站在時間靜止的邊界，留下空間的故事 — 廢墟攝影師 Fan：「這些最真實的印記，迫使我們正視生命中必然的消逝與破碎」

 

廢墟攝影師品汎 ( Fan)

 
 

最初注意到廢墟攝影師 品汎（以下內文用 Fan 代稱），是被他社群上一張張介於「探索」與「凝視」間的廢墟影像所吸引，那種獨特的觀察方式引發了我們對這個拍攝主題的好奇。

見面當日，我們約在一座對初探者相對友善的廢棄俱樂部。踏入建物，沿著僅存的動線深入，Fan 敏銳地指著周遭說道：「這裡跟上次又不一樣了。」在他的指認下，我們才意識到廢墟並非靜止的荒蕪，而是一個持續變動的有機體。倫理的界線、人為的痕跡、時間留下的差異，都構成他按下快門的理由。

一路跟著 Fan 拍攝，聽他描述這裡的故事，這場關於消逝與存在的對話，便在廢墟的塵埃中展開。

 
 

  • I first came across Fan’s work through a series of images he shared online, photographs of abandoned places captured somewhere between exploration and contemplation. There was something distinct in the way he observed these sites, something that made us want to know more about the subject he had chosen to follow.

    We met at an abandoned clubhouse known among beginners as a relatively approachable site. As we stepped inside and followed the remnants of the original circulation, Fan glanced around and said quietly, “It’s different from the last time I was here.” It was only then that we realized a ruin is never a silent void. It shifts and evolves. Boundaries of access, traces left by visitors, and the slow changes shaped by time all become reasons for him to raise the camera.

    Walking through the space alongside him, listening to the stories he attached to each corner, a conversation about disappearance and presence began to unfold in the dust of the ruins.

 
 
 
 

❝
從最初的刺激，到如今的平靜，廢墟攝影的過程像是一面鏡子，它迫使我看見，所有我們以為能永久保有的東西，其實都在緩慢地離開。我拍攝，不只是為了留下影像，而是為了在這些消逝中，找到與自己內心的對話。

— 品汎 / Fan

 
 

  • “From the early rush of excitement to the quiet I feel today, photographing ruins has become a kind of mirror. It forces me to face the truth that everything we believe we can hold on to is already slipping away. I make these images not simply to preserve what remains, but to find a way to speak with myself through what is disappearing.” —— FAN

 
 
 
 

Q：拍攝飛碟屋是你第一次踏入廢墟，是什麼緣故促使你去拍？那次經驗最打動你的地方是什麼？



Fan： 那是一次意外的開始。本來我只是去翡翠灣拍海景，卻在轉身的瞬間，看見整片荒廢的飛碟屋，以及如今已被拆除的太平洋翡翠灣俱樂部。藍色大海與頹圮建築並列的畫面，像是兩個時空重疊在眼前，既強烈又令人難以忽視。

 
 

Q：你在自述中提到，一開始吸引你的是刺激感，後來這種感覺有改變嗎？



Fan： 廢墟對我來說像一場探險，你不知道裡面會看到什麼，格局、物件、整體狀態，都像是第一次打開一個地方的樣子。未知、灰色地帶、腎上腺素飆升的狀態，這些情緒讓我想一探究竟。不過後來，我越來越注意它們的變動，而且這些前後差異，比當初的探險刺激感更吸引我。

Jamie： 差異通常是什麼？物件被移動、還是空間本身的變化？

Fan： 兩種都有。有些地方第一次看是原樣，物件都在原本的位置；但第二次去就看到一些自然或人為破壞痕跡，也有些地方牆面已經掉下來了。你會發現這些地方不是固定不動，它們變得比想像中還快。這種不可預期性，讓我每一次按下快門時，心中都帶著一種見證與告別的重量。

 
 

  • Q: Your first encounter with ruins happened at the UFO Houses. What led you to photograph them, and what struck you most during that experience?

