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<strong>MONDAY</strong><br />

<strong>ARTPOST</strong><br />

<strong>0320</strong>-<strong>2023</strong><br />

ISSN1918-6991<br />

<strong>MONDAY</strong><strong>ARTPOST</strong>.COM<br />

Columns by Artists and Writers<br />

Bob Black / bq / Fiona Smyth / Gary<br />

Michael Dault / Holly Lee/ Kai Chan<br />

/ Kamelia Pezeshki / Lee Ka-sing /<br />

Shelley Savor / Tamara Chatterjee /<br />

Wilson Tsang / + Father, camera,<br />

postcard, and others (Lee Ka-sing)<br />

<strong>MONDAY</strong> <strong>ARTPOST</strong> published on Mondays. Columns by Artists and Writers. All Right Reserved. Published since 2002.<br />

An Ocean and Pounds publication. ISSN 1918-6991. email to: mail@oceanpounds.com


Reality Irreality Augmented Reality<br />

http://books.oceanpounds.com/2022/10/rar.html<br />

The Book The Reader The Keeper<br />

https://books.oceanpounds.com/2022/09/dd202208.html<br />

Windmills Fields and Marina<br />

http://books.oceanpounds.com/2022/07/wmf.html<br />

Island Peninsula Cape<br />

http://books.oceanpounds.com/2022/05/blog-post.html<br />

The Fence the Garden the Connoisseur<br />

https://books.oceanpounds.com/2022/05/dd202205.html<br />

Hana Picnic Stones<br />

https://books.oceanpounds.com/2022/04/dd202204.html<br />

Terrain Little Red Riding Hood Rosetta<br />

https://books.oceanpounds.com/2022/03/dd202203.htm<br />

Donkey camera and auld lang syne<br />

https://books.oceanpounds.com/2022/02/dd202202.html<br />

City Mirage Snow<br />

http://books.oceanpounds.com/2022/12/cms.html<br />

The Fountain the Shop the Rhythmic Train<br />

https://books.oceanpounds.com/2022/01/dd202201.html<br />

The Painter The Photographer The Alchemist<br />

http://books.oceanpounds.com/2022/12/ppa.html<br />

The galloping jelly pink horse with pea green<br />

spots<br />

http://books.oceanpounds.com/2022/10/phgs.html<br />

hong kong walk on / DOUBLE DOUBLE December edition 2022/ anothermountainman

Holly Lee<br />

Nine-Years (2020)<br />

https://books.oceanpounds.com/2020/02/ny.html<br />

Istanbul Postcards (2021)<br />

https://books.oceanpounds.com/2021/07/ip.html<br />

Six Poems (2022)<br />

https://books.oceanpounds.com/2022/11/6p.html<br />

The Air is like a Butterfly (2021)<br />

https://books.oceanpounds.com/2021/07/tab.html<br />

Gary Michael Dault<br />

DOUBLE DOUBLE Box in a Valise a closecropped<br />

(2020)<br />

https://books.oceanpounds.com/2020/05/ddb-cc.html<br />

DOUBLE DOUBLE Box in a Valise on-site<br />

(2020)<br />

https://books.oceanpounds.com/2020/05/ddb-os.html<br />

Kai Chan<br />

Twenty Twenty An exhibition by Kai Chan<br />

https://books.oceanpounds.com/2021/09/tt.html<br />

2K 4.0 (Kai Chan + Lee Ka-sing)<br />

https://books.oceanpounds.com/2022/10/2k40.html<br />

Still Life Still A Book of Vessels (2022)<br />

https://books.oceanpounds.com/2022/09/bv.html<br />

The Book of The Poem (2022)<br />

