國家圖書館出版品預行編目資料 NEPO Film & Her Book 林顯東作 初版臺北市富凱藝術 2018.07 128 面 21X29.7 公分 ISBN 978 ー 986 ー 92356 ー 3 ー 1 精裝 1. 攝影集 958.33 107011266 NEPO Film & Her Book BigshiIin Ph0tonepo Published by 富凱藝術有限公司 NEPO TAIPEI No. 28 , Ln. 213 , Zhongzheng Rd. , Shilin Dist. , Taipei City 111 , Taiwan nepogallery@gmail.com Tel: + 886 ー 2 ー 28820658 Editorial supervisor: 林顯東 BigshiIin Photonepo Editor in chief: 呉美琪Ⅵⅲ , Mei-Chi Article writing: 張政嫖 Lily Chang English editor: Claire Pella Book design: 呉美琪 Wu, Mei-Chi Dedicated to Nina, Ernest and Milton ◎ 2018 NEPO TAIPEI AII NEPO films ◎林顯東 Bigshilin Photonepo AII rights reserved. First published ⅲ July 2018 Printed in Taiwan ISBN 978 ー 986 ー 92356 ー 3 ー 1

From analog era tO digital era … This project grew out 0f my nostalgia for analog photography. ln particular, I loved and missed the process 0f developing film: the smell 0f the chemicals, the texture 0f the paper. As analog film became scarcer and scarcer, replaced by digital cameras, I longed t0 immerse myself in that process again. I was alSO fascinated by negatives, those inverted images printed on transparent plastic film, in which light and dark change places. 乍 But I have always been a lover 0f black and white photography, and I yearned for similarly large, clear negatives 0f black and white images. A friend introduced me tO FP-IOOB, a black and white version 0f the peel-apart film with which I was already familiar. Unlike FP-IOOC, FP-100B was rarely processed in order tO remove the emulsion and the underlying negative images. I began t0 expenment. As I did so, I found that the chemical process tO reclaim FP-100B negatives was 1 れ ore complicated than the one used for FP -100C. I also discovered something startling: once the emulsions and coatings were stripped FP-IOOB negatives were characterized by vivid C010r. Unlike the positive image printed on the ph0t0 paper, the negative would emerge in brilliant shades of blue, red, orange, and yellow. ln addition, certain portions Of the negative image would actually contain positive shapes. lt was this strange coexistence Of positive and negative in the same film that led me to name FP-100B, as well as these reclaimed negatives, NEPO ー that is, NEgative POsitive. 3 When I learned that FujifiIm's FP-IOOC ー at that time, one Of the last remaining peel-apart instant films ー produced large and detailed negatives, I was fascinated. I learned how to reclaim the negatives, using water and bleach tO strip away the light-sensitive emulsion coating the plastic, revealing the image underneath. My nostalgia was satisfied. 1

A positive image is one in which light and dark appear as we see them with own eyes. A negative image is one which light and dark have been reversed, SO that, for example, a tree appears t0 be bright, while the noon sky behind it is dark. Film negatives received their name because they provide a negative, or reversed, image, WhiCh iS then used tO produce a positive image print on photographic paper ・ A peel-apart film is designed t0 be used with an instant camera. When you take a photo, it produces bOth a positive image snapshot on phOtO paper, and a negative Of equal size tO the print. These emerge together from the camera and must be peeled apart, hence the name. OriginaIIy, I believed that FP-IOOB combined the characteristics Of traditional negative and positive films. Now, however, I believe that this effect ー in which positive images suddenly appear ⅲ an otherwise negative image ー is due tO the negative film being exposed to levels of light that are t00 high for it. When this limit is exceeded, the light ー which would normally produce a dark shape in the negative shape ー suddenly produces a bright positive image instead. The technical name for this phenomenon is Reciprocity-Law Failure. 昔を懐かしむためで、 1 枚の伝統の大 きいネガを得たくて、その追求の結果 1 つの新しい化学の感光材料の存在を 識実証まで進展変化しました。過 印いロ、 程のなか、デジタル時代でさえあるス キャン機器と映像のソフトウェア応用 をさらに加えて、類比とデジタルの結 合の方法を見つけました ! 実験してい るおよび本を書いているところ、ピー ルアバートタイプフィルムの背後にあ る便利さと美しさを感じて、そしてそ のタイプのフィルムに関連した撮影道 具、材料とその時の工業能力と商業利 益は密接な関係がありますようにわか りました。 11 1 Ⅱ

