Photo, talks and rants

Imagine Love

Thu, 29 Mar 2012 13:55:57 +0800

Imagine there is a picture within the frame. A picture that you took, but will never show the world. A picture that means so much to you, that you fear that by showing it to the world, it would lose its magic.

I have such a photo in my phone, taken just yesterday.

I won’t show it because it is way too personal, but I will describe it.

Imagine a hospital corridor, and 2 person walking down it. On the left is a man, decked in a short sleeved shirt and pants, with somewhat unmatching shoes. On the right is a lady in the patient’s outfit. Her right hand is holding onto the IV drip. The man’s right hand is behind the lady, firmly holding onto her waist.

It’s not a well-taken shot. In terms of composition, the subjects are in the center, and the sub-par lens on the camera phone makes the image looks somewhat blurry. The lighting is flat, and there is no strong contrasty colors. It’s not award-winning, but to me that’s probably the best photo I took for years.

You don’t see the subjects’ face, but even without it, you could feel the love that the man has for the lady. And for me, it is exactly this “love”, that makes up the picture.

At some point in time in the future, I will look at this picture again, and it will serve as a reminder to me time and time again on what love is about.

Trippin'

Wed, 28 Mar 2012 22:28:00 +0800

I’m a sucker for vintage cameras, and over the weekend I took the plunge and bought a good-condition Olympus Trip 35. I had always wanted to get one of these, but I heard scary stories of units which selenium cell meter didn’t work anymore. Hence, I put off the purchase for this inexpensive camera for a long while.

I came across a post online last week for this Trip 35, and the seller posted pictures of the actual camera. It looked really good, almost brand-new. But what really got me interested was the fact that he said the meter on this camera was still working.

Met up with the really nice chap over the weekend, and he presented to me the Trip 35 in a clear ziplock bag. Tested it on the spot, and it appears that the meter is indeed working. Made the transaction, and now the Trip 35 is accompanying the Pen FT on my cupboard, similarly loaded with a roll of Tri-X.

Now, the nagging problem with this purchase is that the camera doesn’t come with a lens cap. It’s no surprise, given that most owners would have lost the lens cap through the years. Also, most of the units sold in secondhand camera stores didn’t have a lens cap as well.

I found B&H carrying a 43.5mm lens cap, but the shipping cost to Singapore was astounding. I could probably buy another Trip for the price of the cap. @ZDP189 on Twitter recommended some stores in Hong Kong, and I’ll probably check them out when I’m there next month.

The next item to get is a filter, skylight or UV. The uncommon filter thread on the Trip 35 means that you can’t get it in stores easily. Called up Camera Workshop, but they don’t have it. But interestingly, I found it on Gmarket. There’s a Matin-brand filter for S$17 (excluding shipping), and I think I’ll buy that.

So the lesson here is to make sure that if you buy an old camera, find out the thread size for filters and lens cap and make sure that they are easily available. Otherwise, you might need to use step-up adapters to use the more common diameters.

When old guards don't matter anymore

Mon, 20 Feb 2012 23:37:00 +0800

Recently, I attended a talk by a few photographers. Among those presented was a photographer whose name was once synonymous with “celebrity”, “A-list” and “high-profile”. 10 years ago, this photographer was very sought after by major international publications. But about 5 years ago, his name was hardly hanging off the lips of the industry anymore.

At the talk, this particular photographer talked a lot. It felt as though he was trying to make up for lost time. The time when he was forgotten, he had the chance now to show that he is still relevant.

I turned to a friend beside me, and told her: “That’s an old guard trying to stay relevant”.
By now, I’m sure some of you will know who I am talking about. It doesn’t matter, and I will stand by my words. The only reason I don’t want to name names is because, this scenario can apply to not just photographers in Singapore, but elsewhere, too.

Photography is like a fling. One day, she may like you but when she sees someone more exciting, you are dull and drabby all of a sudden. The industry isn’t forgiving. Once you are seen as “not trendy”, you’ll be forgotten. Sure, your name will pop up once in a while, but people will just be asking “So what is he doing now?”

That’s when you know, you’re an old guard.

You’ll still have friends in the industry, and they’ll still refer you jobs ever so often. Whether is it out of pity or do they really appreciate your skills is one thing, but you’re not in the limelight anymore.

So, how do some photographers prevent themselves from getting out of fashion?