    Fan:
    It started by accident. I had gone to Emerald Bay to photograph the sea. When I turned around, I suddenly saw the abandoned UFO Houses and the now-demolished Pacific Emerald Bay Club. The contrast between the blue ocean and the decaying structures felt like two timelines folding into each other. It was intense, and impossible to look away.

    Q: In your artist statement, you mentioned that the initial appeal was the sense of thrill. Has that feeling changed over time?

    Fan:
    At the beginning, ruins felt like an adventure. You never know what you will find inside. The layout, the objects left behind, the overall condition, it all felt like opening a place for the very first time. The uncertainty, the grey areas, the surge of adrenaline, all of that made me want to step further in. But later, I found myself drawn less to the thrill and more to how these places change. The shifts between visits became more compelling than the excitement I felt at the start.

    Jamie:
    When you say “changes,” what do you usually notice? Objects being moved, or actual shifts in the space itself?

    Fan:
    Both. Some sites look intact during the first visit, with everything still in place. During the second visit, you start seeing natural decay or traces of human interference. Sometimes entire sections of the wall have collapsed. You realize these places are never still. They change far more quickly than you expect. That unpredictability gives each shutter release a sense of witnessing something in the midst of leaving.

 
 
 
 
 
 

❝
每一個廢墟，都像是「空間」最後臨終的容顏。你能隱約看見它曾經的繁華，但眼前只剩殘缺。那種強烈的落差感，也在提醒我：生命並不是永遠向上的線條，而是包含著衰頹、破碎與沉寂。當我接受了這些畫面，也嘗試接受自身生命中的不完美。

 
 
 
 
 
 
 
 

Q：你在拍攝前會做哪些資料準備？在選擇拍哪個廢墟時，你會考量哪些因素？



Fan： 我不會做太完整的規劃，對我而言，「準備」更像是一種開放的等待。我通常只會先規劃大致的時間與地點路線，剩下的部分就是到現場再看。

廢墟的本質就是「不確定性」，盡情享受當下所有的體驗，所以我很少帶著「必須得到某種畫面」的期待，而是保持迎接未知；即便畫面不如預期有戲劇張力，也仍是獨一無二、無法複製的瞬間。

 
 

  • Q: How do you prepare before a shoot? And when choosing which site to photograph, what factors matter most to you?

    Fan:
    I do not plan things in detail. For me, preparation is more like staying open and receptive. I usually map out only the general timing and route. The rest is decided on site.

    The very nature of a ruin is its uncertainty, and the point is to experience whatever it offers in that moment. I rarely enter a place with a fixed idea of what I must capture. I try to stay open to what appears. Even when an image turns out less dramatic than expected, it is still a singular moment that can never be repeated.

 
 
 
 

❝
走得更深，心境就會轉變，慢慢發現自己真正被吸引的，其實是廢墟所帶給我的平靜。

 
 

Q：在這些資料準備中，有沒有哪一種工具或線索是你最常依賴的？



Fan： 資訊過度透明的時代，單靠 Google Map 往往不夠。我更常依循的是社群的碎片：Instagram、臉書、廢墟社團、甚至短影音平台上去找尋畫面的蛛絲馬跡。這種過程很像「解謎遊戲」：畫面裡的每一個細節，都可能通往另一個故事。

久而久之培養出一種「廢墟雷達」的敏銳度。路過建築時，我就會觀察雜草的高度、玻璃的破碎程度，甚至外觀的氛圍，這些細微之處通常比網路上的資訊，更能透露一個地方，是否已經被時間遺忘。

Jamie： 所以你找到的廢墟，不是那種公開的「景點型」廢墟？

Fan： 不是，大多是比較不被注意的地方。有時候是意外看到，有時候是從別人分享的畫面裡找到一點線索，再從那邊往回推。

 
 

  • Q: When doing this kind of research, is there a particular tool or source you rely on most?

