Born 1988 in Beijing, Jingna lives and works in New York City.
A former rifle shooter, Jingna is a Commonwealth Games medalist and represented Singapore in numerous ISSF World Cups from 2002-2008. She was a student at Raffles Girl’s School and Lasalle College of the Arts until the age of 19, where she dropped out and self-published her first photobook, “Something Beautiful”.
In the years since, Jingna’s works have been featured on international editions of Vogue, Elle, and Harper’s Bazaar. Her solo exhibitions include galleries at The Arts House and Japan Creative Centre in Singapore, and group exhibits like “45 Frames from Photo Vogue” at Leica Gallery in Milan, and Clé de Peau Beauté’s 30th anniversary exhibition in Hong Kong.
Jingna was named Master Photographer of the Year by Master Photographers Association in 2007, Photographer of the Year at ELLE Awards Singapore in 2011, and was a recipient of the 7th Julia Margaret Cameron Award for Women Photographers in 2015. Her works are represented by Trunk Archive, world’s leading image licensing agency.
Huainan Li is a talented photographer from Beijing, China. Huainan is member of best know place for online portfolios of artists, behance. He always comes up with unique and interesting ideas in the world of photography.
Recently he created a series of fashion photos called “The Senses Of World”. To create this series, Huainan used perfect makeup portraits of fashion models wearing matching glasses. Every picture describes a different sense of weather or beauty of nature.
Chen Man (born 1980) is a Chinese fashion photographer who has produced numerous covers for Chinese and international fashion magazines and for major international companies.
Born in Beijing, she quickly demonstrated her artistic talent, drawing a mouse when she was only two. Her mother ensured her development, sending her to a drawing class and to a high school specialising in art. She then attended the Central Academy of Fine Arts, where she studied graphic design. When only 23 and still a student, her self-styled photographs were published on the covers of China’s Vision Magazine, bringing her immediate prominence. Handling all her post-production work herself, she makes extensive use of digital tools including Photoshop and 3D Max. In addition to cover photographs for Vision Magazine over a number of years, she has also contributed to Chinese features in Vogue, Elle, Harper’s Bazaar, Marie Claire, Cosmopolitan, and Esquire. She frequently works with the makeup artist Toni Lee. She now runs her own company, providing photographs for the advertising campaigns of Motorola, Adidas and Gucci while presenting her work at exhibitions in Chinese cities. In 2012, she embarked on a partnership with MAC Cosmetics designing a collection of pink and blue products representing love and water, the elements Chen believes are behind the origin of life.
Award-wining photographer Fan Ho has won 280 awards from international exhibitions and competitions worldwide since 1956. Ho has been elected Fellow of the Photographic Society of America, Fellow of the Royal Photographic Society and Fellow of the Royal Society of Arts, England; Honorary Member of the Photographic Societies of Germany, France, Italy, Belgium, Brazil, Argentina, Singapore and etc, and was honored with One-Man-Shows in the above countries. Ho’s works can be seen and have been published in many International Photographic Annuals all over the world
Don Hong-Oai was born in Canton, China in 1929 as the youngest son to a business family and was raised and educated in Saigon, Vietnam. At age 13 he began an apprenticeship at a Chinese photo and portrait shop. In 1979 he immigrated to the United States and settled in Chinatown of San Francisco.
Don began making a living by selling his landscape photographs in front of Macy’s and began to receive recognition for his craftsmanship. His style was heavily influenced by the legendary photographer Long Chin-San’s technique of layering negatives. By taking three negatives, foreground, middle ground, and far ground, and selecting a subject from each negative, Don would form one composite image of a serene landscape. All the various scenes in an image existed in reality, but each uniquely handcrafted photograph in its entirety is a concoction of the artist’s imagination. Each photograph was assembled only by the artist himself, never having an assistant or master printer aid him. His work has won scores of international awards and has been collected worldwide
When I was very little, there was an old folding camera left in a forgotten drawer at a corner of the house. I never saw dad use it. Even though no one explained to me what it was for, I always felt an overwhelming curiosity towards that little black box. In the same dust-filled drawer, I also found a piece of glass that was yellow and round. I kept it in my pocket. On my way to and from school, I often took it out and looked at the sun through this golden eye, getting lost in that magical light. Little did I know then that such a small black box would become my most loyal companion on the long road to come. Later, it became an essential part of my daily life.
