世上有如此多的不許人間見白頭，有那麼多原以為不會分離的同偕白首，像在我心裡面秋官還是楚留香的模樣，周潤發和鍾楚紅是秋天的童話裡的一對。這些照片記著的不單是傾倒眾生的風華絕代，還是粵語最漂亮精彩的年代，最動人心魄又不可方物的聲音。
很久之前，有一個朋友，經已記不起是誰，向我提議開闢一個攝影專欄，以拍攝電影界人物為主。我本來就喜歡拍攝人物，又由於當時加入了『電影雙周刊』，跟電影界朋友有著密切的聯絡，何不藉此「專欄」逼自己不停拍攝？我生性疏懶，要是沒有「專欄」的壓力，我是不會定期工作的。故此，就於一九七九年十月十一日在『電影雙周刊』第二十期開始了「曝光人物」一欄。當時，「曝光人物」是意圖把有突出表現的電影工作者，或有潛質的幕後工作者介紹出來，特意「曝光」一番。
記得第一個電影人，我是選擇了許鞍華，那時她剛拍完了處女作《瘋劫》。許鞍華的性格，我是知道的，要她拍照，實在為難她，我私下有點兒不忍逼害她，可是任務在身，唯有努力把她誘請出來。回想也好笑，我把她帶到深夜的電車上，舉機相向，她還苦苦哀求我放好一馬拍。她不是矯扭作態，因為四周無人，而是她真的很怕拍照。怕拍照，我覺得完全正常，我也怕被人拍照。終於我還是完成了任務。我很喜歡那張照片。
說起來，譚家明也是一個怕拍照的人，他可害得我苦了！我曾經隻身夜探嘉禾片場，在又焗又熱的廠景內苦候整個晚上，一無所獲，就是因為他怕了我的攝影機，又很會躲。又有一次我碰見他在尖沙咀拍戲，立刻趕回家取攝影機，以為可以替他拍得一張照片，豈料，他竟然在眾人面前央求我不要拍，真給他氣壞！所以至今我還未有一張滿意的譚家明照片，遺憾！
幸而，電影工作者不是全部都害怕攝影機，有些根本喜歡上鏡，這類型的人最受歡迎，亦是最合作的模特兒。章國明就最可愛，他懂得怎樣引導你的攝影，不斷提出意見刺激你。面對著他，你會有很多很多選擇，而不是相對無言─尷尬。拍攝過程是輕鬆、愉快的。徐克也是很好的拍攝對象，他會給你機會，給你時間。有些導演在工作時異常緊張，不停走動，使你一個鏡頭也沒法捕捉。楚原在邵氏片場內，快步來回，難得有停下來的一刻，但在適當的時候，他也會記起我的存在，而給我機會。但有些導演便不會明白我持機等待的苦心，像有意作弄似的永遠不會走到「有足夠光線」的地方，使我用武無地。有時連燈光師也同情我的苦候，通情達理的特意把燈光射去，給我拍攝的機會，為了拍攝「曝光人物」，多年追縰電影進行拍攝的實況，跟很多工作人員都熟絡起來，他們給我很多方便和幫忙，感激不盡。
拍攝人像，我喜歡用廣角鏡，在短距離捕捉對方最自然，最不自覺的面貌。為了達到這個目的，我唯有在他們工作時進行拍攝，因此使我有機會體會拍電影的艱苦，亦豐富了我的經歷。我會落到中區的地底深處，那時黃志強正在那裡拍攝《癲佬》。我冒生命危險攀落地鐵的地底地盤，裡面沒有空氣調節，烏煙瘴氣，真難為那班工作人員要在裡面工作多日。我又曾探過西環上面的防空洞，那時鄧光榮在山洞裡面拍《怒拔太陽旗》。我要忍受那些防空洞的髒和黑，工作人員都懷疑我為何要自討苦吃。我又試過在寒風凜裂的高速公路佇立，那時曾志偉在拍《最佳拍檔大顯神通》的飛車鏡頭。全組工作人員士氣高昂，像感覺不到寒冷，只有我一個冷得牙根打顫。
記得有一次，我要替麥嘉拍照，照例先打電話追查行蹤，他說：「今晚我們半夜出發，像黑夜行軍，要攀山越嶺，你還是別跟來吧！」永遠是那樣大男人口氣，我才不被他嚇倒，堅持跟隨出發。麥嘉唯有帶同我摸黑走路，一行人有講有笑，並不太辛苦。雖然當晚捱到通宵，我也拍不到一張滿意的照片。可是深夜行山是我前所未有的經驗，也算是有多少收獲。
說來「曝光人物」帶給我的收獲可不少，除了經驗、朋友之外，就是意外的讚賞。有點奇怪，不少人都表示喜歡「曝光人物」。施南生便說過她和徐克喜歡把所有的「曝光人物」放在一起來欣賞。台灣『中國時報』亦要求刊登那些照片，另立名目為「電影人映象」。直至一九八三年九月一日，『電影雙周刊』第119期，「曝光人物」一欄才停止。因為我要應付一項新的工作，分身不暇，唯有割愛。想不到有不少朋友比我還緊張，屢次追問我何時再續 ，此事一直令我耿耿於懷。
我可不曾想過把作品結集成書，名攝影家翁維銓早已建議我進行出版攝影集，他的鼓勵使我欣然，但亦令我歉疚，我曾替上百的電影人拍照，竟然遺漏了這位也是導演的朋友。其後還有不同的機構及朋友向我提議出版「曝光人物」，可是每次翻看那些攝影作品，都覺得成績平平，差強我意，實在沒有勇氣再拿出來獻醜。幾經規勸和催逼，我才毅然把四年來的『曝光人物』和其他電影人的照片勉強整理出一個大概，完全是就地取材。真怪自己疏懶，心無大志。要是早有計劃，就不至內容偏頗不全。
這本『電影人』只是這幾年的攝影紀錄，我希望會有第二集的『電影人』，能夠把本港現在及將來出色的電影工作者的照片收集，攝影師不必是我。
希望這願望有實現的一天。
A long time ago, a friend persuaded me to start a photo column expressly on film makers. i love photographing people, and ever since, I joined the film Biweekly in 1979, i have come to know film makers well. Being a photo columnist, I had to photograph continuously. The column"exposeure" came into existence in the 10/11/79 issue of the flim Biweekly, solely to "expose" and introduce to the public some remarable film makers or outstanding personaliities in the industry.
Ann Hui, was my first subject, who had just finished her first film, "The Secret" In spite of her reluctance of being photographed, I accomplished my first shooting assignment on the upper deck of a tram - but not without much coaxing and cajoling. This particular portrait meant much to me.
