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FINAL DAYS TO WIN A SOLO EXHIBITION IN MAY 2026
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Fang Tong
Fang Tong
Fang Tong

Fang Tong

Country: China/Canada

Fang Tong is an awarded-winning photographer based in Vancouver Canada. In 2015, she won first prize in the Nikon International Photography Competition. She had an interview with Canada Broadcasting Corporation CBC Arts in 2019. Fang Tong had solo and group shows in cities such as Paris, Sicily, Budapest, Barcelona, London, Shanghai, and Vancouver.

Fang Tong is a cinematic-style photographer, as a spectator of life. Her works are embedded with an implied narrative, which is left to the viewer to resolve over time with their own imagination. Reflecting her background in classical art, photography is carefully planned to control the frame and the expression of details, giving her work an ethos of a painter. As a bystander, Fang Tong captures the potential that photography can embody pieces with an eternal quality, thereby creating a slightly fictional world that resembles reality but transcends consciousness. Fang Tong’s passion is for her work to border on the surreal, yet hold back enough to keep it firmly in the real world. Her photos provoke audiences to create a narrative out of cinematic pictures. There may be no clearly defined story behind the scene, but there is a strong mood and atmosphere throughout the whole image. The imaginary world is strangely familiar while the narrative arc takes audiences on a hyper-visual ride through people's subconsciousness. She nurtures the balance between the real and the surreal that pulls her audiences into the world she created, but she also allows the audience to discover their own answers.
 

