Really? You Think My Photos Mean That?

Have 2 FACEBOOK people talking about the Jack shot and some of the other photos I linked. Find it rather interesting, thou I think they are over analyzing. Lots of  fancy wordy verbage going on, not sure how much is relevant. Some of it reminds me of the BS arty farty artist statements you see so often in galleries. Still it is nice that they noticed :). For me the pictures are much simpler, they tell the stories of forgotten lives, they bring awareness to those lives with the hope of  helping to improve or partly eliminating those harsh worlds. For me the pics about the people, their lives, not the arty stuff. Guess we disagree there,  I sort of got booted from this discussion! :)

Here is their discussion:

Jack under the freeway, THE PEOPLE WHO LIVE UNDER THE FREEWAY, Klong Toey Slum, Bangkok Thailand 2019

DNJ

I'm curious about your decision to shoot on a slant.

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  Gerry Yaum

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  It is a new way I am looking at the world, a new way of shooting. I now like to photograph while talking to my subject, or allowing them to see my face with no camera in the way. A more face to face interaction, it seems more real. So now when shooting I am often holding the camera up blindly and using wide angle lens close, and using depth of field for focus or auto focus. I am making the selection of the image later, based on the emotions I/we felt at that moment. I think it is about caring less about compositions and more about the reality of the subject now, trying to get a bit into their reality. On a more practical level, I think the lopsided ness of it all is also a bit disturbing, throws off the viewer and is symbolic of the subjects life. The attached slanted photo was made in 2019 as well for THE FAMILIES OF THE DUMP series... Win Lay Auh in the dump at 530am, THE FAMILES OF THE DUMP, Mae Sot Thailand, 2019

  

  

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  GY Author

  DNJ thanks for your question

  

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  DNJ The portrait of him is pretty compelling. That's an interesting way of working. Do they know you are shooting them? (In my opinion, they should give permission but that is your business to deal with.) For me, the image says more straightened out than it does to me at this angle...for me, it appears that the angle was not intentional. That said, if there were 30 strong images like this is in terms of the person and expression, and all of them were skewed, it might work together to make that point better for me, personally. But, on the other hand, it seems like you are making a judgment about them to say that it's "symbolic of the subject's life." Has the person seen it and liked it better that way?

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    GY Author

    DNJ Yes, they knew about the photographs. We are only 3 or 4 feet apart when photographing. I tend to work series for long time. Jack in the photo was a new person to me in 2019 but I have been photographing in that area of the slum s… 

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    Video: Khun Bia

    Video: Khun Bia

    

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    GY

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    Khun Owen video. https://gerryyaum.blogspot.com/.../videofacebook-khun...

    

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    Video:Facebook: Khun (Mr.) Owen 52

    Video:Facebook: Khun (Mr.) Owen 52

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  • GY Author

    Here is Khun Owen, photo made as the same time as the vid above...(straighter comp)

    

    

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    CW...GY This suggests 1920's German Expressionism to me, maybe appropriate for your subject matter.

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    CWI try not to over analyze it to much...I just try to tell the story of the people. It seemed to fit Jacks story.. More Owen photos are here if your interested, shot the same time. http://gerryyaum.blogspot.com/2019/12/here-are-some-new-p… 

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    Khun Owen 52, New THE PEOPLE WHO LIVE UNDER THE FREEWAY Photos

    Khun Owen 52, New THE PEOPLE WHO LIVE UNDER THE FREEWAY Photos

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    CW - GY I think its primarily that the environment and natural light, much more than the top image - and his elongated posture - seems to elicit the comparison than that it was an intentional reference. Not at all negative as a ref, btw, its quite strong.

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  • GY

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    CW  thanks Cary for your thoughts....never thought too much about the tech stuff...just thought of Jack and Owen and what their lives were like, telling their story effectively....the rest sort of fell into place...Hope to go back in Feb for the first time in 2 plus years and continue telling their stories. Hope they are safe and alive, in the slum people die often...Sometimes I go back ask about people and am informed they have died...2 men I photographed in Klong Toey, have died...
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    CW - DNJ  What you're describing, Diana, for me is what photographically speaking I characterize as a "tyranny of convention" - of framing, of presentation, of rectilinearity (and maybe one of those Frames discussion topics!). With exception of post-shooting circular and oval matting, photography has primarily echoed the cameras and viewfinders even to the present time, as well as in terms of lenses, for which "normal" is the term applied to the most commonly employed lens. So-called official manuals and guide books, among other advisories, would recommend holding the camera both steady and level. Deviations, as often occurs even here on Frames when horizons are slightly askew, are assumed to be faults.

    For outdoor photography receding verticals for tall buildings would only occasionally be employed by professionals. They were almost always shot at a level from an adjacent building, with only slight darkroom correction needed if it had not already been made with the adjustments possible on a larger format view camera. For small camera work, such as Garry Winogrand's street photography or Eugene Richard's indoor documentary work, as in his 1978 "Dorchester Days," tilting was sufficiently infrequent that it would invariably elicit commentary specifically about that point.

