Postcards from the Past

A stunning collection of vintage photographs of Hong Kong showcases not only the merits of a vast array of Asian photographers, but also captures the transient face of an ever-changing city unlike any other in the world. P.Ramakrishnan was granted access to the Hong Kong Heritage Museum before the ground opening ceremony of the exhibition and offers a preview of the collection of the images.

Documenting Hong Kong's vast changes in a supremely aesthetic manner, the latest exhibition at the Hong Kong Heritage Museum has piqued interest among not only photographers, but also collectors of classic cameras. "Camera's Inside-out" showcases old cameras - an incredible range of gadgets collected by David Chan - and the collective works of a group of local photographers from the 1950s to the hot shots of today.

Featuring more than 100 cameras manufactured in different periods and countries, the exhibition is a linear compilation of the technological history of photography. Cameras from Germany in the 1960s, French ones from the 70s, and models from Japan, China and even Hong Kong, are all on display.

Mostly through black and white photography, it's also a look at some long forgotten aspects of Hong Kong; markets and farms and greenery now extinct in the main metropolis and concrete jungles of Central and Wan Chai and shots of Happy Valley when it was nothing but a swamp, not the cluster of residential blocks and racecourse that it is today. With each successive turn among the labyrinth walls, showing a smorgasbord of photographic artistry, it's a true trip down memory lane.

Entering "Cameras Inside-out" on the second floor of the cavernous building, the first item on view is a gigantic box, with a black hood and an accordion shutter. This contraption happens to be a vintage camera, Godzillian next to the palm-sized Digi-cams that many people have today. As David Chan, renowned collector of cameras, cars and gadgets (who generously donated many items to the museum) says, "In the old days, it was a privileged few who could afford to get their picture taken, let alone own a camera. In the early days, it was all 'salon' photography. Families dressed up and came to a studio and sat seriously as they spent a lot of money to get their picture taken. The cameras were these wonderful, revered machines - I've loved them and collected them for years."

Indeed the cameras are held in glass cases like precious jewels. For collectors like Chan, the camera itself is a piece of art with considerable historical value.

With framed photographs by more than 30 forefathers of local photography, such as Kan Hing-fook, Tchan Fou-li, Leo K.K. Wong and Ngan Chun-tung, the beautiful collection of images perfectly complements the machines displayed in front of them. Local contemporary artists and photographers have also submitted their own work for display, including Almond Chu, So Hing-keung, Bobby Sham Lam Wai-kit and Chow Chun-fai. While some found inspiration in nature, others in architecture, faces enamoured some, while being caught unaware was a theme for others.

Dr. Leo K. K. Wong graced the opening and walked around with the media, the legendary photographer discussing at length the evolution of Asian photography as those in the trade worked as both documentary makers of a period, and were artists in their own right. when asked if his Doctorate title is an Honorary one, he chuckles and says, "In my time, photography was never considered a 'real' job so I did my Doctorate too!"

As we tour through the labyrinth of sepia toned canvasses, he says, "Though photography is a product of art and science, to me, it is an art. As an art form, photography is a perfect means of human expression. Anyone can be a cameraman these days and photographers had to work harder in the past. Modern technical advancement makes it all much simpler today. However, not anyone is an artist."

As we pass one of the more modern pieces that appears entirely out of focus and just seems a blur of hazy colours, it's hard not to nod in agreement. "If I must commit myself to answer which era showcased the best work, I think in Hong Kong photography the 'golden age' may have been the period between 1955 and 1975 when monochrome photography prevailed and many classic, good works were produced by the local pictorial enthusiasts. My favourite photographer was Ernst Haas and I was much inspired by his book, "The Creation." In recent years, I have been greatly influenced by the old, classical masters in Chinese ink painting and calligraphy for their abstraction."

Tapping the glass case that seals a rare Canon camera, he says, "I started photography as a serious hobby in 1966 and my favourite cameras were then medium format (Rolleiflex & Hasselblad). In recent years, I changed to a 35mm (Canon EOS). Nature is a favourite subject of mine to shoot, especially the changing faces of nature in different seasons and at various times of the day because it elicits different responses in me, impressing upon me the endless cycle of life. Pressing the shutter at the decisive moment and capturing an image which transcends nature gives me endless pleasure. I have always preferred outdoor photography to studio work."

As current postcards of Hong Kong bear well-lit skyscrapers and serpentine traffic as the face of the city, it's hard to believe that the most of the shots in the exhibit - of the country, children in rivers, birds in flight, open landscapes, priests, singers, ships and boats - were taken right here.

As we pass by a row of portraits, I ask if there's a reason why people always seem to look better in black and white pictures? "I think that it's that the simple elements of monochrome can better convey and express the mood and feeling of the human being," Wong responds with a barely discernible smile. "I am still using colour transparencies and am not at all keen on post-production. In recent years, multiple exposure has become my favourite method of photography. At this stage of modern technical advancement, I still consider that a digital camera and Photoshop does not produce the final image that I expect. With film, the moment I press the shutter, the final image produced by multiple exposure is the end-result of the reaction between light, colour and the emulsion of the film - in essence, that means that it is a photo-chemical reaction rather than superimposed digital diagrams."

What does Wong think of the current state of photography in Hong Kong? "Although there is always the argument between pictorial versus documentary photography, I am rather optimistic about the future of local photography. I see that there is ample space and opportunity for the harmonious development of all types of photography in Hong Kong under the heading of photographic art."

Images courtesy of LSCD.

From Top to Bottom; Struggling by Tchan Fou-li (1967, (Hasselblad Camera), Small Photographer by Lo Tak-cho, (1935 - 1944, Rolleiflex Camera), Approaching Shadow by Ho Fan (1956, Rolleiflex 3.5 F Camera)