1) Constantly revamping yourself is one method. Changing the way you shoot, each time better than the last, impress people and keep them guessing what miracle you will do next. The only constant you should have, is to deliver good, great work.

2) Be honest. Really. People know when you are lying or being insincere. And if you lie to someone or give them face value, chances are, they are doing the same back to you. Whether you want to do business, or do business and make a friend, is just a lie away. A friend will be there at your funeral. A business associate probably wouldn’t. Unless, you owe him money.

3) Aim further, higher, but stay grounded. In the pursuit of becoming “famous”, some people may resort to unscrupulous means and that may also mean collateral damage to the people around you. Stay grounded, be open to opinions, but stay by your principles.

I could probably go on and on, but I feel that I should stop. After all, I am only 27. Not experienced enough to be an old guard, but I have seen the rise and fall of giants to give my 2 cents worth.

Got the moves like Moriyama

Wed, 25 Jan 2012 14:47:50 +0800

I won’t say I am the No.1 fan of Daido Moriyama, but I think I am one of the more fanatical fans of his works here in Singapore.

Recently, I managed to catch the documentary which he did with B.B.B. titled Near Equal Daido Moriyama. The alternate title of this film is also Stray Dog of Tokyo, which is quite apt, considering that one of his most famous images is that of a dog looking back at him.

The 2001 documentary was available on DVD, but from what I understand, it has since been discontinued. So, the method which I got the film was rather unorthodox, but a Moriyama fan got to do what a Moriyama fan has to, right?

The show features in-depth interview with several key people that Moriyama has dealt with over the past few decades, including Kazuo Nishii, Michiko Nasahara and of course, Araki Nobuyoshi. Also, viewers get to see how Moriyama shoots on the streets, his views on cameras and a glimpse into his personal life. For those who are interested, he is married with a kid, but he seldom meets his wife or child unless it’s absolutely necessary.

Several scenes show Moriyama shooting, and it’s interesting. A lot of times, he doesn’t look through the viewfinder to shoot, instead choosing to hold the camera, point at the subject, look away while pressing the shutter button. This probably explains why a lot of his pictures are tilted.

And so, being the fan-boy that I am, I decided to try this method of shooting over the Lunar New Year period.

With my D-Lux 5 set at my favorite settings, I looked out for scenes that will interest me. Here are some of them.

In the documentary, Moriyama also stressed the importance of the print. Viewers also get to see how he works in a darkroom. He manually dodge and burn the image, and said that it would be almost impossible to replicate the same look if he were to be asked to do it again.

Since an SD card wouldn’t fit into an enlarger, I chose to plug the images into Photoshop instead. Instead of tweaking with the contrast that I always do, I chose to dodge and burn the image instead.

All in, I am very satisfied with the results. However, the images are that of Moriyama, and not mine. It would appear that I have to work harder to achieve a style I can call my own.

For a transcribe of the documentary, click here.

[Poem] The hunter

Tue, 17 Jan 2012 23:45:26 +0800

The hunter gathers his tools
and, loads up.
He heads out alone
for fear that the noise of a crowd
will break the silence of his thoughts
and that, of the surrounding.

He walks long distances,
taking short breaks and,
occasionally sitting down for a coffee.
His eyes, however, doesn’t rest, and,
neither does his mind.

The hunter walks slowly, and
even though the surrounding is noisy,
he can only hear his footsteps and
his own thoughts.

He sees the trophy, its back facing him.
He creeps silently, and at the same time
calculating the shot, and how it would be like.
He visualizes the instance he hunts.

The trophy, unsuspecting, remains rooted.
The hunter lifts the camera to his eyes,
takes a quick glance and at an instant, all is right.

He presses the shutter.

Light filters through glass.

Electronics signals are processed.

An image is borne.

It's Not Perfect, But It Will Do

Tue, 10 Jan 2012 12:21:00 +0800

From the series, Krung Thep 2012. © Leonard Goh, 2012.

In my last post, I talked about configuring my Leica D-Lux 5 to work like one of the film cameras that I use on the streets. It’s always easy to talk, but in practice, things may not usually work out how they should.

So, it was a good opportunity to try out my configuration over the past 5 days in Bangkok, Thailand.

Since I haven’t shot seriously for a while, it took me awhile to get into the groove again. Also, using the LCD to frame images wasn’t to my liking, but I made do with what I have on hand.

