Foto di 樣品 | Scarica immagini royalty-free e in alta risoluzione

Foto di 樣品 | Scarica immagini royalty-free e in alta risoluzione https://www.cizucu.com/it/explore/photos/%E6%A8%A3%E5%93%81 it 2026-06-19T21:13:57+09:00 60 cizucu RSS Feed Generator © 2026 cizucu Inc. All rights reserved. it https://www.cizucu.com/assets/favicons/favicon.ico #080c4c <![CDATA[拍攝於展售我書法作品的咖啡店，而拍攝視角是從吧台看過去，剛好是作品「純愛」，也像是對攝影書法那樣。 | 阿彪]]> https://www.cizucu.com/it/photos/beFw9cOdYOuGxHXHZSCX 阿彪 https://www.cizucu.com/it/users/QwVtY4dDtqSYJx0jnudVDYRTTjB3 https://www.cizucu.com/it/photos/beFw9cOdYOuGxHXHZSCX Sat, 18 Apr 2026 18:17:46 GMT 2026-05-03T11:38:47+09:00 https://cdn.cizucu.com/images/photos/beFw9cOdYOuGxHXHZSCX.jpg?auto=format%2Ccompress&cs=srgb <![CDATA[在疫情期間總是窩在家的日子裡，還只有一歲的兒子喜歡探索抽屜裡每一樣物品，而光就落在他圓圓的、認真的臉頰上。 | 鄧伃]]> https://www.cizucu.com/it/photos/K7lmLbDcqPsxxM84zUVn 鄧伃 https://www.cizucu.com/it/users/51KvwDNmNfULj5pV0ca8d0Vvb3n1 https://www.cizucu.com/it/photos/K7lmLbDcqPsxxM84zUVn Thu, 23 Apr 2026 20:05:22 GMT 2026-04-23T20:05:40+09:00 https://cdn.cizucu.com/images/photos/K7lmLbDcqPsxxM84zUVn.jpg?auto=format%2Ccompress&cs=srgb <![CDATA[《現實逃避》有時候不是想離開世界，只是暫時找不到能待著的地方。我喜歡那些不穩定、像故障一樣的畫面。模糊、低光、失真、噪點，因為它們更接近情緒真正的樣子。這些作品像某種精神狀態的殘留，漂浮在現實與夢境之間。狹窄的空間、變形的視角、無法看清的臉，像一種長時間與世界失去連結後的漂流感。未來想挑戰的不只是單張攝影，而是把聲音、空間與影像混合，讓作品變成一個能短暫逃離現實的地方。 | 現實逃避]]> https://www.cizucu.com/it/photos/iz6FKafTW37ukEs1mAHY 現實逃避 https://www.cizucu.com/it/users/wEZWPTVawghXO6vwy7zRD4DwV003 https://www.cizucu.com/it/photos/iz6FKafTW37ukEs1mAHY Wed, 13 May 2026 21:01:21 GMT 2026-05-13T21:01:21+09:00 https://cdn.cizucu.com/images/photos/iz6FKafTW37ukEs1mAHY.jpg?auto=format%2Ccompress&cs=srgb <![CDATA[喜歡這張照片，當高山火車駛過日出時的沼平車站，從刻痕的玻璃車窗能夠看清楚阿里山的晨光時不時在各種物品上看到這種刮傷的痕跡。痕跡不等於傷痛，痕跡代表有好多好多故事從這裡經過，故事像冰河一樣帶走了表面的泥沙花草，留下不光滑不蓊鬱的面貌。雕刻成什麼形狀才算美麗？只知道刮傷的日子裡，得以經過的故事和你，張成一面溫和的網子，像太陽照進眼睛。 | Angu]]> https://www.cizucu.com/it/photos/pgzDWkQuy3LW0KpercBG Angu https://www.cizucu.com/it/users/M9fSXxmnMDWmyPZsSpDphgm9yw52 https://www.cizucu.com/it/photos/pgzDWkQuy3LW0KpercBG Wed, 08 Oct 2025 14:54:23 GMT 2026-05-03T21:29:38+09:00 https://cdn.cizucu.com/images/photos/pgzDWkQuy3LW0KpercBG.jpg?auto=format%2Ccompress&cs=srgb <![CDATA[第一次正式踏入商業攝影的世界，這張照片成為我的起點。當時，我還不懂得如何計算成本、不熟悉拍攝流程，只是憑著一股直覺與熱情，把腦海裡的幻想化成畫面。照片中的太空人，不僅是那次拍攝的商品模特，對我而言也是自我的投射。初次登陸未知星球的好奇與不安，正如我當時接案的心境。