⟨ Reading Corner ⟩

Orbital Books

Words / Phaedrus Lam
Illustration / Lokz Phoenix
Translation / Fanny Chan

每次拜訪一家書店,看書,看人以及看書店本身。店主準備怎樣的書籍予客人,客人如何從藏書和擺設,讀出店主本身的個人品味。書店裡佈滿人們活動的軌跡,是觀察人類的最佳場所。

A visit to the bookshop is not only about looking at books, it is also about looking at the other customers, staff, and the bookshop itself. The kind of books the bookshop sells and how it is decorated tells you something about the shopkeeper’s personal taste. With so many people coming and going, and so many personal stories being created day and night, a bookshop is one of the best places to observe the lives of others.

店主雙面膠說店名「目圍」來自古字,對應現代用字就是「眼眶」,眼晴周圍的意思。目圍是一家專售攝影書籍的店,位於台南市的大道路,除了公寓和大廈,附近就只有餐飲店和便利商店,如果用房地產的話術來說,就是一個「住戶單純,生活機能便利」的平凡社區,雖然遠離主要商圈和交通樞紐的書店,但對於書店顧客而言,說不定也是個加分的因素。

走進店裡,由罕見的絕版攝影集,到印刷量只百位數的本地ZINE都可以翻到,說的「可以翻到」,是真的可以(溫柔地)隨便亂翻,目圍有很獨特的付費「內閱制」,是連大學生也負擔得來的價錢。對於店內不賣咖啡/服飾/生活道具,是純書店型態的目圍而言,回本理應靠賣書,訂立「內閱制」的目的是為什麼?在書籍消費已經成為小眾活動的今天,在2018年才開店,而且還是進駐在藝文資源緊拙的南台灣,店主的經營之道為何。

According to Shuang Mien Chiao (Double-sided Tape), the owner of Orbital Books, the name “orbital” originated from the Archaic Chinese words 目圍 (mù wéi) which means “the area surrounding the eyes,” and in simple modern terms, it refers to “eye socket.” Orbital Books specializes in photography and is located in a quiet neighborhood close to a main road in Tainan City. Aside from apartments and buildings, there are only restaurants and convenience stores in the area. If you were to see an advertisement for the area, it would probably read like this, “Safe and quiet neighborhood. Convenient to Everything.” Although Orbital Books is far away from the major business districts and transportation hubs, its remote yet unique location might well be the reason that it can attract customers to pay a visit.

In Orbital Books, you can flip through a vast collection of prints from out-of-print photography books to local zines with only a hundred or so copies printed. They also have a unique “read-in” system in place that allows visitors to read every single print available in the bookshop. This makes it possible even for college students with a limited budget to take a glimpse at the bookshop’s rare collection. For a bookshop that does not sell coffee/clothing/lifestyle products, selling books seems to be the only way for it to survive. Why would Orbital Books establish the “read-in” system? Book shopping has become such a niche activity in recent years, especially for a bookshop that opened in 2018 and located in southern Taiwan where only limited government funding is available to arts and literary activities, that it is a wonder Orbital Books has survived this long.

/ 攝影對我來說並不是底片數位手機等的問題,它對我來說是「思想」的問題。/

OBSCURA:​雙面膠你好,第一題想直接問你,為甚麼目圍要訂立「內閱制」呢?

雙面膠:以我們攝影書店,因為攝影書籍價格真的叫一般書籍高於許多,某種程度對普遍消費者來說是攝影書是「非必需品」,有些絕版古本價格更是高的驚人。

舉個例子:通常第一次來店裡的客人,大部分都會從獨立出版的小zine,開本小的書開始翻閱 ,即便我一開始就會說,書都可以拿起來看沒關係。大家對於尺寸開本越大,越精裝越設計感 的書,都會有點不好意思翻閱(這種現象驗年輕客群上更為顯著)。所以怎樣縮短書和客人之 間距離這就是目圍主推的「內閱制」。從導覽和客人交流中,讓客人理解為什麼攝影書籍會高於文字類書籍,讓他們明白攝影書價值為何而來,傳遞觀念,與其說錢很現實很重要,但如果在觀念和推廣上就能拉近距離,我想我們心裏會稍稍輕鬆一些些。

OBSCURA:​但是線上買書已經很便利了,甚至也會提供線上試閱。針對購買、試閱攝影書這個行為 ,逛實體店面有什麼不一樣的體驗呢?

