卢玉莹，一个在1972年就拿起相机开始拍照的摄影师，她以“《曝光人物》”专栏为名，捕捉了70年代香港电影人的一些不为人知的瞬间。这些照片后来被收录进她的著作《电影人》，成为对香港电影文化的一个珍贵见证。

卢玉莹给人的第一印象是学者，而非摄影师，但她却是一位无师自通的纪实风格摄影师。她喜欢观察生活，不断学习各种摄影作品，如Life Magazine、《国家地理杂志》和《人民画报》，受到了Eugene Smith、Robert Capa和Robert Frank等纪实主义者的影响。

卢玉莹有绘画基础，对于摄影自然上手。她曾组织“火鸟电影会”，与朋友们一起放映外国电影，为推广香港电影文化做出贡献。当《电影双周刊》问世时，她接下拍照工作，为杂志提供台前幕后的纪实照片，并开设了“曝光人物”专栏，以此推介那些默默付出的幕后英雄。

在拍星方面，卢玉莹并不难，因为她能看得很准，一拍即成功。但她更注重拍攝那些普通而又真诚的人物。对于明星们，她认为他们面对不同的人有不同的面貌，只想表现他们真实的一面。为了抓拍到这一点，她常常耐心等待，他们精神状态对了，她才按快门。

在许鞍华和成龙等人的照片中，都体现出了卢玉莹果然的捕捉能力。在1981年的嘉禾片场，一整晚都没睡醒，只为了那一张成龙闭眼沉思的瞬间。而林子祥半裸全身只穿一条平角，也是意外之遇中的好景象。

尽管年龄渐长，卢玉莹仍然坚持着她的爱好，用手机或小型自动相机继续拍照。她认为最重要的是人的内涵，而不是器材 herself, a photographer who started taking pictures in 1972. She captured some of the unknown moments of Hong Kong film people through her "Exposure People" column, which later became part of her work "Film People", a precious record of Hong Kong film culture.

The first impression one gets from Lu Yuming is that she is a scholar rather than a photographer, but she is actually an amateur documentary-style photographer. She likes to observe life and constantly learn from various photography works such as Life Magazine, National Geographic, and The People's Pictorial. Her style was influenced by Eugene Smith, Robert Capa, and Robert Frank.

Lu Yuming has a background in painting and easily picked up photography. She once organized the Firebird Film Club with friends to screen foreign films to promote Hong Kong film culture. When Movie Weekly came out, she took on the job of shooting photos for the magazine and established the "Exposure People" column to introduce those behind-the-scenes heroes.

In terms of shooting stars, Lu Yuming found it not difficult because she could see clearly what would make good photos right away. However, she focused more on capturing ordinary yet sincere people. To her viewings about celebrities are different when facing different people; all she wants to show are their true selves. To achieve this goal, she often patiently waits until they were in the right state before snapping photos.

In photographs of Xie Anhua and Cheng Long et al., Lu Yuming's ability to capture scenes effectively can be seen - waiting all night at Jiahe Studios in 1981 just for one shot of Cheng Long deep in thought or Lin Zixiang half-naked wearing only one piece cloth accidentally caught during filming.

Although age has taken its toll on Lu Yuming's body - her hands hurt frequently due to years-long work with cameras - she still refuses to be tied down by equipment herself .