Patrick Tam too, was reluctant to be photographed. In spite of my patience and perseverence, I yielded to Patrick's evasiveness and reluctance. Consequently, i never did photograph Patrick.
Fortunately, not all film makers had " camera fright" and these cooperative personalitieswere excellent subjects as well as models. Alex Cheung was great because he would not mind being photographed, and he even offered suggestions which made the photo-session a delightful and happy experience.
Tsui Hark was easy to work with for his cooperativeness and time. While photographing Chu yuan at work, His mobility almost rendered the mission impossible, but his understanding enabled me to accomplish my mission. Often, the dimness of the studios possed problems to photographing directors at work; and without the lighting men's special assistance, some works would never have been achieved. Many thanks are due to those i have come to know and worked with during those years.
The focal length of a wide angle lens is my preference for portraiture. It facilitates my capturing the subjects in the naturnal and uncontrived. On following film makers around in those photo--sessions - through studios and on locations, I experienced the hard work of film-making. I lived with the heat and grime of MTR construction site in Central where Kirk Wong was filming "The Mad man." i experienced the darkness and filth of the tunnel in kennedy Town where Allan Tang filmed the "Aces Go places II" on a freeway.
Once i hiked all night to photograph Carl Mak. Though the night trip did not merit any good photographs, the experience itself was rewarding.
Not only had the "Exposure" won me experiences and friennds, bbut also pleasant surprises - acceptance. people from many walks of life expressed interests in those works. Often, Nansun shi recalled she and Tsui hark would lay them out for appreciation. The "China Times" of Taiwan had publish them ina photo colum. "portraits of Flim Makers' Against my friends Advice the "Exposure" ended on September 1,1983 when I took up another job.
Peter Yung, a renowned photographer and film maker as well, whom I regretably did not photograph, encouraged me to publish them.Repeatedly, publishers approached me with similar ideas to which I had not complied. After much rationalization, I re-examind and re-edited the body of work, an accomplishment in four years. i reaized that had I been planning in advance, I would have been been more organized and comprehensive in covering more film makers.
" The Flim Makers" is merely a photographic record to which i wish there could be a sequel by me or other photographers. I hope I can find the time and energy to make the wish come true.
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