The Metropolis and Mental Life

The deepest problems of modern life derive from the claim of the individual to preserve the autonomy and individuality of his existence in the face of overwhelming social forces, of historical heritage, of external culture, and of the technique of life. (“The Metropolis and Mental Life” p. 409)

All quotations here are taken from Georg Simmel (from The Sociology of George Simmel, translated and edited by Kurt H. Wolff, The Free Press, 1950), whose writings I dip into once in a while because it’s still so potent as a commentary on how modern city life affects the way we think and feel. We don’t see these effects, just as a fish fails to see the water it swims in.

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Modern mind has become more and more calculating. The calculative exactness of practical life which the money economy has brought about corresponds to the ideal of natural science: to transform the world into an arithmetic problem, to fix every part of the world by mathematical formulas. Only money economy has filled the days of so many people with weighing, calculating, with numerical determinations, with a reduction of qualitative values to quantitative ones. (“The Metropolis and Mental Life” p.412)

I guess the vulgar word for me is “positivism” – the idea that it is possible to come up with consistent and reliable formulas to how life works. Formulas are re-assuring, such as “be a banker/lawyer/accountant/doctor, because these jobs translate into big numbers, and these big numbers mean success”.

Of course, there are many successful bankers/lawyers/accountants/doctors who lead meaningful lives and who enjoy their jobs. I’m only arguing against the confusion between quality and quantity. Quality cannot be easily quantified. Sometimes we play this soundtrack too readily.

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Here in buildings and educational institutions, in the wonders and comforts of space-conquering technology, in the formations of community life, and in the visible institutions of the state, is offered such an overwhelming fullness of crystallized and impersonalized spirit that the personality, so to speak, cannot maintain itself under its impact. On the one hand, life is made infinitely easy for the personality in that stimulations, interests, uses of time and consciousness are offered to it from all sides. They carry the person as if in a stream, and one needs hardly to swim for oneself. On the other hand, however, life is composed more and more of these impersonal contents and offerings which tend to displace the genuine personal colorations and incomparabilities. This results in the individual’s summoning the utmost in uniqueness and particularization, in order to preserve his most personal core. He has to exaggerate this personal element in order to remain audible even to himself.  (“The Metropolis and Mental Life” p. 422)

I’ve always found the above passage to be rather depressing. The modern concern with the uniqueness of our personality emerges out of an anxiety. Now that everything is for sale, we’re compelled to be “unique”, “autonomous” and “individual” so as to differentiate ourselves from other cogs in the giant capitalist machine. “Look at me I’m so unique and interesting,” I tell myself and others, knowing that there are tens of thousands of people around me (and many with blogs like this) saying precisely the same thing.

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We are surrounded by things we buy with numbers. And these things, whether tangible or intangible, which we buy and sell, turn us into who we are.

Is it possible to walk away from such a situation?

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Contax TVS

In a previous post on the snapshot aesthetic, I mentioned zone focusing with Olympus XA2 and auto-focusing with Minolta AF-C.

And now, ladies and gentlemen, behold my Contax TVS. It has an aperture priority mode and a program mode. There’s auto-focus (which you could override with a dial).

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This allows me to be more stealthy, and the motorized whirring is not too loud.

I consider the Contax TVS series to be the baby brother of the Contax T1/2/3 series of which T2 is much celebrated, or the Contax G series of cameras.

It has the Vario Sonnar lens which allows for zooming, for days when I’m too lazy to zoom with my feet.

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This lady popped out and I responded quickly enough…

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“Oops, what’s this?” I thought as I was looking at the negative.

The panoramic mode was activated without me knowing.

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Oh oh …

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Hm.

The panoramic mode is basically a cropping of the frame by the camera, and the panels were unhinged.

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I felt there was an intuitive bond between me and the Contax TVS… was I imagining things?

It’s built like a tank, and I could take myself seriously when I’m holding it… I was so looking forward to serious days…

After a moment of reflection and in that rare moment of sanity, I returned the camera to the store.

