炫光艷彩 - 不僅止於負片( Not Totally Negative)
策展人 鄭治桂
正片／負片 攝影
說得一口好國語的法國人卡佑民（Guillaume Cadilhac）要在台北開攝影展，他那充滿炫光豔彩的攝影，我總戲稱它為「攝影圖像」（photographic picture）。不僅僅是他「攝影」中的奇光炫彩，總讓人誤為豔彩「圖像」的製作，更因為，他飽含創意，其實並無負片的「負片攝影」，其「炫光艷彩 - 不僅止於負片（Not Totally Negative）」的效果與思維，已脫略攝影的分類和表現。

奇的是連專業攝影師和沖印專家，都還時常忽略他已經進行了超過10年的「攝影」作品中的「純攝影」成分。是的，他的攝影（photography），和傳統攝影的取材、曝光（exposure）、顯影（develop- ment）、沖印/印樣（print）流程，大致一貫。但是他的成像作品，在手機攝影尚未流行的10年前，常被認為是負片的放大（仿如以正片作底片的沖印），在人手一支手機自拍的今天，更是極容易被專業者「辨認」成是PS（photoshop）修圖的色彩圖像！令人驚異的是！他的攝影是不修片的！僅此一個「不修片」的堅持，就讓傳統攝影、現代軟體修圖術，和當代藝術評論的三不管地帶，形成一個令人驚伬的「誤讀區」！

卡佑民投入攝影，11年前他開始以數位相機的負片模式拍照，然後進展到手機的負片軟體攝影，到今日講究畫質的數位相機之負片模式攝製，一式三變。但他超過10年的「負片攝影」三階段，並不只是畫質的進展，而是比涵括修片程序的傳統攝影和當代普及的軟體修圖式術（連當今最嚴肅的攝影競賽都不能抗拒軟體修片的作品了），還要更嚴格地堅持「不修片」的攝製手法。就攝影而論， 這簡直是倒反攝影發展的奇譚！以今日藝術已無形式與媒材嚴格分類的標準衡之，更具獨特觀念與表現的當代性了！

Bright & Light - Not Totally Negative
Cheng Chih-Kuei

Positive / Negative Film Photography
French photographer Guillaume Cadilhac, who speaks fluent Chinese, is holding an exhibition in Taipei. I always teasingly call his works “photographic pictures” because people often mistake his photos with pictures. Moreover, Cadilhacʼs creative works such as the negative film photography “without” actually using negative film ̶ the concept for this exhibition “Bright & Light - Not Totally Negative” is a performance different from how photography is defined and categorized.

Even many professional photographers and photo printing professionals overlook the fact that Cadilhac has over 10 years of experience in photography. His photography style is indeed consistent with the traditional process in terms of themes, exposure, development, and printing. However, back when we canʼt use cellphones to take pictures, people often take his works as enlarged negative images (as in processing positive images as negative); as of now when everyone has a phone in hand, Cadilhacʼs works are even more likely to be mistaken by professionals as photoshopped images. The more surprising fact is, Cadil- hac never photoshops his photos! Consequently, due to his “no photoshop” principle, Cadilhacʼs works cannot be defined respectively by either traditional photography, picture editing, or modern art criticism.

Within his 11 years of photography experience, he has tried taking pictures on digital cam- eras and cellphones. Although there are a lot of changes in photography over the years, such as the advancement in camera quality, he strictly abides by his rule of “no photo- shop”, whereas photo editing has become indispensable even to serious photography con- tests. With his unique creating style, Cadilhac has formed his own originality.