雙面膠:​可能我個人還是偏好去觸摸紙材,看完整本攝影書才能更了解影像的脈絡,創作者真正要表達,包括為何會選用這款紙材,而非另一款紙材。書籍的尺寸和裝幀呈現的方式(我發 現大多數人通常都不太會去看,尺寸和頁數這些資訊),還有網路購書通常只能看到約5-10張精選照片,大多是出版社官方的照片,這就像買唱片,聽到都是主打的那幾首歌,買回來發 現整張專輯,喜歡的比例並不高。

OBSCURA:​有點無禮,但還是想繼續問一下,我覺得除了實體店衰落,好像攝影這門藝術也是,在人人一支智慧型手機的世代,攝影門檻變低了,人們也沒有以前般珍視攝影,你對於攝影普及化有什麼看法呢?

雙面膠:其實我對於攝影媒材的使用一直採很開放式的態度,包括我現在在大學教授攝影課程 ,大多數學生並沒有相機(底片/數位),用手機拍攝的比例蠻的高。而手機攝影的普及科技 的進步,為攝影的呈現方式多了一種「新的選項」,我自己是蠻樂觀看待。未來或許也會更新的東西出現這誰也無法預料的。宏觀的來看待這件事,攝影對我來說並不是底片數位手機等的問題,它對我來說是「思想」的問題,我們不該被媒材所侷限住我們的創作方式,甚至交錯使用都不是問題。

Taking a macro perspective, photography to me is not merely about smartphones or film and digital cameras; it is actually a “way of thinking.”

OBSCURA: ​Hello Shuang Mien Chiao. My first question for you is, “Why did you establish the “read-in” system in Orbital Books?

Shuang Mien Chiao: Photography books are way more expensive than normal books, and the prices for some of those out-of-print editions are beyond imagination. To a certain extent, these books are not a “necessity” to general customers.

For example, most of the customers who come to our bookshop for the very first time would start flipping through prints in smaller sizes, like the independently-published zines. Even if I welcome them with “feel free to look at everything” when they first step inside the shop, they still feel a little embarrassed to pick up books in larger size, or in hardback (this is particularly common among younger customers). Therefore, how to pull the books and the customers together has become one of our highest priorities, and the “read-in” system was established for that purpose. We give tours to our customers and communicate with them to ensure they understand why and how photography books are more valuable than normal books. It’s an exchange of ideas. Instead of putting money first, we are more content to pull books and customers together mentally or physically.

OBSCURA: ​It is now very convenient to buy books online, and there are even free previews and excerpts to read before you buy. In that aspect, what are the differences in experience between doing everything online and visiting a physical bookshop?

Shuang Mien Chiao: Personally, I prefer to touch and feel the paper. Only by reading the entire photography book, which includes the often carefully selected choice of paper, the size of the book, and the method of binding, can I really understand the stories behind those images and what the artist wants to express. (I find that most people would not bother with information such as the book size and number of pages.) For online shopping, you can only see about five to ten selected images which are usually the official images selected by the publisher. It is similar to buying a record; you only get to listen to the main hits, but when you actually get the record, you might not like the entire album.

OBSCURA: ​It might sound a bit disrespectful, but I think that apart from bricks and mortar, the photography profession is also disappearing. In an era where everyone has a smartphone, photography became easily accessible and people take it less seriously than before. How do you feel about the popularization of photography?

Shuang Mien Chiao: Actually, I have a very open attitude towards the use of photographic media. I am currently teaching photography at a university and many of my students do not have a camera, whether film or digital, and therefore use their smartphones. The popularization of smartphone photography and the advancement in technology provide a new option to the presentation of photography itself. I am quite optimistic about the future and the changes it will bring to photography as a medium. Nothing is predictable. Taking a macro perspective, photography to me is not merely about smartphones or film and digital cameras; it is actually a “way of thinking.” Our creative mind shouldn’t be restrained by photographic media. It doesn’t even matter if one chooses to use multiple forms of media at the same time.

/ 我想某種程度我對方型矩型的物件有迷戀(?)一直以來我就很愛買CD黑膠攝影書。/

OBSCURA:​可以介紹一下你的個人背景嗎?開店前的你從事什麼?

雙面膠:我唸的科系是會計,一畢業從事了會計工作近10年。從事會計期間因為身旁都是些 玩搖滾樂的朋友,當時下班就去幫朋友拍攝樂團表演照片進而接觸到攝影,後來轉向攝影創作 ,獨立接案,到現在經營攝影書店。小時候我並不喜歡看書,連漫畫也不看的那種。學生時期 因為開始聽搖滾樂,所以會買進口的搖滾樂雜誌(Q Magazine)或是一些我喜歡的視覺雜誌(The Face/i-D),拍照後就收集攝影集,我想某種程度我對方型矩型的物件有迷戀(?) 一直以來我就很愛買CD黑膠攝影書。

OBSCURA:你最喜歡哪些攝影師?