There were 2 Nikon 35Ti‘s beckoning, and a Fuji “sardine can” Tiara as well.

It was then that I had a Prufrockian moment:

Do I dare disturb the universe?

In a minute there is time

For decisions and revisions which a minute will reverse.

I waved goodbye (in my mind only) to those cameras.

The person at the store kept my number, noted my mournful expression, and 3 days later, I was told there’s another Contax TVS in the store, this one with the original strap, manual (in Japanese), case and lens cap.

I took it out for a spin.

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Woohoo!

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The panoramic mode here was fully intended. This was the only panoramic shot I took. I don’t expect to use it much. It’s a bit tacky I think…

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Happy happy joy joy.

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All is fine – I tilted the camera and shook it this way and that to see if the panoramic mode would kick in.

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I zoomed in and out and it’s fine.

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Zooming in … and it’s still ok.

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Yup, we have a winner here.

The Force is strong with this one…

O happy day!

The Snapshot Aesthetic

I’ve been using Olympus XA2 for quite some time now and have been mulling over how zone focusing allows me to compose more quickly.

I happened to come across the lesser-known Minolta AF-C and yes, it’s auto-focus.

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Load it with Kodak UltraMax 400 and it’s pure joy if you’re pursuing a snapshot aesthetic.

You could focus really quickly and the saturated colours would work for those with a taste for lomography.

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The word “snapshot” hints of amateurism, and I suppose it goes against the conventional rules of professional photography concerning proper framing and lighting, etc.

There’s a scholarly article here on how the snapshot aesthetic is being used to persuade in advertising photography.

You could say that commercial photographers have appropriated the style of the amateurs.

The entire style (and persona) of Terry Richardson, right down to his use of non-professional cameras, is based on this approach.

On the other hand, it also has also allowed the work of folks like Lee Friedlander and Garry Winogrand to be taken seriously by the establishment.

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Me, I like the reds and greens.

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I suppose there’s something covert about street photography in that it is aligned with the transgressions of street art.

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It’s true that I tend to take photographs of people in candid moments.

When I’m in the zone, I’ve become quite adept at reading body language and tracking eye movements…

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Though sometimes, non-humans are fascinating too.

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So are serendipitous arrangements of objects that “make sense” and cohere.

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I’m making a point to look for “found exhibitions”.

After all, the entire world is an exhibition if you know how to look.

 

Street Photography: An Imagined Community

Social media and the internet in general are wonderful for those of us who are committed to somewhat specialised endeavours.

I’ve been reading the posts of quite a few people for a while now. Though I’ve never met them in person, I’ve been inspired by their examples and their work. You could sort of tell the kind of people they are by their posts.

Benedict Anderson uses the term “imagined community” to refer to a person’s sense of belonging to a group (he was talking about nationhood) even though he or she may never have met all its members. I know I may be presumptuous here, but I’d like to think these are members of my imagined street photography community.

In an ideal world, I’d really like to have a few rounds of beer with all of them at the same table. It’ll be an absolute blast.

Here are a few sites/people I’m constantly checking out.

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Eric Kim

Eric bares his soul in quite a few of his posts. Here, he wrote about street photography and social media. Here, he wrote about GAS (Gear Acquisition Syndrome), a common affliction for photographers. And my favourite post here is about what drives him and how he’s seeking to follow his passion and at the same time remain realistic about bread and butter issues.

Ming Thein

This guy is a hyper-achiever. Put together an MBA ethos with a photographer’s sensibility and this is who you’ll get. [Edit: Ming Thein says he doesn’t have an MBA (see comments below) but it’s undeniable that he really is very focused, committed and productive.]   He’s not a street photographer per se but I do admire his mastery of photography techniques. In two years, he wrote 780 articles, had 9.5 million visitors, and received 36 000 comments! Check out his post on printing here.

