The exhibition, at the Hong Kong Design Institute in Tseung Kwan O, in the New Territories, is a captivating retrospective of his work, featuring rarely seen photographs that capture the essence of Cantopop singers such as Faye Wong and Leslie Cheung.
“It’s About Time” is also a record of the transition from analogue to digital photography and of the rise of Hong Kong’s entertainment industry.
Born in Hong Kong, Wong moved to Canada with his family when he was 13. It was while studying at the ArtCenter College of Design in the US state of California that he discovered a love for photography.
“By chance, I was in between schools and didn’t know what I wanted. We had a camera, and nobody knew how to use it. So I took a course, and I never put the camera down after that,” Wong recalls.
After graduation, Wong had to choose between pursuing a career in New York and returning to Hong Kong. He picked the latter, since he believed he could make a significant impact in a smaller market – and he was right.
He found himself in the right place at the right time when the city’s entertainment industry exploded.
“Hong Kong was really hungry for new talent. If you did a good job, people noticed, and you got more opportunities,” he recalls. His reputation for solid technique and preparation established him as a sought-after photographer.
“I specifically chose the time when the sun was the brightest, at noon, and filmed it in front of his house on MacDonnell Road [in Mid-Levels on Hong Kong Island], with him leaning against his new car and smiling brightly,” Wong says of the album cover – on display at the exhibition.
Seeing the photograph today is especially poignant – Chan died in 1993 at the age of 35.
Wong used soft lighting to impart sadness and melancholy to Mui’s character. When he asked Mui for her approval, she simply replied: “You have the final say.”
“She was very humble and respectful,” Wong says.
“That day, he showed up with make-up on. I took a few photos and thought his make-up was too ‘neat’. So I had an idea. I took him to the playground with me. We ran laps, jumped, sweated,” Wong recounts.
The results, showing Chan looking casual and relaxed, really matched the concept of childhood nostalgia, Wong says.
Spontaneity is a hallmark of Wong’s dynamic style. He describes his process as fluid, and he often made in-the-moment decisions to capture the perfect shot.
Establishing trust with his subjects is key, he says.
“Back then, it was a lot easier because there were less people surrounding [the stars]. So I would just talk to them while they were doing hair and make-up.”
Wong prefers film to digital – he believes it offers a depth of exploration and skill that digital lacks. “Film photography requires a system and extensive testing,” Wong explains. Each new film necessitates a thorough understanding of its capabilities, making the process both challenging and rewarding.
Unlike digital photography, where results are immediate and predictable, the unpredictability of film can lead to creative accidents that produce valuable techniques.
Wong can recall experimenting in his darkroom with black-and-white photos, and says he values the meticulous craft involved in film photography.
As for his future, Wong is undecided. “I don’t know yet. When I feel like picking up the camera again, I’ll go out and take some pictures. Right now, I’m just doing jobs for friends,” he says.
“It’s About Time! An Archival Photography Exhibition by Sam Wong”, co-curated by Ben Liu and Kary Kwok, Hong Kong Design Institute, Room C003, 3 King Ling Road, Tseung Kwan O, Monday-Sunday, 9am-6pm. Until September 15.