Long story short, it was a blast to shoot the streets of Bangkok with my D-Lux 5 and the custom settings.

It’s small, discreet and responds relatively fast in terms of focusing and operation. Look at the picture below.

From the series, Krung Thep 2012. © Leonard Goh, 2012.

I was sitting at Starbucks, and this couple seemed to be having some problems. They didn’t speak a lot, and when they did, it was the guy who made most of the conversation. There was a sense of tenderness and sadness, and it really affected me. I was sitting real close, so if i held the camera up to my eye, they would have seen me. The next best thing I could do was to tape up the self-timer light, set the camera on 2-second release, prefocus with manual focusing, and hold the camera casually after releasing the shutter button.

From the series, Krung Thep 2012. © Leonard Goh, 2012.

Dogs are a recurring subjects in a lot of photos. I was walking along the streets at night when I saw a dog running along the streets. I didn’t have much time to think. I just panned and pressed the shutter button, hoping for the best.

Most of the time, I set the lens at 35mm as this was a comfortable focal length for me. However, this means that the largest aperture I can use is f/2.3. Also, the maximum ISO I set was ISO 400, so shooting in dim lighting conditions was quite a challenge. But again, if you know what you’re looking out for, that’s perfectly fine.

From the series, Krung Thep 2012. © Leonard Goh, 2012.

I still need plenty of practice to work my D-Lux 5 well, but the session in Bangkok was a proof of concept that perhaps, my D-Lux 5 can possibly replace my aging QL17.

(Note: All the images were post-processed on Photoshop CS5. Click here to see all the pictures from the series.)

To the Land of Smiles!

Thu, 05 Jan 2012 12:02:54 +0800

To the Land of Smiles!

My compact configuration

Tue, 27 Dec 2011 23:21:00 +0800

From the series, Play.Ground. Taken at Old Airport Road, one of my childhood hangouts when I stayed with my Grandma.

So, recently I came into possession of a D-Lux 5, and believe it or not, that’s my first compact digital camera. Other than this, the other cameras I have at home are all film-based.

Now, we all know that shooting digitally and with film have some differences, but it’s a good thing that the D-Lux 5 is an advanced compact with plenty of room for customization.

The first thing that I did when I got the camera was to adjust all the parameters to make my shooting more familiar and comfortable.

Here’s my configuration:

- RAW + JPEG (fine)
- JPEG in Dynamic B/W
- Auto ISO, Max ISO 400
- Lens resume at 35mm
- Manual focus
- 4: 3 aspect ratio
- Aperture priority mode at f/3.2
- LCD screen off (15s)
- Sleep (2m)

Luckily the D-Lux 5 has a feature to map most of these settings into a custom function slot which allows me to return to them with a click on the mode dial. Others, such at focusing mode and aspect ratio, are easily adjusted by sliding the controls around the lens barrel.

The manual focusing scale was also a god-send, telling me that I can shoot at f/3.2, and any subjects from 2m to infinity will be sharp: Perfect for my day-to-day shooting on the streets.

All these settings made my shooting a lot more film-like and I can react faster to situations compared to having to tinker with settings each time I wanted to take a photo. I don’t have to wait for the autofocus to snap into action, and I bear comfort in knowing that images taken at ISO 400 are reasonably clean for archival.

While this exercise is meant for me to make full use of the D-Lux 5, it also goes to show that if you know a camera well enough (and is magnanimous to live with certain compromises), almost any camera can be used efficiently.

Now, let’s shoot.

Me and My Domke

Tue, 06 Dec 2011 00:41:30 +0800

In the picture above, you’ll see a Domke F2. But mind you, that’s not just any other Domke, or at least, that’s what I like to believe.

Long story short, this F2 was given to me by Raymond Toh, a photographer I worked for when I was 17.

I still remember vividly the day he gave me this bag. It was my last day of work since I had to go back to school, and in the evening after I was done packing up, he came up to me with the F2 and said that he didn’t have much to give me as a farewell present but he’d like me to have this bag. For his work, Raymond used a large Lowepro then, and I only saw the F2 a few times in his cabinet. So imagine my surprise when he gave it to me. Being a man of few words, Raymond just said that his “shi-fu” (master) gave this bag to him, and he’d like me to have it.

It’s quite an honor, really, to be the 3rd “generation” to use this rather battered looking carrier. Romantically speaking, I like to imagine this bag to be the witness of the rise and tears of 2 other photographers before me.