In 1984, I came into possession of my first camera. Whenever I had time, I looked through its lens at the China I knew: water lilies in the park, sunset over Yang-zi River, and the crowd on the street. After arriving at the United States in 1995, I started to focus my lens on people. I became mystified by the various characters I met. Looking at their eyes, I wanted to read their mind; watching their passing silhouette, I wanted to search for their origin and destiny. In every click of the shutter, I throw out a fishnet from my soul, capturing all that moved me, and carrying them home as my new found treasure. The moment is frozen in time; eternity is now possible.
People, is the ultimate subject matter, because of its complexity, diversity, and its endless possibilities. I see the mark of the material world on each individual; in the material world itself, I see the trace left by each individual’s consciousness, that which is formless, but also timeless. I record them in my mind as well as on film. I attempt to record people, their environment, and the particular atmosphere that moved me. I often think an environment without humans is dull and soulless; similarly, a human being independent of his environment appears pale and lost. I attempt to express the fluid nature of time in a 2-dimentional media – a still picture. My pictures are very personal. At the time when they record the reality around me, they also record my thoughts and my mood. I enjoy traveling alone and experiencing the wonders of nature and society. There were moments, however, when camera and film were rendered useless, while my soul remained receptive and the exposure at its utmost clarity.
In 1991, on the road to Tibet, I hailed a truck, asking the driver to drop me off at Lhasa. As the truck climbed up the Tibetan highland, we were surrounded by the snow covered mountain peaks, and humbled by the immense, wild power of their beauty. The macho-looking Tibetan truck driver turned on his tape recorder, a soprano’s lone voice filled the small cabin with a Tibetan folk lore, no words were spoken as we took turns gulping down strong sorghum wine. During that journey, I didn’t take out my camera, because my lens could not hold such absolute purity and immensity…
During the same year, I couldn’t get into Xi-Shuang-Ban-Na due to the lack of an authorized travel permit. Looking for a way to get in illegally, I met a few newly released drug-dealers in a border town bar. They claimed that they could sneak me into the region further up the River of Lan-Cang. That night, we camped by the river side. Out of cautiousness, I tied all my photo equipments and luggage around my body. It was a sleepless night, and not the least because of the bumpy pebbles beneath my sleeping bag. However, as the trip continued, they befriended me, doubled as my porters, and never betrayed me in any small way. During that trip, I didn’t take out my camera, because film can not record the complexity of such contrast…
In 1999, at a Native American tribe of New Mexico, the sun was setting as people started their annual Sun Dance. When the yellow dust rose above their dancing feet, a rainbow colored cloud slowly materialized above us. That moment, I didn’t take out my camera, because the shutter can not capture the dance of their spirit…
When I first stood before the majestic mountains of the Tibetan highland, I realized the vulnerability of human beings. Although we each possess our own world, as the most intelligent creatures of this earth, we are equal and are blessed with the common humanity. Diverse environments created diverse social groups, and various social groups formed this kaleidoscope world. To understand and to know others as I understand and know myself has become the eternal compass in all my travels. I believe that the gap between you and me can only be measured and filled by this understanding.
The Bearable (2007-2010) is Chen’s confessional photo-documentation of her self-harm history spanning half a decade.
Bees (2010-2012) features a collection of people who, faced with chaos, violence, alienation and irredeemable losses in life, feel propelled to leave physical traces and markings on their bodies, in order to testify and preserve a pure and sensitive mind from within. Besides 45 photographs, the project also compromises 40 groups of journals and letters exchanged between Zhe Chen and her subjects in the duration of two years.
The first glance of Zhe Chen‘s work conveys the idea of secrecy and sentiments, under which lies information awaiting exposure and recognition, like an index page pointing towards all the unanswered questions. The viewers will never be in direct communication with the people in the photographs, unfortunately. They can only see the images and read the words. What is the best way to summarize the reason for our existence? After all, we are only human. Zhe Chen feel responsible to be part of this dialogue.
In September 2009, I embarked on a photographic study of a remote, extremely undeveloped part of northwestern Nepal called Humla-and of the remarkable people who live there. They are a wonderful mix of grit and warmth, humility and pride, innocence and wisdom. For centuries, the Himalayas have walled them in, shaping and preserving their way of life.
Humla residents consider themselves the last remaining guardians of pure Tibetan culture. As modernity beckons, however, more of the region’s youth are leaving home. One thing I found in abundance, in these communities that make do with so little, was a firm sense of identity. It was my intention to capture this in my images—the strength of that sense, the pride the people of Humla take in the niche that they and their ancestors have carved out for themselves. It’s modest, yes, but it belongs entirely to them. Looming in the background of these photos, however, beyond the snowy peaks, is the very real possibility that future generations, assimilated into the Western world, might forfeit the rich and unique traditions cherished by their elders. Either way, these time-worn traditions are treasures worth documenting.