Fayyaz Ahmed is an award-winning photographer based in Karachi, Pakistan. Famous for his fashion and high-end portrait photography, Fayyaz also does occasional documentary work, and has made a name for himself as a director of music videos.
Without any formal training in photography (he was educated as a computer engineer), Fayyaz used to ‘click his surroundings’ in his mind until he began shooting in 2006 with a newly purchased DSLR.
Teaching himself photography by reading everything he could on the internet, he began working as a professional photographer in 2007. His creativity and versatile style enabled him to quickly make a name for himself in Pakistan.
While most of Fayyaz’s work is for editorials and advertisements, he has a great touch in capturing street photos.
According to Fayyaz, the best advice he received was from a photographer who told him, “When you are shooting a portrait, you have to be quick or the subject becomes bored after a while”.
Xyza Cruz Bacani is a Filipina street photographer based in Hong Kong, known for her black-and-white photos of Hong Kong street life. Bacani grew up in Bamband, Nueva Vizcaya in the Philippines. Before leaving the Philippines, she studied nursing. It was during this time that her interest in photography first took root, although she couldn’t afford a camera at the time. In order to help earn funds for the education of her siblings, Bacani joined her mother in Hong Kong when she was 18.
Working as a nanny for the same Chinese-Australian woman who employed her mother, one of Bacani’s tasks was caring for her boss’s seven grandchildren. A few years after she’d moved to Hong Kong, Bacani started taking photos with a Nikon D90 she purchased with money borrowed from her employer.
With camera her in hand during her spare time, Bacani began prowling the streets of Hong Kong allowing her mood to determine her destination. She honed her photography skills by capturing various aspects of Hong Kong’s Chinese communities as well as the play of light and shadows between the city’s iconic buildings.
Bacani was encouraged in her photography by her mentor, San Francisco-based photographer Rick Rocamora, who she met on a Filipino photographers’ group on Facebook.
Bacani has been building a reputation through her striking photographs of ordinary life in Hong Kong. Among her various street images of Hong Kong society, Bacani has also covered the 2014 Hong Kong protests, and documented the lives of other domestic helpers in Hong Kong. Continuing to work as live-in helper, any extra cash she earns from overtime goes toward cameras, lenses and film. Although she loves photography, she says she’ll never leave her day job as “it pays very well.”
Bacani has been featured in major international publications including the New York Times and Italian Vogue. In 2015, she was announced as a recipient of the 2015 Human Rights Fellowship by the Magnum Foundation, a prestigious scholarship that gave her the opportunity to study in an intensive, six-week-long program at New York University in New York.
Uma Bista is both a photojournalist and documentary photographer in her native Nepal. Born and raised in Kathmandu, Uma’s first encounter with photography was when she took up a short course while she was in the 12th grade. Further to that, she attended many photography workshops to improve her craft.
Rebelling against her parents’ dream for her to become a nurse, Uma pursued her passion for photography, eventually working full-time with two of Nepal’s leading newspapers – The Himalayan Times and The Annapurna Post.
When asked about her passion for photography, Uma replies, “I love all kinds of photography. But especially I prefer documentary photography. It covers everything. I want to document people, the joy, the love, the anger, the mystery, the feelings, the humor, the sadness. I feel happy while doing this.”
Uma’s work has been exhibited at “Kathmandu, Kathmandu”, “The Constant Change”, “Mega Bank Photo Exhibition”, and “Opportunity Knocks” at Chobi Mela VII in Dhaka. Her photos have also been published in the books “The Constant Change” and “Nepal The Land of Contrast”.
Meeting a female working as a photographer in Nepal is rare. Few locals take up photography professionally, and among them there are very few women. This makes Uma’s accomplishments in photography even more unique.
Hengki Koentjoro is a fine art photographer based in Jakarta, Indonesia. Born in Semarang, Central Java, his love affair with photography began when his parents gave him a Kodak pocket camera as a birthday present when he turned 11 years old.
After graduating from California’s Brooks Institute of Photography with a major in film/video production and minor in Black & White photography, Hengki returned to Indonesia and settled in Jakarta. There, he works as a videographer and video editor. His video work mostly consists of corporate profiles, TV commercials, and nature documentaries.
Although Hengki claims photography is just a serious hobby that he indulges in his spare time, his images have won countless awards worldwide. It’s easy to understand why.
Hengki’s preference for black and white photography is influenced by his admiration for the work of Ansel Adams. In his own words, Hengki says of Adams, “His ability to control the tonality to create moods and atmosphere captivated me and my passion started from there and I never looked back”.
Practicing Ansel Adam’s Zone System, before shooting, Hengki tries to envision his subjects in black and white. He believes this helps in choosing the proper subject matter, composing the photo, and forecasting how the resulting image will look.
The ability to play around with tones allows Henki to create atmospheric photos that beautifully balance a combination of composition, texture, shapes and lines.
“Photography can never be separated from the aspects of making the common things unusual, welcoming the unexpected, indulging and embracing ourselves with the joy of photography”. Hengki Koentjoro
A self-taught independent photojournalist, Prashant Panjiar is one of India’s best-known photographers.
Based in New Delhi, Prashant specializes in reportage – editorial and documentary photography. A veteran in his field, he also works as a consulting editor, curator, and educator.
Actively involved in guiding young photographers in India, Prashant is one of the three senior photographers who select and mentor young documentary photographers for National Foundation of India’s fellowship program. He is also a co-founder of the Delhi Photo Festival, and the Nazar Foundation.
Born in 1957, Prashant is a post-graduate in Political Science from Pune University, India. During his university days, he developed his photographic skills working on photographic projects that focused on peasant movements and other social issues.
From 1984 through 2001, Prashant worked for several major Indian magazines as a photographer and eventually editor. Since 2001, he has devoted himself to being a full-time independent photographer specializing in editorial and documentary photography. Prashant’s work is regularly published in leading magazines both in India and abroad.
Japanese photographer Mika Ninagawa first trained as a graphic designer, before turning to photography.
In addition to achieving success through her commercial work in fashion and advertising, Ninagawa has also won numerous awards for her art photography which explores themes of Japanese youth culture, the dark side of eroticism, and the effects of light on color.
Ninagawa is best known for her vibrant and brightly colored photographs of flowers, goldfish, and landscapes.
Further expanding her creative repertoire, Ninagawa directed her first full-length film in 2007 (Sakuran), followed by a music video for the popular group AKB48, and a film adaption of Helter Skelter (the Japanese manga).
It’s always a pleasure to see a talented creative person who continues to explore different medium.
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.
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.”