Jackson Hung

Jackson Hung, “On Display”, Escalators in Hong Kong

Jackson Hung is a freelance photographer based in Hong Kong. His work has been featured in the Toronto Urban Photography Festival, Seoul Photo & Imaging, PIK (Photographers in Korea) magazine as well as an honorable mention in the National Geographic Photo Contest 2015. He was also part of the jury for the Toronto Urban Photography Festival 2016.

“Photography needs to be haunting and worth remembering.” – Fan Ho

Wing Shya 夏永康

Wing Shya, Title Unknown, (Many Words Tell the Story)

Born in Hong Kong 1964, Wing Shya returned to Hong Kong following his fine art studies at Emily Carr Institute in Canada and founded the award-winning design studio, Shya-la-la Workshop. In 1997, appointed as the exclusive photographer and graphic designer; Shya began his collaboration with the renowned movie director, Wong Kar-Wai on “Happy Together”, continued then on In the “Mood for Love”, “Eros” and “2046”. He has shot images of some of the region’s top talent and collaborated with fashion houses, brands and magazines.

Peter Stewart

Peter Stewart, “Stacked”, Urban Architecture Series of Hong Kong

Some 7.2 million people live in Hong Kong, a region that covers 426 square miles. Cramming that many people into so small an area requires building up. And up. And up. Peter Stewart’s series “Stacked” provides a dizzying view of the high-rises most Hongkongers call home.

Hong Kong is renowned for its deep harbor and amazing skyline, which features more than 1,500 skyscrapers. The very tallest of them are office buildings, but even apartment buildings rise 250 feet or more, allowing those on the ground to see only slivers of sky through a canyon of concrete, steel, and glass. “Once you comprehend the reality of [Hong Kong], it really makes sense that the only way to to build is up,” Stewart says.

He’s photographed more than 300 residential towers. Stewart achieves his signature Point of View by finding the point midway between the buildings and aiming his digital camera straight up. A 14mm lens lets him capture the symmetry and repetition of buildings on both sides, and distorts the view to create an almost surreal image.

Stewart takes multiple exposures at various shutter speeds, blending them in Photoshop so the bright lights in the windows aren’t blown out against the darker exposure of the skyline. He also plays with color for a futuristic feel. Such “digital fakery,” as Stewart calls it, evokes a melancholic, almost dystopian mood.