You studied and worked in fashion design before getting into photography. How does that background shape the way you see and create images today?

I studied visual communication at university and started out working in graphic and fashion design. I remember that back in high school, I had a fashion project where I had to create garments, and I spent hours researching fashion imagery. From that point on, I never stopped collecting images. At the time, I thought what I loved was fashion design, but looking back, I realise what truly captivated me was the power of the images themselves.

Your work is visually dynamic, often dreamlike, and rich in texture. Whether it’s a personal project or a team shoot, where does the idea begin for you? Do you sketch, make mood boards, collect references, talk to people – what helps you build the vision?

It usually starts with a story. I’ll build out a mood board and then research set design ideas that support the narrative. From there, I share the mood and story with my styling and glam team and let them brainstorm within their own areas of expertise – they’re professionals in their fields, and I trust them to bring their own strengths to the vision. For set design, I think about what objects or scenes are needed, then work with the set designer to bring them to life. The whole team is essential to building the vision.

How do you create images that aren’t “just a pretty photo” but tell a story with soul and deep feeling, like the work of Paolo Roversi and Steven Meisel, photographers you look up to?

Creating images with real depth and soul is genuinely difficult, because photography is a form of communication between everyone involved – it’s not just about what I see through the lens. Connection is everything. Getting a shot that goes beyond surface beauty comes down to the connection I build with the model and the wider team.

Studying Paolo Roversi’s work taught me a lot about mood and the power of eye contact. His images are often very simple, but the models tell entire stories through their eyes. Steven Meisel, on the other hand, is great at using the environment and the relationships between models to build narrative.

One of your friends recently encouraged you to think outside the box and experiment with your style. How is that going so far? What have you discovered and learned by trying new things?

It’s something I’m always telling myself: to keep trying new things. That’s one of the great things about photography, because every project is new. I’m constantly searching for fresh themes and new directions with each shoot.

You’ve mentioned in the past that a lot of your work relates to your childhood self, your dreams and passions, the movies and cartoons you grew up watching. How do those memories and influences find their way into your photos?

I think high school influenced my aesthetic a lot. I’ve loved painting for as long as I can remember, and I was always drawing as a kid, which is why I chose to study visual communication. My high school art teacher was very tough, but because of him, I discovered so many great artists and artworks, and learned a lot of art history. He built a real foundation in me. I also spent those years collecting images from movies, fashion, and animation, constantly expanding my visual and artistic sense. Even now, I’ll reach back into the archive in my brain and bring old references into a shoot.

You’ve done some memorable magazine shoots and worked with many celebrities, from Hong Kong stars to international artists like Seventeen. When a celebrity walks on set, how do you make them feel comfortable and bring out a real sense of connection in your photos?

It goes both ways. On my end, I focus on keeping things running smoothly – being polite, making conversation, and ensuring the team delivers what the artist needs. But comfort is a two-way street, and the artist has to be open to connecting with everyone on set too. That said, most artists are incredibly professional. They know how to engage with the camera quickly and give you exactly what you need.

What’s your favourite thing about collaborating with other creatives like stylists, creative directors, and set designers? How can you tell when a creative partnership is working well?

I tend to work with the same team, because it takes a few projects together to really understand one another. What I value most is working with people who want to grow and improve together – that’s when you know the partnership is right.

Commercial work often comes with guidelines and constraints. Do you find this helps you think in new ways at all?

Commercial work is a completely different discipline from creative shoots. It’s about communication and understanding what the client wants. It’s no longer about your own vision – it’s about the brand, the market, and their audience.

How can we make commercial or magazine work feel fresh and exciting – not just “another job”?

That’s something I find challenging too. But I always remind myself not to be stubborn about my own point of view. My approach is to present three ideas to a client: one that’s highly creative, one that leans heavily commercial, and one that sits somewhere in between. Then I let them choose. It keeps things open.

For people who haven’t spent time in Hong Kong’s creative world, what would surprise them about the fashion and photography scene here? What makes it special in ways that aren’t obvious from the outside?

Hong Kong’s creative world is quite limited in some ways, because it’s such a commercially driven city. But the real surprises are hidden in the smaller, less obvious corners. It’s a city where Asian and Western culture merge in unexpected ways, and that creates something genuinely unique.

Hong Kong moves at a fast pace and efficiency is highly valued. What have you learned from working in that kind of high-energy environment, and how has it shaped you as a creative?

It’s definitely trained my mind to work fast. So many projects need to come together in a very short window, so over time my brain just learns to operate at that speed.

At the same time, how do you stay inspired and find time to reflect and keep growing as a creative?

I’m not sure I can fully explain it. Ideas just tend to pop up in my mind, and I’ll build on that initial idea until it becomes a more complete story. Movies, culture, and art are constant sources of inspiration for me. And I try to keep learning new things and new technologies to keep growing.

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