Maitree Siriboon was born iand raised in a rural village in Ubon Ratchathani, Isan, (in the north-eastern region of Thailand). At age 15, he Around 10 years ago he moved to Bangkok to study art, first at the College of Fine Art and later at Silpakorn University where he received his Bachelors in Fine Art.
The multi-talented Thai artist works in various media – mosaic collages, installations, performances, and most recently, photography.
Maitree incorporates much of his childhood landscape into his art, where one can view a colorful scheme of trees, farmers, rice paddies, and water buffalo.
According to Maitree, “I’m an Isarn Boy who dreams of making art that heals the world both naturally and spiritually. My home, Ubon Rathchantani, gave me life as a child.”
The 30-year-old has a wonderful collection of photography and mosaic pieces that pay tribute to water buffalo – appropriately entitled “Buffalo’s Heart”.
In recent times, a common insult in Thai is to call someone ‘kwai’ _ a ‘buffalo’. The term is used to describe someone who is less educated, difficult to teach, foolish, or stupid.
Maitree is not amused by the term, as he believes that the buffalo, through its hard work that helped build Thailand into a rice-farming nation, was a key component to building Thailand into the modern nation it is today. Through his work, the artist hopes to restore the dignity of the lovely kwai.
Maitree is the recipient of numerous awards, including the Bangkok Bank Art Award, and the Silpakorn Pradit Award. His art has been featured in an array of publications, such as The Nation, Elle, Contemporary Magazine, and Art Asia Pacific.
The influence of Lang Jingshan (郎静山) on Chinese photography is indisputable. Lang (his family name) was born in China in 1892, and was first influenced by his military father who had an interest in both art and photography. While attending middle school in Shanghai, Lang received his only formal instruction in photography from his art teacher at age 12.
During the 1920s, Lang became one of China’s first photojournalists, working for newspapers and magazines covering news and events, shooting fashion spreads and advertisements, and publishing art photography and pictorials in magazines.
When the China Photography Association was founded in 1928, Lang who was one of the first participants, began experimenting with more artistic work including nudes – which was a first in China. “Meditation”, which he shot in 1928, is considered the earliest surviving Chinese artistic nude photograph. This was followed by the publication of the ‘Album of Nude Photographs’ in 1930 – the first of it’s kind in China.
After briefly experimenting with a modernist style, Lang developed a style he called “composite photography” (jijin sheying 集锦摄影), whereby he printed different parts of various negatives on the same sheet of paper, resulting in seamless landscapes, still lifes, and portraits following the composition and style of traditional Chinese ink painting.
After the communist takeover of mainland China, Lang followed the nationalist government to Taiwan where he continued to create ground-breaking photographic works. He also spent 42 years as the director of the re-established China Photography Association in Taiwan. Throughout the remainder of his life, Lang committed himself to teaching and promoting the idea of a Chinese style of photography until his demise in April 1995.
Photography is for children. There. I said it. I’m not arguing with people who have written books about photography as an art, as a means of telling a story, or even as a method of enhancing a commercial message. But there’s something more fundamental that lies beneath all that.
I believe everyone possesses some degree of creativity. As children we’ve all tried to express it – from drawing in the sand with a stick, to making something out of mud, to doing a silly dance. It’s human nature to want to express our creativity.
When photography was invented, it became the one medium that enabled all of us to express our creativity – regardless of whether if we could draw, sing, or dance. Today, digital cameras and smartphones have put that means of expressing creativity in the hands of hundreds of millions of people around the world.
The advent of digital cameras, and particularly smartphones – suddenly enabled all of us to become photographers – hence the millions of photos being constantly uploaded to the internet. And regardless of whether we take photos of our lunch with our smartphone, or photos of wildlife with our DSLR, we’re all constantly experimenting with ways of creating a better photo – one that will make all our friends say, “wow, that’s an awesome photo”!
While myriad articles have explained how digital photography has enabled us to capture memories more easily, or enhance our communications – Facebook, Twitter, Instagram, etc – there’s no denying the fact that basically, we’re all taking photos as a means to express our creativity (some of us more successfully than others).
The interesting thing that isn’t discussed as much is the other side of photography – the viewers of all these photos. Why are people looking at our photos? While most of us would understand why everyone would look at the photo you took of a tiger charging directly at you while on a safari, why do people spend time to view the blurry photos we take at a concert, or the photo we take of our desert?