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Shoot Tokyo

Dave is another photographer with an MBA ethos. [Edit: Dave says he doesn’t have an MBA (see comment below) but it’s undeniable that he really is very focused, committed and productive.] I think he’s a high-level business executive or a business owner. He’s a flaneur in Tokyo. And check out his Leicas! Yes, Leicas as in plural! Check out his wonderful prints for sale here.

Thomas Leuthard

He’s offering free street photography ebooks! I like his article here on why street photographers do what we do. His Flickr site is more extensive.

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Yanidel Street Photography

He’s on a street photography and life project that will take him around the world in eighty weeks, from Paris to Switzerland and then to Spain, Portugal, London, Turkey, Mexico, Cuba, and so on (you could see his itinerary here.) This article helped me realise that I tend to favour a certain style of street photography, and is useful in helping me vary my way of doing things once in a while.  This article addresses the central existential question every street photographer must ask of himself or herself: 35mm or 50mm?

Invisible Photographer Asia

This is the go-to place for street and documentary photographers based in Asia. You’ll get lots of street cred if your work has been featured here. (One day, one day I’ll make it.) Kudos to Kevin Lee, the person who started it all.

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Photoethnography.com

Click the “equipment” link and you’ll find tons of information on film cameras. Thanks to this site, I decided on a Yashica GX so as to learn to handle aperture priority, and on a Canonet QL17 G III to handle shutter priority and manual. I’ve been using the previous two cameras for a couple of months before finally buying a Leica M6.  Karen Nakamura is an ethnographer by profession. While the site, as far as I know, is no longer being updated, it is the go-to place to learn about film cameras you could use for visual ethnography, a discipline closely affiliated to street photography.

Japan Camera Hunter

While I’ve never bought anything from Bellamy Hunt before, others have done so. See here (Eric’s video) and here (about the Contax T3 that Dave, the Shoot Tokyo guy, bought from Bellamy ). This guy definitely has street cred. His three articles here, here and here on where to buy film photography gear in Hong Kong is my go-to guide. I basically spent a few happy weekends checking out some of these places. I definitely owe this guy a few beers.

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These are a few sites/people who are exploring the use of social media alongside street photography. In some cases, it’s related to their day jobs. In a few other instances, you could say street photography is part of a portfolio of various other endeavours.

In the age of social media, it’s important to embrace the “no one knows anything” ethos. The phrase was used by William Goldman in relation to Hollywood, to describe how, in the end, there is no such thing as a fixed formula to doing things and even “experts” are constantly surprised by unanticipated surprises in the fields of their own supposed expertise.

I’m beginning to think that in the end, there are no experts, and that it is only committed and thoughtful practitioners who will thrive. The only thing to do is to open ourselves to the possibilities of positive black swans (a phrase coined by Nassim Nicholas Taleb, whose books I return to again and again).

These people inspire me with what they do and I wish them all the best.

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At my end, I’m working on a poetry plus street photography manuscript and am planning to teach a new undergraduate course on photography, writing and social media hopefully in the next academic year. I’m taking baby steps here compared to these people.

P.S. Have I missed anyone? I know the list is definitely not exhaustive and skewed in terms of gender. Would be grateful if anyone could could fill in the gaps.

Searching for Singapore II

I usually have 2 cameras with me during a photo-walk.

The previous post was with my stealthy Olympus XA2 loaded with Ilford XP2 400 film, while this is a Summicron 50mm Type II Rigid on a Leica M6 loaded with Kodak Portra 400.

I sometimes go all Daido Moriyama with my Olympus XA2 (or I try, at least), while with the Leica, I get that understated Martin Parr social commentary look (or I try, at least).

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So that’s the flat visible from Bras Basah Complex, my favourite haunt since when I was a teenager as it’s the place to go to for secondhand books.

I took an Irish colleague there once and he said quite accurately that he could see that Bras Basah Complex was a formative part of my education.

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Good old civil defence!

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Singapore, along with its many historical landmarks, are works under construction.

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That’s just outside the Arts House. I supposed you could call this commissioned graffiti.

“If You Dream Too Long” calls to mind If We Dream Too Long, the title of a novel by the late Goh Poh Seng. I met him once at a literary festival.

