Photography is one of my favorite ways to see the world.

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    • A Walk Around a Wet Market in Taiping, Malaysia

      Published on March 15, 2023

      Wet markets have a bad reputation, because of the 'rona, but their name really just comes from being the opposite of a 'dry market' (like a market that sells pots and pans and such). They are very common in many parts of Asia and don't have wildlife. For many of us, a wet market is our first port of call to make the delicious foods from our part of the world.

      These photos are from a wet market in Taiping, Perak, my wife's hometown. We visited with my mother-in-law and her sister, who were preparing a large family feast for the first reunion in the Taiping home in a very, very long time.

      a digital photograph of a market in Malaysia with lots of eggs

      Eggs

      a digital photograph of a market in Malaysia with lots of salted fish

      Salted fish

      a digital photograph of a market in Malaysia

      Essential items

      a digital photograph of a market in Malaysia with a menu for all kinds of noodles and items

      Aromatics

      a digital photograph of a few people's feet as they stand near some flowers and other types of local aromatics used in Malaysian cooking

      Potatoes

      a digital photograph of a large wok full of chillies and stink beans being cooked into a sambal

      Sambal

      I can still taste that sambal. What passes for sambal in the United States (Huy Fong sambal oelek!!) makes me so, so sad.

      Lately, I've been thinking about how growing up in Peninsular Malaysia and Singapore (and spending lots of time in Thailand, Indonesia, India) really spoiled me where food is concerned.

      The food ways I am used to: buying fresh food. On a daily basis. At wet markets. Learning to cook traditional foods from skilled older people from different cultures.

      All of those things are vastly different from a convenience-first food culture where I now live in the United States. Even though California, and San Francisco in particular, has a reputation for being farm to table, and for having good quality food, I do find myself feeling, quite often, like I never knew how good I had it until I left Southeast Asia. California is good, for food: my part of the world is better. That's how I feel, anyway. Being able to wake up in any of those countries and grabbing one of many hot breakfasts. Being able to eat hot, savory, spicy food all day, everyday, including at 3 or 5 in the morning. Being spoiled silly, really, by aunties of all types. Being surrounded by people who want to feed you all day, every single day.

      Taiping, Perak in Malaysia is one of my favorite little towns. It has beautiful weather and scenery, an interesting history, and some of the best food I've had anywhere. I dreamed of the simple bowls of noodle soups I've had there (Restoran Kakak!!!), for years, until I went back again in 2022 to visit my wife's family. You've not had noodles until you've had the kway teow tng at Restoran Kakak. It takes skill, and really 'giving a damn' to make food like that. I think Taiping (and Perak as a whole) has a higher density of people who 'give a damn (about making food in a very specific way)'. And that's just normal, there.

    • Touching Grass

      Published on March 13, 2023

      I was always a big city person. I liked nature, but not excessively. Now that I'm almost 5 years into being a Californian, that's starting to change. I don't just like the outdoors, I love it. I survived (and thrived) at a five day backcountry Yosemite backpacking trip with no toilets or showers. I scaled Half Dome. I go bikecamping a few times a year.

      a scan of a medium format photograph of some tents and bicycles in the woods

      Shot on Fuji GW690II on Portra 800, developed and scanned by Underdog Film Lab

      That's one of the joys of living in Northern California, and in being in San Francisco specifically. I can bike to the Golden Gate Bridge in 20 minutes or so, and cross it in the same time (I don't bike very fast). Across the bridge, I can go west to the Marin Headlands or straight into the small towns of Sausalito, Mill Valley, or as far as San Rafael or San Anselmo where I have some favorite spots for food and snacks; and in some areas, set up camp if I want.

      I'm thankful to have the opportunity to experience this, and to have found a bunch of folks who will come experience all of this with me.

    • Review: How Daido Moriyama Takes Photographs

      Published on March 12, 2023

      Finished reading: Daido Moriyama: How I Take Photographs by Takeshi Nakamoto 📚

      Daido Moriyama is one of the photographers I admire the most. His work (black and white street photography) is an influence on the kind of work I am trying to do in my photography; and his shooting style most resonates with me. He is known to mostly shoot with compact cameras, especially the Ricoh GR series.

