Founded in 1971 and 1993 respectively, Fotostiftung Schweiz and Fotomuseum Winterthur, both hosted in an reconverted ex-industrial area, show the work of the most celebrated photographic artists and that of emerging photographers, also examining photographic culture in the context of new technology and digital media. The collection of Fotomuseum Winterthur dates back to 1960 and has contributed to shaping the history of photography, as well as its narration and therefore our understanding of the medium in all its forms. The Fotostiftung Schweiz is the country's leading competence center of Swiss photography and photo-based art
As well as the collections, the two museums also play host to temporary exhibitions, conferences and workshops, and together are among the most important of their kind in Europe. 

From 5 June until 10 October, the museums will be playing host to two important exhibitions that testify to the their eclectic approach.
At Fotostiftung Schweiz, “Good Morning World!” will be dedicated to Ernst Heiniger (1903 - 1993), a pioneer in the 1930s of the Neue Fotografie movement, which had for too long been ignored by the official Swiss photographic establishment. Self-taught, Heiniger began his career as a photo retoucher and was always an avant-garde figure, becoming one of the very first to blend graphics and photography. In the 1950s he travelled the world as a documentary maker for Walt Disney, and two of his short films were awarded Oscars. For the Lausanne Expo in 1964, he produced the first 360° film of the city with the use of Circarama technology.
Drawing on items from personal archives in both Switzerland and the USA, the exhibition at the Fotomuseum is the first complete retrospective of his work.
Fotomuseum Winterthur will host “How to Win at Photography - Image-Making as Play”, an exhibition that examines the relationship between photography and play, establishing unexpected connections between the history of photography, gamification and the world of video games. Through a collection of multimedia works of art and vernacular images, the exhibition questions the very meaning and function of contemporary photography: are we playing with the camera, or is it the camera that - in the end - is playing with us? Are we really in control or are we just pawns in technical, social, cultural and economic networks? What can a photographer achieve on a political and social-cultural level?