Jeff Wall的這種創作思維，某程度上是來自繪畫，他自小已沉迷繪畫，大學時修讀藝術史，對攝影及電影亦有深刻認識。作為一位藝術史學者，他的攝影創作深受觀念藝術及繪畫所影響，1978年的成名作《The Destroyed Room》，靈感便來自十九世紀法國畫家Delacroix的《Death of Sardanapalus》。兩幅作品都以睡床為中心，Delacroix的作品是刀光劍影的直接暴力，而Jeff Wall則透過凌亂的房間畫面，呈現一種不可言喻的暴力。是家庭的暴力？還是社會的混亂？一切留待觀眾去解讀。但無可否認的是，他將觀念藝術融入攝影，成功開創獨特風格的攝影手法。
在Jeff Wall慢工出細貨的創作中，還能找到靈感來自印象派之父馬奈、西班牙浪漫主義畫派畫家哥雅以及Edward Hopper等藝術家的作品，然而這些相片除了與藝術史有強烈的連結之外，藝術家想表達的意念似乎還要更深一層。在1992年的《Dead Troops Talk (a vision after an ambush of a Red Army patrol, near Moqor, Afghanistan, winter 1986)》這幅作品中，藝術家透過史詩般的畫面，呈現1980年代蘇聯阿富汗戰爭的情形。
Dead Troops Talk (a vision after an ambush of a Red Army patrol, near Moqor, Afghanistan, winter 1986), 1992
Brasilia, a city built based on the imagination of the future
Human beings always have infinite imagination of the unknown world, especially in the 20th century, when science fiction movies and novels were flourishing. The space race during the Cold War between the United States and the Soviet Union also had a significant influence on popular culture and even urban planning. Brasilia, the capital of Brazil, was born under such a background.
The “Brasilia” series by French artist Vincent Fournier, through photographs of buildings in Brasilia, presents a surreal impression of the utopian world. In the work of “The National Museum,” a tiny person stands above the National Museum with a white cloud floating in the blue sky above his head. “The picture looks like a dream, and it was a tribute to the surrealist painter Rene Magritte.”
Brasilia is a city built on the plateau between 1956 and 1960, conceived by urban planner Lucio Costa. Meanwhile, Brazilian architect Oscar Niemeyer designed most of the public buildings in the city.
“Brasilia was built based on the imagination of the future city; some buildings are like flying saucers parked in the middle of nowhere. It is like a modern utopian city, which is closely related to the space race back in the 1950s.”
French photographer Vincent Fournier traveled to Brasilia in 2012 and 2017; although the city and architecture are magnificent, he described it as a lonely city. “Brasília is an administrative center. The streets are not lively; people usually work in buildings and don’t have a strong connection.”
In Vincent’s “Brasilia” series, there is no spectacular view of the architecture. Instead, he captures a particular corner of the building with a person sitting alone, which reveals the character of the city.
在人人都可以拍攝的年代，一張照片或許只能吸睛一兩秒，Wilson希望以個人視角記錄香港，留住一個時代的記憶，若干年後回看，至少對自己而言，是有特別意義。2016年，他在東京修讀短期課程時，每日從一個高位拍攝東京，集結成《Japan From Above》一書，「攝影集會鼓勵你拍攝系列式的相片，令作品、想法更加完整。」
“Photograph the world as it is. Nothing’s more interesting than reality.”
3月8日是國際婦女節，當初成立的初衷是紀念國際女權運動，同時慶祝婦女在政治、經濟和社會等範疇的貢獻及成就。一百多年過後，女性的整體地位及權利雖然有所提升，但在許多國家地區，女性仍面臨悲慘的命運，美國攝影師Mary Ellen Mark（1940-2015）則以紀實的鏡頭長期關注社會邊緣人物，包括印度孟買紅燈區的妓女。
Mary Ellen Mark出版過逾二十本攝影集，不僅在人像攝影、商業攝影及電影劇照取得成就，她的多元化照片堪稱紀實攝影的典範之作。
As an amateur photographer with the interior design background, Louis Cheung is very sensitive to lines, light and shadows, and objects that can reflect things. With the help of glass and the reflection of the pool, the corner of the Hong Kong Cultural Centre hides a hexagon; the hurry pedestrians in Wan Chai create an extraordinary mirror effect. For Louis, the reflection is not necessarily glass or water. The reflective car reflects the deformed Jardine House, and the remarkable picture looks like an abstract painting.
Hong Kong is a “City of Glass,” and the city is full of reflections. Jardine House is one of the landmarks in Central; photographer Louis Cheung used the reflection of glass to take a picture of two Jardine Houses side by side. The familiar buildings suddenly become a novelty.
Outside the Tsim Sha Tsui shopping mall, he photographs the sky from the ground. The reflective image is like an abstract eye. It is resonant with a famous saying of photographer Elliott Erwitt: photography is an art of observation. It’s about finding something interesting in an ordinary place. Recently, Louis published a black and white photo book, “evoke hong kong photography,” to awaken the public concern about Hong Kong.
Man Ray很小便展現出藝術天份，中學時已打下紮實的繪畫及藝術基礎，還時常參觀藝術博物館，研究早期的藝術作品。他喜歡模仿十九世紀風格的作品，尤其對美國現代攝影之父Alfred Stieglitz以及專門描寫黑暗、貧窮的都市生活的垃圾箱畫派（Ashcan School）等當代先鋒派藝術仰慕有加。他先後在紐約National Academy of Design及The Art Students League學習藝術表現觀念等，後來在1912年進入Ferrer school後，才在藝術上有迅速發展，逐漸成為聲名遠播的藝術家。畢業後，他捨棄建築系獎學金，毅然選擇從事藝術事業。那時的他不僅是商業畫家，同時也是一名繪圖工程師。
多棲藝術家
要貼切形容Man Ray恐怕有點難度，他不僅是攝影師及畫家，身分還包括雕刻家、導演、詩人、作家等，涵蓋電影、文學、攝影、繪畫、多媒體等創作領域，他是紐約達達主義（DADAISM）的奠基者，也被譽為超現實主義大師。才華橫溢的他喜歡以攝影家和畫家自稱，關於兩者的關係，他用「I PAINT WHAT CANNOT BE PHOTOGRAPHED,I PHOTOGRAPH THE THINGS THAT I DO NOT WISH TO PAINT」來形容。
