Happy Go Plucky
There's an impish quality in Sin Kok Wai, from the way he bloats his boyish face for the camera, in an attempt to imitate the appearance of his studio's namesake. Interestingly, the 33-year-old founder of Pufferfish Studio did not name his photography outfit after a dangerous dalliance with the famed Japanese delicacy. In fact, he has yet to sink his teeth into one. But he plans to do so one day, when he gets to the Land of the Rising Sun, he says.
But look beyond Kok Wai's playful demeanour and you will realise that the puffer fish is an apt metaphor for his humbling struggles to become the respected photographer that he is today. Apparently, a puffer fish enlarges itself when trapped in a precarious environment, a fact that he discovered after months of researching for his studio's name. In the same vein, Kok Wai's finesse with photography was honed through a decade of hardship. Now, his studio's tagline 'expands with challenges' makes a lot of sense.
You have been exposed to photography since young but there were several false starts career-wise before you became a photographer. How did that happen?
I was introduced to photography during my primary school days when I was given a 110mm Kodak camera. I started taking pictures of events like the Chingay Procession and the Singapore Air Show for fun. When I got my first SLR, a Cosina, I started doing product test shots of objects like a tea cup set and tea box, running water from a tap, more cups and industrial hardware. Those were done during my secondary school and junior college days. At that time, I did not know about assistant jobs and someone told me that to study photography, I had to go to the US.
After completing my 'A' level education, my parents wanted me to do something conventional like computing. So I enrolled with the LaSalle College of the Arts to pursue a diploma in multimedia. After graduation, I worked as an interactive designer. When the Internet bubble burst, I did a degree course in graphic design before helping out at a friend's start-up as an art director.
In end-2003, a stomach ulcer landed me in hospital and I spent my Christmas and New Year's Day there. I felt it was pointless to sacrifice my health by working so hard for the company. Somehow, I realised, even though I was not actively shooting after having started work as a designer, I still love doing it whenever the chance arose. No matter how I had at most a 10% good frame hit rate in hobby shooting, I just did not give up. If this is not passion, what is? Life is short; you never know what can happen. So, it's better to do what you are passionate about or it might be too late to regret once you have missed it.
I registered my company in 2004 but I started out the 'crappy' way by going into event and wedding photography. I was already married and I could not see myself running around [taking photos at weddings] like a nutcase after 10 years. What I was doing was pretty pointless. Most importantly, I prefer to be in control of shooting situations, not the other way round.
So how did you turn the situation around?
I worked on the networking and I was prepared to lose money when starting out. It was first to get a portfolio, to get myself known and to get more names. For that to happen, I shot for free a modelling agency's complimentary card. Then the same agency hired me to shoot for a corporate uniform assignment but the fee was miserable. It was more like editorial rate. (Oh, my God, I got conned!) With those works, at least I had something relatively decent to show, apart from my test shots.
I am thankful to a schoolmate who introduced me to the chief photographer at MediaCorp, who was satisfied with my portfolio and commissioned me to work on editorial and advertorial projects for magazines like i-weekly, 8 Days, Lime and Manja. During the shoot, there was no stylist or art director, just me and the human subject (sometimes the writer would be around). Shooting celebrities and the who's who was a big, big deal for a young photographer. That experience was useful in beefing up my portfolio, meeting people and training my nerves.
What are some of the challenges you face in running your own studio?
I have not got my pay yet. There are the costs from running the studio; the studio rental and the buying of equipment. My initial investment included a Nikon D70 camera, a second-hand Hasslebald medium format camera, and a couple of second-hand lights. With more cash, I started to buy more equipment progressively. In other countries, photographers can bill their clients for the rent of equipment. Here, we have to get our own.
To get more business, I send my portfolio to prospective clients, instead of advertising my services. I also join a business network BNI. The members are there to basically help one another's business grow. Occasionally we get the 'hunters' as visitors who just want to grab some business. The other members are what I call the 'farmers' ' they are more patient in cultivating relationships. We believe in the philosophy of givers gain.
At this stage of your career in which survival is of the essence, which is more important: creativity or commerciality?
Creativity is more important. If I want to focus on the business side, I might as well go into the makeover business. If you focus on creativity, people will know you for what you do and things will follow. The money part will come in later.
Would you recommend that aspiring photographers follow your self-taught path?
Of course not! I took a 10-year detour and I suffered a lot to be where I am. If I had a choice, I would have started out as an assistant for three to six years and learn from scratch. Having started out without any training, there is always a lot to learn and at times, I do feel that I am not proficient enough. Luckily, libraries and the Internet are everywhere. And one day before a photo shoot, I would do some testing. Thank God, the shoots always turn out good.
If I have any advice for anyone starting out the same way as I did, it is not to spoil the market because people will think that you are cheap [to hire] and you will be labelled as that.
Surely your background in design and art direction has been useful....
Definitely, it's a two-way thing. When I shoot, I can sense where to crop the picture but the art director may want more space, so it could be good or bad. Still, before I press the shutter, I know what works. Also, because I am design trained, I am more open to going with what clients want. I am sure many photographers will do that; after all, the client is paying.
Please share with us what you like about photography.