https://books.oceanpounds.com/2022/08/bp.html<br />

The Nearby Faraway Small Paintings on<br />

Cardboard (2022)<br />

https://books.oceanpounds.com/2022/09/small-paintings-on-cardboard.html<br />

Time Machine (2021) photographs by Lee<br />

Ka-sing, Haiku by Gary Michael Dault<br />

https://books.oceanpounds.com/2021/12/tm.html<br />

Swan House (2021)<br />

https://books.oceanpounds.com/2022/12/swanhouse.html<br />

Istanbul Postcards (2021) / Holly Lee

Calendar Beauty Vintage Calendar posters<br />

from China<br />

https://books.oceanpounds.com/2020/03/cb.html<br />

Libby Hague<br />

Libby Hague Watercolours<br />

https://books.oceanpounds.com/2022/11/lhw.html<br />

Tomio Nitto<br />

The Diary of Wonders<br />

https://books.oceanpounds.com/2021/10/dw.html<br />

Fiona Smyth<br />

CHEEZ 456<br />

https://books.oceanpounds.com/2022/05/c456.html<br />

Shelley Savor<br />

Mushrooms and Clouds but no Mushroom<br />

Clouds<br />

https://books.oceanpounds.com/2022/09/mcmc.html<br />

CHEEZ 456 / Fiona Smyth

Lee Ka-sing<br />

CODA (2020)<br />

https://books.oceanpounds.com/2022/12/coda.html<br />

Diary of a Sunflower, Book Two (2022)<br />

https://books.oceanpounds.com/2022/12/ds.html<br />

Eighty Two Photographs (2021)<br />

https://books.oceanpounds.com/2021/10/82p.html<br />

Time Machine (2021)<br />

https://books.oceanpounds.com/2021/12/tm.html<br />

Songs from the Acid-free Paper Box (2022)<br />

https://books.oceanpounds.com/2022/10/sa.html<br />

Songs from the Acid-free Paper Box<br />

Museum edition (2022)<br />

https://books.oceanpounds.com/2022/10/sab.html<br />

“That Afternoon” on Mubi, a dialogue: Tsai<br />

Ming Liang and Lee Kang-Sheng (2022)<br />

https://books.oceanpounds.com/2022/11/ta.html<br />

The Travelogue of a Bitter Melon (2022)<br />

https://books.oceanpounds.com/2022/11/tbm.html<br />

Swan House (2021)<br />

https://books.oceanpounds.com/2022/12/swanhouse.html<br />

“Journeys of Leung Ping Kwan” (<strong>2023</strong>)<br />

http://books.oceanpounds.com/<strong>2023</strong>/01/pk.html<br />

CODA / Lee Ka-sing

<strong>ARTPOST</strong> contributors<br />

Cem Turgay lives and works as a photographer in<br />

Turkey.<br />

Fiona Smyth is a painter, illustrator, cartoonist and<br />

instructor in OCAD University's Illustration Program.<br />

For more than three decades, Smyth has made a name<br />

for herself in the local Toronto comic scene as well as<br />

internationally.<br />

http://fiona-smyth.blogspot.com<br />

art-give-away.<br />

This is a program for <strong>MONDAY</strong> <strong>ARTPOST</strong> readers and PATREON members. Every week, we will offer one piece of<br />

work (exhibition print, work print, test print) from the file of our previous Gallery, Studio, Print Program. You only have<br />

to pay a small flat fee for shipping and handling (US$18.00). Each lot is one-off. Delivery will be via mail system only<br />

