Selected Books on Contemporary Chinese Photography

1. 3030:New Photography in China

Editor: John Millichap

Publisher: 3030Press (2006)

Details: Flexicover, 191 images, 206 pages, 240 × 185 mm

Language: English

ISBN: 978-988-99384-0-5

Summery: Published in 2006, this fully illustrated survey of 30 of China’s brightest photographers under 30 shows a new generation of artists, less burdened by ideology and immersed in the economic and social changes that have transformed their country over the past few decades.

From international contemporary artists and photo journalists to video makers and web bloggers, the images reveal a diverse range of photographic practice that reflects the influence not only of tradition and politics, but also foreign media channels, growing consumerism and the development of a home-grown pop culture combining TV, movies, advertising, music and fashion.

More than five years on since it was first published 3030: New Photography in China provides a valuable record of the kinds of themes and ideas that were shaping an entirely new generation of young artists that were emerging. Today, many of the artists featured in this publication, including Cao Fei, Birdhead, Lin Zhipeng and Chen Wei, have go on to become established figures in China’s contemporary art world. For these and many others 3030: New Photography in China was the first opportunity for international audiences to see their work.

Essays by Ou Ning, one of China’s leading writers on art and culture, and Prof. Gu Zheng of Fudan University in Shanghai, introduce the photographers and their work. For students and enthusiasts of China and photography 3030: New Photography in China is a unique and fascinating time capsule of China’s developing creative identity.


2. Between Past and Future:New Photography and Video from China


 Author: Wu Hung and Christopher Phillips

Publisher: Smart Museum Of Art, The University Of C; 1 edition (June 1, 2004)

Details: Hardcover, 224 pages, 9.8 × 10.8 inches

Language: English

ISBN: 978-0935573398

Summery: The massive political, economic, and social changes China has undergone during the past decade have dramatically altered its cultural landscape. The exhibition New Photography from China and its catalogue offer the first comprehensive look at the body of photographic art produced during this period. Often ambitious in scale and experimental in nature, the works featured in New Photography From China encompass a wide range of highly individual responses to these unprecedented transformations.

Essays by co-curators and distinguished scholars Christopher Phillips and Wu Hung examine the recent history and current status of photography in China. Also included are artist interviews conducted by Melissa Chiu, Lisa Corrin, and Stephanie Smith; artists’ biographies; and a bibliography. Many of these artists will be introduced to the American public for the first time. This catalogue is a valuable resource for art and cultural historians, students, or anyone interested in contemporary Asian art.

3. Contemporary Chinese Photographic Arts


Author: Gu Zheng

Publisher: CYPI Press

Details: Hardcover, 300 color illustrations, 312 pages, 298 × 298 mm

Language: English

ISBN: 978-0-9562880-6-6

Summery: Contemporary Chinese Photographic Arts is the most comprehensive, impactful collection of photography in China to date, Contemporary Chinese Photographic Arts is a vibrantly printed, oversized coffee table book featuring fifty of the most renowned Chinese photographers currently working in a variety of genres.

From documentary photography to conceptual tableaus, from medium format portraits to digitally manipulated dream scenes, from black and white to enhanced color, the works in this volume are designed to provoke and impress.

An introductory segment analyzes political, economic, historic, and artistic influences in China, which segues into intensely creative work organized by theme: “Urbanization and Globalization,” “Power, Space and Memory,” “Gender, Body, and Identity,” “Dialogues with Tradition,” “Borderlands and the Marginal,” and “Practices of Looking.” The third section of the book summarizes key happenings in the development of Chinese photography, including influential exhibitions, auctions, and events.

The pieces presented are unified by the masterful technique of the photographers and, collected together, serve as a multifaceted view into the culture, identity, ideas, and spatial and political concepts of one of the world’s most influential nations.

4.  Photography and China

Author: Claire Roberts

Publisher: Reaktion Books

Details: Hardcover, 80 color plates, 200 pages, 7 1/2 x 8 2/3

Language: English

ISBN: 9781861899118

Summery: With its lush and diverse landscapes, ancient ruins, and stunning architecture, China is a photographer’s dream. Exploring this visually rich and evocative country, Photography and China highlights Chinese photographers and subjects from the inception of photography to the present day.


