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During the golden age of Hong Kong’s entertainment industry, when Cantopop and Cantonese films flourished, photographer Sam Wong captured it all. Known for his iconic images of stars such as Leslie Cheung, Maggie Cheung, and Anita Mui, Wong’s work immortalized the show business elite of that era. Despite a career spanning four decades, Wong is holding his first solo exhibition, aptly titled “It’s About Time,” at the Hong Kong Design Institute in Tseung Kwan O. The exhibition is a retrospective of his work, featuring rare photographs that capture the essence of Cantopop legends like Faye Wong and Leslie Cheung.
Born in Hong Kong, Wong moved to Canada at 13. He discovered his passion for photography while studying at the ArtCenter College of Design in California. “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, he chose to return to Hong Kong over pursuing a career in New York, believing he could make a significant impact in the smaller market. His timing was perfect as the city’s entertainment industry was booming.
“Hong Kong was really hungry for new talent. If you did a good job, people noticed, and you got more opportunities,” he remembers. Wong’s reputation for solid technique and creative lighting made him a sought-after photographer. One memorable shoot was for Cantopop idol Danny Chan’s 1987 album “Dream Lover,” where Wong captured Chan leaning against his new car, smiling brightly. Seeing this photograph today is poignant, as Chan passed away in 1993 at the age of 35.
Wong’s creative lighting is also showcased in his portrait of Anita Mui for the 1996 film “Who’s the Woman, Who’s the Man.” Using soft lighting to convey sadness, Mui humbly told him, “You have the final say.” Another notable shoot was for Eason Chan’s 1998 album “My Happy Time,” where Wong had Chan run and jump to create a casual, nostalgic look.
Spontaneity and trust are hallmarks of Wong’s dynamic style. “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.” Despite the rise of digital photography, Wong prefers film for its depth and unpredictability, which can lead to creative accidents.
As for the future, Wong remains 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. His exhibition “It’s About Time” not only celebrates his illustrious career but also the vibrant era of Hong Kong’s entertainment industry.
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