民黨也要吃
袋鼠牌牛肉乾 黃樟素沙士
沒信用合作社 倒楣的小市民
我們還要衷心感謝他們
賜給我們核能電廠
有一天不必再煩惱
我們都上了天堂」

------------
更多資訊MORE：www.vopmagazine.com/vop013/
購買本期BUY：www.vopmagazine.com/vop013shop/
訂閱SUBSCRIBE：www.vopmagazine.com/subscribe/
------------

Collaboratively penned by Kuo Li-Hsin, Chang Shih-Lun, Lee Wei-I, Liao Wei-Tang, Tomiyama Yukiko, Akira Higashikata, Chihiro Minato, Gu Zheng and Agnès, this issue brings us into the scenes of movements in Taiwan, Hong Kong, China and Japan. We trace the trails of protest photography and image politics through revisiting the rise of Taiwanese social movements in the 70s, its flourishing in the 80s… all the way to the Sunflower Movement in 2014. At the same time, we look at the development of social movements and protest photography in Hong Kong and Japan, investigating the development of protest photobooks with a focus on the Sanrizuka Conflict, which sparked off large scale protests in Japan in the 60s. Also, we explore the political revolt of image arts from the point of view of Dadaism photomontage. We invited three experienced photographers from the martial laws era —Song Lung-Chuan, Tsai Ming-De and Hsu Tsun-Hsu— to a discussion on their photographs as frontline photojournalists covering street movements. As for the SHOUT insert in this issue, photographer Lam Yik-Fei from Hong Kong presents youth and uncertainty with snapshots taken during the Sunflower Movement in Taiwan this past March.

In the Artist’s Showcase, Chang Chao-Tang introduces to us the life and works of the late photographer Yeh Ching Fang, allowing us a peek into his personal black box; Q features the well-known Japanese photobook designer Machiguchi Satoshi, photographer Seto Masato and the curator of Singapore International Photography Festival Gwen Lee, who shares with us the design, layout, creation and exhibition of photographs respectively. In the Taiwanese Photography History series, we investigate the naming allusions of early Taiwanese photo studios and the life of the first governer of Heng Chun, Prefect Zhou Youji, who already took selfies way back in 1870s; art critic Huang Han-Di also explores the beauty and elegance of women in 1920s -1960s through the images of Deng Nan-Guang.

We realized, at this point, that Once again the editorial desk has been again overloaded with a huge amount of reference materials. Night and day, we bury ourselves in the sea of images and documents, examining photographs of battles and the displays of passionate beliefs on the streets, which were drowned time and again by the tides of time and history. Such realization occasionally dampened our fighting spirit, which is --supposedly-- strong and relentless.

In order to boost our spirit, we have made an exception in dedicating a song here: The Ill-fated Citizens from the album The Earth is My Mother (1985) by TC Yang, written by TC Yang and Cai Shirun. After three decades, this song is still relevant and suitable for all ages.

"Cooking oil made from leftover food,
rice wine made from toxic corn
Powdered milk made from animal feed,
which the KMT themselves all need to eat too
Beef jerky made from kangaroo meat, root beer with safrole
Co-ops with no credit
Ill-fated citizens
We should also sincerely thank them
For giving us nuclear power plants
For one day we won’t need to worry anymore
As we’ll all go to heaven together"

---
攝影之聲 Voices of Photography
Issue 13 : 抗議、行動與影像
Protests, Activism and Images
www.vopmagazine.com

【VOP#12 新 刊 發 行】

Voices of Photography 攝影之聲
Issue 12 :: 太陽旗下的凝視——日本時代台灣寫真帖特輯
Images Under the Rising Sun :
Taiwan Shashin Cho from Japanese Colonial Period

在台灣的歷史影像河流裡，自1895年起歷時五十載的日本統治時期，是攝影術作為官方重要宣傳工具，進而開啟台灣本土寫真紀錄的一道高潮。其中，由日本政府機關及寫真館積極出版，用以展示台灣政經發展成果、引介島內地理風土與人種民俗的各式「寫真帖」，有如一股圖像涇流，沖刷出早期台灣的殖民社會地貌，成為帝國版的「看見台灣」。

攝影究竟創造了什麼歷史？作為攝影客體的台灣，如何被「看見」？本期特輯我們邀集攝影文史工作者簡永彬、寫真帖研究者徐佑驊與作家陳柔縉，述說日治時期台灣寫真帖的歷史成因、剖析帝國寫真裡的視覺殖民與觀看秩序，並從稀有的古早照片裡，尋找彼時台灣民間生活的痕跡。而在本期專欄中，張世倫透過日治時期的另一重要影像資料——圖像明信片——透析日本建立的帝國視野 ; 顧錚則以著名攝影家木村伊兵衛於1940年代在日本扶植的滿州國所拍攝的《王道樂土》，解剖攝影裡的觀看政治。

