12/06/2026
Haven of Analog Light: Samson Lok of Zhao Xiang Guan 照相館專業攝影器材有限公司, Captured Through Dr. Chow Yun-fat’s Lens
A single shutter click locks two souls bound by their devotion to analogue film within one single frame. To the public, Chow Yun-fat is an undisputed legend of Hong Kong cinema, yet once he sets down his scripts and picks up a camera, he is nothing more than a photographer obsessed with large-format photography, patiently waiting for images to emerge slowly in developing chemicals. On this occasion, he turns his lens toward a distinctive corner of the city: Samson Lok, the custodian behind the iconic space known simply as Zhaoxiangguan (The Photo Studio).
Most passers-by see the name “The Photo Studio” and automatically assume it is a portrait shooting parlour. In truth, it never operates as a photography service studio. Rooted in camera equipment retail, it has evolved into an understated gathering hub for Hong Kong’s analogue film community. Its shelves hold an eclectic collection of vintage camera bodies and lenses, ranging from compact rangefinders to the 4×5 wooden field large-format camera with mahogany body and brass fittings held by Samson himself, each mechanical mechanism embodying the photographic aesthetics of a bygone era. Enthusiasts drop by in their spare time to inspect classic gear, exchange knowledge on metering and lighting, and discuss film stocks and scanning workflows. Free from sales pitches and cliquish divides, the space survives purely on collective passion for traditional photography, preserving a slow-paced community haven amid our instant digital image culture.
In the portrait, Samson rests his fingers lightly on the shutter release cable, his gaze calm and steady toward the camera. The large-format camera with its burgundy leather bellows is a classic piece he often examines and discusses with fellow hobbyists. Dressed in a plain black top that lends him an understated composure, he wears a timepiece from local Hong Kong watch brand ARTRA on his wrist, acting as a subtle bridge between vintage optical craftsmanship and contemporary homegrown design. The softly blurred backdrop of stacked equipment racks wordlessly defines the true identity of this unique venue.
Chow Yun-fat’s long-standing passion for film photography is well documented within local circles. For years, he has wandered Hong Kong’s streets with his large-format cameras, documenting urban street humanity in black-and-white negatives, and has held charity photography exhibitions to raise funds through his photographic works. When he stepped into Samson’s Zhaoxiangguan, little small talk was needed; their mutual reverence for the ritual of large-format shooting, manual light metering and the anticipation of film development forged an immediate kinship. This portrait is not a celebrity feature shoot, but a sincere tribute from one seasoned photographer to another, who preserves Hong Kong’s vintage camera heritage and nurtures a connected community of like-minded creators.
Digital cameras and smartphone photography have put image-making into everyone’s hands at any moment, yet this instant accessibility has gradually stripped away the warmth that comes with deliberation and waiting. Samson tends to his Zhaoxiangguan, using photographic equipment as a medium to uphold the long-standing tradition of face-to-face dialogue among Hong Kong’s photographic community. Chow Yun-fat continues to traverse city streets with his large-format cameras, freezing fleeting urban moments on analogue film negatives. They follow two separate paths, yet uphold one shared devotion.
This portrait, photographed personally by Chow Yun-fat, captures far more than just Samson Lok’s likeness. It stands as a microcosm of Hong Kong’s analogue film culture. Within our increasingly fast-paced urban rhythm, there remain those who choose to slow down, safeguarding the original romance of light and shadow.