The answer can again be found in our childhood – curiosity. As children, we were openly curious about everything around us. Refreshingly (I think), as adults we’re still curious about our world. We’re interested in what others are doing, and specifically, in what they are seeing. The combination of digital photography and the internet has tapped into our innate curiosity by feeding us massive amounts of photos to view everyday.
I guess we’re all still children – wanting to express our creativity, and curious about the world around us. I don’t know about you, but I think those two facts are reason enough to continue taking photos – and viewing them. What could possibly be wrong with continuing our desire to express our creativity – and with staying curious about the world?
Most of all, we enjoy taking a photo, editing it, and seeing people’s reactions to it. We also get pleasure viewing a photo, thinking how we would have taken it a bit differently, and imagining ourselves being there. So maybe I’m wrong about there being two basic reasons why everyone is enamored with photography. Maybe it’s simpler than that. Maybe there’s only one reason – because it’s fun. (And all kids like to have fun!)
Outside of a small circle of historians interested in Indonesian culture, Kassian Cephas is scarcely known. A court photographer for Java’s Yogyakarta Sultanate in Java during the late 19th century, Kassian Cephas was Indonesia’s first professional photographer.
Born in 1845 during Dutch colonial rule, Cephas was trained by a Dutchman at the request of Sultan Hamengkubuwana VI. (According to oral tradition, his father was Dutch and his mother Indonesian). By the early 1870’s, Cephas was appointed as court painter and photographer. His responsibilities were to take portraits of the royal family.
Recognizing his skills, the Dutch Archaeological Union commissioned Cephas to photograph Indonesia’s iconic buildings and ancient monuments for posterity.
After the hidden base of the Borobudur temple complex was discovered in 1885, Cephas was requested to record the hidden panels with his camera. To expedite the documentation, the base was briefly uncovered in 1890, and then covered again in 1891.
In recognition of his photographic contribution to archeology, Cephas was appointed as an “extraordinary member” of the Batavian Society of Arts and Sciences following the completion of the Borobudur project. Subsequently, he was also made a member of the Royal Institute in recognition of his work with for the Dutch Archaeological Union.
Along with his architectural photography, Cephas continued working as a court photographer. In 1896 he photographed a visit to Yogyakarta by Thailand’s King Chulalongkorm. Later, in 1899 he documented the four-year commemoration of the accession of Hamengkunegars III to the throne as Crown Prince of the Yogyakarta Sultanate.
Cephas retired when he reached 60 years of age, and passed away seven years later in 1912 due to illness.
Although he was an accomplished court photographer and architectural photographer, Cephas is mainly celebrated in Indonesia today as the first Indonesian to become a professional photographer.
One of China’s top fashion photographers, Chen Man was born in 1980 in Beijing. After attending a high school specializing in art, she studied graphic design in Beijing at the Central Academy of Fine Arts, where she graduated in 2005. Prior to graduating, the foundation of Chen Man’s photographic career had already begun to be laid with the 2003 launch of a series of covers she produced for Vision, a Shanghai-based fashion magazine.
Between 2003 and 2007, the cover photos that Chen Man created for Vision were received in China as ground-breaking, and even avante garde. Her method of highly-stylized, over-the-top, manipulated images had never been seen before in Chinese magazines. But the nuances of glamour, energy, and freedom of imagination portrayed in her cover photos resonated with China’s emerging youth culture.
As the magazines reached the public, viewers were in awe of Chen Man’s skill in combining a strong aesthetic eye, photographic technique, and mastery of post-processing and 3D rendering. The fact that she was young was a pleasant surprise to Chen Man’s Chinese audience, and there was also an element of national pride that she was a Beijing native. This initial success launched Chen Man’s meteoric rise.
Since gaining recognition for her work for Vision, Chen Man has shot covers for every major Chinese magazine, and has also became a regular contributor to the Chinese editions of Vogue, Elle, Bazaar, Marie Claire, Cosmopolitan, and Esquire. She has also shot for ID, The Times, Wallpaper, Muse, Guess, Adidas, Motorola, Gucci, etc. Additionally, her work has been exhibited in many major galleries and museums.
Chen Man’s has created her own style of photography based on a combination of her skill with a camera, and her expertise with a computer.
According to Chen Man herself, “My work is complex and it matches the faces of our era; it’s Eastern and Western; it’s neither mainstream nor anti-mainstream; it’s the past, the present, and the future; it’s tacky and elegant. This is all achieved through a combination of ‘hardware’ from ancient Chinese culture and ‘software’ from modern Western culture.”