I’ve been doing quite a bit of photography/documentary work regarding the dead in Singapore (more specifically Bukit Brown and various other locations) and it’s quite interesting to see how the old and the new have mixed together here. Some traditions have been forgotten and new ones are being created and right down the middle we have a confused (albeit amusing) mix of both. This is just one of those moments. (The rest will find it’s way to some sharing platform when I finally get down to full scale editing).
This isn’t one of my greatest shots but I quite like it. It was raining at a night festival and the band kept going and it was music all through the night. This was just a brief pause to wipe of the sweat, and probably some rain, which by now must’ve been mixed up quite thoroughly.
The government has yet to decide how to deal with the railway station but there have been talks about turning the entire length of track (now unused and rails returned to Malaysia) into a green corridor. An unbroken stretch of greenery, much like the New York High Line.
ultimately, it boils down to a simple question. How do we decide what stays and what goes? How do we judge the values of the past against that of a prospectful future? How do we conclude that it is better to obliterate the memory of the thousands who were here for the lives of those thousands who may come? And would the thousands who have came want to know about the thousands who have gone? How can we summon the authority and dictate what we remember and what we may see? Can we wipe out the voices still clamoring for attention in a fading blank space also known as our Memory in the favour of the glimmering eyes tumbling about in the crevices of our imagination? is the future, this wide-eyed future weightier than the wrinkled past? We will never know.
And so I end this series here.
I don’t really know how to present panorama’s properly on this blog layout, it’s kind of bad for that, but I’m going to put one up all the same. You can enlarge the image or open it in another tab, it’s bigger than actually presented.
The railway station and it’s tracks have always been in a continued struggle with the times. It’s a fight to remain relevant, to remain needed, wanted and used. If not it risked being washed away into the dark tomes that now comprise our history. On the left is the 6 lane highway of the past and on the right is the 6 lane highway of the present. Big difference huh?
Except now the one on the left is no more.
One of the things that I figured I should write about is the personal project. I recently stumbled upon a great article regarding this and will also be drawing out quotes here and there in the process. Anything in italics is quoted from the article.
Photoessays/stories and other larger bodies of work are what will become the portfolio of any photographer. While a great single might win you a POYI or two, it’s the projects that most editors will look at, they are the equivalent of a results sheet to a photographer. Which is why they are so incredibly important.
For my first mentorship, we were mentored on how to do a long photo project, the entire project compressed into a number of days of non-stop shooting which taught us more than we had ever learnt before. Doing a long term work is important “if you care about growing as a photographer and therefore as a person” Indeed, if I had never done my first long term work (the railway images that you’ve been seeing here and there), I probably wouldn’t be here blogging away and many other things would never have happened.
“I’d suggest starting with a subject that you care about, whether you stumble upon it or have to push yourself to figure out what you care about. The more outside of your interest or what matters to you the subject is, the harder it will be to stick with the effort.”
Personally, I’ve had a fixation with things from the past, this sentimental obsession that plagues my every day life (including my music preferences). The closure of the station was to me a no brainer really. It coincided with my mentorship and it fit in perfectly with my overly sentimental/romantic ideals.
Once you have a topic or a subject, start doing research. Learn everything you can about that person, that place, that subject. See what else has been written, photographed, researched.
Unfortunately I didn’t have a lot of time to conduct research, and there wasn’t a great deal about it anyway. Only a single page from Wikipedia. Most of my research was done on the ground, interviewing all the stallholders, getting a feel of the location and spending hours just sitting there. It was through this method of just being there through which I got most of my information (and also, images).
The goal then is to find an approach to the subject that tells an interesting story
By entering a realm with your camera, you’ll begin to understand things more deeply, you’ll see things you can’t from afar and realize potentials.
I can find no better way to phrase this really. With my camera in hand, it not only opened me up to new opportunities, it also made me look at things more closely and visually and the extra attention yielded knowledge or ways to see that I had previously not seen. Honestly, there are only so many ways that you can photograph a train station before you get repeats. The trick is in seeing new things, things that were previously unseen. Out of the many images I took, there were remarkably few repeats. It was a nonstop process of experimentation of new things to figure out what worked and what didn’t.
Of course not everything you photograph will end up in the final edits.
Remarkably true. Out of all the images that I took (going into the low thousands), there are only 50 or so that are really remarkable and usable. As I said before, numbers help (to a certain extent). It was a brutal but necessary step to slash everything that I felt didn’t belong in the set. In the end, for my final exhibition, there were only 5 images. (Though others have ended up in other places).
one thing to ask yourself is if you want the project to end by asking or answering a question, by leaving things all neatly concluded or leaving loose ends for the viewer to wonder about?
And is there ever an end to a photo project? To me I believe that it’s all a matter of interest. Once you’ve grown tired of something, it will show in your images. The best images are made from things that you are passionate about, because you will give your all to make sure they work. Sometimes what is needed is to step back and just review everything that you have. And other times, if you feel that you have hit a dead end, it’s perfectly fine to cut all ties. Your work can only be as good as you believe it will be.
But most important of all is that you begin. It doesn’t matter what or how, just as most people have trouble getting out of bed in the morning, it’s always the starting that is the most difficult. Get past that, and nothing will hold you back.
As promised, the link to the well-written article on the longer form of photography (the visual narrative)!
finally my commitment is over and I can meet my life again! a longer post and some other stuff should be up tomorrow when I finally have more time. This was taken on one of the last days of the station, when everything was being torn down and it was getting late into the night. Apologies for the blur though, this was handheld.
so yeah, look forward to a significant increase in postings and more diversity rather than nonstop photos from me. Thanks for hanging around, even when I couldn’t post daily!
second last night of late intense work, after this I get my life back! Back to what this blog’s really about, this image was snapped completely coincidentally as I was pacing the length of the train. The best part was that the lady pictured took no notice of me (and my lens smashed right up against the glass). Looking through the windows of trains are some of the best ways to get an image of people. Note: Just make sure that your reflection doesn’t end up in the image!