Boat Trip 

Went on a boat trip from Sai Kung to an outlying island.

The famous Chung Kee Noodles in an alleyway.

Checked out various boat trips on offer.

Looked at the fresh seafood for sale.

An old lady approached us and quoted $250 for a trip and off we went.

It’s a salt mine village.

There were many abandoned village houses.

Then we saw this.

Beautiful.

There’s a history here waiting to be figured out.

Nice little courtyard.

What joy!

Kids everywhere are the same.

Here kitty kitty.

Everyday Things

These are things I see on a daily basis.

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James Elkins: “When we are confronted with an unfamiliar object … we seek a body in it; we try to see something like ourselves…” (The Object Stares Back, p. 129)

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I see, therefore I am.

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This is my mind, even if it’s only for a while.

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Sometimes I feel like this.

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Mostly though, I’m like this.

 

This is a third companion piece, after Mundane Objects and  Common Things.

 

Camera: Canon Prima Twin S

Film: Fuji Superia Venus 800

On Being Careless

To be interested in street photography is to be careless.

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The above might look better if the boats were cut out of the photograph. The subject would be clearer.

But the eyes don’t always discriminate properly.

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Found scenes are things as they are.

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Boats and paths as they are.

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A child as he is.

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There’s an accommodation of sorts.

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An ordering of nature.

Camera: Leica M6

Lens: Voigtlander Nokton Classic 35mm f/1.4 SC

Film: Kodak BW400CN

On Sense and Sensibility

What, really, is there to talk about when it comes to street photography?

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In the end, we’re capturing our selves.

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And the constraints that shape us.

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Street photography is another way of thinking.

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Another way of looking.

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Sometimes the scene seems a bit bare.

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Until one encounters a human figure.

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The art is long and life so short.

In the meantime, my exhibition is still on-going – come by if you’re in the area.

Camera: Leica M6

Lens: Voigtlander Nokton Classic 35mm f/1.4 SC

Film: Kodak BW400CN

Rural Views

I’m here again and again.

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It doesn’t look like much – but it has wonderful views.

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The environment is a work of art.

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The mood is always leisurely.

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The debris is zen.

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There’s artless beauty here.

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I’m happy to be marooned here.

Camera: Contax TVS II

Film: Venus 800

Another Place in HK

Sometimes, we need to disappear into that rabbit hole.

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To an alternative Hong Kong.

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Where you could walk at your own pace and not worry about obstructing others on a crowded pavement.

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You could take your time (and not have it taken away from you).

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You could just stay put.

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Have some peace of mind.

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And mental space.

Camera: Contax TVS II

Film: Fuji Venus 800

Slow Down

We’ll need to slow down.

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We can’t think like skyscrapers.

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We need to dwell a little bit.

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Take a walk.

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Sometimes to be inane is to make sense.

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A certain order at a certain time.

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Think good thoughts.

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Let a thousand thoughts flourish.

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So we need a better government of our selves.

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So as not to run aground.

 

Camera: Leica M6

Lens: Voigtlander Nokton Classic 35mm 1.4 SC

Film: Kodak BW400CN

 

Somewhere in Yuen Long

Sometimes I don’t know where I am.

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This place is accessible via a walking or biking trail.

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And you get to see a sinking village house.

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My wife organizes these day trips for the family and I simply tag along… I’m fortunate that way.

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I’ll go anywhere as long as there’re things to see.

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I know for sure this is somewhere in Yuen Long.

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And the village is accessible only via a boat.

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It’s another way of life.

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It’s a “can do” DIY attitude I need to learn.

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He saw my camera but basically ignored me and went on with his work.

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I’m trying to improve my Chinese.

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Assuming I got that right, it says “the only human-operated bumboat in the whole of Hong Kong, from 6am till 11pm”.

My set up for the day was a Contax TVS II loaded with Ilford XP2 400.

Thanks for reading!

Check out the open-edition prints!

 

 

 

 

 

 

 

Singapore Speaks Monochrome

Singapore is a work in progress, and the physical landscape never fails to remind you of this.

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There could be cranes in the sky in built-up areas, and there could be views like the one below.

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Occasionally, it gets a bit postmodern, like this:

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The inside wants to be outside.

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Our desires/appetites/wants/needs are very well structured and catered to.

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Everything is for sale.

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Cities are places where appetites are met.

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Appetites transcend national boundaries …

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Pig organ soup, anyone? It’s actually quite yummy.

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Waiting.

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Doing.

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Working.

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Cooking.

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Buildings are structures of desires.

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There’s ambition in the architecture.

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These are homely desires.

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There’s an architecture of modernity.

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An architecture of nationhood.

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And space in which we simply do nothing at all.

Thanks for reading!

 

Open-edition prints are available at my Saatchi Art page.