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Nadav Kander
Israel
1961
Nadav Kander is a London based photographer, artist and director, internationally renowned for his portraiture and landscapes. His work forms part of the public collection at the National Portrait Gallery and the Victoria and Albert Museum in London. Kander's work is also exhibited in numerous international galleries and museums. Kander was born in tel Aviv, tal aviv. His father flew Boeing 707s for El-Al but when he lost his eye for medical reasons he was unable to carry on flying. His parents decided to start again in South Africa and moved to Johannesburg in 1963. Kander began taking pictures when he was 13 on a Pentax camera and later when drafted into the South African Air Force, worked in a darkroom printing aerial photographs. He moved to London in 1986, where he still resides with his wife Nicole and their three children. Kander's most celebrated images include Diver, Salt Lake, Utah 1997, in which a lone women peers out into the vast lake, and his 2009 portrait of Barack Obama photographed for The New York Times Magazine as a cover feature. Diver, Salt Lake, Utah, 1997 was also the cover image for Kander's Monograph Beauty's Nothing. On 18 January 2009, Nadav Kander had 52 full-page colour portraits published in one issue of The New York Times Magazine. These portraits (from a series titled Obama's People) were of the people surrounding President Barack Obama, from Joe Biden (Vice President) to Eugene Kang (Special Assistant to The President). The same issue also included a series of cityscapes of Washington DC also taken by Kander. This is the largest portfolio of work by the same photographer The New York Times Magazine has ever showcased in one single issue. Source: Wikipedia Nadav Kander lives and works in London. Selected past projects include Yangtze – The Long River, winner of the Prix Pictet award in 2009; Dust, which explored the vestiges of the Cold War through the radioactive ruins of secret cities on the border between Kazakhstan and Russia; Bodies 6 Women, 1 Man; and Obama’s People, an acclaimed 52 portrait series commissioned by the New York Times Magazine. His ongoing series, Dark Line - The Thames Estuary, is a personal reflection on the landscape of the River Thames at its point of connection with the sea, through atmospheric images of its slow-moving dark waters and seemingly infinite horizons. Kander’s work is housed in several public collections including National Portrait Gallery, London, UK; Museum of Contemporary Photography, Chicago, USA; Marta Herford Museum, Germany; Sheldon Museum, Lincoln, USA; The Frank-Suss Collection, London, New York and Hong Kong; and Statoil Collection, Norway. He has exhibited internationally at venues including Weserburg Museum, Germany; Musée de L’Elysée, Lausanne, Switzerland; Museum of Photographic Arts, San Diego, USA; Museum of Applied Arts, Cologne, Germany; The Barbican Centre, London, UK; The Photographers’ Gallery, London, UK; Somerset House, London, UK; Palais de Tokyo, Paris, France; and Herzliya Museum of Contemporary Art, Israel. Recent fellowships and awards include an Honorary Fellowship Award from the Royal Photographic society. Source: Flowers Gallery "I hated school with dedication. A shame, but true. I wasn’t hugging and saying tearful goodbyes on the final day. I just left and I have never returned. Having a very bad accident on my motorbike that I had had since I was 15 (a Triumph 650 Tiger), was a hinge event. Prior to this I had been a practising hard man and going nowhere. Working on the machines during the day and riding in groups at night was my life. After the accident when I was 17, I never rode again and my focus shifted back to photography. South Africa forced its white male citizens to partake in National Service, and I somehow ensured I was drafted into the Air force and then into a darkroom where I printed aerial pictures for two years. It was here that I became certain I wanted to become a lens based artist. A Photographer back then. I met Nicole Verity at about this time. The day after I cleared out of the Air force I started working for Harry De Zitter, and a few months later, soon after my 21st birthday, I left for England. At the end of 1985 I was back in South Africa and met up with Nicole again. She joined me in England in 1986. We squatted in a block of flats two streets away from where we later bought a house. We married in the wilds of Africa in 1991." -- Nadav KanderSource: www.nadavkander.com
Rafał Michalak
Poland
1971
Lives and works in Wroclaw, Poland. He studied political science and public relations. Graduate of Academy of Art and Design in Wroclaw with a Master of Arts (Media Art Department). A member of The Association of Polish Art Photographers (ZPAF). He has been associated with the advertising industry and commercial photography for years. In his everyday work he deals with brand communication issues as well as visual identity development for companies and corporations. At the same time, he is actively engaged in creating his own original photography, thereafter presented in exhibitions and published in trade magazines. Winner of many photographic praises and commendations. Human being as individuality and its place in the so fast altering world are the key factors of Michalak’s photographic research. In his photography he is mostly consumed with transgression understood as a conscious and intentional exceeding of bounds and limits that we impose on ourselves or encounter. At the same time, it provides a way to learn more about the hidden depths and makes it possible to experience reality from different points of view. Transgressive approach has characterised Michalak’s personal style of representation, regardless of used technique and medium, ever since he knowingly engaged in fine-art photography. Transgression determines his personal choices in terms of subjects he approaches, and even more so, the message, i.e. the idea behind a photograph, which he believes to be essential.
Fan Ho
China
1931 | † 2016
Fan Ho’s (born in Shanghai in 1931) photographic career started at the early age of 14 when given his first Kodak Brownie from his father. Within the first year he won his first award in 1949 in Shanghai. At the age of 18, he acquired his twin lens Rolleiflex with which he captured all his famous work after he moved to Hong Kong with his parents and continued to purse his love for photography. Dubbed the “Cartier-Bresson of the East”, Fan Ho patiently waited for ‘the decisive moment’; very often a collision of the unexpected, framed against a very clever composed background of geometrical construction, patterns and texture. He often created drama and atmosphere with backlit effects or through the combination of smoke and light. His favorite locations were the streets, alleys and markets around dusk or life on the sea. What made his work so intensely human is his love for the common Hong Kong people: Coolies, vendors, hawkers selling fruits and vegetables, kids playing in the street or doing their homework, people crossing the street… He never intended to create a historic record of the city’s buildings and monuments; rather he aimed to capture the soul of Hong Kong, the hardship and resilience of its citizens. Fan Ho was most prolific in his teens and 20s and created his biggest body of work before he reached the tender age of 28. His work did not go by unnoticed at his time. He won close to 300 local and international awards and titles in his day through competing in the salons. His talent was also spotted by the film industry where he started out as an actor before moving to film directing until retiring at 65. Fan Ho is a Fellow of the Photographic Society and the Royal Society of Arts in England, and an Honorary Member of the Photographic societies of Singapore, Argentina, Brazil, Germany, France, Italy and Belgium. He most recently won a "Life-time Achievement Award, the 2nd Global Chinese International Photography Award, China, 2015" by the Chinese Photographic Society (Guangzhou). During his long career he has taught photography and film making at a dozen universities worldwide. His work is in many private and public collection of which most notable are: M+ Museum, Hong Kong, Heritage Museum, Hong Kong, Bibliothèque National de France, Paris, France, San Francisco Museum of Modern Art, USA, Santa Barbara Museum of Art, USA and many more. Source: fanho-forgetmenot.com