每一個步伐都像是在陌生的荒漠中探索，雖然不確定未來，但卻充滿渴望去發現更多、嘗試更多。這次合作，讓我開始練習「如何用影像說故事」。太空人不只是穿著白色服裝的人，而是探索未知的象徵；當商品不只是商品，而是包裹著陽光與能量的「地球禮物」。這樣的想像，讓我第一次真正理解攝影可以不只是紀錄，而是敘事、是表達、是旅程。因此，這張照片承載的不是單純的一次拍攝，而是一段啟程的記錄。它紀錄了我如何帶著夢想與不安，勇敢邁向未知，也象徵我想成為我想成為的攝影往前一步。 | Shawn]]> https://www.cizucu.com/it/photos/OzbyuoiI8YV8XJOzJ0Iv Shawn https://www.cizucu.com/it/users/15iWIIuAizNS7j4LAk2XgjhcXHd2 https://www.cizucu.com/it/photos/OzbyuoiI8YV8XJOzJ0Iv Thu, 02 Oct 2025 20:35:26 GMT 2026-01-18T03:44:36+09:00 https://cdn.cizucu.com/images/photos/OzbyuoiI8YV8XJOzJ0Iv.jpg?auto=format%2Ccompress&cs=srgb <![CDATA[角落裡的光影，這是去年北美館的一次展覽期間的展品，當時和小幫手一起去了臺北市立美術館特地為了《奧拉弗．埃利亞松：你的好奇旅程》而來。這場以光與影為題、關注全球暖化的展覽早已被各種 IG 短影音洗版。其中最吸睛的無疑是那間「單色房間」，也的確挺有意思但也同樣吸引了滿場人學網美照打卡光線與身影交疊，拍好拍滿。只是，在這麼強烈的視覺刺激中又有多少人停下腳步，去感受作品背後的意義？反倒是今天，真正抓住我目光的是另一個展區中不起眼的一角那是小幫手用她銳利的雙眼發現的寶藏！一只安靜佇立的小花瓶躲在展品與展品之間的縫隙裡。它是「靜物」特展的一部分一個以兒童互動為設計出發點的展區。可這個畫面卻讓我們瞬間停住了腳步！那一束豔黃的光從縫中照進來把花瓶與它微微傾斜的花枝勾勒成剪影彷彿在暗處被召喚的生命體靜靜地、不張揚地這光不是喧囂的是安靜的，是等待你發現的。比起主展區各種強烈炫目的裝置這一刻才真正提高了我的視覺張力甚至有點像是某種命運的比喻藏在世界縫隙裡的事物，反而最能讓人安靜地對話。如果能知道這些花的花語也許又會延伸出另一個意想不到的寓意吧？可惜我們對植物都一竅不通。 | 林家樑]]> https://www.cizucu.com/it/photos/4l5YrJT1sIDZTFO9yLPM 林家樑 https://www.cizucu.com/it/users/N4HnzsGuW6g5c70gBRcS9luHJIp1 https://www.cizucu.com/it/photos/4l5YrJT1sIDZTFO9yLPM Sat, 28 Mar 2026 22:44:14 GMT 2026-03-28T22:44:35+09:00 https://cdn.cizucu.com/images/photos/4l5YrJT1sIDZTFO9yLPM.jpg?auto=format%2Ccompress&cs=srgb <![CDATA[這件作品拍攝於嘉義老家村子舉行大型「建醮」祭典夜晚。在那樣一個神聖而熱鬧的時刻，空氣中瀰漫著香火與泥土交織的氣息，而我選擇從巷弄後方避開最喧囂的祭典中心，捕捉那一抹在黑夜中靜謐綻放的煙火。畫面中，一排排象徵祈福的紅燈籠延伸入巷，宛如一條指引遊子回家的路；火花在夜空中閃爍的殘影，則與街道上往來的人煙重疊，試圖在數位影像中重現記憶裡那種模糊、卻充滿溫度的質感。對我而言，這場煙火不只是絢爛的節慶活動，更是土地對神靈的承諾，以及深深刻在心中、關於家與守候的難忘餘韻。 | 黃庭]]> https://www.cizucu.com/it/photos/1D6L78GUtzH5mZB9dmYv 黃庭 https://www.cizucu.com/it/users/CXrbmHIlBjemoXivxvtLpSFfkfH2 https://www.cizucu.com/it/photos/1D6L78GUtzH5mZB9dmYv Sun, 01 Feb 2026 00:19:01 GMT 2026-02-01T00:19:28+09:00 https://cdn.cizucu.com/images/photos/1D6L78GUtzH5mZB9dmYv.jpg?auto=format%2Ccompress&cs=srgb <![CDATA[已上傳的圖像請幫我把以下文字轉換成可以給ppp攝影展的作品闡述：《當雨滴落下》大家好，今天來公告一個關於我的故事。是這樣的，我罹患了現代文明病：憂鬱症（以及躁鬱症）。 ____ 開始之前我想說明，我已經有持續追蹤病情4~5年了，中間曾經一度有好轉很多，今天就透過這副作品，來詮釋我大概的精神狀況及中樞。通常給各位看到的都是充滿色彩的照片，那是我病情反應之下我想努力活下去，帶給各位眼中的璀璨世界，那是我希望的。但同時我也想讓各位知道，我的病情一直都起起伏伏，畫面中呈現的常常是我多慮多想的精神中樞，像是被肢解靈魂抽離一般，負面、跩著心臟、祈求、哭泣，以及成千上萬顆被我吃過的睡眠藥物，還有我自身的慢性病（皮膚炎），一直困擾著我。