      This photography book is unique in that it isn’t just a book of his published photos centered around a theme. Sometimes, I get quite bored of those types of books: Western photographers who go to India, for example, and shoot hundred page photo books that feel vaguely exploitative and white-gazey, are an example of the types of photography I very much dislike.

      Since I know Asia, and Asian cities quite well, I have a finely tuned nose for that sort of thing. I don’t find Asia exotic because, well, I am from there. So I tend to look to the Japanese, Chinese, Indian, Bangladeshi photographers I admire whose body of work situates them within places they work in, where, they have frankly far more interesting things to say. (Dayanita Singh’s photography, for example, does not need to rely on that pop and shock of India’s color or festivals or ‘weirdness’ to make a point: her long term work embedded in local communities tell me so much more about the place than, “India is so strange and exotic!”)

      So it is with Daido Moriyama. There’s no mistaking a Daido Moriyama photograph for someone else’s. No matter where he’s shooting, whether it’s Japan or Argentina. If there is a photographer whose ‘personal vision and style’ I want to learn most, it is his.

      This book is written by his collaborator, a Japanese author and photographer who shadowed Moriyama on several trips, all the while asking: what advice do you have? What are you thinking? What message are you trying to make?

      And all Moriyama says is:

      • Just go out and shoot
      • Shoot as much as you can (he believes in having quantity as a way to get quality photos)
      • He walks up and down a street both ways and he takes about a roll of film per direction
      • He thinks there is value in observing the mundane
      • Some basic tips, like ‘if you shoot a body of water against the light, the contrast is quite nice especially in black and white’ but he refuses to believe there are any specific tips that are applicable to all
      • He cares about doing the work more than talking about the technique or gear

      The book also says that he teaches sometimes, and many of his students are trying to break into fashion or avant garde photography. For those students, he advises that the work is the same as that of someone trying to do photojournalism or documentary photography. Go out and shoot mundane things. Find a building, take a hundred photos of it. Learning to see beauty in the mundane is the most important skill one can develop.

      Each part of the book is based in a certain location. So when he goes to Ginza, for example, there is a photo of the contact sheet that he shot. It was actually nice to see that a master has a ton of duds, too. Not that he ever pretended otherwise: but it was still assuring to know that Daido Moriyama isn’t getting 36 book or exhibition worthy photos out of every roll of 36.

      Lastly, he advises that the most important thing to do when you take a photograph is that you must have a desire to make that photograph. Not necessarily to tell a story or make a point (in fact, he says that arriving somewhere and having a pre-conceived idea of the location or community’s politics or social message is not a good way to take photos, that he prefers to just witness). But that you must feel that you have to take that photo.

      Moriyama also has a lot of things to say about film vs digital. He’s gone digital now, and there’s no going back! Having used both the Ricoh GR film and digital cameras, and also being agnostic to the film vs digital debates (currently, I am shooting more film to learn the darkroom arts specifically, but if I were to go back to working again as a photographer, it would probably make more sense to be digital-first, especially given film costs these days), I think he’s right. The Ricoh GR digital cameras are extremely capable, and they are my favorite film cameras. I do miss the contrasty T-Max grain and quality of his earlier work, but artists are allowed to evolve their vision and tools, and experiment. I appreciate this non-dogmatic quality about Moriyama.

      I would highly recommend this book even if you don’t love this type of street photography. It’s a good way to get an insight into how a great photographer works and thinks, beyond gear talk and such. The world has too much of the latter; but books like these are what I appreciate much, much more.

    • Borders Real and Imagined

      Published on March 2, 2023
      a color photo of the border of Chinatown San Francisco and the Financial District with Chinese shops in the foreground and TransAmerica pyramid in the background, a Muni bus at the bus stop at an intersection, people standing around or crossing the street

      San Francisco's Chinatown is one of the oldest ones in the United States. Chinese people, mostly from the "Sze Yap" region of Toishan and surrounding areas, came to northern California almost two centuries ago. They were boxed in in certain areas, within cities and regions, both in the city and outside it.