    Fan:
    In an age when information is overly transparent, Google Maps alone is rarely enough. I rely more on fragments scattered across social platforms: Instagram posts, Facebook groups, urban exploration forums, even short-video platforms. It becomes a bit of a puzzle. Every detail in an image can lead to another clue, another story.

    Over time, I have developed a kind of sensitivity, almost like a “ruin radar.” When I pass a building, I notice the height of the weeds, the pattern of broken glass, even the general atmosphere of the façade. These small cues often reveal more about whether a place has been abandoned than anything you can find online.

    Jamie:
    So the sites you discover are not the well-known, publicly circulated ones?

    Fan:
    No. Most are places that few people pay attention to. Sometimes I stumble upon them by chance. Sometimes a single detail in someone’s photo gives me a lead, and I work my way back from there.

 
 
 
 

Q：拍攝前會怎麼評估一個廢墟能否進去？通常怎麼開始拍攝？



Fan： 我會觀察確定這個空間是否真的是廢墟，或著閒置，以及進去和出來時，有其他退路等等。進入廢墟，我會先走一圈，看哪些地方能走，哪裡不能碰。像樓梯是不是還能上、地板是不是空心、有沒有支撐，這些都要先確認。整個流程主要是為了知道能安全拍到哪裡。有些地方很大，我會用手機錄一下動線，不然繞到後面會忘記前面能不能走。最重要的是始終遵循大家默認的潛規則，「不破壞、不留痕、保持原貌，且不公開地點」。

Jamie： 會不會遇到明明想拍，但判斷不能進去的情況？如果第一次沒有拍到你想拍的角度，你會再回去嗎？

Fan： 有些地方的樓地板看起來整片都是空的，就不會進去。或者是上樓梯的地方已經斷了，就會看有沒有其他方式進入，但如果不安全，就不會再試。我不一定會再去一次，第一次能拍多少就拍多少，不會特別去等完美的光線或角度。

 
 

  • Q: How do you assess whether a ruin is safe to enter, and how do you usually begin a shoot?

    Fan:
    I start by observing whether the place is truly abandoned or simply unused, and whether there are safe ways in and out. Once inside, I walk through the entire space to see what can be accessed and what should not be touched. I check if the stairs are stable, whether the floor is hollow, and if the structure has enough support. The goal is to understand how far I can move safely while photographing. In larger sites, I sometimes record the route on my phone so I do not lose track of which areas are accessible. And I always follow the unspoken rules: do not damage anything, leave no trace, keep the place as you found it, and do not reveal the location publicly.

    Jamie:
    What about places that interest you but seem unsafe? And if you miss a shot the first time, do you go back?

    Fan:
    If a floor looks unstable, I avoid it. If the stairs are broken, I check if there is another way up, but if it feels unsafe, I stop there. I do not always return for a second visit. I try to capture as much as I can the first time without waiting for perfect light or the perfect angle.

 
 
 
 

❝
廢墟之所以動人，正是因為它們保有最純粹的荒廢狀態，任何過度的佔有或干涉，反而抹去它原本的靈魂。

 
 
 
 
 
 
 
 

Q：拍攝廢墟時，你有沒有自己明確遵循的原則？



Fan： 我希望不要因為拍攝，改變它原本的樣子。廢墟本來就是被時間封存的狀態，東西移動了、位置改變了，照片就不準了，也不再是它原本留下的樣子。

Jamie： 現場的原始狀態反而是畫面成立的理由？

Fan： 對，它現在留下什麼，就拍什麼。我只是個記錄者和見證者，介入太多，就會破壞這份純粹。廢墟本來就不是為了相機而存在的。放下對完美的執著，反而更能貼近空間本質。

 
 

  • Q: Do you follow any guiding principles when photographing ruins?

    Fan:
    I try not to change anything for the sake of the image. A ruin exists in a state shaped by time. If objects are moved or positions shift, the photograph no longer reflects what was actually there.

    Jamie:
    So the original state of the site becomes the reason the image works?