這期的Artist's Showcase單元，中國當代攝影藝術家莫毅以裂解經典的文革時期照片，在人們看著歷史影像卻又看不清真相之際，進行一趟歷史記憶的拼貼探查。蕭永盛的「台灣攝影史」連載，從馬偕牧師的日記裡發掘迷上攝影的馬偕所留下的台灣身影。Q單元則專訪身兼策展、評論、出版等多重身份的黃亞紀，以及日本攝影季刊《IMA》總編輯長太田睦子，一探他們對於當代攝影的觀察。同時特別收錄阮慶岳、沈昭良、張世倫與李威儀針對台灣攝影書閱讀與出版現象的討論對話。

本期特輯從資料蒐集、撰稿到製作都十分費時費工，特別是歷經三月太陽花學運與持續進行的反核運動，我們不得不一直停下手邊的工作走上街頭，因為國家機器的愈發蠻橫，已喪失傾聽對話的胸懷，以及對台灣永續發展的遠見 ; 當掌權者僅標舉經濟數字大餅並藉此要脅人民，終將拼出一個唯利是圖、無理想靈魂的空殼社會。我們絕不接受，並有嚴正抵抗的義務及決心。

所以，親愛的讀者，未來的編輯台可能不得不移師街頭，在道路上橫擺。因為我們關心攝影，也關心鏡頭外的現實 ; 而我們不做喜鵑，也不做寒蟬。一路併肩同行的讀者們，謝謝你們的陪伴。做為一份小刊物，我們沒有豐裕的資源和能力，但我們堅守我們僅有的骨氣與良知。

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購買本期 BUY：
www.vopmagazine.com/vop012/
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www.vopmagazine.com/subscribe/
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Half a decade of Japanese colonial rule since 1895 marked a peak in Taiwanese photographic history as the government used photography as an important means of propaganda. The colonial government and shashin kan (photo studios) actively published all kinds of shashin cho (photo albums), displaying the economic progress and local cultures of Taiwan. These volumes of images put together a map of the early colonial times in Taiwan through the eyes of the Nihon empire.

What history has photography created? How is Taiwan "seen" as the object of photography? In this issue, we invited photography archivist Chien Yun-Pin, shashin cho researcher Hsu You-Hua and writer Chen Rou-Jin to share with us how the shashin cho came about during the Japanese colonial times, how these volumes set forth a point of view from the colonisers, and how we can piece together life in Taiwan then through these rare photographs. Meanwhile, Chang Shih-Lun explores the point of view that Japanese imperialists had established through another important visual resource——postcards——in his column, while Gu Zheng shares his analysis about Odo Rakudo, a photo book of the Japanese supported Manchukuo by well-known photographer Ihei Kimura in the 40s, giving us an insight on the political perspective.

In "Artist's Showcase", contemporary Chinese photographer Mo Yi deconstructs stereotypical images from the Cultural Revolution, taking a journey into history through a blurring of what seems appears to be historical pictures. Hsiao Yong-Sheng's "History of Photography in Taiwan" uncovers pieces of Taiwan from 1871-1901 captured by Dr Mackey in his journals. “Q” features interviews with Huang Yaji, curator, critic and publisher, and Matsuko Ota, chief editor of the quarterly Japanese photography magazine IMA, who share with us their observations on contemporary photography. This issue also covers a special dialogue between Roan Ching-Yueh, Shen Chao-Liang, Chang Shih-Lun and Lee Wei-I on the publishing and reading of photo books in Taiwan.

Immense amounts of time and effort have been spent by the team to put together this special issue, from gathering materials, drafting of the contents to the production of the magazine itself. Amidst it all were the Sunflower Movement in March and the continual anti-nuclear protests, which we feel obliged and responsible to partake in. The state apparatus in Taiwan has lost its willingness to listen and its foresight on sustainable growth, instead becoming more and more authoritarian. When those in power put economic statistics above all else and use them to threaten their people, the eventual outcome will be a ruthlessly capitalistic society without ideals and dreams. We cannot, and will not accept such a future. We are resolute in taking on the responsibility of resisting becoming a heartless society.

Therefore, dear readers, our editorial desks may have no choice but to move to the streets in the times to come. We love photography, but we also love the world beyond the lenses. We won't just paint rosy pictures, and we refuse to stay silent. We thank you, our readers, for being by our side. As a humble magazine, VOP does not have abundant resources or power, but we will stand firm, resolute and true to our conscience and beliefs.

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Voices of Photography 攝影之聲
www.vopmagazine.com