It's very dynamic; there is always something new and different to work on. I get to interact with people and I can force them to listen to my jokes, no matter how lame the jokes are. Whenever I shoot inanimate objects ' such as architecture and interiors ' it's a Zen moment for me to stand there and appreciate them from my heart.
I also like the end results of photography: When a photo is made, the preferred moment and side of the subject is captured, it can never be reproduced again. So, when you have the time to see the photo in part or as a whole, you can appreciate it. Now with Photoshop, it further enhances what you can add to the photo. Maybe while doing post-processing, you feel something can be done to enhance how you feel about the image.
I do like the process and preparation before the shoot too. This is when I can experiment with alternatives, if time and the client permit.
I went into the creative, photography field because I did not want a nine-to-five job' great, now I get a nine-to-nine job. Of course I can adjust my time accordingly but the only thing I think about 24/7 is the business.
How about aspects of photography that you don't like? Crappy clients, perhaps?
If you don't have crappy clients who rip you off, you won't appreciate the good ones. It's how you look at things. Once you are positive, every job will be wonderful.
 Result of more careful placement of lights, reflectors and photoshop layering. (wait, this is an open secret right? oops) - photo courtesy of Sin Kok Wai
What are some of the tougher assignments you have taken on?
Taking the product shots of expensive jewellery and watches was a challenge because of their reflective nature. I overcame the problem by using mirrors. Another was when I went to Shanghai on my own to do a photo shoot of the staff and ground crew of Hotel Intercontinental. It helped that the client is also my friend and he chipped in too.
 2 of the hundreds pairs of shoes, each pair with laces painstakingly prepared - photo courtesy of Sin Kok Wai
Your home was your studio until about a year ago. What prompted the shift and any tips on choosing a suitable studio?
I decided to find a studio when my living room got too small and it seemed funny for clients to come to my place. My current studio is also my first. I am very lucky to view it and to almost instantly pick it. It has a high ceiling and is pillar-less. I also like the studio's shape and windows, location and of course, rental rate. In short, physical attributes, natural lighting and rental. More importantly, you have to know what you could be shooting there and what you need.
And what inspires you as a photographer?
I get inspiration from the subjects I shoot, the TV drama CSI for its generous play of rich colours and the impossible-in-real-life lighting (yellow and green contrast lighting in a crime lab? Are you serious?), and photographer Jill Greenberg ' her images just pop out! These sources of inspiration can be found in some of the studio corporate portraits I have done, and my pre-wedding photos.
How would you define your style as a photographer?
People tell me that they can't pinpoint my style but they can recognise something unique about my work. People-wise, I do not shoot angry people. I prefer shooting happy people and I like them to be comfortable with me.
 CEO of a watch brand who brightens up once we talk about his grandchildren - photo courtesy of Sin Kok Wai
Having life experiences help me to communicate with my subjects and inspiration comes from past experiences. If a person goes backpacking for 10 years and comes back, he will be a good photographer - well, if you take out the technical part from the equation.
 Kok Wai getting ready to be photographed - photo by Jovian Lim
Yes, Jackie Chan, Jacky Cheung, Donald Trump, Bill Gates and Minister Mentor Lee Kuan Yew. They are the best in what they do and they are hardworking people. I would love to shoot the sail-looking Burj Al Arab Hotel in Dubai too.
In your opinion, what makes an exceptional photographer?
An exceptional photographer is someone who can express what he or she wants, and is able to convince the client to do it his or her way, and yet makes money. I consider John Clang and Jill Greenberg to be exceptional photographers. Clients go to them for their style. It can't be that they offer Osim massage chairs for every client, right? Do they?
What else do you hope to achieve as a photographer?
I hope I can express artistically and technically what I want to photograph, and at the same time, convince my clients to accept my work and style.
As a company, my aim is to go beyond a one-man show and to one day occupy a standalone building, with different departments focusing on different genres of photography. I will just be overseeing and managing the company, or photographing for special projects as requested by clients. Anyone with the same dream? Let's chat!
What made you join PPAS?
I am trying very hard to convince clients that they have to pay for the copyright use of my photos but the strength of one person is limited. Professional photographers should join PPAS and with a standardised voice, we can make clients differentiate between the freelancers and the professional photographers.
I am happy that PPAS is pushing hard on the copyright issue and it can achieve even more through copyright education. Clients feel that it's their products [we are photographing] so why should they pay for the copyright? I sense an opening up in the views of clients; in the past, they did not even bother to listen' PPAS can organise seminars and workshops for photographers on how we can respond to such clients. Even better yet, start the education in our mass communications and marketing school.
 Pufferfish Studio husband and wife team - photo by Jovian Lim
I met my wife Jessie at LaSalle where she studied graphic design. You might think that it is a financially risky arrangement (for a couple to work in the same business venture); it depends on how you see it. Everything has a risk. Hey, look at the bright side!
It's good for a husband and wife to work together as long as you don't quarrel. If you do, it should not affect each other professionally once work starts. We used to bring work home but we have stopped doing so. We prefer to watch TV at home. Plus now that she is pregnant, more rest is needed.
We are very different ' she is very good in time management but when I do something, I am very focused and I forget about the time, so we complement each other. There is no one Chief Financial Officer in our company; we would discuss the issues and she helps me to see whether it's a 'want' or 'need'.
Written by Sim Jui Liang
http://www.cities-countdown.com/
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