(anywhere). More about this program - https://oceanpounds.com/pages/takeme<br />

Gary Michael Dault lives in Canada and is noted for<br />

his art critics and writings. He paints and writes poetry<br />

extensively. In 2022, OCEAN POUNDS published two<br />

of his art notebooks in facsimile editions.<br />

Holly Lee lives in Toronto, where she continues to<br />

produce visual and literal work.<br />

en.wikipedia.org/wiki/Holly_Lee<br />

Kai Chan immigrated to Canada from Hong Kong in<br />

the sixties. He’s a notable multi-disciplinary artist who<br />

has exhibited widely in Canada and abroad.<br />

www.kaichan.art<br />

Kamelia Pezeshki is a photographer living in Toronto.<br />

She continues to use film and alternative processes to<br />

make photographs.<br />

www.kamelia-pezeshki.com<br />

Ken Lee is a poet and an architectural designer based<br />

in Toronto. He has been composing poetry in Chinese,<br />

and is only recently starting to experiment with writing<br />

English poetry under the pen name, “bq”.<br />

Lee Ka-sing, founder of OCEAN POUNDS, lives in<br />

Toronto. He writes with images, recent work mostly<br />

photographs in sequence, some of them were presented<br />

in the format of a book.<br />

www.leekasing.com<br />

Robert Black, born in California, is an award-winning<br />

poet and photographer currently based in Toronto.<br />

His work often deals with themes related to language,<br />

transformation, and disappearance.<br />

Shelley Savor lives in Toronto. She paints and draws<br />

with passion, focusing her theme on city life and urban<br />

living experiences.<br />

Tamara Chatterjee is a Toronto photographer who<br />

travels extensively to many parts of the world.<br />

Wilson Tsang is both a visual artist and a musician<br />

from Hong Kong. To date, he has published two art<br />

books for children and four indie music albums.<br />

Yam Lau, born in British Hong Kong, is an artist and<br />

writer based in Toronto; he is currently an Associate<br />

Professor at York University. Lau’s creative work<br />

explores new expressions and qualities of space,<br />

time and the image. He is represented by Christie<br />

Contemporary.<br />

(LOT <strong>2023</strong>-<strong>0320</strong>) 140mm x 190mm, archival inkjet print. Use this link to make payment at OCEAN POUNDS for<br />

the shipping and handling (US$18.00) https://oceanpounds.com/products/<strong>2023</strong>-<strong>0320</strong>

Poem a Week<br />

Gary Michael Dault<br />

After Raphael<br />

(specifically after Raphael’s “Portrait of a Lady with a<br />

Unicorn,” c.1505-6. Galleria Borghese, Rome)<br />

The lady holds a unicorn<br />

in the crook of her milky arm<br />

the unicorn is tiny<br />

green like an onion<br />

its horn a delicate twist of bone<br />

Nestled thus, corkscrew horn in air,<br />

the baby unicorn is warm as bread<br />

and free to remember meadows<br />

blooming with the Fleur-de-lye<br />

While for her part<br />

the lady, mistress of the momentary,<br />

is free to sense the draft of dreams<br />

beneath the keel of her decorous afternoon

Travelling Palm<br />

Snapshots<br />

Tamara Chatterjee<br />

India (December, 2016) – We walked the<br />

winding langur lined path towards “the most<br />

haunted site in India”. At Bhangarh; the<br />

scariest part for me was the battle cry of a<br />

hangry langur, swatting at me for getting too<br />

close without providing her just rewards.<br />

Symbolic of Hanuman or not, the ghastly<br />

beasts were better left to look at from afar.

Open/Endedness<br />

bq 不 清<br />

鐘 擺<br />


被 刻 意 放 逐 的 人 造 衛 星<br />

再 找 不 到 土 地 了<br />

而 世 上 最 平 庸 的 黃 花 卻 依 舊 遍 佈<br />

郊 外 地 區 , 於 你<br />

The satellite, to be exiled by design,<br />

Won’t seek land again.<br />

And the world’s most common yellow flowers however still spread<br />

Across the rural landscape, turning into<br />

開 門 的 時 候 化 作 有 色 的 風<br />

因 為 你 真 誠 相 信 我 們 已 經 抵 達<br />

新 的 時 代 ; 因 為 你<br />

已 無 法 集 中 精 神 , 以 潛 入<br />

Coloured breeze when you open the door.<br />

For you truly believe we have arrived<br />

At a new era; for you<br />

Lack the focus, to sneak into<br />

相 同 的 夢 境 , 睡 眠 失 去<br />

其 時 間 性 而 我 們 所 得 到 的<br />

報 酬 是 這 個 能 夠 重 新 做 人 的 機 會<br />

圓 形 被 重 新 繪 畫 出 來<br />

The same dream. Sleep loses<br />

Its timeliness and our<br />

Compensation is the opportunity to start anew.<br />

After a circle is redrawn<br />

之 後 這 個 世 界 有 了<br />

月 亮 、 樹 的 年 輪 、 露 珠<br />

還 有 瞳 孔 , 以 及 其<br />

從 內 而 外 的 花 花 世 界<br />

The world gains a<br />

Moon, tree rings, dewdrops,<br />

And pupils, as well as their<br />

Inside-out flowery worlds of temptations.