NEPO Film & Her Book BigshiIin Ph0tonepo The author systematically established a new light-sensitive material (film). He named the new discovered film—NEPO film. ln the book, he does not only tell us how to discover NEPO film from the FP-IOOB (Fuji Peel-apart instant film), but also clearly provides us a step by step chart of how tO obtain a unique NEPO film. Many wonderful and amazing photos are edited splendidly, fully displaying the vivid, never seen colors Of NEPO film. The author also conveys multi-spectrum thoughts in his book (photo album): his nostalgia Of Polaroid products, pursuance for the genius of photography, recollection of family life, survival experience in digital era as a convention al photographer. "Don't dO anything that someone else can do" & "There is nothing like this in the history of photography", said by Edwin Land, founder of PoIaroid. The author brings us into the realm of the two sentences, correspondingly expressing his profound love of photography. ◎ 2018 NEPOTAIP 日

The author systematically established a new light- sensitive material (film). He named the new discovered film—NEPO film. ln the book, he does not only tell us how to discover NEPO film from the FP- 100B (Fuji Peel- 叩 art instant film) , but also clearly provides us a step by step chart of how to obtain a unique NEPO film. Many wonderful and amazing photos are edited splendidly, fully displaying the vivid, never seen colors of NEPO film. The author also conveys multi-spectrum thoughts in his book (photo album): his nostalgia of Polaroid products , pursuance for the genius 0f photography, recollection 0f family life, survival expenence in digital era as a conventional photographer. "Don't do anything that someone else can do" & "There is nothing like this in the history of photography" , said by Edwin Land, founder of Polaroid. The author brings us intO the realm Of the tWO sentences , correspondingly expressing his profound love 0f photogr 叩 hy.

◎ 2018 NEPOTAIPEI NEPO Film 年 Her Book Bigshilin Photonepo 《 NEPO Film 年 Her Book 》 十 FP-100B 当 圧ー覇冊 a ま洲。曜調 7 ま鋗 ~ 冊噬 ) , 回 圧新 NEPO 〔画印ニ 7 削

NEPO Film & Her Book BigshiIin Ph0tonepo NEPO TAIPEI

Lin Shean Tung NEPO Film & Her Book / ぞイ : = ョ第 : 0 第 00 新

& WHITE 日一 -100B ー ・光掲数日・ 0 FP-10 OB BLACK& WHITE FILM INSTANT トラマ 1 トラマ INSTANT BLACK & WHITE 日 F 円 00 第光宿数 [ : 亘 を瀏当物疉第 凵、ん一い一 ム衄い P 三を、一

1 The eminent Dr. Edwin Land, founder of Polaroid, once said, "Don't undertake a project unless it is manifestly important and nearly impossible. " GraduaIIy, I have come tO understand that Dr. Land's words describe my own experience, as well as the philosophy that guided his own remarkable career. Although it was not my original intention, I was pushed by circumstances intO undertaking a project ー the development of NEPO images ー that met both Of Dr. Land's requirements. As an analog technology whose potential can only be fully realized with digital era t001S , such as scanners and image editing software, FP-100B negatives have truly moved from the realm of the impossible into that of the possible. ln closing, I wish to thank those who have supported me throughout this process of discovery. ln addition tO an understanding of the scientific background, passion for photography, and focus, the support and encouragement Of family and friends has been essential tO this undertaking. For me, their help was the foundation of it all; any warmth found within these pages comes from them. The unique appearance of these negative images inspired me tO take more photos, and I began to experiment systematically. I discovered that these negatives could themselves be a creative medium. Out 0f my nostalgia-fueled attempt to obtain conventional black and white negatives emerged a new medium. ln order tO achieve this, however, I needed digital technology. WhiIe the colors themselves were not altered digitally, their true brilliance, along with the details of the images, was only revealed after the negative images were scanned and displayed on a computer screen. The images in this book thus connect the analog and the digital eras. UseIess scraps from analog processes have been transformed into digital art. ThiS iS appropriate, because in the process of developing the NEPO images and writing this book, I developed a profound feeling that peel-apart instant film epitomizes the dependence of photography on industry. Scientific research and business imperatives enabled the development of this technology; however, as soon as there was no more profit tO be made, the industry moved on, and these remarkable films became obsolete. Yet, as I hope I have shown, these negatives ー which were originally waste products, remnants thrown away after the positive image photo was obtained ー still have value. 1