2022年是香港回歸25周年，也是邱良逝世25周年。藝文平台「文化者 The Culturist」及攝影平台「顯影 PhotogStory」共同策劃邱良紀念展《百變香江》（City Vibrance: Hong Kong），展出多張邱良於1960至70年代拍攝、以及由攝影家親手放曬的珍貴銀鹽原作照片，相片也呈現當時港人的樸素日常以及生活的閒情逸致，是難得的集體回憶。
史國瑞是中國著名針孔攝影家，剛開幕的M+博物館，藏有七件他的作品，可惜並沒收藏他拍攝西九龍及維港的作品《To See Hong Kong Island From Kowloon 15-16 July 2016》，這幅暗箱攝影（Camera Obscura）作品最近在10號贊善里畫廊舉辦的二十週年聯展中展出。
Shi Guorui is a well-known Chinese pinhole photographer. One of his works, “To See Hong Kong Island From Kowloon 15-16 July 2016,” was exhibited at 10 Chancery Lane Gallery’s 20th Anniversary Exhibition recently.
In 1990, Shi majored in Photography at Nanjing Normal University and systematically studied the various genres of photography. Although pinhole photography lacks sharpness, the unique visual effects deeply attracted him. Starting in 1998, he focused on creating pinhole photography. He even built a camera obscura a few meters in size for shooting, exposing the image directly to the photographic paper.
Pinhole Photography has given him a better understanding of the artwork and brings him peace of mind during the long exposure process. His largest work is eight meters long, which is undoubtedly a big challenge for constructing the camera obscura and the image processing.
For more than 20 years, Shi has worked on the Great Wall, Mount Everest, Yangtze River, and Times Square. Since 2013, he has conducted site visits in Hong Kong and created artworks at Tai Kwun, Happy Valley, and Victoria Harbour in the next few years. In this photo taken in West Kowloon, he transformed the Deutsche Bank meeting room of the International Commerce Centre into a colossal Camera Obscura to capture the Victoria Harbour.
約十五年後，她創作出另一件作品《15槍……從1989到2003》(15 Shots…From 1989 to 2003)。當時，畫家李松松(正是他當年為肖魯提供手槍)為她拍攝手握54式手槍的黑白數碼照片，照片裝裱後運至北京某靶場，肖魯用77式手槍先後向十五張照片開槍，子彈穿透玻璃及照片，在照片中她的額頭、臉龐及眼睛等位置留下槍眼痕跡，宣洩在《對話》作品後隱藏多年的壓力及情緒，藉此也告別他與唐宋近十五年的感情。
On February 5, 1989, artist Xiao Lu fired two shots towards her phone booth installation artwork “Dialogue” at the “China/Avant-Garde Exhibition” held at the National Art Museum of China, which became a crucial moment in Chinese contemporary art history. After the gunshots, she and Tang Song, another artist who helped set up the artwork, were imprisoned for three days, and they became lovers for more than a decade after that.
About fifteen years later, Xiao Lu created another artwork, “15 Shots…From 1989 to 2003.” Painter Li Songsong (who provided Xiao Lu with the gun back then) took a black and white digital photo of Xiao Lu holding a 54-type pistol. The image was mounted and transported to a shooting range in Beijing. Xiao Lu shot each photo with a 77-type pistol bullet. The 15 bullets penetrated the glass and pictures, leaving gun marks on her forehead, face, and eyes in the images. The artwork released her pressure and emotions hidden for many years after the “Dialogue” and bid farewell to her years of relation with Tang Song.
Xiao Lu describes the artwork on her website as below.
Love, The sky Knows. Hate, The earth Knows, Without love; Without hate, The devil knows.
I am no good at theoretical explanation and even worse at talking about art. All I know is real life. As a work, it’s from, for me, is just an internal necessity. It can be a painting or a poem. Perhaps it requires a gun. All of this is decided by your own psychological tendencies, your disposition. This is not anything that can be explained by the word “art,” but rather a survival instinct, your very lift.
Pedder Street, The Bund, Hong Kong. Photograph by John Thomson, 1868/1871. Photo credit- Wellcome Collection
John Thomson用十年時間在亞洲各地遊歷拍攝，照相機一直陪伴他的旅行，記錄沿途的所見所聞。 1872年回到英國後，他用大量時間整理照片，並出版五套關於中國的著作，包括《中國和中國人照片集》（Illustrations Of China And Its People）、《鏡頭前的舊中國》（Through China With A Camera）等。他是第一位在西方出版圖書介紹中國的攝影師，其著作大大擴闊西方人對中國的認識，也使他名留青史。
The Bund, Hong Kong. Photograph by John Thomson, 1868/1871. Photo credit- Wellcome Collection
Scottish explorer John Thomson (1837-1921) was one of the first western photographers to photograph Hong Kong. He came to Hong Kong and opened a photo studio on Queen’s Road in 1866. In addition to taking portraits of people with wet plate photography(wet-collodion process), Thomson also likes to document the streets of Hong Kong in his spare time, such as the clock tower in Pedder Street, Government House, Sedan chair, and Lion Rock, leaving precious visual records for Hong Kong in the 19th century, which may be regarded as the earliest street photography.
最令人印象深刻的，是「人」，他說有人的照片才有意思，畢竟風景僅是過場。翁維銓鏡頭下的人物總是充滿笑容，真摯地直視鏡頭，令人好奇鏡頭後發生過什麼互動。當中在新疆拍攝的照片尤其出色，1986年，他曾出版攝影集《新疆：絲路上的中國情》（Xinjiang: The Silk Road Islam’s Overland Route to China）。他形容雖然當地人的生活和政治存在矛盾，但生活態度卻是很正面，他的照片也捕捉了當地人的精神面貌及民風習俗。
畢業於香港城市大學創意媒體學院的區子朗，創作媒介多元，2016年為香港搖滾樂隊「話梅鹿」前結他手Hanz的MV《苦物》擔任美術指導時，覺得舞者表演時很有感染力，於是拍攝第一輯裸體作品《Stillness in Motion》，在照片中展現模特兒的身體特徵及他感受痛苦的狀態。對子朗而言，作品並非為裸體而拍攝，而是透過影像呈現內心的情緒。