    Fan:
    Yes. Whatever remains in that moment is what I photograph. I see myself as a recorder and a witness. If I intervene too much, I interfere with that clarity. A ruin was never meant to perform for a camera. Letting go of the urge to perfect the scene brings me closer to the essence of the place.

 
 
 
 
 
 

Q：當你走進一個廢墟，怎麼決定哪些角落值得拍、哪些不拍？



❝
廢墟之所以動人，正是因為它們保有最純粹的荒廢狀態，任何過度的佔有或干涉，反而抹去它原本的靈魂。


Fan： 我不以「值得與否」來決定是否拍攝。每一個角落，只要能觸動內心的某個「刺點」，就值得被留下。有些角落可能比較亂或比較暗，但那也是空間被時間雕塑的一部分。除非真的看不出畫面，不然大部分都會拍。我希望照片呈現的是空間最真實的全貌。

 
 

  • Q: When you step into a ruin, how do you decide which corners are worth photographing and which are not?

    Fan:
    I do not judge a space by whether it feels worthy. If a corner triggers something in me, even the smallest spark, I photograph it. Some areas may be messy or poorly lit, yet they are still part of what time has shaped. Unless there is truly nothing to form an image with, I tend to record most of what I see. What I want is for the photographs to reflect the full reality of the place.

    “What makes a ruin compelling is its unguarded state. Too much intervention, even the desire to claim it through the camera, can erase the very thing that gives it a soul.”

 
 
 
 
 
 
 
 

Q：你習慣用哪些焦段拍廢墟，會因為不同廢墟類型換鏡頭嗎？在拍攝技術上，你最看重什麼元素？



Fan： 廣角跟 50mm 最常用。廣角可以比較完整拍出空間的張力；50mm 則用來拍細部。我的器材主要使用 Canon 的 RF15-35 F2.8（廣角）和 RF50 F1.8（標準）。

Jamie： 你會帶很多器材嗎？

Fan： 不多，能拍到需要的就好。廢墟內部環境複雜且存在風險，太重反而不方便。極簡的裝備選擇，也是對「安全第一」原則的執行。

我的廢墟攝影最核心的元素是「光」。我幾乎只在陽光充足的日子拍攝，光會為頹圮帶來另一種重生。它穿透破碎的玻璃，隨風晃動在斑駁的牆面上，那些稍縱即逝的光影，比建築本身更能喚起人心深處的感受；廢墟的每一張照片，其實都是「光」與「時間」在空間留下的對話。

 
 

  • Q: What focal lengths do you usually use when photographing ruins? Do you switch lenses depending on the type of site? Technically, what matters most to you in the process?

    Fan:
    I mainly use wide angle and a 50 mm. The wide angle allows me to record the structure and tension of the space, while the 50 mm helps with details. My gear is simple. I use Canon’s RF 15–35 mm F2.8 for wide shots and the RF 50 mm F1.8 as the standard lens.

    Jamie:
    Do you bring a lot of equipment with you?

    Fan:
    Not much. Only what is necessary. Interiors of ruins can be complex and risky, and heavy gear becomes a burden. Keeping the setup minimal is part of staying safe.

    The element I value most is light. I photograph almost exclusively on days with strong sunlight because light can give a sense of renewal to decay. It filters through broken glass and moves across worn surfaces, creating moments that feel more stirring than the architecture itself. Every image I make in a ruin is shaped by light and time coming together in that space.