https://oceanpounds.com<br />

New Look. More Content<br />

Diptych Diary photograph at OCEAN POUNDS.<br />

updated few times a week

Caffeine Reveries<br />

Shelley Savor<br />

Orange Sky Guardian


Holly Lee<br />

Noh. The Oldest Surviving Form of Theater (8:47)<br />

https://www.theatlantic.com/video/index/577531/noh-japanese/<br />

Noh play “SUMIDAGAWA” -Sound of prayer cradled in sorrow- (3:26)<br />

https://www.youtube.com/watch?v=sNEMultObkY&list=RDsNEMultObkY<br />

Creative masks by Shuko Nakamura<br />


From the Notebooks<br />

(2010-<strong>2023</strong>)<br />

Gary Michael Dault<br />

From the Notebooks, 2010-<strong>2023</strong><br />

Number 170: Mountain Hotel (for Vladimir Nabokov), April 30, 2019.


Wilson Tsang<br />

Into the Garden

CHEEZ<br />

Fiona Smyth

Greenwood<br />

Kai Chan<br />

Study<br />

wood, wire, acrylic paint

Leaving Taichung<br />

Station<br />

Bob Black<br />

How We Imagine Ourselves, anew<br />

“…because silence and ash are straight paths…”--Mircea Cartarescu<br />

Through mirrors and ink<br />

flat muscled and honey tint<br />

the long tide in his eye, a silver hush-hush in her ear<br />

a loom secreting a torn thread shuttlecocked between<br />

toe and toe and tongue to tongue<br />

the food fingered in scoops<br />

their hearts light as grass,<br />

light lanterned and incontestable, their lives passed<br />

the flight around your mouth, a cosmos<br />

the memoir along your spine, a tributary<br />

how we imagined ourselves, renewed<br />

the expanse of syntax and its salvaging dredged up from the muck<br />

to shape the unshakeable silence<br />

death reveals itself in the hood of its shadow<br />

pilgrims penitent in their searching, we<br />

the lent light of the loss of things, voiceless

somnambulant lives, the threading that came before the palimpsest<br />

memory epigenetic in the family tree’s notebook<br />

the digging spirited them, forward<br />

gossamer in their limbs, scribbled in the searching<br />

the grief forever in the gaps bearing the frocks, underneath your heart unfurled<br />

brief how we imagine ourselves, anew<br />

illuminated in a draw a parchment and a name<br />

between the home and the hive<br />

the prosperity and the diminishing<br />

on the back of the wall the graffiti we drew from a forlorn lipstick canister<br />

remember<br />

when a single word was washed in rye<br />

charnels above and the constellation of erased notes, below<br />

the grammar and the forgetting and the kisses on the interstate<br />

the dew on the windshield in the April morning traced by her finger<br />

once our lives’ soiled with a single knuckle and a swipe, gone<br />

love letters leaned into the long distance lingering between our lips<br />

language swept up from the gutter and cornered behind the barbed wire<br />

awakened, the lanterns pressed hard against the children’s chests<br />

one day your illusions walked out the door and breath arrested, at 90 bpm<br />

the murmur in the garden dug up with a rusty green spanner<br />

the dress hung up in the kudzu by wind and wire<br />

lives kited far, away ran our love in the stone bed of the field<br />

you two held one another in the rising flood waters as a roof ran past burbling<br />

in the night you drew an amphitheater of tin rhyme and reason in the moonlight<br />

the rivers collapsed the beaver damns<br />

alluvial soil moved in the darkness under a stagnant moon<br />

your stories and hearts rang out like a chartreuse glass jar sharded under boot<br />

beneath our feet, the tide turned dark and life barked white<br />

and we turned toward Calypso<br />

generations met over grave and gravel, our blocks of named stone<br />

he turned east and she appeared west in the ebbing light<br />

they penciled the book of love from the alphabet of affliction and cartilage<br />

along the red clay road bird song ran<br />

silence lead to the path in the woods,<br />

memory bloomed as ash and the dust touched milkweed<br />

life altered the somber river, you the gateway ringing.<br />

For: Jack Burman, a friend and extraordinary artist

ARCHIVE.leekasing.com<br />

我 想 寫 一 個 沒 有 標 點 符 號 的 編 年 話 本 , 你 踏 進 來 的 時 候 也 許 剛 才 正 是 一 個 章 回 的 段 落<br />

a vertical story and the cross section<br />

(above) Father holding a movie camera (circa 50s). Postcard over-printed with poem fragment.<br />