Cathleen Naundorf
France/Germany
Cathleen Naundorf is a French German photographer. In the late 1980s, she graduated from photography studies in Munich. She worked as a photo assistant in New York, Singapore and Paris in the following years, before she started traveling in 1993 to such destinations as Mongolia, Siberia, Gobi Desert and the Amazonas headwaters in Brazil. The results of these insightful pictures have been included in eight publications of renowned publishing houses. Inspired by her encounter of and longstanding friendship with Horst P. Horst, Cathleen Naundorf early on turned to fashion photography. As of 1997, she started photographing backstage Paris fashion shows for Condé Nast. Since 2005, Cathleen Naundorf has worked on her haute couture series “Un rêve de mode” focusing on seven couture houses : Chanel, Dior, Gaultier, Lacroix, Saab, Valentino and Philip Treacy. Thanks to her outstanding pictures, Cathleen Naundorf got the privilege to choose gowns from the couturiers’ archives for her elaborate and cinematic productions. This work got published in "The Polaroids of Cathleen Naundorf", Prestel Edition, 2012.She works with large format cameras like Plaubel or Deardorff for her shootIngs and use mostly Polaroid or negative films. Cathleen Naundorf is working passionately on Haute Couture and Luxury Prêt-à-Porter. Her work got published in magazines like Harper's Bazaar, Tatler, VS Magazine or American Express.Cathleen Naundorf's work is represented by the Hamiltons Gallery in London.
Veronique De Viguerie
Veronique de Viguerie photojournalist, mother-of-two based in Paris. After a Master of Law, fascinated by what was happening in Afghanistan, she disobeyed her parents, borrowed some money and bought a one-way ticket to Kabul. Two years after, in 2005, she was in a cybercafé, trying to file some pictures. A kamikaze entered and exploded himself. She was one of the rare survivor. She became obsessed with the idea of meeting the Taliban to understand how some men were ready to die and kill for an ideology. From that day, her pictures intend to give a face to the ones we don’t want to see, the “bad guys”, the ones on the other side: The Taliban, the pirates in Somalia, the sicarias (women killers) in Mexico, the oil pirates in the Niger Delta, the Houthis in Yemen, the MNLA in Mali, the gangs in Brazil etc… She refuses the common binary, black and white vision of the world preferring to show the grey shades in between, a world complex but always in colors. Her work is regularly published by Paris-Match, Time, Géo, Figaro, the Guardian, Marie-Claire etc. She exhibited “Afghanistan, Insh’Allah” in Perpignan, Paris and Anger, “Yemen, the hidden war” was exhibited in Bayeux, Paris and Brussels. She published some books “Afghanistan, Regards Croisés”, “Profession: Reporter”, “Carnets de Reportages du XXIe siècle”, “Yemen, la guerre qu’on nous cache », « Iraq Insh’Allah ». In 2011, she was starring an episode of « Witness » an HBO program, following the arrow boys in Sudan in their hunt for Joseph Kony. Among her awards she received a WPP, 2 Visas d’Or, 2 prizes at Bayeux Festival for Best War Reportage, was finalist for the Anja courage award etc.
Shoji Ueda
Japan
1913 | † 2000
Shoji Ueda was a photographer of Tottori, Japan, who combined surrealist compositional elements with realistic depiction. Most of the work for which Ueda is widely known was photographed within a strip of about 350 km running from Igumi (on the border of Tottori and Hyogo) to Hagi (Yamaguchi). Ueda was born on 27 March 1913 in Sakai (now Sakaiminato), Tottori. His father was a manufacturer and seller of geta; Shoji was the only child who survived infancy. The boy received a camera from his father in 1930 and quickly became very involved in photography, submitting his photographs to magazines; his photograph Child on the Beach, Hama no kodomo) appeared in the December issue of Camera. In 1930 Ueda formed the photographic group Chugoku Shashinka Shudan with Ryosuke Ishizu, Kunio Masaoka, and Akira Nomura; from 1932 till 1937 the group exhibited its works four times at Konishiroku Hall in Nihonbashi, Tokyo. Ueda studied at the Oriental School of Photography in Tokyo in 1932 and returned to Sakai, opening a studio, Ueda Shashinjo, when only nineteen. Ueda married in 1935, and his wife helped him to run his photographic studio. His marriage was a happy one; his wife and their three children are recurring models in his works. Ueda was active as an amateur as well as a professional photographer, participating in various groups. In 1941 Ueda gave up photography, not wanting to become a military photographer. (Toward the end of the war, he was forced to photograph the result of a fire.) He resumed shortly after the war, and in 1947 he joined the Tokyo-based group Ginryusha. Ueda found the sand dunes of Tottori excellent backdrops for single and group portraits, typically in square format and until relatively late all in black and white. In 1949, inspired by Kineo Kuwabara, then the editor of Camera, Ueda photographed the dunes with Ken Domon and Yoichi Midorikawa. Some of these have Domon as a model, far from his gruff image. The photographs were first published in the September and October 1949 issues of Camera and have been frequently anthologized. Ueda started photographing nudes on the dunes in 1951, and from 1970 he used them as the backdrop for fashion photography. The postwar concentration on realism led by Domon, followed by the rejection of realism led by Shomei Tomatsu, sidelined Ueda's cool vision. Ueda participated in "Japanese Photography" at the New York Museum of Modern Art in 1960 and had solo exhibitions in Japan, but had to wait till a 1974 retrospective held in the Nikon Salon in Tokyo and Osaka before his return to popularity. Ueda remained based in Tottori, opening a studio and camera shop in Yonago in 1965, and in 1972 moving to a new three-storey building in Yonago. The building served as a base for local photographic life. From 1975 until 1994, Ueda was a professor at Kyushu Sangyo University. Critical and popular recognition came from the mid seventies. A succession of book-length collections of new and old appeared. Ueda weathered the death in 1983 of his wife, and continued working well into the 1990s. He died of a heart attack on 4 July 2000. The Shoji Ueda Museum of Photography (Ueda Shoji Shashin Bijutsukan), devoted to his works, opened in Kishimoto (now Hoki, near Yonago) Tottori Prefecture in 1995. Source: Wikipedia
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