例如作品《Bright Line Rules》中呈現的中環景色，影像經過處理之後，恍如長時間曝光的車軌夜景，彷彿置身cyberpunk時空。同樣是中環夜景，另一幅作品《Reading Between The Lines》則把照片變成色彩繽紛的線條與色塊，宛如一幅抽象畫作。相片中的夜景早已變得面目全非，然而在色彩的迷霧中似乎仍浮現着城市景觀，讓人好奇畫面中的真實夜色究竟是甚麼模樣。
新聞攝影不能改圖，攝影師也無法控制照片在報紙上的呈現方式，這對藝術創作來說卻至關重要。從倫敦回港後，她拋下新聞攝影客觀、真實的包袱，開始用photoshop的改圖手法進行創作，主觀地破壞現實，甚至創作出一種主觀投射的假象。在作品《Into The Unknown》裏，表面上看是密集的高樓大廈景觀，然而仔細留意畫面的建築物時，發現它的某部份細節變成彩色的條碼。香港本是燈火璀璨的城市，在她的作品中，前景的黃色燈光變得更耀眼，遠處的山景瀰漫着一片黯淡藍色，畫面左方還有一條紅線從天而降。在以顏色區分立場的香港，這幅作品似在隱晦地表達出香港的現狀。
Izumi Miyazaki生於1994年，2012年在武藏野美術大學（Musashino Art University）修讀影像藝術，大學一年級時開設Tumblr博客，在網絡上分享自拍作品。以為只是一般美白少女的照片？那你就錯了！她的照片總會重複出現自己，這一切原來源自她成長時期的孤獨，當在照片裡製造出許多個自己時，她便不會感到孤獨。另一個時常出現的元素，是食物，椰菜花、麵包、香蕉、米、雞蛋等，靈活地應用在作品中。當初那幅在頭上打蛋的照片，在tumblr上更有數萬個Like，令其迅速在網絡世界竄紅，很快地更引起國際媒體的關注。
Tommy的照片並非一味搞笑，作品背後都有深層意思，藉此喚起大家關注、討論各種社會議題。早於2013年，身在南美的他曾創作講述空氣污染問題的作品《瓶中香港》（Hong Kong in Bottle），隱喻港人被困在一個充滿煙霧的玻璃樽，作品還入選WYNG大師攝影獎。2017年初，他成立「SurrealHK」，儘管呈現手法不一樣，但以攝影關注社會議題的想法早已埋下。
When the public housing unit becomes dominoes in the “Tetris” game, which offers a fascinating glimpse of the surreal life in hong kong, photographer Tommy Fung added his work a description. ”What if the housing problem in Hong Kong is a game? Are we going to win or lose?”
Tetris was all the rage in the 1980s and 1990s. Tommy also played this game when he was a child, and it inspired him to create the Choi Hung Estate unit as “flat dominoes,” which he made for the latest exhibition. “The dominoes of Tetris will drop faster and faster with the difficulty of the game, and it is easy to game over if you are not careful. How to solve the housing problem and win the game is worth discussing.”
Choi Hung Estate has become the most photogenic spot in Hong Kong. Its rainbow-colored external wall hooked visitors. Meanwhile, the residents living inside the Estate are facing the problem of inadequate living space. Tommy Fung copied and shrunk the colorful outer walls of buildings, turning them into infinite smaller subdivided units, pointing out the problem of subdivided flats.
Another artwork is about Wah Fu Estate. He used the same method to present the infinite composition as a metaphor for public housing’s long waiting time. He made the image into a three-dimensional installation, and the layer of images strengthen the message—the more beautiful on the surface, the more absurd the truth behind it.
