30-second overview: Taiwanese photography took root during the Japanese colonial period. In 1965, Chang Chao-tang and Cheng Sang-hsi held the "Modern Photography Duo Exhibition," pioneering avant-garde aesthetics. In 1987, Juan I-Jung's People and Land became a classic of documentary photography. In April 2021, the National Center of Photography and Images was formally established, marking a new chapter in the development of photography in Taiwan. From experimental to documentary, Taiwanese photographers have used their lenses to record the island's transformations and humanistic spirit.
The development of photography in Taiwan spans over a century, from the introduction of photographic technology during the Japanese colonial era to today's diverse contemporary creations, having undergone several pivotal aesthetic shifts. Two central figures—Chang Chao-tang and Juan I-Jung—established the classic styles of Taiwanese photography through avant-garde experimentation and humanistic documentary, respectively, and their influence endures to this day. From the government's establishment of dedicated institutions to innovations in the digital age, Taiwanese photography continues to seek its own mode of expression between tradition and modernity.
The Japanese Colonial Period: The Introduction of Photography
The emergence of photography in Taiwan is closely tied to Japanese colonial rule. After the First Sino-Japanese War in 1895, Japanese military photographers accompanied the expeditionary forces and recorded the campaign to Taiwan, opening the curtain on the history of photography on the island. Once dry-plate photography became widespread, the colonial government systematically applied it to geographical surveying and ethnographic investigation.
Japanese scholars such as Torii Ryūzō and Mori Ushinosuke carried cameras deep into Taiwan's mountainous interior, conducting measurement records of Indigenous peoples and leaving behind a large body of early images. Although these photographs carry the imprint of colonialism, they also constitute Taiwan's earliest systematic visual archives.
Beginning in the 1920s, young Taiwanese began learning photography techniques, acquiring skills either by studying in Japan or apprenticing in photo studios. According to records, the earliest photo studio opened by a Taiwanese person was the "Erwo Photo Studio" (二我寫真館) founded by Shi Qiang in Lukang in 1901. The Jiang family of Beipu was also a photography dynasty, and glass-plate negatives from the 1890s are still preserved to this day.
Taiwanese photographers were initially influenced by the Japanese "art photography" (藝術寫真) movement, pursuing a painterly aesthetic. As the "New Photography" (新興寫照術) approach was introduced, the emphasis shifted to "street-level realist observation," arguing that photography should confront reality directly—an orientation that influenced the trajectory of documentary photography in Taiwan for decades to come.
Peng Ruei-lin (彭瑞麟, 1904–1984) was one of the pioneers to receive systematic photographic training during the Japanese colonial period. He traveled to Japan to study at the Tokyo School of Oriental Photography (東京東方寫照學校) and, upon returning to Taiwan in 1935, opened the Apollo Photo Studio (阿波羅寫照館) in Taipei, specializing in portrait photography. Later generations sometimes referred to him as "Doctor of Photography" (攝影博士), but this was an informal popular nickname rather than an official academic title. Peng's contribution lay in bringing modern Japanese photographic pedagogy back to Taiwan, laying the groundwork for the cultivation of local photography talent.1
In the 1940s, a cohort of local Taiwanese photographers emerged, the most representative being Teng Nan-kuang (鄧南光), Chang Tsai (張才), and Li Ming-diao (李鳴鵰), collectively known as the "Three Swordsmen of Taiwanese Photography" (台灣攝影三劍客). Teng Nan-kuang excelled at capturing street life, Chang Tsai had lived in Beijing and Shanghai and brought back a broader vision, and Li Ming-diao specialized in ecological and natural photography. Each had his strengths, and together they established the early contours of humanistic photography in Taiwan.1
Chang Chao-tang: Pioneer of Modern Photography
Chang Chao-tang (張照堂, 1943–2024) was one of the pioneers of modern photography in Taiwan. In 1958, while attending Taipei Chenggong High School, he joined the photography club and began creating photographs under the guidance of his teacher Cheng Sang-hsi. Although he was admitted to National Taiwan University's Department of Civil Engineering, he immersed himself in modern literature, existentialist philosophy, and surrealist thought—nourishment that profoundly influenced his later work.2
In 1965, the 22-year-old Chang Chao-tang and Cheng Sang-hsi held the "Modern Photography Duo Exhibition" (現代攝影雙人展). The thematic expression and content of this exhibition were vastly different from the mainstream salon photography style of the time, sparking intense controversy and widespread attention within the photography community. It holds epoch-making significance in the history of photography in Taiwan.3
Chang Chao-tang's early work was deeply influenced by existentialism and surrealism, his photographs suffused with an atmosphere of bewilderment, melancholy, and absurdity. His most famous works are the headless figure series from the 1960s, in which the subjects' heads are deliberately obscured or cropped out, creating a powerful visual impact and expressing philosophical reflection on the human condition.
