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HONG KONG
Renowned for his masterful lens that transforms racetrack dramas into timeless portraits, Eclipse Award-winning photographer Alex Evers takes centre stage at The Hong Kong Jockey Club's 2024 Season Finale Photo Exhibition, "Salute Our Heroes." From the thundering hooves of champions to the quiet camaraderie between jockeys and steeds, Evers' collection encapsulates the exhilaration and reverence of horse racing at its zenith. Among these captivating snapshots are pivotal moments such as Romantic Warrior's exhilarating victory in the FWD QEII Cup, the triumphant scene of Massive Sovereign clinching the BMW Hong Kong Derby, and the heartfelt sight of trainer Danny Shum and jockey James McDonald approaching the presentation stage after their own QEII Cup win.
We sat down with Alex Evers to uncover the genesis of his latest endeavour, "Salute Our Heroes," and explore the artistic motivations that drive his lens.
All images provided by HKJC/Alex Evers.
This article is available to read in Chinese (HK).
Your journey into equine photography began at a young age in Los Angeles. What initially drew you to horse racing and photography, and how did these passions intersect for you?
When I was a little kid, my earliest memory was watching the Kentucky Derby in 1987 when Alysheba won. I was fascinated and wanted to be a jockey. My grandfather or parents would drop me off at the racetrack, and I'd go with my family on weekends to watch the races. My grandmother even made me jockey silks, and I'd pester jockeys for autographs. My other grandfather built me a toy starting gate. From the earliest age I can remember, I was captivated by horse racing.
As I grew older and got too big to ride, I played hockey but always followed racing. Around freshman year of high school, I started thinking about training horses because riding wasn't feasible anymore. I enrolled in the racetrack management programme at the University of Arizona, even though I initially didn't want to leave California. After just three weeks, I packed up and left, much to my parents' dismay. They were upset, but I couldn't see myself in horse racing at the time.
I had no idea what to do next and faced tough questions from my dad about my life plan. If I had told him then that I would travel the world taking pictures of horses, he probably wouldn't have believed me. I considered art school for photography and eventually met with someone who taught me after returning home. The first year focused on drawing people, which didn't quite align with my interests. The programme then moved into studio and digital photography, right when digital was becoming important in photojournalism.
It was during this time that I realised photography could be my way back into horse racing. I bought a camera to take pictures at the racetrack, thinking it would get me free access. As someone who's competitive and wants to excel, photography came naturally to me after years of drawing. It allowed me to capture how a horse moves and looks – a new beginning that brought me into the world of racing through a different lens.
You travel to photograph horses at some of the world's most iconic racetracks. Could you share a memorable experience or a particular photo shoot that left a lasting impression on you?
Last year at this time, I came to do an ad campaign where they used my photos in AI to recreate scenes with perfect lighting that wasn't naturally available. We collaborated with stewards and managed to get ideal lighting for two races. We placed a camera at the 500-metre marker, shooting through high rises for the 1000-metre start. We only had one race day in the 20 days I was there to achieve this. Every day, I assured the ad agency that the racing gods would favour us with sunlight on race day, almost convincing myself to believe it.
I had people driving around a golf course all day, adjusting cameras, and we finally captured the picture that we wanted. It matched what the AI had envisioned, but even better. The feeling of coming all this way, overcoming rain for 21 days, and seeing that perfect photo on the camera screen – it was an indescribably amazing feeling. It wasn't a major race; it was a Class 4000 metre shot, but it was incredibly memorable.
And then, this year, with Romantic Warrior going to the Yasuda Kinen, it fulfilled a childhood dream from playing Japanese horse racing games in 6th grade. I learned about Japanese racing then and always dreamed of visiting Japan. I never thought it would be possible until I went there with Romantic Warrior, and then he won. It was one of the most unbelievable experiences of my life. They even brought the saddlecloth to us in the media room with all the Hong Kong media. Despite being American, I felt like part of the Hong Kong racing team and family. It was truly incredible.
What role do light and composition play in your photography? How do you use these elements to enhance the beauty and grace of horses in your photos?
Light and composition mean everything to me in photography, especially when I position cameras under the rail using the grandstand lines to frame where I anticipate horses will run, aiming for the best possible shot. When capturing race finishes, I prioritise finding the cleanest background, predicting where the peak action will occur, and considering the overall composition. For instance, at the Yasuda Kinen, I found a spot with a pristine background so James' celebration would stand out without distractions, and it paid off.
Photography, for me, is not just about capturing horses, people, or cars – it's about mastering lighting, angles, leading lines, and other compositional elements. These tools are what I bring to the racetrack to hopefully capture a stunning image of a remarkable horse in action.
"Salute Our Heroes" is a fitting theme for your exhibition. Could you tell us about the inspiration behind this particular collection of photographs?
