《何澤攝影合集》由《單色通道》及《迷漓都市》兩本作品合輯而成。

《單色通道》拍攝於1995年，那是香港面對主權移交的歷史時刻。何澤以紅與黑兩種顏色為基調，將城市的喧囂與躁動封存於靜默的影像檔案中。在暗紅的安全燈色調下，大街小巷、擦身而過的行人、看似毫無意義的日常片段，都被抽離了現實的色彩，化為一座符碼的迷宮。這批影像拒絕提供線性敘事，它們只揭示一個真相：所有影像皆誕生於光的消逝與重組，誕生於時間的凝固與流逝。

《迷漓都市》，拍攝於2025。何澤以另一種面貌回應前作。如果說《單色通道》是將城市浸泡於顯影液的暗房之中，那麼《迷漓都市》則是把香港置入巨型廣告箱之內──霓虹燈光、螢光色彩、流動的影像從四面八方湧來，我們的空間早已被資訊碾碎。何澤刻意以慢快門拍攝，讓影像散焦、模糊、晃動，彷彿城市不再是可供「觀看」的靜態物件，而是隨著身體移動而持續變化的動態場域。紅與黑的基調不再，換來的是既憂鬱又浪漫的螢光色彩，折射出這個時代虛實交錯的本質。

《單色通道》與《迷漓都市》相隔三十年，拍攝手法卻同樣偏離傳統攝影對「聚焦精準」的追求。這種一以貫之的選擇，恰恰揭示了何澤的攝影觀：對他而言，攝影並非只是眼睛的工作，而是身心整體與所處環境互動的結果。那些晃動的燈光、暈染的色彩、不確切的輪廓，既是香港街景的切片，也是拍攝者在城市節奏中的所感所知。一如他在荒野中長跑三十年──不張揚、不解釋，只是一步一步向前，在漫長的孤獨中進入心靈的最深處。

“HO CHAK’s Photo Collection” is a collection combining “Monochrome Passage” & “Ethereal Metropolis”.

“Monochrome Passage”, photographed in 1995, emerged at the historical moment of Hong Kong’s impending sovereignty transfer. Working with red and black as his tonal foundation, Ho Chak sealed the city’s restlessness and turbulence within a silent archive of images. Under the dark crimson hue of the safelight, streets and alleyways, passing pedestrians, and seemingly insignificant fragments of daily life are stripped of their natural colors and transformed into a labyrinth of signs. These images refuse linear narrative; they reveal only one truth: that every image is born from the disappearance and reconfiguration of light, from the simultaneous arrest and flow of time.

“Ethereal Metropolis”, photographed in 2025, Ho Chak responds in a different register. If Monochrome Passage immerses the city in the developing solution of a darkroom, then Ethereal Metropolis situates Hong Kong inside a colossal lightbox. Neon radiance, fluorescent hues, and streaming images surge from every direction — our spatial experience long since pulverized by information. Ho deliberately employs slow shutter speeds, allowing focus to dissolve into blur and motion, as though the city were no longer a static object available for viewing, but a dynamic field continuously reshaped by bodily movement. The red-and-black tonality recedes, replaced by melancholic yet romantic fluorescence, refracting the entangled realities and illusions of our time.

It is worth noting that although Monochrome Passage and Ethereal Metropolis are separated by three decades, both depart from photography’s conventional pursuit of precise focus. This persistent deviation reveals Ho’s philosophy of photography: photography is not solely the work of the eye, but the result of a total bodily and psychological engagement with one’s environment. The trembling lights, diffused colors, and indeterminate contours are at once fragments of Hong Kong’s streetscape and traces of the photographer’s lived perception within the city’s pulse. Much like running alone across wilderness for thirty years — unassuming, offering no explanation — advancing step by step, entering ever deeper into the interior self through prolonged solitude.