    Further afield, so to speak, was the possibility of tilting not only the content within the frame, but the frame itself, which I'd explored at end of the last century: a separate story.

    I agree with you about the desirability of seeing such matters in multiples to help clarify the intentionality. Paul Strand's singular New England church steeple made it a startling exception in his work.

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    CW - GY Over the years that starts happening more often when one has not maintained contact and there are not intermediaries that post notice. Perhaps even more for those in such precarious circumstances that you photograph.

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    DNJ - CW  I suppose you might be right. Although, I am not too big on photographic convention in general; how I worked in the darkroom was the one that never wanted to do a "normal" print treatment, and can pretty much alter anything in photoshop (while drunk and sleeping), and often have a million layers of alterations in my images to get them exactly how I want them...Yet, despite my contrary nature, seeing this as a one-off at that angle didn't really work for me personally. I took it and rolled, filled in the blank spots using CAF and I liked it better. I, personally, would make a different crop on it if it was mine. I don't know, I feel like the angle induces a judgment of the person in the viewer. Yep, as I said, maybe if there were 20 like that, strong portraits and not all junkies, I would feel differently. Maybe I would feel differently if he had not told us the guy was a junkie, or if he had not said he was trying to influence the viewer about the person's station in life...which is something I say with some trepidation because, for me, concept is king and dictates everything about how I make any given body of work, and so it feels terrible to say I dislike this slanted when he is working to his concept. 

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    GY Author

    DNJ and Cary.... thanks for the thoughts, interesting to read...not sure I follow it all, reminds me of some of the artist statements I have read (a bit to arty and slightly obtuse) .....the fact your talking about the photo is the th… 

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    GY

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    Jack again....

    

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    GY Author

    CW on dying in Klong Toey. Both were older men and one was disabled (rode on a cart). As you say you age fast in those worlds, and when you have limited or no medical care dying is the only option left. Here are the 2 men. Khun Goh...

    

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    GY

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    and a 70 year old man I photographed back in around 2011. When I returned about 10 months later to give him his photograph, he had passed.

    

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    CW

    Perhaps ironically the second photo of him with straighter comp seems even more judgmental to me, as though virtually catatonic, and his legs hardly distinguishable from the wood they're resting on. Both images, I think, resist quick responses, as does the entire series of people spending their lives growing up and living lives among garbage, as a critique and indictment of civilization itself. "Reading" the image strictly as an image, D, I'd agree that it does "induce a judgement of the person," but not necessarily from the overall angle, which I would say is countered by the man's head and torso that are at the center of the image, and are vertically positioned in relation to the frame edges. More for me, though is the overall darkness, and the ambiguity of an almost metallic appearing left hand holding something that suggests a hammer held, or that has been forced against his head. The curving beams he's positioned against, and the curved windows, could easily suggest being indentured below deck on an oar-powered ship.

Photo Story: Khun Dom On Sofa

Dom was an animated guy, he would act out for the camera, dance, make faces and show off. He was a quiet sad mas, seemed all used up, was a bit older than me at the time of this photo (58) but life in Klong Toey had taken its toll. He had no use of his left arm, it just hung there. He sold brown pills to Thais who drove by on motorbikes.

Dom 58 on his couch under the freeway waiting for customers, THE PEOPLE WHO LIVE UNDER THE FREEWAY, Klong Toey slum, Bangkok, Thailand 2019

Photo Story: Old Man In Klong Toey

Remember photographing this old man who was 70 but looked much older. When I returned to his home in the slum 10 months later, he had died. I left the picture with his family. The other thing I remember about taking this photo was that afterwards some drugged out young tough guy asked me for money (more of a threat) gave him some small money and left.

4x5 Linhof photo on Tri-x.

Man 70, KLONG TOEY PORTRAITS, Klong Toey Slum, Bangkok, Thailand 2011

Question About Slanting Compositions

Had a question asked of me about the slanting in some of the newer photographs. Here is that exchange.

Jack under the freeway, THE PEOPLE WHO LIVE UNDER THE FREEWAY, Klong Toey Slum, Bangkok Thailand 2019

Question: from DNJ

"I'm curious about your decision to shoot on a slant?"

 

Answer: Me

 

"It is a new way I am looking at the world, a new way of shooting. I now like to photograph while talking to my subject, or allowing them to see my face with no camera in the way. A more face to face interaction, it seems more real. So now when shooting I am often holding the camera up blindly and using wide angle lens close, and using depth of field for focus or auto focus. I am making the selection of the image later, based on the emotions I/we felt at that moment. I think it is about caring less about compositions and more about the reality of the subject now, trying to get a bit into their reality. On a more practicle level, I think the lopsided ness of it all is also a bit disturbing, throws off the viewer and is symbolic of the subjects life. The attached slanted photo was made in 2019 as well for THE FAMILIES OF THE DUMP series...?