As he aged, Chang Chao-tang's creative work shifted from pure experimentation toward a documentary style grounded in humanistic concern, and he began recording social change in Taiwan. He also participated in television program production, working with Lei Hsiang, Juan I-Jung, and Christopher Doyle on programs such as Journey of Images (映象之旅).
Chang Chao-tang's contribution lies in opening up new possibilities for Taiwanese photography: photography could not only record reality but also carry philosophical reflection and poetic sensibility, infusing Taiwanese photography with deep cultural substance.
Juan I-Jung: Poet of Rural Humanity
Juan I-Jung (阮義忠, 1950–) was born in Toucheng, Yilan, and is a leading figure in Taiwanese documentary photography. He began his career as an editor at Youth Literary (幼獅文藝), working in writing, and came into contact with photography after moving to the English-language Echo magazine (漢聲雜誌). He truly devoted himself to photographic creation during his tenure as photography editor at Family Monthly (家庭月刊), traveling deep into towns and villages across Taiwan for photographic reportage.
In 1987, Juan I-Jung published People and Land (人與土地). This photography collection, rendered through a warm and humanistically concerned lens, left behind a precious visual record of Taiwanese society and is widely recognized as a classic in the history of photography in Taiwan.4
The significance of People and Land lies in capturing the authentic face of Taiwanese society during the transformative period of the 1970s and 1980s. In an era of rapid economic development and dramatic social change, Juan I-Jung turned his lens toward traditional ways of life on the verge of disappearing, recording the most unadorned states of the Taiwanese people's lives.
These photographs capture pastoral rural scenery, the focused expressions of traditional craftspeople, the kindly smiles of elders, the innocent play of children. With keen observational skill and humanistic cultivation, Juan I-Jung transformed ordinary moments of daily life into works of art.
Juan I-Jung's work carries a strong sense of nostalgia and longing for home. He believed that the virtues of simplicity and mutual aid among the Taiwanese people were disappearing. By juxtaposing tradition and modernity, he reminded people to reflect on whether something had been lost in the pursuit of material progress.
Beyond still photography, Juan I-Jung also participated in television documentary production. Beginning in 1981, he produced the program Journey of Images (映象之旅) alongside Chang Chao-tang and others, covering the creative work of Taiwanese artists, the development of folk arts, Indigenous life, and urban-rural transformation. It became a landmark program in the history of Taiwanese television.
National Center of Photography and Images: An Institutional Milestone
In 2015, the Ministry of Culture launched the "National Photography Asset Rescue and Photography Culture Center Establishment Plan." In April 2021, the National Center of Photography and Images was formally established, representing an institutional milestone in the history of photography in Taiwan.5
The center uses the former Osaka Shōsen Kaisha (Osaka Merchant Ship Company) Taipei Branch building as its Taipei venue, introducing trends in photography and image art through professional curation. In addition to collecting and exhibiting Taiwanese photographic works, it promotes photography culture research and provides support for academic inquiry.6
The establishment of the National Center of Photography and Images marks the transition of Taiwanese photography from individual creation to systematic preservation and promotion. Regularly held photography exhibitions introduce the developmental trajectory of Taiwanese photography history, promote the creative achievements of contemporary photographers, and raise public awareness of photography as an art form.
Diverse Development of Contemporary Photography
Entering the 21st century, Taiwanese photography has shown diverse development. A new generation of photographers explores various possibilities built upon tradition: Shen Chao-liang (沈昭良) examines Taiwanese identity under globalization through his Drift (漂流) series; Ho Ching-tai (何經泰) records social events in the field of photojournalism, demonstrating photography's power as a tool of social documentation.
