當天漸暗，和漸亮的時候，好像是差不多的事啊。
眼前浸泡著的藍藍綠綠，在絨布下包裹著的一個世界，是物件與光的作用。沉靜得像時光凝結的、光與霧，是有什麼在發生卻停在某個時空，成為無法知曉的，顆顆在空氣裡慢速下墜的、呼吸。在自己的暗房裡沖的底片，以大片幅蛇腹相機Linhof Master Technika拍攝，用黑布蓋著，頭埋在裡面，只能在拍攝的瞬間放入底片，因此無法預知成像。這是攝影集《靜物畫》裡收錄的影像，以「土與光」為概念，最近在台北朋丁展出。
Don’t dusk and dawn sometimes appear the same?
Underneath the velvet-textured cover is another world in blue and green, a stage showing how tangible objects interact with light. It is in such solemn tranquility that time seems to have frozen. This is a realm where light and mist interact to form a complete unknown atmosphere that breathes at its own pace and sink unhurriedly. The photos were taken with the Linhof Master Technika folding camera and developed in the photographer’s private darkroom. With one’s head covered by a black cloth, the photographer can only insert the film at the precise moment when the shutter is triggered. As a result, the outcome is never predictable. Seibutsuga, meaning “still life” in Japanese, is the title of the photo book themed around the earth and the light. The works are currently exhibited in Pon Ding, Taipei.
由攝影家小野田陽一、陶藝家寺村光輔、設計師飛嶋由馬組成的Seibutsuga團隊，始於七年前小野田舉辦首個攝影展，由馬觀展後留下深刻印象，而小野田總是為寺村拍攝陶器，三人因此結緣。到寺村的個人網站，會看到也聽到工作室外的鳥鳴與流水、拉坯時、陶器燒好後放到桌子上的哐哐聲響，像聽著一首陶藝師的交響樂。這是當初由馬提議以做展覽的形式去構思，影像就由小野田來拍，後來反成為了攝影集與日本巡展的開端。
The story of the team Seibutsuga, which consists of photographer Yoichi Onoda, potter Kousuke Teramura, and designer Yuma Tobishima, started seven years ago in the debut photography exhibition of Yoichi Onoda. Tobishima was very impressed by the exhibition. He also got to know Teramura through Onoda, as he is the photographer for Teramura’s ceramics. On the official website of Kousuke Teramura, visitors can hear birds humming and water running outside of his studio. There is also the sound of Teramura shaping the clay with his pottery wheel and the sound of him placing the pottery on the table after the firing process. Different types of sound, together, form a beautiful symphony of pottery. This was the initial exhibition concept of Yuma Tobishima. Together with the photography by Onoda, the project has evolved into a photobook and an exhibition tour in Japan.
小野田：「其實我並沒有特意要調成藍色或綠色調，甚至希望避免一直用同一種樣貌呈現，但當我想調整成自己認為的最佳狀態時，卻常常無意識地將光度與色調調整成如此。」飛嶋由馬：「我腦海裡想像的其實是50、60年代的台灣，應該是受到電影《牯嶺街少年殺人事件》與《青梅竹馬》的影響吧！」在跟朋丁的訪談裡他們這樣聊到。
在約有90年歷史、融合西洋與日式風格、由遠藤新設計的加地邸裡。靜止的人與物，於風景跟前，就如畫一般。影像裡摸不著的時間，卻成了故事最迷人的想像。事情常常如此連著，在一瞥間滑過、在未知的哪時以後才明白了它來的意義。
“It wasn’t my intention to keep the tone in blue or green. In fact, my original idea was to avoid making monotonous photography. However, when doing the setup, I just unconsciously tuned the brightness and color tone to a similar presentation,” said Yoichi Onoda. “I imagined it to be Taiwan in the 50s to the 60s. I guess I was heavily influenced by the movies A Brighter Summer Day and Taipei Story,” explained Yuma Tobishima. The two shared their thoughts during an interview with the Pon Ding art gallery.
Built around 90 years ago, the house designed by Arata Endo is a blend of western and Japanese style. The static people and objects placed in front of the scenery appear just like paintings. In the images where time is irrelevant sit fascinating and enchanting stories. Temporary things may pass swiftly away without leaving much significance, but you can realize how they are all connected as time goes by.