Drawing on works in museums, and archival and private collections across China, the United States, Europe, and Australia, Claire Roberts locates images from commercial, art, and documentary photography within the broader context of Chinese history. She focuses on the images as well as the studios and individuals who created them, describing the long tradition of Chinese artistic culture into which photography was first absorbed and subsequently expanded. As she recounts the stories of practitioners—from China and overseas—who were agents in that process of change, she also examines the commercial, political, and artistic purposes for which they used photography. Featuring one hundred striking, little-known images, Photography and China makes a significant contribution to photography, Chinese art, and twentieth-century history.


1976, A Year in Chinese Photography ‘s History

Essay by YINING He


The talk of China as unique, and to describe it as the world’s oldest and most distinctive continuous civilization, is to impose synthetic cultural cum racial wholeness upon a highly factionalized entity. This tense and uncertain society, riven by a hotchpotch of warring groups and cabals seething with envy and ambition, struggling for power, was held together by force of will, by military strength, and by the propaganda of ideas, beliefs and codes of behavior which evolved into a highly acute sense of Chinese civilization (Hodder, 2000, pp19-20).

Photography reached China as soon as Britain broke its door during the First Opium War (1839 – 42). It has played an important role in different socio-culture and historical aspects over the last 150 years. Once led by Empress Dowager Cixi, the first amateur photography club was established in China in the late 1900s. Soon after the declining of the Qing Empire, a group of intellectuals, educators and social reformers realized the power and image from the 1920s onwards. Then during the Sino-Japanese War, the true power of photography to document the state of the nation and its society was fully demonstrated (Gentz, 2008, p20). However, after Chairman Mao founded the PRC in 1949, photography played an important role in the party’s propaganda in order to win minds and hearts across China. It wasn’t until 1976, the year when Mao passed away, “the individualized and self-conscious form of documentary photography found its way to being accepted as a legitimate form of photographic expression” (Gentz, 2008, p20).

While many books have referenced Chinese photography in 1976, there is no integrated available research that emphasizes the cultural and political contexts of such topic. Although the aim of the research is primarily to illustrate China documentary photography in the year 1976, the first chapter gives the reader a basic idea of photography under Mao, ‘a propaganda tool for recording news of great political significance that one is duty bound to report’, according to Sha Fei, one of the most famous photojournalists in Mao’s time. For that same reason, I will extend the research from 1976 to 1986, which I will present at the end of the article.

Propaganda: Photography under Mao

Propaganda, according to Harold Lasswell, a leading American political scientist and communications theorist: “is the manipulation of collective attitudes by the use of significant symbols (words, pictures, thinks) rather than violence, bribery or boycott.” Propaganda, Power and Persuasion is the latest exhibition to take place at The British Library in London St Pancras. Co-curated by Jude England and Ian Cooke, this is the first exhibition to explore international state propaganda from the 20th and 21st centuries. Governments control education, currency, national symbols and sometimes mass media and can use these powerful tools to shape national identity. At times, a leader may come to personify a nation both at home and abroad (British Library, 2013). Mao Zedong’s portrait, one of the most extraordinary world known images is hanging at the exhibition hall along with Lenin and Stalin.

After Mao Zedong founded the People’s Republic of China in October 1949, the concept of reality dictating purpose permeated all aspects of the arts (Gentz, 2008). Writers, photographers, filmmakers and people from all propaganda departments work together to create the arts that served to promulgate the image of Maoism, of New China, of revolution and modernization. There is a photograph taken by Hou Bo in 1959, a female photographer in charge of photography at Zhongnaihai (the central headquarters for the Communist Party of China and Central government of the PRC since 1949). This photograph, with Mao Zedong smiling standing at the center of a group of foreign delegates, was labeled “We have friends all over the world”.  Hou Bo used a flash to make the photograph lighter and ensuring that Mao’s smile stands out from the center of the image, appearing larger, and more prominent than the others. In spite of that, the photo was actually taken during China’s great famine, believed to have killed between 15 million and 43 million people. As Art Historian, Claire Roberts noticed:  “Photography gives us the appearance of truth, and yet what we see in a photograph can never be the truth.”

Documentary photography was reduced to presenting a simplified version of life: the happiness of peasants and the working people; the development of national industry; the people’s love for the Party; and the unhappy fate of former exploiters and class enemies. Instead of documenting social situations, most of the images produced worked to create romantic myths about a socialist paradise: people tempering steel, cotton pickers dancing gracefully between the cotton bushes, etc. In short, the subjects in front of the cameras had become actors and performers (Gentz, 2008).

