14-07-2025
‘Let's just see what Ah Wong does; when he moves, we move'
Mr Wong Kwai Chow believes photography will always have a central place in media, as people are 'naturally visual' and drawn to images that convey emotion and lived experience.
Wong Kwai Chow, 72
Portrait
Mr Wong Kwai Chow joined The Straits Times in 1976, following in the footsteps of his father, who worked as a darkroom attendant with the paper. A year into making photo prints, he discovered a deeper passion for photography and applied to become a photographer, a role he kept until his retirement in 2021. He made his mark as a court photographer.
Mr Wong, now 72, enjoyed the continual learning that came with the job, particularly during overseas assignments that exposed him to diverse cultures and fellow photographers. He adapted readily to changes in technology, welcoming the shift from film to digital photography for its immediacy and ease.
'We could check our camera to see the quality of photos immediately,' he recalls.
He believes photography will always have a central place in media, as people are 'naturally visual' and drawn to images that convey emotion and lived experience.
Recollections
'My most challenging assignment was about the National Kidney Foundation (NKF).
On Jan 25, 2006, I went to the Corrupt Practices Investigation Bureau (CPIB) in the morning to cover some cases; not NKF. But when I gave my name to the CPIB security for registration, I saw the names of then NKF chief executive T.T. Durai and NKF chairman Richard Yong in the visitors' book.
I got excited because the controversy over how the NKF was using funds was in the news. I quickly called the office to inform my supervisor. It seemed possible that Durai and Yong had been called up for questioning over the governance of the NKF. I was told to stay and see if I could get pictures, and they would send a colleague to help me.
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I waited until about 9pm.
Richard came out first, and I was sure that he saw us media at the guardhouse. I was also quite sure that he would tip off Durai. After waiting for some time, I saw a car driven by a woman entering CPIB. It was an unusual hour, and I guessed that the car could be there to pick up Durai.
When the same car came back out, I did not see anyone in the front passenger seat. But I saw a figure lying down in the back seat, trying to duck the cameras. The car was dark inside, and the back-seat windows had some windscreen shade.
I did not have much time to react and immediately pressed my lens against the window to take a few shots. I was not even confident if the photos would turn out well since I did not have much time to adjust my camera settings.
The subject in the photo was blurred, but then deputy picture editor Stephanie Yeow helped to confirm that it was Durai from his ring, which he had worn in other photos.
Court photography is not easy.
The most meaningful tribute I received was from a photographer named Daniel Ding. He said: 'Let's just see what Ah Wong does; when he moves, we move.'
You need to be constantly alert, as some accused will change attire to avoid detection by the media. Sometimes I would hide my camera when I sat inside the courtroom. I would follow the accused to the toilet to see what they changed into, and then wait for them outside the courtroom.
We needed to know the layout of the court well and familiarise ourselves with the exit points. We also needed to recognise the family members of the accused, as they would normally leave the court together.
Some accused are friendly and understanding, but others would scold us and say there will be karma when we take their photos.
My advice to young photographers is to be patient and persevere. It is a hardship job – there is a lot of waiting time under the sun, and still, you won't know if you managed to capture a good shot.'
