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.