      Great acts of discrimination and violence happened to them. In nearby Antioch, Chinese residents were prohibited from walking on the streets after sundown. This led to the development of secret tunnels that brought them to and from work. I recently learned about the town of Locke, just outside Sacramento, formerly known as the last rural Chinese town. People fled there to flee the racial violence in Sacramento and San Francisco.

      As a much more privileged ethnic Chinese immigrant to this country who came with far more money, a better passport, I have it a lot easier, of course.

      But that doesn't mean I don't feel the occasional challenges of living here at a time of increased anti-Asian hate. I've had far less of a problem living in California than in parts of Europe, Australia, but there are some among of us who never miss a moment to let others know that they are not welcome.

      In the shadow of the Transamerica Pyramid, Chinatown stands with its lower rise buildings from an earlier time. The Financial District to one side, the Italian community of North Beach to another. Borders real and imagined are continually defined here. Some decades ago, a minority within a minority resided on the edges of Chinatown and the Financial District, not far from here.

      Manilatown was in Chinatown, San Francisco, until one day it was no more. It was the site of a fierce battle between those who wanted to build high rise buildings, and those who wanted to keep a home for the 'Manong Generation', the Filipino men who came here, were discriminated in many ways (they were not allowed to bring their families), who then aged out. It was said that they were not welcome outside the borders of Manilatown, for a long time. So this was literally a refuge and a home away from home for them.

      I'm reminded that borders are defined not only in maps, but also in minds. Walking away from Chinatown and into the Financial District, when I see signs for 'French Laundry', I'm also reminded of how, not too long ago, that was thinly veiled code for 'no Asians', but now it's just one of the most famous restaurants in the world. California is weird like that. Everyone tells you you are welcome, until you're not, but until then you're free to build your community, until you're not. For what it's worth, it's now home.

    • A Sense of Home

      Published on February 25, 2023
      a color photograph of the insides of a Vietnamese Chinese restaurant in San Francisco, with Chinese words on the banner

      Rollei QZ 35T, Ektar 100, developed and scanned by Underdog Film Lab in Oakland.

      I talk about this sometimes: for various reasons, my cultural identity as a Teochew / Chaoshan / Diojiu / Chiu Chow person is important to me. Speaking the language regularly is important to me. Being able to eat this food is important to me.

      I am now 8000 miles from home but I am anchored by this Vietnamese Teochew noodle house near me. People speak to me in this language on the streets. My dog has a Teochew name. I speak it with my neighbors. On days when I am extremely homesick, I come here and order what I always ate with my grandparents, almost ten thousand kilometres away: dua kway teow tah, mai tau geh, keh ark tui.

      (干捞大粿条 / 不要豆芽 / 加鸭腿 / wide rice noodles, soup on the side, no bean sprouts, add a braised duck leg)

      The roasted chilli oil (not sriracha), and the soup on the side, makes it especially close to some early childhood memories.

      I was especially close to my paternal grandparents, and they were my link to that culture. I felt especially thankful that I got to form these ties with them, the land they came from, and the language they spoke, in ways that many of my peers did not. By the time I was in kindergarten, I realized I was one of the few people of my generation who were able to communicate fluently with them in their first language. The political and education system in Singapore had sought to destroy all ties to non-Mandarin Chinese languages around the time I was growing up. They were largely successful: today, I speak more Teochew on the streets of the Tenderloin in San Francisco, and even more of it in Bangkok, or in Paris, than I do in Singapore (I don't know more than five people under the age of 50 who speak it well, other than my relatives).

      Even as I mourn language loss in one home, I have also cultivated strong links with the community that mostly comprises Vietnamese and Cambodian Teochew people who have moved to the West Coast of the United States. I am thankful to Mr Hua, who reminds me of my late grandfather in his movements and his speech, and in his family members Nancy, Randi, Amy and others who keep these traditions alive so that somehow someone from somewhere else is able to feel like I can live in this country because I am not all alone here.

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