For those assigned to take photographs – they were trained to use either medium format or 135 mm camera to produce the same type of photographs. Even though there were a few successful photographers standing out from the crowd, photographs are often difficult to distinguish from one another. As Karen Smith criticized Hou Bo’s photography career, “There were no concept of the ‘I’ behind the lens, they did not seek to present their own vision but to give vision to the reinvention of China”. (Smith, 2004)

Journalistic photography, taken during the Cultural Revolution, was increasingly paralyzed by ongoing battles between rival political factions. “China Pictorial was one of the few illustrated magazines to publish continuously during these years, its covers graced by artfully doctored portraits of a vivacious and rosy-cheeked Mao,” according to Christopher Phillips, curator at International Center of Photography.

During the years of Cultural Revolution (1966 -76), there was an    environment in which all visual materials, especially the photographic output of the propaganda bureaus attached to work units and state organs across China, were entirely formulaic: without exception, everything followed the exacting standards of an absolute proscription concerning gesture, expression, and vision that left little room for individual interpretation. (Smith, 2004, p14)

Many photographs were left mysterious to outsiders and even the Chinese themselves. Thousands of photographs and negatives were destroyed during the catastrophe. Nevertheless, Li Zhensheng, who was a press photographer from Heilongjiang Daily, hid thousands of negatives under the floor of his house. Lately Zhensheng has published his extraordinary book Red-color news soldier: a Chinese photographer’s odyssey through the Cultural Revolution, which includes the only complete set of surviving photographs to document the entire period.

Despite the highly censored press environment during that period, “the ordinary person had as little awareness of the métier of a “photographer” as they had exposure to what photography was or the role it played in other, developed nations, in terms of art, life, and furthering human understanding” (Smith, 2004).

As the Chinese always say, “man proposes but god disposes’, 1976, a dramatic year in the history of PRC, witnessed the fall of the Gang of Four and an end of “The Great Proletarian Cultural Revolution”. It was a year that changed the history of modern China, and also marked the beginning of ‘the people’s photography.’


1976: Beginning of People’s Photography

 China has had a sorrowful year, staring with the death of Premier Chou Enlai on 8 January. A meteorite shower was followed by the violence of the Tiananmen Incident. A massive earthquake devastated Tangshan in Hebei province that resulted in 655,000 deaths. Tremors continued as Chairman Mao died on September 9, which brought the fall of the Gang of Four and an end to the catastrophe of the Cultural Revolution.

The year that witnessed China’s social transition, 1976, also saw the beginning of the People’s Photography. It was a year that most incredible historical photographs were made in order to record the memories of modern China by both official and individual photographers.

First of all, official photographers, who all had good access, courtesy of their work unit, captured some of the historical moments in 1976. Du Xiuxian was in born 1926, he studied photography in the People’s Liberation Army’s Art Troupe headed by the photographer Wu Yinxian. He joined the Xinhua News Agency in 1956, where he was appointed chief photographer of the team that covered Zhongnanhai, the headquarters of the Chinese leaders in 1960. Du, who produced hundreds of thousands of photographs during his career, captured the most sorrowful moment of China in 1976 among other authorized photographers. Du and his camera covers all the big events in 1976, which include the meeting of former U.S President Richard Nixon and Chairman Mao, the Tangshan earthquake, the death of Mao and so.

Although Du’s photographs served strict propagandist purposes, it gives a spectacular view of the most stunning moments in Chinese history. A photograph taken by Du at the funeral of Mao, captured the sorrow of thousands who attended the funeral and it became a symbol of collective memories. Undoubtedly, images taken by official photographers form a large part of archive in the history of Chinese photography. Liu Heung Shing is a Pulitzer Prize winning photojournalist who was born in Hong Kong originally. In 2008, he completed a comprehensive book China, Portrait of a Country, which presents China as seen by 88 leading Chinese photographers. Many of Du’s fantastic photographs, which are layed out as a double page in this book, express its deep grief of China over 1976.

Secondly, 1976 marked the beginning of ‘people’s photography’, photography by individuals – many of them from families of political or cultural influence – who had experienced the trauma of the Cultural Revolution and, no longer content merely to witness history, wanted to record their own perspectives and life experience (Roberts, 2013). Those individual photographers, who took personal risk to record the mass demonstration for posterity, captured the images that would not appear in official archives.

