Britney Spears’ tired and talent-less performance on the VMAs is on the lips and screens of people throughout the world but true artists like Yau Leung die before they can even garner public recognition.

I myself found out about Leung through a TIME magazine article by Liam Fitzpatrick.

Midway through the piece, Leung is compared to photography masters Robert Doisneau and Henri Cartier-Bresson:

“Yau released a small selection of photographs in 1992, in the now unobtainable Lo Fung Stories (“Lo Fung” is the archaic literary name for Hong Kong). It was a masterpiece of editing, and a stunning publishing debut: here was a major photographic talent, arriving on the bookshelf or coffee table in a fully formed state and with images that practically hummed with love for the city and its proletariat. “I was born here, I have always lived here and all my work is here,” Yau said in the foreword. In his sense of place, he was to Hong Kong what Robert Doisneau was to Paris — a chronicler in black and white of the sooty streets and ordinary people at his city’s heart. But in his consummate sensitivity to the decisive moment, Yau was sometimes reminiscent of the great Henri Cartier-Bresson, and, like the French master, carried wherever he went a 35-mm camera — in Yau’s case a Voigtlander Prominent — allowing him to move and shoot unobtrusively amid the throng.”

I also found a fairly large archive of his work for sale online.