這些照片當時刊登於《新報》旗下的雜誌《新誌向 MAG PAPER》，雖然出版後有不錯迴響，但雜誌內容僅收錄幾張照片，加上出版僅半年便停刊，因此真正看過這些照片而仍有印象的人，估計並不多。2022年，Rensis曾向我展示某幾張坂本龍一照片，後來才知道當日他共拍攝四卷120菲林底片，有許多照片更從未展示過，這也成為2025年顯影堂首個攝影展覽《Ryuichi by Rensis》的契機。
The portrait series “DUST ICON” by Stanley Fung has been gaining attention since its debut in China in 2016. The author, also a pastor, portrays his church members as models in this series. This work comprises 98 poignant pieces.
In his youth, Stanley Fung had vowed to become an evangelist himself. After his father’s death from cancer, he struggled for two years before deciding at the age of 35 to attend seminary.
He transformed a church in Shilin, Taipei, into a small, warm art space, picking up a camera to create the “DUST ICON “ series, using congregants as models and drawing from biblical stories. He regrets not understanding his father sooner, but is fulfilling his promise to his father through art.
Most of the works are captured under simple conditions: Stanley Fung uses his cherished Nikon FM2, a standard lens, a reflector, blackout cloth, and a large window that lets in light. Through this equipment, he presents a unique human perspective informed by the Bible.
Shooting with natural light in a studio setting, photographer Shinichiro Uchikura asks his customers – ordinary people visiting the studio for commemorative photographs or portraits – for permission to include them in his own artistic series.
The subjects illuminated against a pitch-black background, Uchikura takes several hundred shots over five to ten minutes, later selecting the few unpredictable moments when his subjects let go of their masks and unexpected expressions appear.
While the photographs meet the methodological conventions of a standard “good portrait photograph,” they all have their own unique texture, their own unique “presence” beyond the captured subject, their own mysterious world.
書中的照片構圖精緻、畫面中的元素動靜皆宜，充滿故事性；攝影師面對苦難不刻意渲染，有時卻能捕捉驚鴻一瞥的瞬間，正如他1932年的名作《Behind the Gare Saint-Lazare》，更成為他捕捉決定性瞬間風格的標誌。他的照片與攝影理論，至今持續影響幾個世代的攝影師，因此《The Decisive Moment》一書也被喻為紀實攝影界的聖經。
Japanese photographer Ryoji Akiyama’s children’s photo book “Dear Old Days.”
Born in Tokyo in 1942, Akiyama Ryoji graduated from the Faculty of Letters of Waseda University. He has been active as a freelance photographer since working at the Asahi Shimbun Photography Department. He set foot in China five times from 1981 to 1982, photographed Chinese children in various parts of the country, including Beijing, Shanghai, Guangzhou, Chengdu, Harbin, Urumqi, etc., leaving a total of nearly 8,000 photos and selected 116 pictures to assemble into the book “Dear Old Days” in 1983.
It was at the beginning of China’s reform and opening up. Happiness is simple in an innocent age without mobile phones and the Internet. Akiyama portrayed the children within the boundaries of play, capturing them from a close distance with his Rolleiflex camera. Behind their straightforward smiles, the red brick walls, five-star hats, and propaganda slogans in the photos also mark an era to a certain extent.
Three decades later, Kyoto-based publisher Seisodo reprinted Ryoji Akiyama’s Dear Old Days, and it gained popularity in China and Japan. The books can be purchased at @devedo.hk
Fan Ho‘s new Thoughts On Street Photography, available @devedo.hk
From the publisher of Portrait of Hong Kong and Photography. My Passion. My Life., Hong Kong publisher WE Press presents a reprint of Thoughts on Street Photography — a recreation of Fan Ho’s acclaimed 1959 photographic methodologies.
Illustrated with 64 images, this book takes readers on an expedition through Fan Ho’s conceptual and practical foundations of street photography. Sixteen insightful essays, originally published in the Hai Kwang Fortnightly, are presented alongside self-written prefaces, a short autobiography, and a reorganization of his iconic, award-winning photographs.
This edition also features a curated selection of previously unpublished original negatives, newly scanned and printed. Dive into the creative process behind each photographic work, and be guided by his principle: move yourself and touch others.
“The real good picture is not about the camera, but in yourself, in your eyes, in your thoughts, in your heart; it was never about that unsympathetic machine.” – Fan Ho.
這系列作品拍攝逾二十年，小野啓分別在2006年及2013年推出《青い光》(The Glare of Youth) 和《NEW TEXT》兩部攝影集。隨著第三部作品《A Portrait for Myself》在去年出版，正式迎來完結篇章。書名「我自己的肖像」出自他拍攝的高中生口中，他們想給人留下的印象，不是想在社交媒體發布的形象照，而是一張只屬於自己的照片。
《A Portrait for Myself》350HKD，攝影書店「顯影堂 DEVEDO」有售，實體書店將於七月開幕。
Kei Ono‘s A Portrait for Myself, 350 HKD, available at DEVEDO
Photographer Kei Ono began shooting portraits of high school students in Japan in 2002. He recruited subjects via Internet and social media, based on pre-session email interviews about why and where they wanted to be photographed—letting their feelings and wishes guide him in shaping a single portrait.
This work continued without interruption for nearly two decades until the onset of the global pandemic in 2020 forced Ono to come to a halt. Covid had robbed these teens not only of their time in school, but also of countless other opportunities in life.
Ono began to think that by capturing them at this moment, he might be able to do some good for someone out there. And so, over a concentrated period of roughly five months in 2022, once movement restrictions had been lifted, he shot portraits of students as they were after their experience with the pandemic, and with those, he brought his series to an end.
Ono’s hope while working on the series was that by capturing every student, each irreplaceable in their own way, in a portrait together with the surroundings in which they were grounded, he would ultimately also be able to document the changes in the very landscape of Japan itself. The accumulated results are portraits of his young subjects that also serve as portraits of the times.
