From Photojournalism to Fine-Art Photography:

Homegrown images

In 1986 the late photographer Chang Chao-tang started a column in Sinorama called “In Search of Photos Past,” which over a space of three years introduced the works of 30 photographers active in Taiwan during the 1960s. Through interviews and research, the essays helped readers re-enter the spirit of the old photographs. Concluding the column in 1989, Chang wrote, “These visual records—long lying out of sight and almost consigned to oblivion—demonstrate the diversity of the photographers’ creative sensibilities and are integral to the history of photography in Taiwan. They also bear witness to the unforgettable memories of our formative years and the age we’ve lived through.”

Photojournalism

For the Cover Story of the December 1987 issue, Sinorama presented “Outstanding Press Photos of 1987.” Spread across 36 pages, these photographs documented important events and issues of the year, including the lifting of martial law, permission for family-related visits to China, stock-market investment, and environmental protection. Similarly, in January 1991, “Picture Perfect News—Glimpses of 1990” collected a variety of reportage photos that made readers smile, showing the power of photography to capture the dynamics of each fleeting moment.

Diverse visual narratives

Subsequently, in our “Photo Essay” series, we have delved into the visions of mid-career photographers such as Kuo Ying-sheng, Ko Si-chi, Yang Wen-ching (known for his wet-plate photos), Yeh Ching-fang, Chi Po-lin (famous for his aerial images of Taiwan), Shen Chao-liang (whose series include portraits of Tsukiji Fish Market in Japan, Yulan magnolia flowers, and open-air theater stages), Chi Kuo-chang, and Zhang Liangyi. Shedding light on the preoccupations of Taiwanese photographers in the 21st century, these essays encompass an eclectic range of genres from photojournalism to fine-art photography.

Over the last ten years, we have also given pride of place to the new generation of photographers, offering critical insights into their works. With their international experience, these younger practitioners show us the protean face of photography through their reflections on themselves, on society, and on national history. Exploring Chen Chin-pao’s Topology of Time, Chu Yinhua’s use of “visual apparatuses,” Yang Shun-fa’s Submerged Beauty of Formosa, Chung Soon-long’s Transition, Lee Yehlin’s Raw Soul, and Tou Yun-fei’s Ancestral Portraits for the Future, among others, our features highlight the diverse narratives that illuminate the photographers’ imaginings of the world.

Public engagement

With the popularization of photographic equipment and social media platforms, photography is no longer a niche art form. For more than three years, Taiwan Panorama invited the public to submit photographic entries in response to predetermined themes and received many fabulous images from across our islands. These grassroots visions of Taiwan were shared with the global community through our magazine.

Photographs bear witness to history—a function that is especially precious in the age of artificial intelligence. Whereas nowadays just a few simple instructions to a chatbot can generate a plausible image, Taiwan Panorama continues to insist on presenting faithful and authentic visual records of our era.