(opposite page) Father taking a photo for the annual report cover, SINCERE Department Store (1980)

Father, camera,<br />

postcard, and others<br />

Lee Ka-sing


[Father holding a movie camera (circa 50s). Postcard over-printed<br />

with poem fragment.]<br />

In her fiction “The Fountain” (DOUBLE DOUBLE, January edition 2022),<br />

Holly embedded this postcard as part of the story on relationship, and she<br />

made a brief translation of this poem fragment-<br />

My father is a photographer<br />

He likes to catch a big half of a river<br />

at an instance<br />

upon which<br />

the walls of our house<br />

hung many streams<br />

that move, and don’t seem to move


[Father taking a photo for the annual report cover, SINCERE<br />

Department Store (1980)]<br />

Father was taking a photograph for SINCERE for their annual report cover.<br />

It was the 80th anniversary of SINCERE, the first Chinese department store<br />

in Hong Kong, founded in 1900.<br />

Staff from both the Hong Kong and Kowloon branches were requested to<br />

stand-in for this photograph, to form the big shape of an “80” sign. In this<br />

shooting section, I was being an assistant to my father, mainly, taking some<br />

back-up shots with a medium format camera, in case something unexpected<br />

happened.<br />

In 2011, I wrote in my blog about this picture, and also, on other occasions I<br />