It's truly a joy to celebrate the highlights and high points of Hong Kong racing. Looking back from December until now feels like a long journey, but it's been filled with memorable moments. We've had the chance to celebrate horses like Golden 60, California Spangle at the Al Quoz Sprint in Dubai, and Romantic Warrior. It's not just about the horses, but also the trainers, jockeys, and the unique racing culture of Hong Kong.
Hong Kong holds a special place in racing, with passionate fans who deeply cherish their horses and stars. Sharing these highlights with Hong Kong's racing community is especially meaningful because of their genuine love for the sport. While I've missed a few races for important personal events like my sister's wedding and other commitments, each race has been special. I'm incredibly grateful to the Jockey Club for their support. As someone from the United States who simply loves horse racing, being a part of this incredible racing scene is the greatest honour of my career.
How did the partnership with the Hong Kong Jockey Club come about for this exhibition, and what does it mean to you to showcase your work at Sha Tin and Happy Valley Racecourses?
Golden 60 has been the pinnacle of my career. During COVID, when I was contemplating quitting, he was the only horse I watched race, and he reignited my passion. Through him, I've connected with incredible people like his groom, trainer, and friends like Vincent and Adrian, who work in marketing with Francis. Adrian initially suggested the idea of showcasing my work, and it took on a life of its own. It's incredibly special to me. As an American from California, seeing my photos displayed across the world in clubhouses and exhibitions feels surreal yet deeply meaningful.
For me, photography is about sharing moments. I want people to experience what it's like in the barn, the energy of a horse racing past a camera, and the personality of these athletes up close. It goes beyond what you see on TV or in magazines – I aim to give fans a deeper connection with these equine stars.
You've been visiting Hong Kong regularly for seven years now. What aspects of Hong Kong's racing scene and culture have influenced your photography style or perspective over the years?
Travelling with my camera gear presents unique challenges, from managing weight restrictions on flights to planning for different shooting conditions. When I arrive at locations like Hong Kong, I aim to bring my distinct style: clean backgrounds, tight close-ups, and innovative shots like those from under the rail, which have become a hallmark of my work. I've noticed photographers here have improved with tips and wireless techniques I've shared, but my approach remains focused on capturing intimate, impactful images.
In the United States, TV networks tightly control sports coverage, limiting access to horses and jockeys. Hong Kong offers me the freedom to get up close, whether it's capturing the intensity of a jockey or the post-race celebration on the turf – a rare opportunity that enriches my photography. Moments like being right next to Golden 60 as Vincent celebrates, the horse proudly tossing its head, are highlights I cherish and could never replicate back home.
Bringing elements of this experience back to the US is challenging, but when I do, it results in photos I'm immensely proud of. The difference in access and atmosphere here allows me to create truly memorable images that capture the essence of horse racing in a unique way.
Among the 30 works displayed in "Salute Our Heroes," do you have a personal favorite photograph? What makes it special to you?
Golden 60 holds a profound significance for me. Without him, I might have given up photography altogether, and I wouldn't be here talking about my work today. The shot of him winning the Hong Kong Mile in December is particularly memorable. Despite skepticism from media and others about his chances starting from barrier 14, I believed in him wholeheartedly. Witnessing Vincent, typically composed and reserved, pumping his fist in celebration in a remote shot was incredibly special to capture.
However, there's also a painful memory associated with another picture I missed. Editing it later, I realised I had accidentally cut off his nose due to a minor adjustment I made out of superstition – I always shoot at 19 millimetres, but that day I changed it to 22 and it cost me. It's a reminder that photography, like life, can hinge on small, crucial moments.
On a brighter note, capturing the Happy Valley picture was a dream come true. I had been searching for the perfect shot there for years, and it finally came together with the help of two bartenders at Crowne Plaza. They guided me to a private balcony with a stunning view of the sunset over Happy Valley. Balancing precariously on the ledge, I handheld the shot at a slow shutter speed of a second and a half, capturing everything I had hoped for, including the beautiful sunset. My wife's reaction, suggesting we print and hang it at home, meant a lot to me – it affirmed the picture's special significance beyond just my own appreciation.
The journey to capture these moments is often as memorable as the photos themselves. Sharing stories with locals who share my passion for horse racing adds another layer of meaning to these experiences. The Happy Valley picture, in particular, will always hold a special place in my heart because of the connections made and the sheer joy of finally achieving a long-held photographic goal.
Your photographs are known for capturing not just the action but also the emotion and connection between horses and jockeys. How do you approach photographing these intimate moments during races?
Coming from a sports background, I emphasise thorough preparation, especially for big races like the classic series where I may not be as familiar with every horse, such as Romantic Warrior, Golden 60, or Spangle. While I've photographed and studied them extensively, I also watch numerous replays to understand each horse's tendencies. For instance, Golden 60 has a habit of leaning in and asserting dominance when passing other horses, often ending up on the fence. This knowledge influences how I approach photographing him and others.
