Dubbed the “Cartier-Bresson of the East”, Fan Ho patiently waited for ‘the decisive moment’; very often a collision of the unexpected, framed against a very clever composed background of geometrical construction, patterns and texture.
He often created drama and atmosphere with backlit effects or through the combination of smoke and light. His favorite locations were the streets, alleys and markets around dusk or life on the sea.
What made his work so intensely human is his love for the common Hong Kong people: Coolies, vendors, hawkers selling fruits and vegetables, kids playing in the street or doing their homework, people crossing the street…
He never intended to create a historic record of the city’s buildings and monuments; rather he aimed to capture the soul of Hong Kong, the hardship and resilience of its citizens.