沒錯!
雨後拍天空更透.

請問永安漁港,在那裡ㄚ.怎麼走?

小豆仔:
    正點!拍的粉棒 拍的瓜瓜叫!

去年回大陸梅縣老家街拍........百年老街(後製 + 縮圖)

二寮真是名不虛傳.

請問開車要怎麼去二寮啊?
我以前在台南市唸書,
所以我只知道在台南縣,
卻不知道要怎麼走~

二寮 308高地

◆ 作家導遊系列Writers on the Road
三○八高地──橫越月世界的小絲路
Traversing Moon World's Small Silk Road
劉克襄

　  
在台灣旅行，如果沒有去過月世界，那彷彿只在台北生活，不解南部的民情了。

這片以青石灰岩為主的環境，廣泛分布於台南和高雄，形成縱貫起伏的險峻丘陵，橫隔了中央山脈和西部平原間住民的往來，從許多現今旅遊的圖片中，我們都清楚地看到，一山接著一山的暗灰、冷漠，無限綿延；百般草木中，只有高瘦的刺竹勉強生存。因為荒涼得大剌剌，旅人美其名為「月世界」，多數當地人卻嫌為生活上的「惡地形」。

如今前往月世界旅行，依舊延續著早年的路線。當時，在台南就流行所謂的中、南、北三條路；分別由新化、關廟和左鎮往東，聯繫著台灣府（台南）和六龜山區。

我獨愛北路，從岡林基督教長老教會門口出發的那條碎石子小徑，開著車子，一搖一晃地進入童山濯濯的環境。然後，一路慢慢地咀嚼著這塊猶如沙漠般貧瘠大地帶來的淒苦之美。最後，顛簸地，從三○八高地駛往內門木柵村。

這條北路，現今被泛稱為「草山月世界」，橫越了草山、二寮兩個村落，把個自然的蒼涼徹底地壯觀化，教人完全震懾。許多攝影家特別喜愛到此，守候四季晨昏的萬千變化。管它日出月落，雲繚霧繞。在竹林、禿岩和山風的交錯下，山景總是淒迷蜿蜒，氣象萬千的錯綜面相。

但我會喜愛這條舊道，並不純然是因了美麗的景觀，更多因由是很造作的那種。就是，歷史感在作祟啦！真的，台灣近代史很少有一個偏遠之地，像這裡，既荒涼又如此充滿迷惑。

它曾吸引了許多西方旅行家的前來。十九世紀中葉以後，探險家必騏驎、攝影家湯姆生、長老教會宣教師馬雅各和甘為霖、自然生物採集者拉圖許和霍斯特等都曾經跋山涉水，辛苦地走訪，並且留下珍貴的文字和攝影紀錄。任何人彷彿都須經過如此艱困的洗禮，方能由此取經得道。

這條路線，也遍佈著被漢人擠壓至此的平埔族部落和客家住民；六龜則是魯凱族、布農族和鄒族等原住民和漢人交會的邊界。漢人不時帶著衣布、槍械和鹽巴等文明物質往東去，和原住民交換山裡的獸皮、藥材和肉桂等物產。商旅往來，通常需要一星期的時間。西方旅行者因為不同的需求，而有不同的好惡，但大體都不喜歡惡地形的。他們想看到的是惡地形後面的，福爾摩沙的森林世界：

「山丘的表面往往裸露著沙粒、黏土和灰石，缺乏草木，這種環境比長有樹林的山丘更容易製造塵土。」

──湯姆生（1873）

「這兒的山多半禿裸無樹，只有短草和粗短的雜草，覆蓋著裸土。這種風景讓我失望，無法引起興趣前往探查。」

──拉圖許（1893）

如今沿著這條路前往，一路上繼續有平埔族的公廨、百年教會、老屋和老樹，早年旅人描述的地理也依舊歷歷在目。可笑的是，這裡因為地形混濁，開發遲緩，反而成為台灣少數仍能保持百年前原貌的所在。當我站在三○八高地，和旅客一起驚歎時，不免懷有濃愁的情緒，一如唐朝詩人劉商對絲路的感懷：「萬里重陰鳥不飛，寒沙莽莽無南北」，月世界亦然。

最後，我還會去木柵基督教長老教會，站在靜寂的陳列室裡，觀賞平埔族的遺物和湯姆生拍攝的作品，那是我每次經過月世界時和老台灣對話的必經之站，也是我旅行的句點。

（原載於《迷路一天，在小鎮》皇冠出版）
　 If you travel in Taiwan without visit-ing Moon World you might just as well stay only in Taipei without getting to know the people of the south.

Moon World, a terrain mainly characterized by its bluish-green limestone, extends across steep hills between Tainan and Kaohsiung and forms a barrier to contact between the populations of the Central Range and the Western Plain. Many travelers' pictures show a seemingly endless stretch of mountains covered by barren, dark ash. Tall, thin, and thorny bamboo trees are the only vegetation that survives in this environment. The landscape is so desolate that travelers have given it the dignified name "Moon World," but most locals who live there dismiss it as the "Badlands."

As in years past, today's visitors to Moon World follow a beaten trail. In Tainan people used to speak of the Central, South, and North Roads, which split off eastward from Hsinhua, Kuanmiao and Tsochen villages, linking the former Taiwan Prefecture (now Tainan) with the Liukuei region.

The North Road is my favorite. Setting out along the gravel lane outside the gate of the Kanglin Presbyterian Church, my car sways its way into a landscape of bare hills. Then I slowly begin to take in the bleak beauty of this vast, barren environment. Finally, I bump along Highland Region 308 to Mucha hamlet in Neimen county.

Nowadays, the area traversed by North Road is generally known as Tsaoshan Moon World. The road, which passes through Tsaoshan and Erliao villages, offers awe-inspiring views of this natural scene of utter desolation. Many photographers like to come to this spot to watch its myriad changes over the four seasons. The mist and clouds at dawn and dusk are a sight to behold. With its bamboo groves, bare crags, and mountain breezes, this meandering road offers up a majestic panorama.

But I love this old road not just for its beautiful scenery. Even more important is a man-made reason: it is haunted by history! Truly, few places in Taiwan's modern history are at the same time as remote and perplexing.

In the past, this place also attracted many Western travelers. Beginning in the mid-nineteenth century, explorer W.A. Pickering, photographer John Thomson, Presbyterian ministers Dr. James Laidlaw Maxwell and William Campbell, and naturalists J.D.D. La Touche and P.A. Holst trekked over hills and dales to come here, and left a precious record of writings and photographs. Whoever underwent this baptism by fire could not but learn from the experience.

Along this road there are also many settlements of Aborigines (forced up

感謝蚊子掃圖.

這種水氣通常會影響畫面遠方的通透度.
用cpl會好些旦也好不到拿裡去
出現這種水氣拍遠景.山的層次會比較好.
拍近景光影效果較好(通常會有光束出現).
一般來說山色是灰濛濛的時候
除非山的層次很多或在高山上會有藍藍的天出現.
否則就乾脆不拍了.

三峽 [山中傳奇]