assisted my father.<br />

( 香 港 點 註 腳 集 ) 自 從 開 始 了 自 己 攝 影 業 務 之 後 已 很 少 有 當 父 親 的 助<br />

手 了 , 想 來 只 得 三 數 回 。 先 施 公 司 於 1900 年 開 業 ,80 週 年 的 時 候 父 親<br />

替 他 們 拍 攝 公 司 年 報 封 面 。 香 港 九 龍 先 施 的 所 有 職 員 齊 集 在 香 港 木 球<br />

場 , 大 家 組 成 80 字 型 拍 一 個 合 體 照 。 馬 氏 的 董 事 站 在 最 前 排 。 父 親 當<br />

時 用 的 LINHOF 4x5 大 片 幅 照 相 機 如 今 已 歸 我 廄 中 所 有 , 當 然 也 包 括<br />

了 如 APO-LANTHAR 及 150mm XENOTAR 2.8 等 中 古 名 鏡 好 物 。 我 負<br />

責 的 是 在 他 右 方 用 HASSELBLAD 中 片 幅 機 同 時 進 行 幾 下 轉 軟 片 按 快

門 等 動 作 , 這 只 不 過 是 為 主 機 假 若 有 甚 麼 閃 失 時 所 作 的 一 項 保 險 耳 。<br />

我 替 父 親 當 助 手 最 清 晰 而 又 矇 糊 的 記 憶 應 該 是 在 六 十 年 代 , 當 時 還 是<br />

一 名 小 學 生 。 有 一 段 時 間 幾 乎 每 天 都 要 往 荷 李 活 道 一 帶 拍 攝 古 董 。 有<br />

時 從 一 個 店 子 到 另 一 個 店 子 , 我 負 責 的 不 過 是 提 拿 裝 著 三 腳 架 袋 子 而<br />

已 , 有 時 也 會 負 責 那 個 較 重 的 革 皮 見 方 包 子 , 包 子 裡 面 便 是 前 面 提 到<br />

的 LINHOF 以 及 其 他 測 光 錶 , 膠 卷 , 中 片 幅 轉 換 匣 等 小 物 。 古 董 店 主<br />

人 與 父 親 的 關 係 也 變 得 如 客 戶 如 友 的 混 雜 。 要 是 父 親 當 時 鍾 情 於 文<br />

字 , 他 大 可 寫 一 本 像 樣 的 好 物 過 眼 錄 。 那 時 候 我 對 古 物 與 攝 影 兩 者 都<br />

沒 有 產 生 感 情 , 不 過 下 意 識 裡 被 植 入 了 甚 麼 抽 象 煙 塵 , 還 是 後 來 才 想<br />

出 來 的 事 。 人 也 逃 不 出 他 過 往 吸 過 的 空 氣 , 今 天 吃 的 食 物 的 別 緻 基 因<br />

也 令 他 將 來 與 前 人 大 異 其 趣 。 當 我 與 黃 楚 喬 的 業 務 稍 上 軌 道 的 時 候 ,<br />

父 親 已 開 始 淡 出 攝 影 漸 漸 退 休 了 。 另 一 回 我 還 能 記 起 替 他 充 當 助 手 的<br />

是 拍 攝 合 和 中 心 。 我 們 要 從 港 島 山 腰 下 望 落 成 不 久 的 合 和 中 心 , 一 幢<br />

60 多 層 的 建 築 物 。 照 片 也 要 有 它 周 邊 環 境 , 不 然 英 雄 從 空 間 孤 立 下 來<br />

也 不 外 是 一 塊 平 面 的 三 合 土 。 這 回 拍 攝 卻 用 了 我 的 SINAR 8x10 大 片 幅<br />

機 , 我 掌 機 。 在 一 張 8x10 吋 的 底 片 ,180mm 鏡 頭 剛 好 盡 用 了 它 所 能 及<br />

的 涵 蓋 面 。 我 們 選 了 一 天 只 有 十 來 分 鐘 的 「 魔 幻 時 刻 」 傍 晚 時 分 。 拍<br />

攝 是 用 來 放 成 一 張 巨 大 的 照 片 罝 於 某 董 事 的 辦 公 室 內 。 主 角 不 說 了 ,<br />

照 片 放 大 起 來 後 , 前 排 那 幾 座 建 築 物 室 內 卻 明 亮 通 透 , 飯 桌 沙 發 人 物<br />

耍 樂 清 晰 得 足 以 款 款 敘 事 。 當 時 對 於 當 代 藝 術 的 認 識 還 是 矇 糊 。 要 不<br />

然 , 那 些 關 於 照 片 與 被 攝 物 比 例 還 原 思 考 , 超 寫 實 極 致 描 寫 , 或 私 生<br />

活 內 外 張 望 等 等 問 題 , 一 定 會 成 為 工 餘 的 附 屬 物 。<br />

( 李 家 昇 交 換 眼 神 筆 記 , 2011)


LINHOF Super Technika IV<br />

The camera, father used for the SINCERE assignment, was a 4x5 LINHOF<br />

Super Technika IV. After he retired, I inherited the camera. In the DOUBLE<br />

DOUBLE February 2022 issue, I wrote about this camera. The original<br />

piece was written in Chinese, somehow there is a brief translation in<br />

English-<br />

From the early 60s to 90s, this might be the camera my father worked with<br />

most. I came back to live in Hong Kong in 1962, just as he started to set<br />

up his photography business. One evening, I saw him fiddling with this<br />

camera like a boy in front of a box of candy toys. I knew afterwards; the<br />

camera was given to him as a gift by his client, who noticed the inadequacy<br />

in his equipment. The client, who owned a large printing company, was a<br />

supportive friend. The camera was originally used by the company’s staff to<br />

take landscape photo-stocks for calendars, but is seldom in use anymore.<br />

Father bought his client friend a Rolleiflex in return.<br />

My father is a practical man. After he retired, he thought about selling off<br />

the LINHOF, for the sake of cleaning up the home space. I thought he wasn’t<br />

ready to devote an area for his long and compact memory trail. Why don’t<br />

you give it to me I said. And there you go - this LINHOF, with all its seven<br />

lenses, belongs to me now.<br />

My profession’s direction differs from my father’s, even though we were on<br />

the same boat - I mean photography. And also, we started at different points<br />

of time, despite using cameras from small to large formats, our equipment<br />

was not the same. I used SINAR for studio work. Actually, I already owned

three sets of SINAR, and all can be disassembled and recombined to<br />

perform under a modular system. I used the LINHOF once on assignment for<br />

a company’s brochure. That assignment needed black and white photographs<br />

taken with ultimate details, but the style had to look like hand-held candid<br />

shots. I used Apo-Lanthar, a very compact lens that came with the LINHOF,<br />

with an aperture full-opened. As my knowledge of lenses grew, I learnt that<br />