 
 
 
 

Q：有沒有哪個現場讓你感受特別強烈，至今印象深刻？



Fan： 最深刻的，是在日本的拍攝經驗；兩天的自駕旅程，一天走訪廢墟溫泉群，一天探入廢棄大豪宅。那些在無數人心宛如夢境般的場景，忽然真實地展現在眼前，那種悸動至今仍然未曾淡去。

當時我有一種與時間賽跑的緊迫感，盡可能記錄下最多的瞬間與回憶。對我來說，那是「第一次」也是「最後一次」的見證，每一次按下快門，都像是在為它倒數；兩天的拍攝，收穫的不只是影像，而是一份超越疲憊的沉澱。

Jamie： 你說「下次再來」的承諾很可能不會兌現，那種急迫感來自於何處？

Fan： 實際走進去，你會清楚知道，這裡的拍攝不是可以慢慢來的。首先是規模感，場域比想像中巨大且複雜，特別是空間與空間之間的連接方式。

儘管照片無法傳達聲音和結構的警告，但實際上現場有些樑柱已經嚴重鏽蝕，地板踩下去的聲音就告訴你結構已經很不穩固。這也再次印證，廢墟的本質就是不可逆的消逝，你會很明顯感受到，它隨時都可能消失。

 
 

  • Q: Is there a particular site that left an especially strong impression on you?

    Fan:
    The most unforgettable experience was in Japan. It was a two day road trip. One day was spent visiting a cluster of abandoned hot spring resorts, and the other exploring a deserted mansion. These were scenes many people only know through photographs or imagination, yet they appeared before me with complete clarity. That feeling has never faded.

    I remember sensing an urgency, as if I was racing against time, trying to record as many moments as possible. It felt like a first encounter and a final encounter at the same time. Each shutter release carried the weight of something nearing its end. What I took away from those two days was more than images. It was a kind of stillness that settled in despite the exhaustion.

    Jamie:
    You mentioned that the promise of “coming back next time” is rarely fulfilled. Where does that urgency come from?

    Fan:
    Once you step inside, you understand immediately that you cannot move slowly. The scale is larger and more complex than expected, especially the way spaces connect to one another.

    A photograph cannot convey the sounds or the warnings of the structure. Some beams were already deeply corroded, and the sound of the floor under my feet revealed how unstable it had become. It reminded me again that the nature of a ruin is irreversible disappearance. You can feel, very clearly, that it may vanish at any moment.

 
 
 
 

Q：拍攝時你會在意畫面有多「漂亮」嗎，還是更在意它傳遞的感覺？



Fan： 我在意的並不是「漂亮」的標準，而是當下場景是否真正觸動了我。廢墟常常給我的是一種矛盾的溫暖與平靜，提醒自己反思生命中必然的消逝。也因此，這些年來我依然能在廢墟裡感到自在；那裡的景象純粹，它們就是時間推移後的樣貌。

 
 

❝
廢墟提醒我，我始終是『經過』而不是『歸屬』。畫面可以留存，但場域本身屬於時間與腐朽，不屬於任何人，這是我必須時刻警醒的事。

 
 

  • Q: When you shoot, do you care about how “beautiful” the image looks, or are you more concerned with what it conveys?

    Fan:
    I am less concerned with beauty in the conventional sense. What matters is whether the scene genuinely moves me. Ruins often give me a strangely warm and quiet feeling, a reminder to reflect on the inevitability of loss. Maybe that is why I still feel at ease in these places. Their presence is unvarnished. They are simply what time has shaped them to be.

    “Ruins remind me that I am only passing through, never belonging. The photograph may remain, but the place itself belongs to time and decay, not to any of us. It is something I need to remember every time I walk in.”

 
 
 
 

Q：廢墟常被認為是危險或非法的。你怎麼看待這件事，又是如何拿捏這條界線？



Fan： 外界常用危險或非法去定義廢墟攝影，但在我眼中，這些詞其實只是社會秩序對一片『失效空間』的註解。真正的危險，不僅來自坍塌或結構不穩，更在於你如何看待自己與這個空間的關係；若只是帶著佔有或征服的心態進入，無論再怎麼小心，都註定會破壞它。

真正的拿捏並不是外在的規則，而是在於進入之後內心的分寸感，能否以一種謙卑的姿態去回應：我是否還能原封不動地離開？我是否沒有奪走它僅剩的呼吸？當答案是肯定的，那麼這趟體驗就不再是冒犯，而是一次見證。

Jamie： 我記得你分享過，在廢墟裡，人性的惡意比結構的危險性更值得警惕。

Fan： 空間本身是中立的，但人性的投射與介入，可以瞬間讓一個停滯的空間走向毀滅。所以，法律的邊界在外，倫理的邊界在我心中。

 
 

  • Q: Ruins are often seen as dangerous or even illegal to enter. How do you view this perception, and how do you navigate that boundary?