Despite the heavy political censorship followed by all sorts of disasters during the Cultural Revolution, there were individuals who started to learn western theories in art, literature and other fields secretly. Underground poetry groups, such as a nation-wide Enlightenment Society with branches in Beijing, Guangzhou and Guiyang, played a very important role during that time. Unlike poetry, photography was not a domain for the amateur or non-specialist. Chinese made camera were not cheap and develop services were not readily available during that time. Take the Seagull 4A camera for example, a Shanghai made twin lens reflex camera cost 250 RMB (£25) in the early 70s, when the average income of the Chinese was 40 RMB per month. Nevertheless, people who lived in big city still got the chance to buy a camera in large department stores at incredibly high prices. Since 1976, amateur photographers began using cameras to capture moments that they believed should be engraved in history.

In April 1976, after the death of Zhou Enlai, hundreds of thousands of people gathered in Tiananmen Square to memorize him and soon the first demonstrations were took place. A symbolic photograph taken by Luo Xiaoyun, photographed Li Tiehua, a director at the Beijing Red Flag Peking Opera troupe, giving a speech to the crowd. Luo Xiaoyun was born in 1953, she took this photograph at grave personal risk on the day when the authorities suppress the crowds, beating and arresting people.

Li was later arrested for his criticism of the Gang of Four and Luo Xiaoyun hid many negatives in the next few years. Meanwhile, Wu Peng, a railway worker and a self-taught photographer is among those who recorded the mass outpouring of emotion. Wu Peng’s ironic image of the power of the people, which was given the caption ‘Unity is Strength that will Lead us to Tomorrow’ shows a group of young people marching arm in arm from the east side of the National People’s Congress towards the center of Tiananmen Square. Working individually, each of them took hundreds of photos in the square throughout the April Fifth Movement and preserved the negatives during the subsequent political persecution (Wu, 2004, p15).

Chinese documentary photography, thus stands on the threshold of an exciting historical moment, begins to extricate itself from cultural and political opposition. Those unauthorized photographers, distinct for being independent of any official photography bureau are the exception to the rule in becoming a photographer of both their own volition and means. Some of them, such as Li Xiaobin, Wang Wenlan, Wang Zhiping, would later become the leaders of the New Wave Movement in the 1980s.

Last but not least, a few photographic groups, which were formed in order to share the knowledge and art of photography, marked the beginning of a “Cultural Renaissance” in the history of Chinese photography. “Chinese artists, who were effectively isolated from the Western art world from 1949-1979, have felt compelled to assimilate as rapidly as possible the key lessons of international modern and contemporary art, as Christopher Phillips discussed in Between Past and Future: New Photography and Video from China (Philips, 2004, p41).

During 1976 to 1979, two individual photography groups in Beijing formed, latterly became the core of the April Photo Society. One group, which known as “Friday Salon”, formed as early as the winter of 1976, and had thirty to forty members who gathered every Friday evening in the dorm of the young photographer, Chi Xiaoning in the western part of the city. Meanwhile, another group met regularly in Wang Zhiping’s small apartment in the eastern part of the city.

Organized by the April Photo Society, the Nature, Society, and Man exhibition opened in Beijing on April 1st, 1976, which exhibited 280 works by 52 photographers. As Claire Robert noted in her latest book Photography and China: “the exhibition was the first such event staged by an independent community arts organization since 1949 and attracted large crowds (Roberts, 2013, pp129). The appearance of the first unofficial photo club and exhibition in Beijing in 1979 turned away from reportage and explored forms of photography.

As Wang Zhiping wrote for the exhibition preface, the focus was Natural, Society, and Man.

News photos cannot replace the art of photography. Content cannot be equaled with form. Photograph, as an art should have its own language. It is now time to explore art with the language of art, just as economic matters should be dealt with by using the methods of economics. The beauty of photography lies not necessarily in “important subject matter” or in official ideology, but should be found in nature’s rhythms, in social reality, and in emotions and ideas (Wang, 1979).

To conclude, it is no exaggeration to say that 1976 has played a vital part in the history of Chinese photography. The Chinese experience of photography in 1976 stands apart from the West, followed by a documentary turn. Documentary photography came to dominate the new wave moment in a decade’s time, which went on to influence many generations.

