When it comes to capturing style and the essence of a moment, Paul Sunga is a name that resonates far beyond the photography scene. An accomplished photographer, creative director, and all-around visual storyteller, he has built a career in high-fashion editorials, luxury campaigns, and independent creative work, all while staying true to his artistic vision.
For February’s Friday Club. Insider, we turn the spotlight on Sunga, chatting about his most rewarding projects, his approach to collaboration, and how he stays relevant in an ever-changing digital landscape. In a conversation that’s both candid and insightful, Sunga reflects on the highs, the setbacks, and the lessons learned along the way, proving that longevity in creativity isn’t about chasing trends – it’s about knowing when to pivot and trust your instincts.
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Looking back at your creative work, what’s a project that made you feel like, ‘Wow, I really nailed this’?
Okay, so I’ve been a photographer, creative director – when you say that whole title, it’s like I’m a little bit of everything. But the best piece of content I’ve worked on recently was with Sony for the launch of the 85mm f1.4 G Master Mark II lens. That job was incredible because I got to wear multiple hats – I was the producer and even dabbled a bit in styling.
We created two reels showcasing the lens, and honestly, it was such a growth experience for me. It gave me that self-confidence to realise, you know what, I can do this. This is what I’m made for. Because sometimes, whether it’s on Instagram or just in life, you get those moments where you’re like, “Oh my god, I suck, I’m not good enough.” And look, you don’t have to be the best – but that imposter syndrome creeps in. For me, the validation comes when you pour your heart into something – blood, sweat, and tears – and then you put out this beautiful piece of work and step back and think, “You know what? This is good.” That’s why this particular project felt like my best work yet.
What’s one technique you absolutely swear by that’s stood the test of time?
That’s something we always have to remember – finding the light. Whether you’re shooting in natural daylight or studio light, lighting tells a story. You really need to know your lighting inside and out. There’s this really simple technique I use, even for taking selfies. If you just hold your hand up to the light, you can find the lighting and see where the contour and shadows fall. It’s an easy way to understand how light interacts with your subject. That’s my go-to technique, and honestly, I live for it.
Let’s talk about those unexpected moments on set – everyone’s had a mishap or two. What’s the most memorable behind-the-scenes fail you’ve experienced, and how did you handle it?
That’s a good question. I think, in general, there are moments on set where you’re like, “Okay, this isn’t matching the reference, this isn’t what I thought it would be.” But then, after post-production, which is always a team effort to bring these images to life, you realise, “Okay, this isn’t so bad after all.” I’ve had those fluke moments, though – like when the memory card erases everything, the lighting completely fails, or the camera just stops working. Once, the camera fell, and it said “error,” and I panicked, thinking, “Oh my god, I need to buy a new camera!” But yeah, other than that, knock on wood, everything’s been okay. There’s always some saving grace – you just have to make it work.
With the business side of things, what were some of the biggest challenges or ‘learning moments’ you faced?
Sometimes, when you pitch for work, you assume you’ve got the job. It’s not really a fail, but it’s something I deal with all the time. You start planning – thinking about where to allocate the budget, how to manage the funds – and then you don’t get the job. You’re left thinking, “Whoa, what now?” I think that’s what happened during the pandemic. Those years weren’t about failure; they were about learning. We learnt to adapt, to pivot.
During the pandemic, my business partner Natalie Tam and I were working in Singapore with Good Meat, which focuses on lab-grown chicken. It wasn’t glamorous or fashion-related, but we were still creating amazing content – working with celebrities and KOLs. The business model was essentially the same; it was just about adapting to change and finding new ways to apply what we already knew.
What inspired you to start leaning more into UGC-style content?
I think it was last year when I was talking to a lot of my friends who are content curators. They were like, “Paul, everyone knows you’re a photographer. People can approach you for jobs – you’re already established. But you still need to stay relevant online.” That conversation really shifted my perspective. I realised I needed to do something that shows I’m still on brand – whether it’s holding a camera, talking about technique, or promoting a new product. So, I’m trying to stay relevant without trying too hard, you know? Mark my words, though – maybe, maybe not – but you won’t catch me doing a dance on Instagram. You won’t catch me acting or anything like that. Who knows what the future holds? But for now, I want to stay true to who I am, keep sharing my knowledge, and focus on what I’m experienced with.
What’s one trap you see creators falling into when they’re trying to chase virality?
Okay, so a long time ago, in the early days of Instagram, going viral often meant showing a lot of TNA (tits, nipples, and ass) – that was just how it worked back then. There were accounts like ‘YourAsianHotties’ that thrived on that kind of content. At the time, I’d shoot my friends doing cool things but eventually, I got pigeonholed as someone who only shot ‘sexy women.’ While the work was fun and creative, I wanted to branch out into more commercial projects, luxury goods, high fashion, and other areas. So, I had to pivot and change my approach. I realised that while producing visually striking content is important, relying solely on TNA isn’t sustainable if you want to grow professionally. Sure, if you’ve got it, flaunt it – but at the same time, there’s a balance. You need to think about the kind of work you’re putting out and whether it aligns with your goals and values. I guess what I’m saying is, going viral might get you noticed, but it won’t necessarily build the career or reputation you want in the long run.
Do you think chasing trends is worth it?
Sometimes people get caught up in trends, and honestly, they’re just not sustainable. If you produce content that’s on-brand and classy, you can always repost it, reuse it – you know what I mean? It’s something you can add to your portfolio and still be proud of years later. For me, whenever I create work, I always try to keep it classy so that even five or ten years down the line, I can look back at it and think, “Oh my god, I love that – that was so cool.” I think I’m at a point in my career, or maybe it’s my age, where I just want to focus on keeping things beautiful and timeless rather than being overly experimental. Trends can be fun, though – I don’t know, maybe I’m just too old for some of them! But I do like seeing what the Gen Z kids are doing because that’s also inspiring. So yeah, I think the key is to take a little piece of everything and make it last longer.
To close this, if you could collaborate with any creator right now, who would it be and why?
Right now, who would I like to work with? I think there’s a lot. You know, I go to these events in Hong Kong, and I see really cool kids who are just so inspiring. They’re such a vibe. I feel like they’ve got more guts than maybe our generation did back in the day. I think of someone like Steph Hui– she’s an influencer, a big name in the makeup world. I love how she’s taking the global scene by storm while being homegrown talent. But honestly, it changes from day to day. Some days, I’m like, “I want to work with these Korean artists because they’re so cool,” or Japanese artists because they bring something unique to the table. There’s so much creativity out there, and I think we can learn a little bit from everyone.
Follow Paul Sunga on Instagram to stay updated on his latest work.
Catherine Pun
A Hong Kong native with Filipino-Chinese roots, Catherine infuses every part of her life with zest, whether she’s belting out karaoke tunes or exploring off-the-beaten-path destinations. Her downtime often includes unwinding with Netflix and indulging in a 10-step skincare routine. As the Editorial Director of Friday Club., Catherine brings her wealth of experience from major publishing houses, where she refined her craft and even authored a book. Her sharp editorial insight makes her a dynamic force, always on the lookout for the next compelling narrative.