在前年被無預警斷崖式分手後，我開始重新拾回自己的影子，企圖與黑暗面共存，但我想每份作品都是我想傳遞給各位的，「世界是如此的美麗」，這就是我從1/17號開始一路走來的創作之路。不知道各位在我的作品裡面看到了什麼，但無外乎，這是一次公告性，赤裸裸的坦言宣告！不用跟我說加油哦！因為我已足夠努力了，只是我依然還在奮鬥當中，請大家不令色包容。透過攝影之眼，我能夠詮釋的私攝影又是什麼，我非常期待，在其中找到解答。 #bnwsoul #bnwphotography #憂鬱症以下是轉換為較符合攝影展（PPP類型）語氣的「作品闡述」，我幫你保留原本的情感強度，但調整為更內斂、藝術化、可供評審閱讀的版本：《當雨滴落下》作品闡述本作以黑白影像與多重曝光的手法，探討自我意識與精神狀態之間的分裂與共存。畫面中重疊的身影，象徵著意識的延遲與撕裂，亦如同情緒在體內反覆震盪後所留下的殘影。創作源於長期與情緒障礙共處的經驗。影像中的姿態介於掙扎與靜止之間，試圖捕捉一種無法被言語完整描述的內在狀態——既是抽離，也是凝視；既是崩解，同時仍在維持存在。身體成為承載情緒的容器，而影像則是精神運作的外化。過去作品多以色彩構築觀看者眼中的明亮世界，那是一種對「活著」的主動回應；而本作則轉向更為內在的觀看，呈現情緒低谷時的感知樣態。畫面中的重影，如同思緒過度運轉後的殘留軌跡，也隱含著對自我、記憶與身體邊界的質疑。創作並非僅止於揭露痛苦，而是在反覆的凝視與紀錄之中，嘗試與自身的陰影共存。每一次按下快門，都是對「存在」的一次確認，也是對世界仍然保有感受能力的證明。雨滴落下之時，既是崩落，也是重生的開端。 | 黃亭綸]]> https://www.cizucu.com/it/photos/LAdurPPs8gYKUdfEVoC7 黃亭綸 https://www.cizucu.com/it/users/ulXntXmFCfOJ7Ru8kZMFHau3FK63 https://www.cizucu.com/it/photos/LAdurPPs8gYKUdfEVoC7 Sun, 12 Apr 2026 14:15:18 GMT 2026-04-12T14:15:33+09:00 https://cdn.cizucu.com/images/photos/LAdurPPs8gYKUdfEVoC7.jpg?auto=format%2Ccompress&cs=srgb <![CDATA[▏作品理念作品以阿公失智後的日常失序為出發點，拍攝那些荒謬、無奈，卻又真實存在於家庭照顧中的瞬間。失序的餅乾屑如同生活崩解後留下的痕跡，呈現疾病滲入日常後，家人之間混亂卻親密的關係。 ▏作品故事阿公失智之後，日常逐漸失序，變得不可控制。他會忘記事情、他會重複動作、他會重複詢問某件事，也會在某些瞬間製造出一種荒謬到令人發笑的場景。這張照片拍攝於某天阿公坐在沙發上吃餅乾的片刻。趁著家人們都各自去洗澡、回房間休息時，阿公偷偷溜到客廳，打開他的蘇打餅乾偷吃。當我回到客廳時，他已經吃了半包，若無其事得坐在沙發上聽著他的日本演歌。被我逮得正著的他，還一臉無辜詢問我要不要吃，完全沒意識到餅乾屑已經掉滿衣服。那些散落在衣服上的餅乾屑，像一場發生在客廳角落的小型災難，我沒有拍阿公的臉，只拍下身體、手與滿身碎屑，因為我想紀錄的並不是阿公作為病人的樣子，而是失序如何悄悄滲進一個家的日常。在照顧與陪伴之中，身為照顧者的家人，我們常常是先覺得荒謬、無奈，甚至有點好笑。也許正是在這些混亂、笨拙又難以收拾的瞬間裡，才最接近我們與家人相處的真實狀態。 ▏Concept Statement Taking the everyday disorder that emerged after my grandfather developed dementia as its starting point, this work captures moments that are absurd, helpless, yet genuinely present within family caregiving. The scattered cracker crumbs appear as traces left behind after the order of daily life begins to fall apart, revealing the chaotic yet intimate relationship between family members as illness seeps into the everyday. ▏Story Behind the Work After my grandfather developed dementia, everyday life gradually fell into disorder and became increasingly difficult to control. He forgets things, repeats certain actions, and asks the same questions again and again. At times, he even creates scenes so absurd that they become almost funny. This photograph captures a moment when he was sitting on the sofa, eating soda crackers. While