Interview with photographer Sheung Yiu

Photo of the Universe

Photo of the Universe

F-Stop Magazine: The current issue of F-Stop Magazine includes images from your project “(PHOTO)graphy”, can you tell us about this project? What led to this project?

Sheung Yiu: A lot of the inspiration for the project comes from realizing how photography is ever evolving. How my experience with photography now is drastically different from the previous generations. Photo paper is not necessary for viewing an image anymore. Image is freed from its physical carrier. When we say ‘photograph’ now, we are referring to the image made by a camera, instead of the photo paper where an image is exposed on. Although the two seems to have very similar meanings, they are distinctly different. In a way, I think something inherent about photography is lost in this transition, one of them being the physicality of a photograph, so (PHOTO)graphy is a project that accentuates this exact quality of a photograph as if photograph is an surrealistic object.

F-Stop: Can you discuss your process for making these images or your creative process more generally?

SY: There is a lot of reading about how people used to make photographs, and also a lot of online research, scrolling through tumblr and looking at photos that is more than just an good image. The rest of it is me figuring out various ways to manipulate the photo paper to bring out the physicality of a photograph, bending it, twisting it and burning it, and understanding how these relates to the image on the photo paper. As I continued trying different methods, I find the flattening of the photographed object onto a 2D plane and resurrecting it to a 3D space through bending the photo paper especially interesting. Working on this basis, I looked for appropriate images online, print them out and work them into my photographs.

Photo of the Sun II

Photo of the Sun II

F-Stop: How does this project relate to other work or project you have done? Do you approach your projects in the same way as your editorial or travel work?

SY: My approaches to my projects and my travel work are polar opposite. When I worked on projects such as ‘The Domestication of Nature’ and ‘Homely and Unhomely’, I make photos instead of taking them. I think ‘making’ photos gives you more time and space to look beyond the image aspects of photography, and see the medium as a means to bigger goals, instead of an end of itself. Taking good pictures, being there and enjoying the image itself is fun and all, I enjoy the work of Juergen Teller, Stacy Kranitz, Kohei Yoshiyuki and Ume Kayo very much, but I don’t work as well under the pressure of capturing the moment. I tend to work in a slower, more contemplative manner. I think that attitude sparks my interest in learning about the history and application of the medium, which ultimately led me to my projects.

F-Stop: How would you describe your work to someone viewing it for the first time?

SY: I would ask them to imagine they have never ever seen a photo in their lives and see how strange that a photograph actually is.

Photo of Architecture

Photo of Architecture

F-Stop: Do you have a favorite image in this series? If so, which one and why is it the image that speaks to you most?

SY: My favorite image is one simply named ‘Photos of Metal Wires’. I talked about how photography translate a 3D object into a 2D plane and through manipulating the photo paper, the image once again return to the 3D reality, I think that image communicate this idea the best. The resulting image has a visual simplicity to it and that simplicity brings out my message among al the images.

F-Stop: Are you working on any other projects currently?

SY: I am currently working on a project about science education. I have been going to library and flipping through science textbooks to understand the logic behind these images. They are fascinating to look at. Some are utterly arbitrary while others are very well conceived and precise. Nonetheless, all depends heavily on the accompanied text to fixate an scientific idea to the image. They are confusing to look at at first glance, almost like a riddle.

To see more of Sheung Yiu’s work:

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Carrion & Lois Youmans @ fotofoto gallery

unnamedSandra Carrion & Lois Youmans: Double Vision – Cuban Dreams
June 29 – July 30, 2016

Reception Saturday, July 9th 5 – 7pm

Carrion’s work focuses on the people, places and things of Cuba. Trips to a school, boxing gym, food markets and the streets became the subjects she then translated to dreamy encaustic prints. The waxy haze over the images represents the atmospheric feeling of the place. The people were kind, honest, and enthusiastic. Carrion strives to capture these characteristics in her new work.

Youmans responds differently to the same settings, rarely photographing people, instead focusing on the details of crumbling buildings and defunct machinery. Although much of the colonial architecture of Cuba has been maintained, many buildings and factories have deteriorated to a point of no return. Youmans photographs these chipped and peeling facades to reveal a physical timeline of Cuba’s history.

fotofoto gallery
14 West Carver Street, Huntington, NY
Huntington, NY 11743

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Lillian Bassman @ Edwynn Houk Gallery

Lillian Bassman
12 MAY – 8 JULY 2016


A seminal figure in the history of fashion photography, Lillian Bassman’s photographs appeared on the pages of Harper’s Bazaar from the 1940s through the 1960s. She trained and worked under famed art director Alexey Brodovitch, eventually becoming art director of Junior Bazaar in 1945, until the magazine’s closing in 1948. While working as art director, Bassman regularly hired photographers such as Richard Avedon, Arnold Newman, and Robert Frank. By 1946, Bassman began taking her own photographs and swiftly transitioned from art director to fashion photographer. Her first photograph was published in Bazaar in 1946 and her first editorial story in 1948.