The author of yet another great Singaporean novel, Heartland,  Daren Shiau, once told he admires the writings of Goh a lot. Heartland is many ways a response to If We Dream Too Long. Read these two books if you want to know Singapore.

Yes, yes, that’s my inner Singaporean literature nerd emerging.

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That’s outside Ngee Ann City, a very appropriately named shopping complex because it’s so gigantic.

Yes, the humongous bookstore Kinokuniya Books is in there. It’s a place I go to for inspiration.

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The stone lion outside Ngee Ann Complex, representing prosperity and all the good stuff and guarding all that conspicuous wealth inside the shopping mall.

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That’s the ice-cream uncle at Orchard Road. I’ll usually buy a durian ice-cream wrapped in bread from him. It costs all of SGD$1. Pretty amazing.

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That’s “Urban People”, the art sculpture in front of Ion Orchard, delighting tourists always.

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We’re always being framed by brand names at Orchard Road, with fashion models watching over us, reminding us of what we could be if only we’re willing to spend just a little bit more …

Thanks for reading!

London Street Photography II

From my London folder again…

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I was happy to have caught this gesture…

He’s framed by various pictures, and there’s a statement here to be made about the idealised/commodified/cosmetic appearances of the pictures vs his heartfelt sincerity. Check out the arrow that’s about to pierce his heart.

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The British Museum … it’s difficult to photograph such an iconic place because you know it has been done so many times…

I chose the seemingly unthinking approach: capture it at any angle and it’ll still look wonderful. Kudos to the architects…

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Here’s a museum interior that plays with religious icons … there’s definitely a connection between religious devotion and museum space.

In a way, we’re here to worship art and/or the past.

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At the Victoria and Albert Museum.

Here’re the acolytes …

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I’m a tourist!

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A busy scene with the seated person as a focal point, at the still point of the turning world …

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“At the still point of the turning world. Neither flesh nor fleshless;
Neither from nor towards; at the still point, there the dance is,
But neither arrest nor movement. And do not call it fixity,
Where past and future are gathered. Neither movement from nor towards,
Neither ascent nor decline. Except for the point, the still point,
There would be no dance, and there is only the dance.
I can only say, there we have been: but I cannot say where.”

(T. S. Eliot, “Burnt Norton”, The Four Quartets)

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Thanks for reading!

London Street Photography

These were taken from a London trip some time ago with my trusty now classic Canon G11.

I’ve been looking through my folders and was actually surprised to realize I had been doing street photography without really knowing that was what it was.

These are all shots taken in-between vacation family pictures when I thought the combination of people and scene looked interesting.

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Slow Day

The usual media depiction of Hong Kong revolves around skyscrapers, the Peak, and the excellent dim sum, of course.

But there is also another pace of life which you can see on weekends.

All photographs are taken at Ma On Shan, New Territories.

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You’ll see people cycling, fishing and taking leisurely walks.

There are fast-paced days and there are slow-paced days.

Today, we’ll go slow.

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The cycling route can be rather scenic.

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There’s an often-mentioned creative writing strategy: when writing a poem about love, never use the word “love”.

This entry is about cycling with my son, without photographs of us cycling.

You can see our bikes in the background though.

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At moments like this, we slip into another time. You’ll see people enjoying being alone, in their own space-time bubbles.

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This is the bike shop we go to when there’s something to the bikes I can’t fix. They’re really friendly and will actually tell me I don’t need that pair of fancy bike gloves when a generic one would do as well.

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My cynical self would think about the way they are setting up their profit margins. But they sometimes do minor repairs and maintenance for free as well.

The boss will just tell you it’s free of charge and please buy your next bicycle from him.

She was shielding her eyes from the sun, so naturally I brought my camera to my eye.

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That’s at the end of Wu Kai Sha beach. You’ll see quite a number of village houses.

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An open door.

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You could see the contrast between village life and high rise living here.

Hong Kong is a city of sharp juxtapositions.

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Thanks for reading!