I bought new inserts and a shoulder pad for the F2, and when I was 18, I served my internship at Straits Times, and this Domke served me faithfully everyday. I waxed the canvas to make it water resistant, got a small carabiner to secure other items to it and other little modifications, such as a small pouch to hold the flash on the strap.

Later on, I bought a smaller Domke F5X-B and used lesser of my F2. Today, I don’t used much of both bags anymore, but once in a while I take them out and dust them thoroughly, remembering the times we shared.

Living room. 24 November 2011.

Fri, 25 Nov 2011 01:39:21 +0800

Living room. 24 November 2011.

Dogs at Ikea. 18 November 2011

Mon, 21 Nov 2011 16:24:34 +0800

Dogs at Ikea. 18 November 2011

An open letter to Kodak

Sun, 20 Nov 2011 02:09:41 +0800

From the series, Dhaka Diary. Shot on Tri-X with a Holga.

Dear Kodak,

First of all, thank you.

Thank you for reinventing photography with the Brownie, and more importantly, film. Thank you for putting 35mm film into cartridges, which has remained virtually unchanged since 1934.

When I first got started in photography, I tried a lot of different films. Back then, there was Konica, Fujifilm and of course, Kodak. Sure, there were other brands such as Agfa, but these 3 brands of film were most commonly available at film developing stores.

I tried them all, but at the end of the day it was Kodak Gold 200 that won me over. That was my choice of film (unless I was shooting events in the school hall, then I switched to ASA 400 film) for quite some time.

I have previously written about my favourite film, Tri-X, so I shouldn’t ramble on about how I fell in love with it.

So, Kodak, on behalf of those who still shoot primarily with Tri-X these days, please, please keep it alive.

I have produced some of my best works on Tri-X, and I still look forward to creating more.

In fact, in my cabinet, I still have several more rolls that I look forward to shooting with.

I know that from a business perspective, keeping Tri-X afloat would be a bad idea. But imagine how many professionals out there are still standing by this stock of film, and imagine how they would feel when you decided to can Tri-X in 120 roll. I am sure it’s a matter of time before you look at the 35mm format and kill it.

So, before you do that, please hear this appeal from a young photographer.

Honestly speaking, I might never shoot with film again if you decide to discontinue Tri-X in 35mm format. That’s because I don’t know which other film can deliver that wide range of tonality and grain that I’d grown accustomed to over the years. With Tri-X, I can shoot without relying on the meter, by just gauging the scene and setting my exposure. My latest roll from my Olympus Pen FT proved just that.

From the series, 1/2-Frame Happiness. Shot on Tri-X with an Olympus Pen FT.

From the series, 1/2-Frame Happiness. Shot on Tri-X with a Golden Half.

From the series, By Night. Shot on Tri-X with a Canon QL17 GIII.

Speaking on behalf of all the other photographers who use and love Tri-X, I appeal to you, Kodak, to please firstly reinstate Tri-X in 120 roll, and promise you won’t can the 35mm cartridge variance.

Take T-Max all you want.

Regards,
Leonard

Lights at Ikea. 18 November 2011

Sat, 19 Nov 2011 00:11:00 +0800

Lights at Ikea. 18 November 2011

Oh, Brassai

Tue, 08 Nov 2011 23:31:00 +0800

Born in 1899, Hugarian photographer Gyula Halász, or known as Brassaï, was most well-known for his body of works, Paris By Night or Paris de nuit. At this point, please allow me to kick myself.

A few years ago, I embarked on a nocturnal journey to capture the streets of Singapore after dark. This project soon spilled into my overseas trips, and soon I was roaming in different parts of the world with my rangefinder camera. When I was done (I think I shot 36 rolls of Tri-X), I compiled the images into a series, and I titled them By Night.

The younger me then probably didn’t do much research, and hence the almost similar name to Brassaï’s Paris By Night. So yes, please kick me.

This post isn’t so much about my works (more about that in perhaps another post), but rather his current exhibition at NAFA Gallery 2.

Other than the fact that it was Brassaï, the other reason I earnestly want to come to this exhibition was that the prints were original, flown in from Paris. It’s not everyday that you get to go to an exhibition that shows original prints, mind you.

Stepping into the gallery on a weekday afternoon, the dim lighting immediately accentuates my mood to that of Brassaï’s works. Just like how Brassaï uses available light at night to craft his images, the curator cleverly uses focused lighting to draw attention to the prints and nothing else.