Taiwanese-born photographer Chien-Chi Chang (張乾琦) is known in-depth investigations spanning several years, covering issues such as undocumented migrant workers, death row inmates, and psychiatric institutions. He is currently the only photographer of Taiwanese origin to hold full membership in Magnum Photos.7
The popularization of digital photography technology has brought new opportunities and challenges to Taiwanese photography. On one hand, it has lowered the barriers to creation, allowing more people to participate in photographic work; on the other hand, how to maintain the artistic and cultural depth of photography in an era of image overload has become a question contemporary photographers must confront.
The rise of social media has transformed the way photography is disseminated. Young photographers share their work and build personal brands through platforms such as Instagram and Facebook. This direct connection provides independent photographers with viable livelihoods and promotes the democratization of photographic creation.
The development of artificial intelligence technology has brought new possibilities to photography. AI-assisted image processing, automated shooting technology, and intelligent image analysis are all transforming traditional modes of photographic creation. However, technological advancement cannot replace a photographer's creativity and humanistic concern. In an era of rapidly evolving technology, a photographer's perspective and cultural cultivation have become all the more irreplaceable.
The Social Function of Photography
Taiwanese photography has played the role of witness in the process of social democratization. From political resistance during the martial law period to social movements after the lifting of martial law, photographers have used their lenses to record pivotal moments in Taiwan's social transformation, becoming witnesses to history. These photojournalistic works carry dual value as both news and historical documentation.
The 921 Earthquake of 1999 was a major disaster in modern Taiwanese history, and photographers fulfilled their documentary function by recording both the devastation of the disaster and the radiance of human compassion. After the earthquake, Juan I-Jung picked up his camera once again, turning his lens toward disaster relief volunteers, recording the spirit of mutual aid and resilience of the Taiwanese people in the face of catastrophe.
As environmental awareness has grown, more and more photographers have turned their attention to environmental issues, documenting the destruction caused by industrial pollution, the impact of climate change on ecosystems, and the evolving relationship between humans and nature. Through visual impact, these environmental photographs raise public awareness of ecological problems.
Globalization and Local Identity
In the wave of globalization, how to preserve the local character of Taiwanese photography is a question facing contemporary photographers. On one hand, it is necessary to engage in dialogue with the international photography community, learning advanced creative concepts and techniques; on the other hand, it is equally important to be deeply rooted in local culture, expressing Taiwan's cultural substance and lived experience.
Successful Taiwanese photographers often find a balance between globalization and localization: their work possesses an international perspective while being rooted in the cultural soil of Taiwan. From the street snapshots of the Three Swordsmen during the Japanese colonial period, to Chang Chao-tang's existentialist experiments, to Juan I-Jung's humanistic documentary, to Chien-Chi Chang's investigative reportage on the Magnum stage, Taiwanese photography, in different languages and in its own era, has recorded the same island.
References
Further Reading
- Interview with Taiwanese Photographer Chang Chao-tang — Initium Media
- National Center of Photography and Images: Collections and Research
- Teng Nan-kuang — Wikipedia — Background and active period of the Three Swordsmen of Taiwanese Photography (Teng Nan-kuang, Chang Tsai, Li Ming-diao).↩
- Chang Chao-tang — Wikipedia — Confirms Chang Chao-tang's birth and death years (1943–2024) and educational background.↩
- Photographer Chang Chao-tang passes away at 81 — United Daily News — Confirms the 1965 "Modern Photography Duo Exhibition" and news of Chang Chao-tang's passing.↩
- People and Land: Juan I-Jung's Classic Photography Collection — Books.com.tw — Juan I-Jung's documentary photography collection (first published 1987; this is the 2016 reprint edition).↩
- National Center of Photography and Images — Wikipedia — Confirms the formal establishment date of April 2021.↩
- National Center of Photography and Images — Institutional functions, collection policies, and exhibition programs.↩
- Chien-Chi Chang — Magnum Photos — Confirms Chien-Chi Chang's full membership in Magnum Photos and the scope of his work.↩