The Sequence of One

Over the history of China’s photographic art, portrait photography enjoyed a unique position, being a major art form during its initial period and its most permanent art category as well. Upon the outbreak of the Opium War in 1840, the newly-born photography was introduced to China along with the war and trade and early developed in Hong Kong and Guangdong. Gradually, a photography industry with photo studios as its basic forms came into being. The major subjects then were figures like noblemen, officials and rich merchants and their families. That’s the beginning of China’s portrait photography.

Following the founding of New China, the general public has become subjects of portrait photography. However, during a long time limited by the lower national economic and consumptive level, it’s so serious, grand and luxurious to take photos in a studio that families chose the studio only at such key celebrations of wedding, reunion, children and seniors’ birthdays to record their important and unforgettable moments. With the development of national economy and improvement of people’s cultural demands after the start of China’s reforms and opening-up, cameras has got more popular and taking photos has become a part of people’s daily life. Meanwhile, photo studios are still fascinating upon their professional techniques and solemn rituals. According to statistics, the revenue of portrait photography industry amounted to RMB165 billion in 2012. Such change was a key representation of economic progress and a necessary result of social development as well. It can be said that although individuals and families are the subjects of portrait photography, they are collective portraits of a nation during a certain period and in a certain scope, showing the social development and changes of the age. In this sense, portrait photography is of great sociological significance.

Toumachon, a well-known French photographer in the 19th century, once said that, “A photographic artist, notwithstanding the mechanic properties of his cameras, should focus on the figures’ faces, capture their expressions, and characterize their psychological features so as to present their charms on the pictures.” That’s an exact representation of the soul of portrait photography and a supreme requirement on portrait photographers as well.

As a portrait photographer, Mr. Zhang Huabin has fulfilled this requirement. In the ancient time, people described works full of emotions as “penetrating through the paper”. By contrast, Zhang Huabin’s demonstration of figures can be called “ready to come out at one’s call”. In his works, he attaches much attention to express the response of mind of figures in the photos and observers, and strong oriental qualities. In addition, he is particular on use of light, brevity, and profoundness. His innovations has exerted proactive influences on the development of China’s portrait photography. He has won major photography awards both at home and abroad for many times, and become an outstanding photographic artist upon his relentless style.

The author is moved to write the passage while the readers are moved after reading the passage. I am sure that while appreciating the album, you must get some inspiration and pleasure.

Li Qianguang

Member of the Party Leadership Group, vice president and member of the Secretariat of the China Federation of Literary and Art Circles Nov 2014