Ten Years in a Moment: A Radical Shift

The photography exhibition Ten Years in a Moment from which images were exhibited at the National Art Museum of China on April 5th, 1986, a decade after the Tiananmen Incident, presented an unparalleled look at changing lifestyles in China through the lens of Chinese photographers.  The exhibition’s preface, made the focus of Ten Years in a Moment explicit:

A decade ago, we used our camera for shooting April Fifth Movement.  During the last ten years, we still use cameras to memorize, to know and understand the great transition of our society. We are approach to discovering truth from a new angle and using new methods…

After Mao died and the Gang of Four fell from power, the April demonstration was “rehabilitated” as a positive event, and the photos by Luo Xiaoyun and others were exhibited and published in a book designed to promote the new regime. “Photographs that were dissident reportage were co-opted as official images of commemoration,” said by Claire Roberts.

As China started opening up economically from 1978, it also opened up intellectually. By the late 1980s, the process of reform had also begun to influence and change the media. As time passed, there were more and more magazines, and there were more and more magazines and there were also increasing opportunities to publish photographs in the public arena – and as an aesthetic rather than a visual missive (Smith, 2004, p15).

At last, as Mark Riboud wrote for his book Vision of China: “In 1980, the last image of China I took away with me: in the heart of   the Forbidden City, the Chinese no longer pose in front of Mao’s portrait but beside a car, symbol of the consumer society’s ideal all over the world. This is a stunning turn. “


Research Report

British Library (2013) Propaganda, Power and Persuasion. London: British Library

Fessler, L. (1976) China 1976: Year of Sorrow. American Universities Field staff Reports. Vol. XXIII, no. 4.

Gentz, N. (2008) Documentary Photography in China. Edinburgh Review. Vol. 124, pp20-21.

Hodder, R (2000) In China’s Image: Chinese Self-Perception in Western Thought. New York: St. Martin’s Press

Liu, H.S (2008) China: Portrait of a Country. London: Thames and Hudson

Li, Z (2003) Red-color news soldier: a Chinese photographer’s odyssey through the Cultural Revolution. London: Phaidon

Riboud, M. (1981) Vision of China: Photography by Marc Riboud, 1957 -1980.  London: Traveling Light.

Roberts, C (2013) Photography and ChinaThe True Record. London: Reaktion Books

Smith, K (2004) Photography in China from 1949 to the Present. In: Kohler, S., Lutgens A. & Westermann, A. The Chinese: Photography and Video from China.  Ostfildern-Ruit: Hatje Cantz.

 Wu, H. Phillips, C (2004) Between Past and Future: New Photography and Video from China. Göttingen: Steidl Publishers

Free Park | Same Studio | Self-Publishing

Photographer: Yuan Xiaopeng
  •         Title: Free Park
  •         Photographer: Yuan Xiaopeng
  •         Date of publication: winter, 2013
  •         Place of publication: Shanghai, China
  •         Dimensions: Newspaper “Free Park”: 52 pages, 297x420mm                                                           Instructions “Free Exhibition”: 16 pages, 140x210mm
  •         Publisher: Same Studio
  •         Website:
  •         Distributed by: Rosa Books, Jiluchang, and Banana Fish

As Claire Roberts mentioned in her latest book Photography and China: “many practitioners of ‘personal photography’ work for magazines and newspapers by day and create their own highly personal images at night, participating across the spectrum of a new, image-rich culture.” One of these photographers is Shanghai-based photographer Yuan Xiaopeng.

Yuan Xiaopeng (b. 1987) is a young photographer and illustrator who currently work for a weekly newspaper in Shanghai.  He is a member of Same Studio along with Beijing-based Wang Yijun. Same Studio is an artist collective that collects and share interesting books across the world.

Free Park is Yuan’s first solo-published piece, which is presented alongside a quirky exhibition that lasted only 2 hours. The body of work showcases the photography and illustrations of Yuan Xiaopeng during his stay in Shanghai from 2010 to 2013. Shot in Shanghai, Free Park is a pleasurable jaunt into the essence of the time and place, from in and around his rented flat to the local market. Wang Yijun, another member of Same Studio contributed to the typography and design. Each photograph in the newspaper is presented like a fragment of a larger picture, creating a fragmented yet still coherent perception of the photographer’s life in the metropolitan city. Free Park also includes a fun pamphlet, entitled “Free Exhibition,” about a fake installation exhibition.