The prints are small, but the size works for the kind of intimate work that Brassaï did. The large space of the gallery allows the multiple images to breathe, even though several of them were cramped into a panel.

The curator did an excellent work of sequencing the images. After you enter the gallery and turn to your right, a series of prints on the cobblestone walkways of Paris starts the show. Brassaï’s famous picture of the gargoyle with the nightscape of Paris in the background was also on show.

What really caught my attention was the series of images of couples kissing, as one of the plates was the cover of the first Brassaï book I bought: Brassaï, Paris, published by Taschen.

What didn’t work for me, was that toward the end of the gallery, I felt that there was too much physical space and that kind of made me lost. As much as I wanted to get closer to see the images, the empty space felt like a void I should avoid crossing.

A section of the wall is dedicated to quotes by Brassaï, and they are very interesting. The one that stuck to me most was: “The success of my photographs has never fooled me. I have never become a slave to my reputation.”

Brassaï passed away in 1984, but Paris By Night is still relevant today, especially for photographers who are interested in capturing street shots at night. At least, for me, this book was a starting point for my own By Night series.

Details of the exhibition:
Photography Brassaï
NAFA Gallery 2
22 October to 18 December 2011
11am to 7pm
Closed on Monday and public holiday
Admission free

Read more about Brassaï here.

Moriyama’s tribute to himself

Wed, 02 Nov 2011 23:15:00 +0800

Friends who know me well will know that I am a fan of Daido Moriyama’s works. The Japanese photographer is probably the one single photographer whom I actually idolize, and actively seek out anything that has to do with him. Maybe it’s his gritty monochrome images, or it could very well be his enigmatic character, but i would love to get my hands on anything Moriyama-related.

This morning, the postman/Santa Claus dropped by the office with a package from Japan. I had earlier bought Moriyama’s latest monogram, Daido Moriyama: auto-portrait, from Japan Exposure.

While some friends of mine lamented that Moriyama seems to be milking his popularity and haven’t been dishing out good books for the past few years, the fact that auto-portrait is limited to 1,000 copies and is signed by The Man himself, had me hooked.

Daido Moriyama: auto-portrait, is a simple book containing 36 plates of Moriyama himself. These pictures were all taken during the span of his career and in different countries. As Japan Exposure put it, “41 years of self-portraits”.

Published by MATCH and Company, Co. Ltd, the book is basically a tribute by Moriyama to himself. Talk about being pompous, this is probably one of the highest levels of narcissism any photographer can get. That said, the signature, grainy, contrasty black-and-white plates are a reminder to the readers that Moriyama didn’t get to where he is today without his past.

Looking at one of the images he made in New York in 1971, the seemingly naked photographer is exposing his fragile body to the camera, and now, to the readers. Yes, Moriyama is human.

What I didn’t like, though, is the cover of the book. On the cloth-bound cover is a picture of Moriyama’s self portrait. The image is mysterious, showing just a side of his face and you can’t seem to grasp what he is looking at. This picture appears to be a separate print glued to the cover, though the title is embossed on it.

What I really like about the book, unfortunately, is the packaging. The book is in a cardboard slipcase with the title stamped on it. I strongly believe this is hand-stamped, as the title on my copy is slightly slanted. Round the back at the bottom right hand corner is the number 384, meaning that this is the 384th copy out of 1,000.

After flipping through it, I’ll admit that Daido Moriyama: auto-portraits, isn’t a great book. But if you are interested in investing in photo books, this is an affordable copy to collect (granted you can still find it).

As mentioned, I got mine from Japan Exposure for 6,560 yen (including shipping). The owner of the site, Kurt, will drop you a line once the book is shipped out. I ordered mine on 12 October and got it on 2 November, so factor in 3 weeks delivery time, especially if you want to order some books from this site as a gift for others.

Other details of the book:
Published on November 20, 2010
Art Director/Publisher: Satoshi Machiguchi
Editor/Producer: Hisako Motoo
Sponsored by: OJI Specialty Paper
Printed and bound in Japan by: TOSHO Printing Co,. Ltd

2 Technologies that will change the imaging landscape

Sat, 29 Oct 2011 02:18:50 +0800

The camera with refocusing ability by Lytro. (Credit: Lytro)

In the past month, there were 2 announcements made that I think will change the imaging landscape, and usher consumers into a whole generation of image capturing.