the rest of the family had gone to take showers or return to their rooms for a short rest, he quietly slipped into the living room and opened his crackers. When I came back, he had already eaten half a pack. Sitting on the sofa as if nothing had happened, listening to his Japanese enka music, he looked at me innocently and asked if I wanted some. He had no idea that cracker crumbs were already scattered all over his clothes. I did not photograph his face; instead, I focused only on his body, hands, and the crumbs covering him. The scattered crumbs looked like a small disaster in the corner of the living room, and also like traces left behind as disorder quietly seeped into the everyday life of a home. In the process of caregiving and companionship, absurdity, helplessness, and even a strange sense of humor often arrive before sadness. Perhaps it is within these chaotic, clumsy, and unmanageable moments that we come closest to the true state of being with family. | YU-HSIN, KUNG]]> https://www.cizucu.com/it/photos/JCAXkkpo1LzcIYm2Km3k YU-HSIN, KUNG https://www.cizucu.com/it/users/3AVq7NaW5eRd1B7h5n8x40XEU0R2 https://www.cizucu.com/it/photos/JCAXkkpo1LzcIYm2Km3k Sat, 16 May 2026 18:39:14 GMT 2026-05-16T18:39:14+09:00 https://cdn.cizucu.com/images/photos/JCAXkkpo1LzcIYm2Km3k.jpg?auto=format%2Ccompress&cs=srgb <![CDATA[在異地生活的過程中，常以第三者的視角觀看首爾街頭，尋找日常中有趣的畫面。這件作品拍攝於韓國街頭。一個標示「禁止停車」的設施，其傾斜的姿態彷彿正在鞠躬。原本具有命令性的語言，在這個微妙的角度之下，被轉化為一種柔和而不具威脅性的提醒。我將場域與細節並置，使這個擬人化的瞬間被放大觀看。然而，在這種看似溫和的表象之下，仍潛藏著另一層張力：一個帶有損壞痕跡的物件，仍維持著低姿態對外示意。似乎在提醒著我們「禮貌」不只是人際互動的形式，而是一種滲透於環境之中的文化機制。當「禁止」以如此謙遜的形式出現時，它不僅沒有削弱約束，反而揭示了一種更深層的運作方式——規範並非透過強制，而是透過內化，使個體在不自覺中調整自身姿態。在這樣的觀看之下，我開始質疑：我們是否也如同這個物件一般，在受損與不完整的狀態中，仍持續維持著一種被期待的姿態，以回應社會的目光與秩序。 During my time living abroad, I began to notice that “politeness” extends beyond human interactions—it is embedded in everyday objects and environments. This work was photographed on a street in Korea. A “No Parking” traffic cone, tilted in such a way, visually appears as if it is bowing. What is originally a directive—firm and restrictive—becomes softened through this subtle gesture. By combining a contextual wide shot with a close-up, I aim to highlight this anthropomorphic moment. The juxtaposition invites viewers to reconsider how rules are communicated—not merely as enforcement, but as