High Life

42 品 次年他更前往福岛辐射污染地域 进行拍摄。这批照片以宝丽来即影即 有相机拍摄。 黄先生相信，在现场显影的照 片，总会接触到当地的空气、阳光， 令照片多了一层意味。可是宝丽来即 影即有相纸当时已经停产，摄影师就 以 Impossible 的第一代相纸取代。 由于相纸的兼容技术尚未成熟，令照 The following year, he walked inside the exclusion zone set up after the Fukushima nuclear disaster and took a series of photos with a Polaroid camera. Wong believed at the time that an emotional layer of color would revealitselfoncethefilmwasexposed to the sun, however, Polaroid had by then stopped production of its instant print paper, forcing Wong to use a less compatible paper instead. As a result, some photos appeared 片走光，多了一层红昙、淤黑及有杂 点，令成像出现始料不及的效果。 《Fukushima - 黄勤带摄影展》 是黄先生第一次正式公开展出这些宝 丽来照片作品，特别是这些照片展 示了当地居民在灾后所度过的日常生 活。 从照片的光与影，可以窥看到当 地居民灾后的日常生活：农夫修田耕 blurry, reddish, dark or with “noise” – producing a visual impact he had not expected. Fukushima – Kan Tai Wong Photography is the first time Wong has officially displayed these Polaroid images. In particular, it shows the residents’ return to everyday life following the nuclear disaster in Fukushima. From the frames, one can see the livelihoodofthepeopleintheaftermath of the earthquake – farmers growing 种，村民依旧传承乡村既有的节庆及 习俗等等。福岛的一花一草、一砖一 瓦、天空、大地、海洋、老人、小 孩、男人、女人及动物等，透过黄勤 带的镜头和独特的视野，呈现在这些 历史照片上。 当色彩糅合了相纸特有的不稳定 性，让这些最寻常不过的风景事物多 添了耐人深思的诗意。 crops on their restored lands while villagers carry out their rituals and festivals as usual. In Fukushima, each flower and tree, each piece ofwood, the sky, soil, ocean, children, men, women and animals look so different when captured byWong’s lens. Each frame narrates a particular moment in history. The imperfection of the photo paper used adds a thought-provoking poetic beauty to the ordinary people and places we so often take for granted.