Chronologically, the first is Lytro. The US-based company announced a while ago that it has developed a technology that will allow users to freely change the focus point of an image, after the shutter is pressed. This means that you don’t have to make sure that the scene looks sharp before you capture it. Just press, then make the adjustments later on-camera.

3 years ago, while I was at CNET Asia, I discussed about a similar implementation formulated by Refocus Imaging, which has been renamed to, you guessed it, Lytro.

In any case, Lytro has announced its camera that has this refocusing ability, and will start shipping in the first quarter of 2012.

A few weeks ago, Adobe showed a sneak peek of the image-deblurring algorithm which may make its way into the next version(s) of Photoshop. ‘Nuff said, the demo is in the video below.

Just today, the chief scientist of the technology demonstrated how the algorithm will work by “deblurring” Robert Capa’s famous image of the soldier on Ohama beach. Incidentally, this is the same picture used for Capa’s book, Slightly Out of Focus. If such an option was available then, I’m pretty sure the book won’t be titled as such.

The top image shows the original, while the bottom one has the image-deblurring algorithm applied. (Credit: Jue Wang)

If these 2 technologies take off, consumers will never have to worry about blurry images ever again. Imagine a camera that has the refocusing capabilities of Lytro, and the image-deblurring feature. Now, imagine again, that this camera costs less than S$500. But if this shooter is not by the mainstream brands such as Panasonic, Sony, Canon, Nikon or Olympus, will you buy it?

From a business perspective, Lytro should attempt to sell or license this technology to the big boys. And, make it expensive. If any of the brands want a exclusive, then slap a premium on it. Take the money, buy a villa in Ipanema, and have massages everyday while talking to your agents on how to make the money in the bank work harder.

Instead, the people at Lytro seems to believe that they can be the “Apple” of the imaging circuit. They said that this camera will kick off imaging into a new generation, or, “2.0”.

I’m sorry, but the design of the Lytro cameras looks dog ugly. It doesn’t excite me the same way that the first-generation iMac did when Steve Jobs took stage in 1998. Maybe it does have a great engine under the hood, but it it can’t make people want it at first glance, the product has probably failed.

As for the image-deblurring feature, Adobe probably already has a patent on it. By implementing it in future generations of Photoshop, this will ensure that the software remains at the top choice for professionals. Maybe 10 years later, it will be made available in Elements.

Here’s what I think will happen to Lytro: In a few years, the company will find itself hard to sustain, and it will attempt to license or sell the patent to another company. The big boys will be all over it. Depending on Tim Cook’s negotiating skills, he’ll buy over Lytro, and put the refocusing capability in the iPhone 9. At the same time, he may license this to a few imaging companies at a very high premium, or maybe he’ll just keep it to Apple, who may then develop the 3.0 version of digital cameras.

No one said curating is an easy job

Sat, 22 Oct 2011 01:22:00 +0800

The invite that I designed for the exhibition

Now, I usually don’t post work-related topics/subjects on this site, but I’ll make an exception for this entry. You see, for the past month, I was up to my neck organizing the exhibition that will be the highlight of my career so far at Leica.

Ongoing at the Leica Store @ Raffles Hotel Arcade now is More Earth, a photography exhibition by one of my favorite singers, 伍佰 (Wu Bai).

While this entry is about the curating aspect of it, let me quickly run through the history of the show.

About 2 months ago, I came to know that 伍佰 will be performing in Singapore in late October, and I asked a good friend, Kay Chin, who knows Rock Records managing director. I dropped the MD a line to ask if he would be interested to feature 伍佰’s works at the Leica Store. After a few emails, we met up and finalized the details. Yes, 伍佰 will be interested to show some of his works from More Earth (which was first shown in Taipei) and he will make an appearance for a press conference at the store.

The entire body of works in More Earth weren’t shot exclusively with a Leica. However, I need works that were captured with a Leica in order to exhibit at the gallery. So I was presented with 21 images to choose from.

The gallery was designed for a maximum of 14 prints, which means that I had to remove 7 images. That wasn’t so hard, since some of the images had connecting themes.

2 days before the exhibition, I was down at the gallery with the prints. That’s when the tough part starts.

You see, I had previously sequenced the images on the computer. But when I reached the gallery, I realized that the initial sequencing won’t work. It turns out that editing for a slideshow and for a physical space is two different matters.