a form of culturally embedded courtesy. Yet beneath this seemingly gentle appearance lies another layer of tension: a damaged object that continues to maintain a lowered posture, as if still performing its role. Through these lens, I begin to question: how are we shaped by our surroundings, and how do we, in turn, learn to negotiate boundaries with gentleness? Also, are we, like this object, continuing to perform expected forms of behaviour even in states of damage and incompleteness—quietly responding to the gaze and order of society? | Joanne Sun]]> https://www.cizucu.com/it/photos/hIoi7PaTCs672IrajR0s Joanne Sun https://www.cizucu.com/it/users/V3yZQQPOmCV388zQun7pQGQnn1L2 https://www.cizucu.com/it/photos/hIoi7PaTCs672IrajR0s Mon, 11 May 2026 14:50:49 GMT 2026-05-11T14:50:49+09:00 https://cdn.cizucu.com/images/photos/hIoi7PaTCs672IrajR0s.jpg?auto=format%2Ccompress&cs=srgb <![CDATA[在異地生活的過程中，常以第三者的視角觀看首爾街頭，尋找日常中有趣的畫面。這件作品拍攝於韓國街頭。一個標示「禁止停車」的設施，其傾斜的姿態彷彿正在鞠躬。原本具有命令性的語言，在這個微妙的角度之下，被轉化為一種柔和而不具威脅性的提醒。我將場域與細節並置，使這個擬人化的瞬間被放大觀看。然而，在這種看似溫和的表象之下，仍潛藏著另一層張力：一個帶有損壞痕跡的物件，仍維持著低姿態對外示意。似乎在提醒著我們「禮貌」不只是人際互動的形式，而是一種滲透於環境之中的文化機制。當「禁止」以如此謙遜的形式出現時，它不僅沒有削弱約束，反而揭示了一種更深層的運作方式——規範並非透過強制，而是透過內化，使個體在不自覺中調整自身姿態。在這樣的觀看之下，我開始質疑：我們是否也如同這個物件一般，在受損與不完整的狀態中，仍持續維持著一種被期待的姿態，以回應社會的目光與秩序。 During my time living abroad, I began to notice that “politeness” extends beyond human interactions—it is embedded in everyday objects and environments. This work was photographed on a street in Korea. A “No Parking” traffic cone, tilted in such a way, visually appears as if it is bowing. What is originally a directive—firm and restrictive—becomes softened through this subtle gesture. By combining a contextual wide shot with a close-up, I aim to highlight this anthropomorphic moment. The juxtaposition invites viewers to reconsider how rules are communicated—not merely as enforcement, but as a form of culturally embedded courtesy. Yet beneath this seemingly gentle appearance lies another layer of tension: a damaged object that continues to maintain a lowered posture, as if still performing its role. Through these lens, I begin to question: how are we shaped by our surroundings, and how do we, in turn, learn to negotiate boundaries with gentleness? Also, are we, like this object, continuing to perform expected forms of behaviour