GA Magazine

Art Director 美術指導 : Azai Lui (Simon)

創作者最幸福的事，莫過於遇到懂你作品的靈魂知己。當你傾注心血完成的物件，被另一個人溫柔地安置在某個空間裡，甚至在多年以後，以一種不期而遇的方式重新映入眼簾，那種時間帶來的驚喜，最是奇妙。

對我而言，底片印樣上那些留著手工裁切線、劃著紅圈與藍線的痕跡，往往比最終沖印出來的成品更令人心跳加速。因為那裡記錄了一場視覺在誕生初期、最私密也最赤裸的死磕過程。

在那個沒有數碼、沒有電腦修圖的1980年代末，攝影棚對我們來說是拍照的工作室，同時也是一場純手工的視覺實驗室。

那時為《GA》雜誌主導這輯時裝專題時，總想試著跳脫當時傳統的服裝拍攝。畫面中服飾大膽的幾何撞色與構圖塊面、默片式的幽默感，以及當時風靡一時的「BOY」服飾，全都是我們對當時街頭文化的一種嘗試與對應。如今回看這些保留著手工痕跡的底片，紅圈與藍線之間，定格在那個時代，當時那份純粹。那時的探索與衝動，至今依然躍然紙上。

For any creator, nothing brings greater joy than encountering a kindred spirit who truly understands your work. To see an object born of your devotion gently placed in someone’s space—and then, years later, to stumble upon it unexpectedly—is a subtle wonder that only time can bring.

To me, the raw marks on a contact sheet—the manual crop lines, the greasy red circles, and the bold blue strokes—are often far more exhilarating than the final print. They preserve the most intimate, unvarnished wrestling match of a visual concept in its very infancy.

In the late 1980s, an era entirely devoid of digital technology and retouching, the studio was both a workplace for photographs and a purely handcrafted visual laboratory.

When leading this fashion feature for GA magazine, we were eager to move beyond conventional fashion photography. The bold geometric color-blocking and stark compositional framing, the silent-film humor, and the then-wildly popular "BOY" attire were all part of our raw exploration of contemporary street culture. Looking back now at these negatives that still bear our tactile marks, what remains frozen between those red and blue lines is a moment in that era, and the pure passion of that time. That youthful impulse and spirit of exploration remain entirely alive on the page today.