This wall was isolated from the rest of the space, and while it has to be part of the story, the 2 images has to be able to stand on their own. In this case, I see them as a diptych.

I had to take into consideration the gallery space, the lighting, the different panels of walls etc. So I laid out all the prints along the wall, and tried to put myself into a different state of mind. I had to be able to weave a story out of the prints, and at the same time make use of the space to let each picture breathe and tell its own story, and correlate to the next.

It took me about 2 hours but when I was finally done, I was able to see a story.

Most gallery visitors probably won’t know this, but the curator of any photography exhibition plays an important role. The material used for the prints, the framing, the lighting are all important, and they set the atmosphere for the show.

This picture faces the entrance to the gallery, and I used the arrow in the image to relate to the physical walkway along it.

While I won’t say I did a great job with 伍佰’s More Earth, I dare to say that I did the best I could within the space.

Again, the use of lines such that images on different areas can be seen as a whole from various spots in the gallery.

It can be tricky curating another artist’s works, because what you envision and what they have in mind may be 2 different things. Since he has no objections in the way I sequenced his pictures, I take it that I passed the test. At least, I think I did.

So, please, if you have the time or are in the area, drop by the Leica Store and see the exhibition. And tell me what do you think of it. Any comments are much appreciated.

Chatting with 伍佰 about his M7

And, of course, a shot with him to make 2 months’ work worthwhile.

What we talk about when we talk about local photo books

Tue, 18 Oct 2011 23:41:53 +0800

A small collection of the local photo books I have.

Singapore has no shortage of good photographers, whether is it in the documentary (as shown in Platform), fashion, art or conceptual field. However, the number of good photo books that has been published by local photographers are only a small handful.

I can only assume that funding of the book is a major issue, since the photographer usually bears the full cost of the book, from the design to the printing. Given that the cost price of each book can cost between the range of S$15 to S$30, and that printers will usually take orders for 1,000 copies and above, that’s easily S$30,000 upfront payment. Not every photographer can afford it, and certainly not the up-and-coming.

I’m not advocating that every photographer should publish a book. In fact, I will say to only publish a book when you have very, very strong content.

For example, Tay Kay Chin’s Panoramic Singapore has a binding theme of his last views of Singapore before he thought he would move to the US for good. While I was Sleeping by Darren Soh documented the twilight landscape of Singapore. the sky i wish to share with you by Tan Hai Han chronicled his journey after a relationship that didn’t work out.

Another photographer I will like to note is Nguan, a lesser-known photographer among the local circuit. However, his book, SHIBUYA, was mentioned by PDN to be one of the best photobooks of 2011.

What’s the common among all these books?

The books were self-published by the photographers. And, from what I understand, they did the layout of the book themselves to save the cost of hiring a designer to do it. In which case, this is good because they have more control over the layout and other matters, but it also meant that they need to know how to operate software for such purposes (think inDesign, etc). That’s no easy task if you ask me.

In the ideal world, there will be a publisher that ranks in the same standard as Taschen, or Phaidon, or Aperture, or Dewi Lewis or PowerShovel in Singapore. A publisher with editors that can be an ally to photographers, to push them further in their works and hopefully, to fund some of them in return for a good book that might go down in Singapore photographic history as “the book” to read.

P.S: There are some books that I won’t mention, simply because the content weren’t strong enough. Honestly, a compilation of macro shots doesn’t resonate with me, and that’s my personal opinion.

A Less Risque Araki in Singapore

Thu, 06 Oct 2011 00:20:00 +0800

All Women are Beautiful, currently on show at Galerie Steph. (Photo by Leonard Goh)

In 2005, I stepped into the gallery at Nanyang Academy of Fine Arts to see “Sentimental Journey”, an exhibition by famed Japanese photographer Araki Nobuyoshi.

That wasn’t my first contact with Araki, and I cannot remember when and where did I first saw his works. All I know is, Araki, is, without a doubt one of the most controversial photographer in Asia.

For those who are unfamiliar with Araki’s works, they are what your parents will say is “R-rated”. Women, through his lens, expose their sexuality in a prude, crass and blatant way that I am sure will disgust many conservatives. I shall not discuss his works in-depth here, because this article is about his current exhibition.