Finding the right spaces is crucial. I often reflect on missed opportunities where I was just feet away from the ideal spot, or someone unexpectedly blocked my view. I review race replays to analyse my positioning relative to the action, learning how to move more efficiently next time. Balancing this with finding the perfect background can be challenging, as sometimes the action unfolds on the opposite side.
Despite meticulous preparation, there are always surprises. Like capturing William Buick passionately cheering and pointing right in front of my camera – a spontaneous moment I couldn't have anticipated. My relationships with jockeys are integral; I strive to portray them at their best, which in turn earns their trust and cooperation during races.
In the end, it's the blend of preparation and spontaneity that keeps me engaged. Every near miss and successful shot fuels my determination to improve. Racing photography is both a skill and an art, and I find fulfillment in capturing these dynamic moments in the sport I love.
Winning the Eclipse Award in 2020 was a milestone in your career. How has your journey evolved since then, and what new challenges have you embraced as a photographer?
Winning the Eclipse Award was a significant achievement, especially for a photo capturing the Kentucky Derby devoid of its usual 160,000 fans due to Covid-19. However, the award's arrival was subdued, arriving in a box without the fanfare or celebration I had imagined. It didn't resonate as deeply as I had anticipated, perhaps because I had romanticised its significance during a period when I wasn't actively travelling and capturing moments like Golden 60 and the events in Hong Kong.
The truth is, my identity as a photographer is deeply intertwined with travelling and telling stories, particularly those of remarkable horses like Golden 60 and Romantic Warrior. These experiences hold far more meaning for me than any trophy or accolade. They've kept me motivated and connected to what I love, even during moments when I contemplated giving up and pursuing a different path.
Being in Hong Kong, documenting the history and achievements of these incredible horses, has enriched my career in ways that a single award cannot match. The opportunity to share these stories through exhibitions and events feels like a true honour, surpassing any individual recognition. It's about capturing moments that resonate deeply with fans and fellow enthusiasts, and that, to me, is the essence of why I continue to pursue photography with passion.
For aspiring equine photographers, what advice would you give on developing an eye for capturing the unique beauty and spirit of horses?
For me, it all starts with a deep love for horses. They are the foundation of everything I do in racing photography. It's not about any magic formula or the latest camera gear – it's about putting in the time and effort. That means countless hours spent at the track, mornings editing thousands of photos, and observing hundreds of horses. Through this repetition, I've developed an eye for identifying great horses early on and following their stories.
Golden 60, for instance, caught my attention back in January 2020 when he won the Classic Mile. Even earlier, at Champions Day in 2019, his performance in an undercard race stood out to me. Despite having an American pedigree, he displayed a unique drive and determination that made me realise he was special. One particular moment when he ran past another horse with such intensity that it showed in his eyes stuck with me. These are the moments I strive to capture.
Reflecting on past experiences, like missing opportunities with American horses due to not photographing them enough, taught me valuable lessons. Now, when I recognise a potentially great horse, like Golden 60, I commit to photographing them every day, rain or shine. It's about doing justice to their greatness through my lens.
Photography isn't just about taking pictures; it's about making each photo as exceptional as the horse itself. Golden 60 has been a prime example, pushing me to constantly improve and refine my work. Whether capturing him training against a backdrop of city high-rises or in the heat of a race, every moment with these horses inspires me. They have not only shaped my career but also supported my family, and for that, I am immensely grateful – from the highest-class horses to those in lesser-known races, each one holds a special place in my heart.
Looking forward, are there any upcoming projects or destinations you're particularly excited about exploring through your photography?
Returning to Del Mar in California for nine or eight weeks with my wife and dogs, focusing on photographing horses without needing to travel by plane – it's going to be exciting. Earlier this year, I turned 40 in March and a few weeks before that, I set a personal goal. I've always admired Ryan Moore, not just for his talent but for his demeanour – humble, quiet, and respectful – qualities I aspire to embody in racing photography.
Ryan Moore is present at the world's biggest race meets, and I aim to do the same as a photographer. Hopefully, next year, I'll have the opportunity to photograph in Europe and the UK, a goal I've yet to achieve. It would be an amazing experience to capture the action there, maybe even photographing a Hong Kong horse competing. That would truly be the icing on the cake – an opportunity to document another one of their victories outside Hong Kong.
Visit the 2024 Season Finale Photo Exhibition “Salute Our Heroes” at Sha Tin Racecourse on July 14 underneath Mezza One and Members’ Entrance 1/F, Sha Tin.
Follow Alex Evers on Instagram
Find out more about The Hong Kong Jockey Club
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