 

Win Lay Auh in the dump at 530am, THE FAMILES OF THE DUMP, Mae Sot Thailand, 2019

Photo Story: Dad Thinking

This photo was made of dad about 1 week before he passed away. He is still at home but in a hospital bed, he spent only about 2 weeks in the bed. Dad did not talk much towards the end, I would kiss him on the forehead and talk to him, but he did not speak back much. The last time he spoke was to mom, he told her he would take a nap, so she went off to bed. I came to the house soon after and was photographed dad. I was probably photographing him as he passed away or very shortly (he looked to be sleeping) afterwards. I was the first one to know dad was gone, we got to spend some time together before I told mom, I got to thank him again and tell him I love him again.

I miss my father so much, so many things I need to tell him. I dream of him quite often, we do many things together in my dreams.  My father died at home, the home he loved, under the care of my mother on February 22, 2015.

Dad, MY FATHERS LAST DAYS, Edmonton, Canada 2015

Photo Story: Jack Thinking

 

Jack is a user of Meth (NaamKeng-Ice). I would often see him staring into the distance, lost in thought.

Jack thinking under the freeway, THE PEOPLE WHO LIVE UNDER THE FREEWAY, Klong Toey Slum, Bangkok Thailand 2019

Alternative Photography Room

Spent the last 3 days painting an OK sizish bathroom space plus 2 old drawer counter tops.. The room is located next to my second darkroom and I will use it for coating and exposing Ayer so process prints, platinum/palladium, kallitypes, wet plate, carbon transfer and possibly salt prints. It will be my Alternate Photography Room (APR). 

 

One of the advances of such a space is that because it is smaller, raising and maintaining  the humidity will be easier. 

Dim Sum always so curious

Photo Story: Street Children Sleeping Kathamandu

Only shot photos of these children for a couple of days. This is early in the morning, the children were still sleeping under dirty blankets on the side of a Kathmandu intersection. It was cold, i remember how forgotten and ignored they were.

Street children sleeping, STREET LIFE, Kathmandu, Nepal 2015

30-34x48 Inch For The Exhibitions At the UNB Art Centre

Got news from the curator on what the photos will look like in the coming University of New Brunswick Art Centre shows for THE FAMILIES OF THE DUMP and THE PEOPLE WHO LIVE UNDER THE FREEWAY." I will send digital files to them and they will do the rest.

"Hi Gerry, I just received a quote for printing and mounting. I am looking at printing 30 images at about 34 X 48. Printing is no problem we can afford to do that. However we can’t afford to mount them. So I am proposing that we mount them using very small pins to 1/2inch gator board. How does that sound to you?"

I agreed to presenting the work this way because my main concern is getting the photos seen, getting the important stories told to a larger audience. As long as the presentation of the work is reasonable and looks pretty good I am OK with it. The lives in the pictures need to be seen, their stories need to be told!!

I asked if I could have the prints after. I might be able to use them for another exhibition or better yet auction them off to raise money for the families in the dump. Hope the pins do not damage the digital prints too much.

Each project will get 15 - 34x48 inch prints.

Photo Story: Child Working The Garbage

This child was collecting things from the garbage in her own little bag. She worked behind everyone else. Children in the dump have a far greater sense of responsibility, they work from a very young age, try to help their families. This child was only playing at working, but she was learning how it was done.

Child working the garbage, THE FAMILIES OF THE DUMP, Mae Sot Thailand, 2018

Photo Story: Old Lady Walks Through The Dump

I think of this old lady walking through the dump. She seemed to have seen it all, did not blink at my photo making, or when I gave her a little gift after ward. She just steadily trudged through the garbage with her walking stick, slow and steady.

 

Old lady walking in the dump, THE FAMILIES OF THE DUMP, Mae Sot Thailand, 2019

Bought Me A 21mm F4 XCD Lens For The Hassleblad X1D

Bought me a 21mm  F4 XCD lens. Even used, it cost a fortune, $2851 USD plus shipping from the USA. The second highest eBay bidder bid $2850 USD. I will have trouble paying for this wonderful lens but the photography projects in Asia, THE FAMILIES OF THE DUMP and THE PEOPLE WHO LIVE UNDER THE FREEWAY, will benefit. This new tool will help tell those stories better. I now have a ultra wide lens to use with my Hasselblad X1D medium format 50megapixal digital camera. I now have a top end tool to make new photographs for the coming 2 exhibitions at the Art Centre at the University of New Brunswick. I can now use some of the new 50meg files for making super large prints for the exhibition (40 inches high). I can see pictures in my minds eye that I can make with this lens, they are flooding in. 

Now I just got to figure a way to pay for this thing somehow.

Note* This lens is the 35mm of a 17mm. I love my 16mm Leica 35mm film lens, this unit should be similar but designed to cover the X1D sensor which is use. I have fallen in love with shooting wide angle, this buy will further photographs of that feel.

Note** The lens is supposedly in mint condition, I hope so. It was avaible from KEH.com for $3045 USD plus shipping. I hope I did not make a mistake by buying from a private individual but the $194 USD savings was important to me.

Note*** Brand new the lens retails at $3750 USD from B&H. So I saved about $900 USD  ($1115 CAD) by buying it second hand used.