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Win a Solo Exhibition this February. Juror: Harvey Stein
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A Yin
A Yin

A Yin

Country: China
Birth: 1970

A Yin, a self-taught, award winning photographer, born 1970 and raised in Xing’an Meng on the fringe of Keer Qing grassland has devoted his life passionately recording the Mongolian culture. He has windblown, tussled hair and only wears various shades of nature green (down to his socks), symbolizing the lush grasslands that once carpeted the country. And his slightly weathered skin is a proud marking of working through extreme weather conditions including intense sandstorms and winter blizzards as he followed herders and captured their everyday lives for the past years.

Since the 1980’s, he has been writing about and photographing Mongolian culture with over 200,000 negatives of history under his belt. His first major photographic book, “Followers of Genghis Khan, Nomadic Mongolians of China” encapsulates the people and their culture as part of his mission to preserve the disappearing nomadic culture through his immersive photographs. And his second major photographic book, “Schools” illustrates the Mongolian school system in the 1990’s and the dramatic changes the people have undergone within a very short time frame.

(Source: The Eye of Photography)

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There are uncontrollable color shifts due to monitor calibrations; a moire pattern may appear because the screen is refreshing, and the perspective of the body can distort if the phone isn't perfectly parallel to the subject. I won't elaborate on how the highlights and shadows clip. The image noise and pixelation can drive you mad if you don't accept it as divine intervention. I find myself wanting to jump into the scene and move things and bodies, hold reflectors, close blinds, and refrain from making my subject do the heavy lifting. However, I sit behind the computer giving direction to "look to the right, chin down, eyes up, come closer to the camera" and then I embrace every technical flaw as if it's a gift. The power I have over the subject and the limitation I command over the image humbles me. The vulnerability I feel in putting these imperfect images into the world is tempered by the realization that we are all powerless in the face of this pandemic. You, From a Distance reflects the way I have experienced life during the Covid-19 pandemic- a personal feeling of distance and loss but with a desire to hold onto normalcy of making pictures, albeit without influence over the outcome. I am interested in these new ways of seeing each other and being together without being together - I look at you on my computer, in return, you look back at me through a phone or laptop while you can also see yourself in the frame. Who are we looking at - ourselves or others? The intersection of gazes is countless at times; it excites and confuses me. The process of looking and seeing divided by screens changes everything I have learned about image-making. The portraits become my memory of shared moments across time zones with distant faces; the four walls of my house expand into the space of others' homes. The intimacy I feel with the subject ironically is far greater than the portraits I make in-person in a time before social distance. In the span of one month, I have virtually traveled to five countries, five states, and homes nearby in South Carolina. Although more than the required physical distance is maintained through these portrait sittings, the mutual human connection is undoubtedly rich with meaning and unlimited possibility. December and Everything After
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All About Photo Awards 2026
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© Fernando Morales Roca
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