Apo-Lanthar was a very famous lens. It was manufactured with radioactive<br />

glass elements. Among the seven lenses that came with my father’s camera,<br />

two are big shots.<br />

We were in Peng Chau for a couple of years before leaving Hong Kong. On<br />

the island, I photographed with LINHOF for some personal work, though not<br />

much. Those transitional ten years were busy and crazy. As a matter of fact,<br />

some of my better-known photographs were embedded with materials taken<br />

with the LINHOF, only that they are not mentioned and scarcely detectable.<br />

從 60 年 代 初 到 90 年 代 , 這 具 應 該 是 父 親 使 用 得 最 多 的 照 相 機 。1962 年<br />

我 回 到 香 港 不 久 , 有 天 晚 上 看 到 父 親 在 桌 上 把 弄 著 這 具 照 相 機 如 糖<br />

心 玩 物 , 後 來 才 知 悉 , 此 物 是 印 刷 公 司 客 戶 送 他 的 。 父 親 自 立 職 戶<br />

不 久 , 客 戶 見 他 工 具 不 稱 , 便 以 公 司 閒 著 不 用 之 器 相 送 。 後 來 父 親<br />

買 了 一 枚 Rolleiflex 回 贈 。 父 親 倒 也 是 一 個 實 際 之 人 , 他 退 休 後 一 念 把<br />

此 物 賣 掉 , 獃 在 家 中 落 得 一 個 不 輕 鬆 。 我 說 你 就 給 了 我 吧 , 於 是 這 具<br />

Linhof 便 屬 我 所 有 , 連 同 七 管 鏡 。 我 與 父 親 工 作 方 向 不 同 , 也 起 點 於<br />

不 同 年 代 , 所 用 大 中 小 片 幅 照 相 機 相 異 。 大 片 幅 的 工 作 , 其 實 我 已 有<br />

三 台 Sinar, 並 且 可 以 互 相 組 合 使 用 。 這 具 Linhof 在 我 的 工 作 上 只 使 用<br />

過 一 回 , 有 次 要 拍 攝 一 份 公 司 形 象 冊 子 , 包 括 公 司 各 部 落 , 開 會 及 運<br />

作 。 黑 白 照 片 要 活 像 順 手 拈 來 , 又 要 兼 具 非 常 細 緻 描 寫 的 方 式 。 我 用<br />

了 隨 機 而 來 的 那 管 Apo-Lanthar, 所 有 照 片 光 圈 盡 開 。 隨 機 而 來 的 七<br />

管 鏡 物 , 其 中 兩 枚 份 屬 名 品 。 這 是 物 器 知 識 不 得 全 面 的 我 後 來 才 所 獲<br />

悉 。Apo-Lanthar 鏡 片 以 放 射 性 物 料 玻 璃 所 製 。 我 們 離 港 前 的 幾 年 居<br />

坪 洲 , 也 用 此 機 拍 過 一 點 非 工 作 使 用 的 照 片 , 但 是 不 多 , 那 轉 接 的 十<br />

年 間 要 忙 的 事 盡 是 。 話 雖 如 此 , 我 的 一 些 略 較 人 知 的 照 片 其 實 有 些 底<br />

本 材 料 是 以 此 具 Linhof 所 拍 , 只 是 不 為 人 們 所 察 而 已 。


Father pass away in Hong Kong, March 2022.<br />

I published a work in the April 2022 edition of DOUBLE DOUBLE,<br />

“Fragments on a Square Tabletop. Father in Toronto with us in 2019.”<br />

(eleven photographs) to memorize his last days with us.<br />

Father stayed with us for a whole year from 2018 to 2019. It was the third<br />

time he had stayed since we moved to Toronto. This time, we chat a lot.

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