even in states of damage and incompleteness—quietly responding to the gaze and order of society? | Joanne Sun]]> https://www.cizucu.com/it/photos/KpT2BNd1rIgt88NrbYC6 Joanne Sun https://www.cizucu.com/it/users/V3yZQQPOmCV388zQun7pQGQnn1L2 https://www.cizucu.com/it/photos/KpT2BNd1rIgt88NrbYC6 Mon, 11 May 2026 14:50:49 GMT 2026-05-11T14:50:49+09:00 https://cdn.cizucu.com/images/photos/KpT2BNd1rIgt88NrbYC6.jpg?auto=format%2Ccompress&cs=srgb <![CDATA[在異地生活的過程中，常以第三者的視角觀看首爾街頭，尋找日常中有趣的畫面。這件作品拍攝於韓國街頭。一個標示「禁止停車」的設施，其傾斜的姿態彷彿正在鞠躬。原本具有命令性的語言，在這個微妙的角度之下，被轉化為一種柔和而不具威脅性的提醒。我將場域與細節並置，使這個擬人化的瞬間被放大觀看。然而，在這種看似溫和的表象之下，仍潛藏著另一層張力：一個帶有損壞痕跡的物件，仍維持著低姿態對外示意。似乎在提醒著我們「禮貌」不只是人際互動的形式，而是一種滲透於環境之中的文化機制。當「禁止」以如此謙遜的形式出現時，它不僅沒有削弱約束，反而揭示了一種更深層的運作方式——規範並非透過強制，而是透過內化，使個體在不自覺中調整自身姿態。在這樣的觀看之下，我開始質疑：我們是否也如同這個物件一般，在受損與不完整的狀態中，仍持續維持著一種被期待的姿態，以回應社會的目光與秩序。 During my time living abroad, I began to notice that “politeness” extends beyond human interactions—it is embedded in everyday objects and environments. This work was photographed on a street in Korea. A “No Parking” traffic cone, tilted in such a way, visually appears as if it is bowing. What is originally a directive—firm and restrictive—becomes softened through this subtle gesture. By combining a contextual wide shot with a close-up, I aim to highlight this anthropomorphic moment. The juxtaposition invites viewers to reconsider how rules are communicated—not merely as enforcement, but as a form of culturally embedded courtesy. Yet beneath this seemingly gentle appearance lies another layer of tension: a damaged object that continues to maintain a lowered posture, as if still performing its role. Through these lens, I begin to question: how are we shaped by our surroundings, and how do we, in turn, learn to negotiate boundaries with gentleness? Also, are we, like this object, continuing to perform expected forms of behaviour even in states of damage and incompleteness—quietly responding to the gaze and order of society? | Joanne Sun]]> https://www.cizucu.com/it/photos/KxmYJu8uTx7YorZUymnh Joanne Sun https://www.cizucu.com/it/users/V3yZQQPOmCV388zQun7pQGQnn1L2 https://www.cizucu.com/it/photos/KxmYJu8uTx7YorZUymnh Thu, 07 May 2026 02:19:00 GMT 2026-05-07T02:20:37+09:00 https://cdn.cizucu.com/images/photos/KxmYJu8uTx7YorZUymnh.jpg?auto=format%2Ccompress&cs=srgb