Araki’s prints on display in the gallery. (Photo by Leonard Goh)

Titled “All Women are Beautiful”, a selection of Araki’s works are currently on show at Galerie Steph (together with Ooi Botos) in Tanjong Pagar Distripark. It features a combination of large format prints and Polaroids that Araki has shot from the series “Novel Photography”, “67 Shooting Back”, “Pola Eros”, “Sky”, “Pola Nostalgia” and “Lewd Paintings”.

What’s disappointing is the number of prints on display. A rough count will be approximately 10 large format prints, and 11 framed Polaroids. Maybe my expectations were too high, but I thought there would be a larger selection of prints.

Gallery owner, Stephanie Tham, said that these are original prints from Japan, and that she practised self-censorship when selecting the photos to be brought to Singapore. The ones that are more risque were not shipped over, in case conservatives escalate the matter to authorities. She said that some of the prints she saw were really R-rated, and Singapore may not be prepared for such images yet.

I fully understand where Stephanie is coming from, but given that the gallery is situated in a rather inaccessible location, most of the people who came for the exhibition are in the know. She said there are no walk-in viewers, and most who come know Araki, or may want to know more about him. Hence, it is a pity that she didn’t bring the more popular prints to the gallery. Those would really exemplify Araki’s identity, making it easier for those who don’t know his works well to have a better understanding.

(Photo by Leonard Goh)

That said, the prints sit well in Stephanie’s beautiful and well-lit gallery. The space may not be big , but Araki’s prints fit in nicely within the space. Each print has plenty of breathing space, thanks to the high ceiling.

Araki’s Polaroids. (Photo by Leonard Goh)

A small gripe I have with the exhibition is that the Polaroid prints are situated behind her table, which some viewers may miss.

2 of the prints from the series “Lewd Paintings” caught my eye. I came home and flipped through my bookshelf to find Mon Journal D’ete, a book I bought in Paris. Published by Galerie Kamel Mennour, it is a lovely catalog of works from the series.

Mon Journal D’ete front cover. (Photo by Leonard Goh)

A spread inside Mon Journal D’ete. (Photo by Leonard Goh)

I would like to take this chance also to talk about another of Araki’s book which I bought from Japan last year.

Front cover of Tokyo Love. (Photo by Leonard Goh)

If Tokyo Love was the first Araki book that you bought, you’d probably not think that this photographer is famed for his photos that depict BDSM, and that some women literally throw themselves at him, hoping for a chance that they would become the subject of his photos.

Inside Tokyo Love. (Photo by Leonard Goh)

Tokyo Love is a heart-warming book that Araki shot of life in Japan. It features the daily life of most Japanese in Tokyo, right from the primary school kids who are competing on the tracks, parents and toddlers having fun in the park blowing bubbles and middle-age ladies learning how to dance. None of the crass style which he is famous for is present in any of the pictures.

Inside Tokyo Love. (Photo by Leonard Goh)

Back cover of Tokyo Love, and one of my favorite pictures from this book. (Photo by Leoanrd Goh)

It is a nice book to read, especially for those who slams Araki for being a sexist and depict women as emotionless sex objects. Tokyo Love shows Araki’s sensitive side to the world he lives in, and the image of the mothers playing with their kids at the park left a very deep impression on me. Considering that Araki’s wife passed away (as documented in Sentimental Journey), he would surely have yearn for the sight of his wife and kids enjoying themselves, though that never happened.

Still, if you want to have a taste of Araki first hand, head over to Galerie Steph. The show ends on October 16 2011.

39 Keppel Road
Tanjong Pagar Distripark, #01-05
Singapore 089065
www.galeriesteph.com

The gallery is closed on Monday. From Tuesday to Saturday, it opens from 12pm to 7pm. Viewing on Sunday is by appointment only.

Prints are on sale, and starts from S$9,000 onward for the large format prints and S$760 for the Polaroids. (Thanks to Darren Soh for the clarification.)

So, i forgot my camera

Tue, 13 Sep 2011 12:25:00 +0800

And so, yes, I got married 2 days ago.

Some people would expect that I would to toting a camera around and snapping records but I didn’t. In fact, when I reached the hotel then did I realize that I didn’t bring any camera.

It sounds something straight off a horror film, right? Especially when most people expect me to be the “camera-man”.

The next best thing I could do was to whip out my useless Motorola Dext, fire up the Vignette app and took a few pictures that you can probably count on 1 hand.