Photographer’s statement:

The pictures were taken from 2010 to 2013, when I was moved to Shanghai to avoid the pressure from my family in Nanchang. I work here and spend most of my time wandering around the city and having sex with strangers in my rented house. Usually, I photograph the people I meet most frequently, in order to satisfy the image in my imagination. There is staged scene as well documenting the moment.

Free Park | Same Paper

Same Studio



Selected Photography Exhibitions in China (JAN)


1. From New Photography to Rookie Award: Three Shadows’ Collection

Artists: Chen Baosheng, Liu Heung Shing, Mo Yi, Zhang Hai’er, Chen Lingyang, Gao Bo, Han Lei, He Chongyue, Hong Lei, Liu Zheng, RongRong, Wang Ningde, Xing Danwen, Xiong Wenyun, Zhao Liang, Zhuang Hui, Zuoxiao Zuzhou, Cai Dongdong, Qiu, A Dou, Zhang Xiao, Chen Zhe, Zhang Jin, Li Jun

Duration: Oct 26, 2013 —— Jan 27, 2014

Three Shadows Photography Art Center, Cao Chang Di Art District, Beijing


Three Shadows’ Collection


2. False Image

Zhang Wei Photography

2013 12.21 —— 2014 03.15

798 Photo Gallery, 798 Art District, Beijing


False Image Exhibition


3. Triple-Major presents: Lifestyles Photography and Book Exhibition

Artists: Charlie Engman, Jeremy O’ Sullivan, Ka Xiaoxi, Shen Li, Xiaopeng Yuan, YJ Wang, Zhengdong Xu

Duration: Jan 11, 2014 ——  Jan 19. 2014

Curator: Same Studio

Triple-Major, Shanghai store


Lifestyles Exhibition


4. Impermanent Instant

Photographer: Li Jun

Duration: Jan 15, 2014 —— Feb 14, 2014

Blindspot Gallery (Central), Hong Kong


Connecting Wire, Li Jun Photography


5. Aura of Noumena

Paul Caponigro Photography

Date: Jan 18, 2014  —— March 2, 2014

Timeless Gallery, Beijing

Blend, Paul Caponigro Photography




Zhang Jin Photography: Another Season, Three Shadow +3 Gallery

Another Season/Entrance, 2010 Photographer: Zhang Jin

His pictures of emptiness trace the life of ancient Chinese and involve viewers to make a dialogue with history, says Yizhong Ruan

An inaugural photography exhibition of Zhang Jin’s “Another Season” was held in Three Shadows + 3 gallery. This is the first solo exhibition of Zhang Jin after his winning on TSPA 2012. The complete series of “Another Season” contains 81 prints, themed ancient silk-road landscapes in western China, which divided into two parts addressing concepts regarding “trace of present live” and “cycle of change”.

Zhang Jin (b.1978) is a freelance photographer based in Chengdu. In 2012, he was awarded the most prestigious photography award in China initiated by Three Shadows Photography Center, which attracted approximately 358 candidates last year. Zhang Jin traveled through the eastern section of the ancient Silk Road from Xi’an to Yangguan during 2010 to 2013. Whilst he was there, he positioned himself inside the landscapes of his imagination and shot a photo series entitled Another Season during the year. As he mentioned ‘it’s the road of Buddhism coming to China, where I find my enthusiasm for the grand desert. Moreover, it has my encounter with the unknown landscape’.

Zhang Jin’s work is the adaptation of photography to Chinese philosophical and aesthetic concepts – especially through a dialogue with different kinds of representation found in various Chinese poetry and painting. As photographer says, “there are traces from the ancient civilization and the most important is an exploration for a seer. There are also natural creatures, which persistently and simply exist everywhere regardless of the dynasty or nation changes over time, with the primitive strength born from basic instinct.”

Beneath the surface of the self-consciously ‘poetic’ motifs, the landscape he shows in these photographs feel calm and peaceful. The middle format, together with the loose contrast between the soft focus and pale grounds in Zhang Jin’s photograph, evokes the aesthetics of Chinese Shan Shui painting. Also, in terms of narrative, when we look at photographs from Another Season, viewers can enter and travel through each part of the picture in turn, going from one to the other – we shall be as little bothered by the lack of a uniform viewpoint as we would be.

About Exhibition:

Zhang Jin Photography “Another Season”


Three Shadows +3 gallery

About Photographer:


Another Season/Empty Mountain, 2011 Photographer: Zhang Jin
Another Season/The Circle of Change, 2011 Photographer: Zhang Jin