    Fan:
    People often define ruin photography through the lens of danger or illegality, but to me these words reflect how society labels a space that no longer functions within its system. The real danger is not only the risk of collapse. It also lies in how you position yourself in relation to the place. If you enter with a sense of possession or conquest, no amount of caution will prevent you from damaging it.

    The boundary is not set only by external rules. It is shaped by an inner sense of restraint once you step inside. I ask myself whether I can leave the space exactly as I found it, and whether I have taken anything from it, even its last measure of quiet. If the answer is yes, then the visit becomes an act of witnessing rather than intrusion.

    Jamie:
    I remember you once said that in a ruin, human malice is often more troubling than structural danger.

    Fan:
    Absolutely. The space itself is neutral. What threatens it is the projection and interference humans bring into it. Legal boundaries exist on the outside. Ethical boundaries exist within me.

 
 
 
 
 
 

Q：你提到廢墟的殘破不是終點，而是一種純粹。這樣的「純粹」，對你來說，是什麼樣的存在狀態？



Fan： 純粹指的是空間在剝去所有裝飾與目的性後，仍然存在的核心。廢墟的純粹，正是它不再需要討好、不再被利用，也不必再服從任何功能。它回到了時間最本質的狀態：靜默、殘缺，且真實。這種狀態可以說是種解脫，因為它只是單純的『存在』。

 
 

  • Q: You mentioned that the broken state of a ruin is not an ending but a form of purity. What does this “purity” mean to you?

    Fan:
    Purity, to me, is what remains after a space has shed all of its decoration and purpose. The purity of a ruin lies in the fact that it no longer has to please, serve, or perform any function. It returns to the most fundamental condition shaped by time. Quiet, imperfect, and honest. In a way, it feels like a release, because it simply exists.

    Jamie:
    When your work is shown publicly, how do you hope viewers approach these images?

    Fan:
    I do not expect viewers to see this purity in any specific way. But if the images can soften the usual perceptions of ruins, if they can reveal a sense of freedom in accepting that things do not need to be whole or useful, and that people themselves do not need to be defined by perfection, then perhaps that is the quiet power these photographs carry.

    As for interpretation, I try not to interfere. There is a line in the Diamond Sutra that says the mind should move freely without attachment. Once the image leaves me, it should find its own place in someone else’s understanding. My responsibility is to be honest in the moment of making it, not to determine how it must be read.

 
 
 
 

Jamie： 那麼作品公開時，你希望觀眾如何觀看這些影像？

Fan： 我不會強求觀眾該如何看待這份純粹，但若能因此對廢墟的既定印象稍有改觀，感受到一種自由，去接受事物不必永遠完整、有用，甚至連人自身也不必被完美定義，那或許就是這些影像最安靜的力量。

至於觀眾的詮釋，我不會過度介入。正如《金剛經》所說的「應無所住而生其心」，影像離開我之後，就該自由地流向他人心中。我的責任是誠實留下當下，而不是規定觀者該如何理解。

 
 
 
 

❝
廢墟攝影的核心意涵是留下最真實的印記，迫使我們正視生命中必然的消逝與破碎。

 
 

追蹤廢墟攝影師 FAN｜undefined.666
採訪｜Jamie Lo ． 編輯｜Lin
攝影｜Jamie Lo、Weng、Jyun
 
 
 
Jamie Yelo 是攝影師、創作者，也是 Hey!Cheese 創辦人。他的專欄，是思考與實驗的場域，亦是他在專業與探索之間，不斷建構自我語言與獨特視角的重要延伸。
 
 
 
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