About Me

GANG OF ONE PHOTOGRAPHY

In 1981， with a second-hand camera and expired film， Wang Gangfeng王刚锋 set out to capture the everyday images of China that surrounded him.  The scenes that he captured represent the daily ebbs and flows of life in China.  A man reclining on a bamboo chair intently listening to his radio, a mischievous child holding the tail of a pig, or stream of multi-colored cyclists waiting in the rain are only a few of these unforgettable images he has produced during his career.

Before he became a successful photographer, like many others of his generation, he worked as a laborer.  During this difficult time his desire to capture images of China began to develop.  Even though he could not afford a camera he would frame moments in his memory. A sea of young workers carrying baskets of mud.  The  wrinkles on the face of his grandmother.  And from these memories would emerge Wang’s appreciation for finding the perfect moment to photograph.

As he continued to work in farms and factories across China his desire to become a photographer grew.  Wang’s dream to become a photographer was sealed when he saw a former mentor at a factory retire to a harsh life.  This would not be a path Wang would follow.   His sister who was working in the city used her savings to purchase Gangfeng an Eastern camera from Tianjin.  From this point forward he would put all his time and limited resources into his passion for photography.

The early years of his photographic career in China were devoted to mastering technique through self study.  With no formal photography schools open he poured over whatever materials he could track down.  A translated German photography manual tucked away in the Shanghai Library and photography magazines sent from Hong Kong became his guides.   Like a diligent student he would study and absorb the information.  Then spend countless hours refining his newly acquired technical knowledge.

The subjects of those first photos were the people who lived in his neighborhood.  Wang would explore, catching street life, in only the way someone who lived and grew up in the neighborhood could.  He was an insider looking in.

What makes his photos from this period so distinct is how Wang’s presence is so natural.  The school children go about laughing without paying attention to the lens focused upon them.   A street dentist continues to operate on a patient without pausing to note the camera capturing the moment.  Photos such as these emphasize Wang’s vision of seeing the beauty of street life in China.

Success and recognition would come with the publication of his work in the People’s Daily.  His photo of two twin sisters practicing Judo opened the door for more assignments and projects.  Entertainingly, this first published photo was not credited to him as the editors had lost his name and address.  Only after a cousin of his in Beijing recognized Gangfeng’s work and called him did he know that he had become a published photographer.

As he continued to sell his work and receive private commissions he was able to establish his Gang of One photography studio and thrive in this new environment.  Over the next decade his work began to gain international attention. His work became recognized for its ability to document the diversity of the human experience in China.  The prestigious Musee de l’Elysee in Switzerland selected 18 of his photos for their permanent collection.  Photo Life magazine described him as one of the top 25 photographers.  And of particular note, in 1991, was having his photo (Tending Buffalo) selected out of 12 000 other entries to win the Ballantine’s First International Photography Award(5000 Pounds in Cash).

Despite the current acceptance and appreciation of his work it was not without controversy.   During the 80’s Chinese photographers focused upon traditional subjects like architecture or scenery.   Wang’s work stood out for its honest depiction of everyday life.  Some critics accused him of showing the dark side of China.  His response to such comments was simple and direct.  He explained that he wanted his viewers to look beyond the surface of his subject’s worn clothes or wrinkled skin.  He wanted the viewer to appreciate the personal strength and inner beauty of his subjects.

In terms of the future Wang still plans to document his beloved homeland, and even other countries.

With his keen eye for finding the fleeting moment he will continue for many years to capture all the wonder and excitement.