Edwynn Houk Gallery

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Landscapes @ Center for Fine Art Photography

Image: Ellie Davies

Image: Ellie Davies

May 6 – June 11

Opening reception May 6, 6:00 – 9:00pm

Center for Fine Art Photography, 400 North College Avenue, Fort Collins, Co 80524

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Nate Larson and Marni Shindelman

unnamedNate Larson and Marni Shindelman: Geolocation: Tributes to the Data Stream
May 6 – 28

Reception: May 6, 6 – 9 PM

Nate Larson and Marni Shindelman use publicly available embedded GPS information in Twitter updates to track the locations of user posts and make photographs to mark the location in the real world. Each of these photographs is taken on the site of the update and paired with the originating text. Larson and Shindelman’s act of making a photograph anchors and memorializes the ephemeral online data in the real world and also probes the expectations of privacy surrounding social networks.

Filter Space
1821 West Hubbard St.
Suite 207

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ANTHONY FRIEDKIN & : ABOVE AND BELOW @ Leica Store & Gallery Los Angeles



MAY 6 – JUNE 13, 2016


Leica Store & Gallery Los Angeles, 8783 Beverly Blvd, West Hollywood, CA 90048

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Jeffrey Dell, Andrew Fillmore and Leah Mackin @ The Print Center

Andrew Fillmore, Bathroom Apples, 2015

Andrew Fillmore, Bathroom Apples, 2015

Jeffrey Dell: Sightings
Andrew Fillmore: This Time is Always the Present
Leah Mackin: Portable Document
May 6 – August 6, 2016

Opening Reception: Thursday, May 5, 6:00 – 8:00pm
Gallery Talk: Thursday, May 5, 5:30pm

Jeffrey Dell: Sightings
The prints in Jeffrey Dell’s exhibition, which depict sheets of curled and folded paper, are deceptively simple. In his screenprints, colors shift and flux, challenging our perceptual abilities. “I am interested,” says Dell, “in how basic human desires cooperate with facilities of perception. I am trying to make an image that is seductive, but where the very thing that seduces us also deceives.”

Andrew Fillmore: This Time is Always the Present
The photographs in Andrew Fillmore’s exhibition are still lifes and portraits, all of which depict the objects and scenarios most immediate to his everyday life. Fillmore says he is concerned with “the idea that within the simplicity of these moments, a balance of fragments and associations might disclose the psychological threads of my experience in the present.”

Leah Mackin: Portable Document
Leah Mackin’s exhibition Portable Document is composed of images, based on digital photographs, of historical material available online. Mackin responds to the digital surrogate of the scrapbook, examining the handling of and relationship with archival materials as physical objects. In this show, work from Mackin’s ongoing investigation of materials, both physically and intellectually, include printed works on paper and sculpture that reflect on her interaction with the Historical Society of Pennsylvania (the institution that holds The Print Center’s Archives).

The Print Center
1614 Latimer Street
Philadelphia, PA 19103

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MAY 12 – JUNE 11, 2016

Thursday, May 12, 6-8pm

Monday, May 16, 7pm

Since the early 90s, when the artist would begin her formative and longstanding collaborations with cutting-edge British magazine I-D, Sophie Delaporte has remained dedicated to the “play” of photography and fashion in its most straightforward definition, emphasizing fun, freedom and theatricality. Yet Delaporte’s lighthearted view of the worlds she creates, in which women and men appear to happily vacillate between childhood and adulthood, are anything but straightforward. This immediately recognizable style of Delaporte—highly pictorial, and often employing lush color and sparkling humor—promises such multifaceted readings, that any sequence of images can be arranged and disarranged to pleasing effect: a dinner scene, framed in front of darkening windows and spotted with silverware that reflects the impossibly bright wine set in glass goblets, could be at once a poetical, beautiful meditation on the power of the woman in red at the head of this table, and also a charged scene from a contemporary iteration of Ubu Roi. “The mysteries are decidely postmodern,” writes Vicki Goldberg, “consisting of inexplicable actions, they involve no crime and have no solution other than anyone’s guess.” With an ever-refreshing perspective, along with the mastery of pretended improvisation and movement in a tightly controlled studio setting, Delaporte positions her work in the realm of surrealism, promising nothing but the surprise and delight of the imagination.

560 Broadway #603
New York City, NY 10012

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Jane Hilton @ Eleven

Target A, 2016

Target A, 2016

Jane Hilton: L.A. Gun Club
13th May to 18th June

11 Eccleston Street
London SW1W 9LX

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Mark Lyon @ Elizabeth Houston Gallery

Mark Lyon: Bay Views
May 4 – June 12, 2016

In his new series, Bay Views, Mark Lyon reveals unexpected beauty in the most unusual setting: the American car wash. Sixteen urban locations in different stages of function are captured with existing unaltered light at night. Lyon considered each image for days and sometimes years to capture each setting at exactly the right moment, day and season without a person in sight. This thoughtful approach
to photographing this series in the decisive moment creates distinctive images in contrast to our current world, which is saturated with spontaneous imagery.

Elizabeth Houston Gallery
34 E. 1st Street
New York, NY 10003

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