雙面膠:​喜歡的攝影師真的是蠻多的,舉例像Robert Mapplethorpe、Daine Arbus、Joel Peter Witkin、Nan Goldin我都蠻喜歡的。其實對於攝影師的喜好,有時候吸引我的是攝影家 的精神,應該說攝影家的人格魅力和性格特質。這點總是很讓我著迷。說一下Daine Arbus好 了,我非常喜歡她說的一句話:「你無法脫離自己的皮膚,進入他人的身軀,別人的悲劇永遠 不可能成為你的。 」這句話跟我自己的一套系列作品「那些被扒光的陰性美麗。」所想要傳 達的概念有些接近。人真的無法做到完全100%的去感同身受另一個人所經歷的苦難。

I think I have an obsession with things that are in rectangular or square shape (?) I love to buy CDs, vinyl, and, obviously, photography books.

OBSCURA: Could you tell us about your background? What did you do before opening the bookshop?

Shuang Mien Chiao: I have a major in accounting, and I worked in the accounting field for nearly ten years upon graduation. At that time, I was surrounded by friends who were into rock music. I would go take photos of their shows after work, and this is how I came into contact with photography. Later on, I started taking up shooting projects, and eventually turned into a photography professional. I am now running a photography bookshop. I didn’t like to read when I was young, not even comic books. But I started to buy imported rock music magazines (Q Magazine) and some others on visual and graphic design (The Face / iD) when I began to listen to rock music as a student. I only put my hands on photography books after I started taking pictures. I think I have an obsession with things that are in rectangular or square shape (?) I love to buy CDs, vinyl, and, obviously, photography books.

OBSCURA: Who is your favourite photographer?

Shuang Mien Chiao: ​I like a lot of photographers. For example, Robert Mapplethorpe, Daine Arbus, Joel Peter Witkin, Nan Goldin. In fact, somehow I am more attracted to the photographers’ spirit, or I should say, I am fascinated by their personal charm and unique characteristics. For example, I really like this quote from Daine Arbus: “it’s impossible to get out of your skin into somebody else’s…. That somebody else’s tragedy is not the same as your own.” Her words echo my work stripped: the feminine beauty in a way that we both realize we can never fully and completely understand the pain and suffering of another person.

OBSCURA:今天你會為我們推薦店內的那一本書呢?也講一下,在書海中獨獨挑出這一本的理由嗎?

雙面膠:​英國的Richard Billingham出生於1970年,是一位對視覺藝術非常瞭解精髓的藝術 家。《Ray’s A Laugh》雷的一個微笑系列1996,是Richard Billingham多年來拍攝他的家 人。長期酗酒的父親Ray和滿身刺青的母親Liz。照片中表現出家庭貧窮與匱乏是Richard Billingham長大的寫照,但也因此造就這個家庭攝影專題。

這系列中著名的一張照片就是Ray在被貓咪惹毛,一氣之下將貓丟到空中,這照片有隨手抓 拍的感覺,還多了一點被驚嚇的急迫感,就像是一場意外。一小束陽光照亮場景帶來的明亮 感和凌亂,和感覺略帶霉味的屋子格格不入,而各色混雜的家具則成了搭配貓咪飛在半空中的 屏幕,照片整體看起來卻有一股莫名的協調。

Richard Billingham的作品中明顯透露出「性情急躁的顏色」和「不精準的對焦」,我覺得反 而替這系列照片的增加了真實性和坦率。因為我自己非常喜歡看紀錄片,真實感的影像。所以 這本書才會讓我這麼的著迷。

OBSCURA: Which book from your shop would you recommend? Also tell us why you would pick it out of the numerous books you have.

Shuang Mien Chiao: ​Richard Billingham is an English photographer and visual artist who was born in 1970. His work Ray’s a Laugh (1996) is a collection of family portraits that offers an intimate look into his poverty-stricken upbringing in his parental home shared with his alcoholic father, Ray, and tattooed mother, Liz.

One of the most famous images in this series is the one that captures the moment Ray furiously threw a cat into the air. The image is like an accident. A spontaneous snap with a sense of shock.

An awkward beam of sunlight lights up the messy and moldy household, and the furniture of various colors really set the stage for the flying cat. There is an inexplicable sense of harmony in the image. Richard Billingham’s work clearly demonstrates the “colors of impatience” and “inaccurate focus.” I think these all contributed to the authenticity and honesty of the series. I really enjoy watching documentaries because the realistic portrayal fascinates me. I guess that’s why I like Ray’s a Laugh so much.

Image courtesy of Richard Billingham: Ray’s a Laugh: Books on Books No.18


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